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Kirchner's Woodcuts a Thesis Submitted for Honors in The Kirchner’s Woodcuts A Thesis submitted for Honors in the Department of Art and Art History Sean E. Barlett April 8, 2019 Albion College 1 Table of Contents Introduction Chapter 1: Literature Review Chapter 2: The Formation of Die Brücke and Their use of the Woodcut Chapter 3: Post World War I, Kirchner’s Use of the Woodcut Conclusion 2 List of Illustrations Figure 1. Edvard Munch, The Scream, Oil on Cardboard, 1893, National Gallery in Oslo, Norway. Figure 2. Ernst Ludwig Kirchner, Manifesto of 1906 (Front), Woodcut, 1906, Museum of Modern Art, New York, New York. Figure 3. Ernst Ludwig Kirchner, Manifesto of 1906 (Back), Woodcut, 1906, Museum of Modern Art, New York, New York. Figure 4. Ernst Ludwig Kirchner, Bathers in a Room, Oil on Canvas, 1909, repainted in 1920, Unknown Location. Figure 5. Ernst Ludwig Kirchner, Standing Nude with Hat, Oil on Canvas, 1910, Städel Museum, Frankfurt, Germany. Figure 6. Ernst Ludwig Kirchner, Nude Dancers (Nackte Tänzerinnen), Woodcut, 1909, Museum of Modern Art, New York, New York. Figure 7. Ernst Ludwig Kirchner, Shed on the Bank of the Elbe, Woodcut, 1906, National Gallery of Art, Washington, D.C. Figure 8. Ernst Ludwig Kirchner, Alte und Junge Frau (Old and Young Woman), Woodcut, 1921, Albion College Art Collection, Albion, Michigan. Figure 9. Ernst Ludwig Kirchner, In the Studio (Erna and Guest), Woodcut, c. 1918- 1921, University of Michigan Museum of Art, Ann Arbor, Michigan. Figure 10. People queueing for the Degenerate Art (Entartete Kunst) exhibition in Munich, July 19, 1937, Museum of Modern Art, New York, New York. 3 Introduction Expressionism was a late nineteenth and early twentieth-century art movement that emphasized strong emotions and psychic states through subject matter, form, technique, and media. In these works, Expression was represented not only thematically, but also through medium. Although Expressionism occurred throughout Europe, Germany may have provided the most fertile ground for the development of Expressionist movements. At the end of the nineteenth century, there was no centralized German art style, but there had been art rebellions throughout the German art world, including the Dresden Secession in 1893 and the Berlin Secession in 1898.1 By 1903, the Munich Secession was already on the verge of disbanding, and young German artists were well prepared to leave the safety of naturalism and conventional subject matter. 2 One of Expressionism’s early exemplars was Edvard Munch, whose painting, The Scream created in 1893 (Figure 1), demonstrated the Expressionist viewpoint in its ‘agitated, disorienting rendering of a theme of hopelessness and alienation’.3 Munch’s focus on the individual self, shaped by fear, desire, death, sex and nature, made him an especially important influence to young German artists maturing at the turn of the century. Although Dutch artist Vincent Van Gogh4 and French painter, sculptor, and printmaker Paul Gauguin were both important influences for the German Expressionists, Munch was the only artist of the three who had direct contact with the German artists, which made his idea of the individual self as the central theme of his work, a major 1 Douglas Klahr, “Munich as Kunststadt, 1900–1937: Art, Architecture, and Civic Identity,” Oxford Art Journal, 34, no. 2 (June 2011), 179–201. 2 Dube Wolf-Dieter, The Expressionists, (London, Thames and Hudson, 1985), 8-11. 3 Horst H. Árnason, and Elizabeth Mansfield, History of Modern Art: Painting, Sculpture, Architecture, Photography, (Upper Saddle River, NJ: Pearson Prentice Hall, 2010), 111-112. 4 Van Gogh was shown at the Galerie Arnold in Dresden in 1905. Wolf-Dieter Dube, The Expressionists, (London: Thames and Hudson, 1985), 25. 4 influence on the Expressionists.5 German Romanticism was also strongly tied to Expressionism for its emphasis on personal beauty, brooding loneliness, and focus on the intensely personal and sublime in culture and nature. German Expressionism came to prominence in the early twentieth century when artists challenged art traditions that had increasingly failed to meet the expressive needs of contemporary artists. In many areas of Germany, especially in metropolitan centers like Dresden, Munich, and Berlin, artists responded to widespread anxiety about humanity’s increasingly discordant relationship with religion, spirituality, and the natural world. Rapid changes in technology including the invention and dissemination of automobiles, expanding train systems, electricity, and chemical innovations left people with a feeling that the world was expanding at a pace too rapid to comprehend. Freud’s theories of the unconscious, published at the end of the nineteenth century, undermined the individual’s way of thinking of the self by suggesting that a different, perhaps truer, version of themselves was hidden beneath the conscious layers of the mind, accessible in a dream or other uncontrolled state.6 The combined effect of these and other cultural changes resulted in feelings of alienation and loss that were channeled through the art of the German Expressionists. It is important to note, however, this phenomenon not only produced changes in art, but also music, literature, poetry, and film. In 1905 young architectural students of Dresden’s Technische Hochschule (Technical University) founded the artist group die Brücke (the Bridge), which was the first group to address the needs of early twentieth-century society and to produce artistic 5 Carl Zigrosser, The Expressionists: A Survey of Their Graphic Art, (New York: Braziller, 1957), 8-9. 6 H. W Chase, Freud’s Theories of The Unconscious, (The North Carolina High School Bulletin 2, no. 3, 1911), 110-21. 5 forms that marked a clear direction away from academic tradition and towards a new art form.7 Co-Founder of die Brücke, Ernst Ludwig Kirchner, provided the theoretical underpinnings in his first manifesto of 1906, stating, With faith in progress and in a new generation of creators and spectators we call together all youth. As youth, we carry the future, and want to create for ourselves freedom of life and of movement against the long-established older forces. We claim as our own everyone who reproduces that which drives him to creation with directness and authenticity.8 Kirchner distinctly stated the movement was a youth movement that would overthrow the older forces of society. He ultimately expressed the Brücke artists’ desire for a “direct and genuine” approach to representation.9 In the Brücke title vignette (Figure 2 & 3), a bridge is used to represent the group’s aspiration to create a community based on the Arts and Crafts ideal of a “brotherhood”, that promotes a shared vision of collaborative working relationships. A bridge fills the gap between old artistic forms and new social needs. The die Brücke artists, especially Kirchner, had a deep admiration for woodcut artists from Germany’s past, especially the sixteenth-century master, Albrecht Dürer. The woodcut, as an art form, provided the bridge between old and new Germany. Woodcuts were an important part of German history, both in the sense of art and literature. The first mass-produced book, The Nuremberg Chronicle, (Liber Chronicarum), a world history compiled by Hartmann Schedel (1440–1514), was printed in the workshop of Dürer’s 7 The other notable group being Der Blaue Reiter, which was in commission from 1911 to 1914. 8 Ernst Ludwig Kirchner, Manifesto, 1906, n.p. 9 B. Altshuler, Everything is Illuminated, (Tate etc, Spring 2011), 104-107. 6 godfather, Michael Wolgemut. First printed in 1493, the book contained over 1800 woodcut illustrations and was considered a technical masterpiece.10 Dürer was an apprentice in Wolgemut’s shop during the production of the book. The Nuremberg Chronicle was produced and purchased in such numbers and known as such a marvel of both printing and illustration, that it must have been of interest to German artists, including die Brücke.11 One wonders if Kirchner might have been inspired by this text in naming his own later writing, Chronik Der Brücke. The group’s second interest was in non-western art, especially the sculpture of African and Oceanic peoples of the South Seas. They would have had access to these objects through the Dresden Museum of Ethnology, which opened in 1875.12 Their interest was predicated on the belief that these were “truthful” unsophisticated forms of art, uncorrupted by modern bourgeois culture.13 They based some of the forms in their woodcuts on the shapes and cuts they found in the sculptures in the ethnographic museum. This allowed them to use the woodcut in a way that had never been used before, and they developed a technique which would characterize Expressionism for years to come. Kirchner and the other members of die Brücke found woodcut prints, with their jagged lines, flattened forms, and stark tonal contrasts an unparalleled medium for their most dramatic work. In my thesis, I will argue that the woodcut as used by the artists in 10 The Nuremberg Chronicle, (World Digital Library. July, 2015), https://www.wdl.org/en/item/4108/. 11 Hartmann Schedel. n.d. Liber Chronicarum 1493 Facsimile - Nuremberg Chronicle (Latin Edition). 12 L. D. Ettlinger, “German Expressionism and Primitive Art,” The Burlington Magazine, 110, no. 781, (1968), 191-201. 13 Charles Harrison, Francis Frascina, and Gillian Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century, (New Haven: Yale University Press, in Association with the Open University, 1993), 66. 7 die Brücke, primarily Ernst Ludwig Kirchner, was both a physical and emotional release, a critical reflection of social mores, and a bridge to Germany’s past art forms. 8 Chapter 1: Literature Review During the one hundred plus years since die Brücke disbanded, scholars have varied in their opinions and comments on the importance of woodcut prints to die Brücke. In die Brücke’s active years, journals played a central role in documenting their work and bringing them to the attention of the European art world.
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