Press Release Ernst Ludwig Kirchner

Press Release

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [3]

Numerous exhibitions have celebrated the painter and sculptor Ernst Press Ludwig Kirchner. The Museum der Moderne Salzburg now presents an Mönchsberg 32 in-depth survey of the artist’s work in photography, the first such show 5020 Salzburg in Austria. Austria

T +43 662 842220-601 Salzburg, March 1, 2019. Ernst Ludwig Kirchner (1880 Aschaffenburg, F +43 662 842220-700 DE―1938 Davos, CH) was arguably the only one among the German [email protected] Expressionists who did more than dabble in photography. He left an archive www.museumdermoderne.at of ca. 1,300 glass and celluloid negatives, a collection of vintage prints, and bound albums containing photographic reproductions of his paintings, drawings, sculptures, and graphic art. Numerous exhibitions have offered public audiences opportunities to study Kirchner’s widely acclaimed oeuvre as a painter and sculptor; his photographic work, by contrast, has not received the same attention and appreciation. Ernst Ludwig Kirchner. The Painter as Photographer is the first exhibition at an Austrian museum specifically devoted to the artist’s photography. It gathers a selection of ca. 300 photographs, with examples from all genres the artist tried his hand at: from nudes, studio scenes, and portraits to landscape and object photography. “Kirchner did not think of his photography as fine art, but he extensively explored the medium’s possibilities. Working with the camera spurred his creative imagination and helped him devise compositional solutions; his art conversely reflects the vision of an inventory of the world in the photographic image,” as Thorsten Sadowsky, curator of the exhibition and director of the Museum der Moderne Salzburg, observes.

Kirchner used photography as a source of inspiration, memory aid, and visual tool in the work on his art. Carefully arranged shots of his sculptures, pictures of visitors in his studio, and photographic documentation of the genesis of a painting in the various stages of its evolution suggest the interplay between photography and fine art in the artist’s oeuvre. Organized in a series of thematic foci, the exhibition at the Museum der Moderne Salzburg undertakes a comprehensive survey of the photographic gaze in Kirchner’s art. A small selection of paintings rounds out the presentation of this little-known segment of the famous German Expressionist’s output.

A special section of the exhibition examines Kirchner’s efforts at image cultivation and self-promotion by spotlighting his attempts to control the public’s perception of his life and career through a fictional critic. Between 1920 and 1933, he published six essays on his work under the pseudonym Louis de Marsalle, deftly marketing his own work. In 2016, the Swiss photographer Stephan Bösch (1982 St. Gallen, CH) created Louis de Marsalle. Visite à Davos, a series of large-format black-and-white photographs that put a face to Kirchner’s imaginary alter ego. It will be the first time that the series will be displayed together with Kirchner’s own photographs.

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/2 Press Release Ernst Ludwig Kirchner. The Painter as Photographer Firmenbuchgericht Salzburg

Press An exhibition produced in cooperation with the Kirchner Museum Davos, CH T +43 662 842220-601 F +43 662 842220-700

Supported by [email protected] www.museumdermoderne.at

Boner Stiftung für Kunst und Kultur

Curators: Thorsten Sadowsky with Lena Nievers

Accompanying program

Wednesday, April 17, 2019, 6.30 p.m. Idealism or Reality? Ernst Ludwig Kirchner’s Photographs Lecture by Jill Lloyd, Art historian, Paris, FR, London, UK

Press contact Martin Moser T +43 662 842220-601 M +43 664 8549 983 [email protected]

Visitor information Museum der Moderne Salzburg Mönchsberg 32 5020 Salzburg, Austria T +43 662 842220 [email protected], www.museumdermoderne.at

Hours: Tue to Sun 10 a.m.–6 p.m., Wed 10 a.m. –8 p.m. Admission Mönchsberg Regular € 8.00 Reduced € 6.00 Families € 12.00 Groups € 7.00 Tickets with reduced Mönchsberg lift tariff available at the bottom station.

2/2 Press Release Ernst Ludwig Kirchner. The Painter as Photographer

Press Images

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [3]

The use of visual material is permitted exclusively in connection with Press coverage of the exhibition and with reference to the cited picture captions and copyrights. No work may be cut nor altered in any way. Mönchsberg 32 5020 Salzburg Download: http://www.museumdermoderne.at/en/press/ Austria

Username: press T +43 662 842220-601 Password: 456789 F +43 662 842220-700

[email protected] www.museumdermoderne.at

Ernst Ludwig Kirchner Self-portrait, around 1928 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner Nina Hard at the entrance of the house In den Lärchen, Summer 1921

Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner Erna Schilling (Kirchner) and Ernst Ludwig Kirchner in the studio Berlin-Wilmersdorf, Durlacher Strasse 14,

around 1912/14 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/4 Press Images Ernst Ludwig Kirchner. The Painter as Photographer Firmenbuchgericht Salzburg

Press

Ernst Ludwig Kirchner T +43 662 842220-601 Peasant dance on the F +43 662 842220-700 upper floor of the house [email protected] In den Lärchen with a www.museumdermoderne.at self-portrait left, 1919/20 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner View south from Kirchner’s summer cabin on the Stafelalp to the Tinzenhorn, around

1919 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner The Bildhaueratelier (Sculptor’s studio) next to the Wildbodenhaus (sculptures by Hermann Scherer and one by Kirchner), 1924 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

2/4 Press Images Ernst Ludwig Kirchner. The Painter as Photographer

Press

T +43 662 842220-601 F +43 662 842220-700

Ernst Ludwig Kirchner [email protected] www.museumdermoderne.at Das Soldatenbad (Gordon 434, 1915) Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner Elisabeth Hembus as lying nude in the Wildbodenhaus, ca. 1930

Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner Margreth, Dorothe and Elsbeth Rüesch in front of the barn next to the Wildbodenhaus, ca.

1925 Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

3/4 Press Images Ernst Ludwig Kirchner. The Painter as Photographer

Press

T +43 662 842220-601 F +43 662 842220-700

Ernst Ludwig Kirchner [email protected] www.museumdermoderne.at Reiterin, 1931/32 (Horsewoman) Glass negativ Kirchner Museum Davos Donation Estate Ernst Ludwig Kirchner 1992

Stephan Bösch Louis de Marsalle, Visite à Davos, 2016 Carbon print Courtesy the artist © Stephan Bösch

"Louis de Marsalle" on Thursday (March 31, 2014) on the veranda of the Wildbodenhaus in Davos. From 1923 Ernst Ludwig Kirchner lived and worked for fifteen years in a farmhouse in Frauenkirch-Wildboden, the so- called "Wildbodenhaus". On this veranda, the painter portrayed his guests with his camera. Under the pseudonym "Louis de Marsalle" Ernst Ludwig Kirchner wrote reviews of his own works.

4/4 Press Images Ernst Ludwig Kirchner. The Painter as Photographer

Exhibition Views

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [4] Press

All: Ernst Ludwig Kirchner. The Painter as Photographer Mönchsberg 32 Exhibition view, © Museum der Moderne Salzburg, Photo: Rainer Iglar 5020 Salzburg Austria Download: www.museumdermoderne.at/en/press/detail/ernst-ludwig-kirchner/ T +43 662 842220-601 F +43 662 842220-700 User: press Password: 456789 [email protected] www.museumdermoderne.at

Ernst Ludwig Kirchner. The Painter as Photographer Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

Museum der Moderne – Rupertinum Betriebsgesellschaft mbH FN 2386452 1/3 Exhibition Views Ernst Ludwig Kirchner. The Painter as Photographer Firmenbuchgericht Salzburg

Press

T +43 662 842220-601 F +43 662 842220-700

[email protected] Ernst Ludwig Kirchner www.museumdermoderne.at Reiterin, 1931/32 (The Rider)

Oil on canvas Kirchner Museum Davos

Ernst Ludwig Kirchner. The Painter as Photographer Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

Ernst Ludwig Kirchner. The Painter as Photographer

Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

Ernst Ludwig Kirchner. The Painter as Photographer Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

2/3 Exhibition Views Ernst Ludwig Kirchner. The Painter as Photographer

Press

T +43 662 842220-601 F +43 662 842220-700

Ernst Ludwig Kirchner. The [email protected] Painter as Photographer www.museumdermoderne.at Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

Ernst Ludwig Kirchner Bogenschützen, 1935–1937 (Archers) Oil on canvas Kirchner Museum Davos

Ernst Ludwig Kirchner. The Painter as Photographer Exhibition view © Museum der Moderne Salzburg, Photo: Rainer Iglar

Rupprecht Matthies Quotes by Ernst Ludwig Kirchner in correspondence 5 works made of acrylic glass, 2016 Kirchner Museum Davos, Donation of the artist

3/3 Exhibition Views Ernst Ludwig Kirchner. The Painter as Photographer

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [3]

Wall texts

Photographic Works Ernst Ludwig Kirchner (188—1938) grew up at a time and in an environment where photography was already bon ton in society. In magazines and books, photography was increasingly replacing the previously favored reproduction media of wood engraving, lithography, or copper engraving. In the form of postcards, it disseminated the images of countries, cities, exotic themes, and celebrities throughout the world. The small-format plate camera and the first Kodak box camera with roll film made photographic equipment affordable and technically accessible, even for amateurs.

Kirchner discovered photography in 1908. Presumably during his friendship with Emy Frisch, a photographer who would later marry fellow artist Karl Schmidt-Rottluff, he was introduced to the technique and learned how to handle the glass plates. In his studios in Dresden and Berlin as well as during his stays on the island of Fehmarn in the Baltic Sea, he took numerous situational, portrait, and landscape pictures. At the same time, he used the medium as a means to reproduce and document his artistic work, especially the paintings and sculptures.

From 1917/18, around the time he moved to Davos, Kirchner’s photographic perspective changed and his focus shifted toward landscape pictures and portraits of the rural population, such as farmers the artist became acquainted with. In addition, he created photographic portraits of visitors, of his companion Erna Schilling, and of himself.

Kirchner used photographs like an image archive that he could draw on at will. Photography, for him, was an instrument of artistic discovery and invention, while at the same time reflecting the notion of taking a pictorial inventory of the world.

The Artist as Photographer The release of the first photographic patent in January 1839 marked the beginning of a new era in art and media history. For the first time, a technical means of reproduction was now available that allowed for an immediate and seemingly objective representation of visible reality. Within a very short time, photography conquered artistic and scientific fields whose visual documentation had hitherto been reserved to the graphic and painterly arts.

Following the invention of glass-plate negatives and paper prints (c. 1850), Mönchsberg 32 commercially oriented studio photography emerged, whose repertoire 5020 Salzburg ranged from staged genre scenes to nude and travel photography. The Austria visual arts respond to the fact that parts of their traditional purpose (such as T +43 662 842220-101 F +43 662 842220-700

[email protected] 1/2 Wall texts Ernst Ludwig Kirchner. The Painter as Photographer www.museumdermoderne.at

detailed representation) could now be accomplished faster and cheaper through photography. Painters thus developed a visual language that held the “image” to new standards, aiming to capture the transitory quality of visual impression (Impressionism) or symbolic quality (Idealism and Symbolism). At the same time, the essential characteristics of painting were discussed in deliberate contradistinction to photography: flatness, color composition, the subjectivity of the artistic statement, and the eschewal of mimetic representation.

With the development of smaller cameras for private use, painters then became photographers of their own subjects. Studio scenes, portraits, and landscapes were photographically archived, allowing them to be used in painterly compositions, irrespective of the time of observation. Photography became a legitimate aid in the production of “high” art.

Citations “The photographs are very inspiring. While unable to use them as a direct basis for painting, they do offer the secure guarantee of a form seen.” Ernst Ludwig Kirchner, 5 July 1913, Sketchbook 35, 1913–1919, fol.1r

“Dear Dr: Döblin, Enclosed please find the photographs […]. Unfortunately, the camera moved a bit, causing them to be slightly blurry. Yet they do capture the head of our esteemed quite well and aid our memory.” Ernst Ludwig Kirchner, letter to Alfred Döblin, 30 March 1932

“In general, it would be good if you asked for the plate. Then I can make prints myself. I make them on glossy smooth paper, because for reproductions the photograph has to be clear, sharp, stark.” Ernst Ludwig Kirchner, letter to Alexander Müllegg, 1 December 1930

“Surely, photography has taken the place of painting in some areas. [...] photography has even put itself at the service of art, as it faithfully reproduces artworks. Yet all this has not done harm to painting; instead, it has merely made it freer for its real purpose. Today we know that it is not the task of painting to copy nature.” Ernst Ludwig Kirchner, Davos Journal, 17 December 1926

“I have heard that you have a studio in Jena that makes very good photographs of paintings. It would be really good for your museum if you would create a collection of photographs of the best paintings there: in this way the museum would get an overview of the entirety of new art in photographs—the first in all of Germany.” Ernst Ludwig Kirchner, letter to Eberhard Grisebach, 15 November 1914

2/2 Wall texts Ernst Ludwig Kirchner. The Painter as Photographer

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [3]

Work texts

Louis de Marsalle “I have met a young French poet here. I am amazed and delighted how calmly, objectively, unpretentiously and intelligibly he reflects and writes on art.” Ernst Ludwig Kirchner, letter to Ernst Gosebruch, 21 January 1920

“De Marsalle is currently in Sudan. However, please have the fee for the essay on the sculptures sent to me. I will acknowledge receipt on his behalf and deliver the money to him in due course.” Ernst Ludwig Kirchner, letter to Will Grohmann, 30 September 1925

The French poet, art critic, and physician Louis de Marsalle was a fictitious person invented by Kirchner. Between 1920 and 1933, the artist published a total of six texts under this pseudonym. With the help of his “French friend” he hoped to prove that his work had evolved completely independently of contemporary French art. The exotic perspective on his own circumstances was intended to communicate objectivity and autonomy, since de Marsalle embodied the progressive French spirit and passed his aesthetic judgements with the authority of the well-traveled stranger. Through this fictitious character, Kirchner not only conducted smart self-marketing, but also created an alter ego for himself, which he could send on imaginary journeys to Africa, while he himself led a very secluded life in the Swiss mountains.

The series Louis de Marsalle. Visite à Davos (2016) by the Swiss photographer Stephan Bösch is a fictional photo report documenting the imaginary figure’s visits to Davos and gives a face to the mysterious French art aficionado.

Spiritualization in the Mountains New studies have cogently demonstrated that Kirchner also employed photography as a medium of self-portrayal and of staging his life as a bohemian avant-garde artist. In a way, Kirchner delegated to photography the task of substantiating his life vision of ever-increasing spiritualization. Kirchner’s nervous breakdown during his military service in Halle and his subsequent odyssey through German and Swiss sanatoriums eventually culminated in a genius cult flanked by literary efforts, which fully unfolded on his Alpine Mountain of Purgatory near Davos. Mönchsberg 32 There are a number of visual documents of Kirchner’s “going native” in the 5020 Salzburg Austria Alpine environment, such as a photo-graph showing him dressed in local attire at a dance on the upper floor of the house “In den Lärchen”). In the T +43 662 842220-101 F +43 662 842220-700

[email protected] 1/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer www.museumdermoderne.at

picture, Kirchner, a cigarette in the corner of his mouth, appears rapt in contemplation of his work while his right hand points at the dancing couples, with one female dancer looking back at the camera.

Portraits In 1924, Kirchner started producing a whole series of close-up portrait photographs on the veranda of his home and studio at Wildboden near Davos. The setting is always identical and shows various friends or other guests sitting in front of the muntin window. Over the years, fellow artists, museum directors, writers, and collectors came to visit Kirchner, as did his rural neighbors, men, women, and children.

The entire setting is well documented in other photographs, and the relatively large number of portraits in the same location, combined with the photographic documentation in the form of profile, half-profile and front-view shots, is reminiscent of a photographic identification system (bertillonage). In fact, it almost seems as if a kind of photographic ritual was performed over the course of several years.

However, Kirchner’s photographs are a long way from the anthropometric efforts of police photography; rather than offering a precise record, they are marked by almost chronic blurring and other “flaws.” The transparent, light- suffused background, the recurring combination of profile and frontal view, the doubling of eyes and spectacles, and the various light reflections reinforce the notion that Kirchner was not interested in creating a pseudo- scientific record of his visitors, but rather pursued a kind of eidetic vision or phenomenological Wesensschau, in the tradition of late 19th-century photographic spiritualism.

Nina Hard 1921 was a memorable year in Kirchner’s Davos life. In Zurich the artist had met the dancer Nina Hard (1899―1975) and spontaneously invited her to Davos. Numerous nude and portrait photographs, taken by Kirchner over the course of the summer 1921, reflect his enthrallment with the young, confident dancer. At times these photographs seem like souvenirs of a passion, memories of a summer of erotic intensity. Nina Hard’s last performance was at Clavadel Sanatorium in Davos on 24 September 1921. Kirchner designed the stage set for this memorable evening of dance, which was a roaring success.

One photograph shows Nina Hard on stage. The background is a painted Alpine scene; Nina Hard is dancing on a carpet in the foreground, while Kirchner’s striped carpet is visible at the back of the stage. As in many of Kirchner’s paintings, the atmosphere of the studio and the experience of land-scape are merged. Dark firs rise up behind the striped carpet, while majestic mountain summits soar above the trees. We can only speculate as to whether this avant-garde dance did indeed take place on an imagined “Alpine meadow,” as evocatively reported in the Davoser Blätter. The dance

2/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer

performance marked both the high point and the finale of the relationship between the painter and his young muse.

Ménage-à-trois Particularly revealing is a photograph Kirchner took of Nina Hard in front of the entrance to his first house in Frauenkirch near Davos. The negative is missing; the only known original print is in Kirchner’s fifth album, in which he collected photographs of his sculptures and exhibitions. It almost seems as if the artist treated the photograph primarily as a reproduction of his work, a classification explained by the life-sized sculptures of Adam and Eve flanking the door to Kirchner’s house. Eve welcomes visitors with a lowered gaze, her right hand holding a flower below her breast. Adam, on the other hand, presents a proud display of virility: his head raised, a broad, muscular chest, and protruding penis. Overall, the scene evokes the atmosphere of a Gauguinesque paradise. Without knowing the background, the viewer could be inclined to locate the motif outside of Europe. This visual foreignness is further heightened by the back view of Nina Hard, clad only in a grass skirt. She has gently placed her hand on Adam’s shoulder under the watchful gaze of Eve. This photograph clearly shows far more than just two sculptures, whose monumentality Kirchner compared to “Egyptian gods.” It depicts a love triangle, like mapping a relationship constellation, in which the sculptures of Adam and Eve personify the artist couple Kirchner and Erna Schilling. At the same time, Kirchner’s presence as the photographer—and the one who staged the image and instructed Nina Hard to adopt this pose— is implicit in the composition.

The Artist as Archivist The Kirchner Museum Davos owns an extensive collection of about 1300 glass plate and cellulose nitrate negatives of Kirchner from 1908―1938. Added to this are numerous vintage prints (prints made by the artist himself) and modern prints (later prints). Kirchner left behind five representative case- bound photo albums. Compiled in this unfinished “catalogue raisonné” alone are about 900 original prints of photographs of his paintings, drawings, sculptures, prints and exhibitions. The first three volumes are devoted to the paintings, with volume 1 cataloguing the paintings created in Germany in the period from 1900 to 1916 and volumes. 2 and 3 cataloguing the Swiss works from 1917―1919 (vol. 2) and until 1937 (vol. 3). The fourth album documents the drawings and prints, while the fifth album contains photo-graphs of the sculptures and of exhibitions.

As a whole, these archival efforts paint a picture of an artist who invested considerable work and time into systematically rendering his work accessible. Kirchner used the medium of photography above all as a means of documenting—that is, of recording, classifying and structuring his work. Yet photography also made it possible for him to introduce new works to collectors, magazines and authors. Kirchner invariably insisted on his copyright and provided detailed instructions for use on the back of the photographs he would send. Thus Kirchner can rightly be called a

3/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer

photographing archivist who with untiring persistence strove for control over his own oeuvre.

Ernst Ludwig Kirchner Reiterin 1931/32 (The Rider) Oil on canvas, 200 x 150 cm Kirchner Museum Davos

From 1926 onwards, Kirchner sought to realize his idea of a universally understandable, allegorical art based on the human figure under the label “New Style”. Expressive spontaneity and direct representation of an immediate impression made way for a monumental decorative exaltation of general emotions and states, such as joie de vivre, sensuality, love, angst, and agitation. His efforts to achieve a symbolic and allegorical form of painting manifested them-selves in dynamic lines, bold physiognomic deformations of the human figure, and arabesque-like forms. His paintings became flatter, bolder, and more amorphous, with a tendency toward symbolic simplification, as is typical of pictograms.

The painting The Rider is a prime example of Kirchner’s “New Style”. The conception of the horsewoman traces back to several photographic images which Kirchner synthesized in the painting by superimposing three views within the surface. Without any perspectival means, the painting envisions the ability to view horse and rider from all sides as pure surface.

Meta-Images in Shades of Grey Sketch, drawing, photography, printmaking, sculpture, and painting are artistic media that interpenetrate and cross-fertilize each other in the work of Ernst Ludwig Kirchner. As a medium of visualization and reproduction, photography not only marks the beginning and the end of the artist’s creative process, but also influences all stages of the other art forms, which is why a chronological analysis is only useful or promising to a limited extent—also given the uncertain dating of some of the photographs. Moreover, there is evidence that in artistic production since the 19th century photography has been in constant competition with sketch and drawing in terms of its ability to inspire or provide sub-jects for painting, printmaking, or sculpture. In Kirchner’s case, it must always be borne in mind that the highly skilled draftsman was able to use sketches and drawings as extremely quick media of documentation. This advantage—at least compared to the plate camera, which had to be laboriously mounted on a tripod—is impressively document- ted in the 180 sketchbooks preserved in the artist’s estate.

4/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer

Ernst Ludwig Kirchner Tanzende Mädchen in farbigen Strahlen (recto) 1932―1937 (Dancing Girls in Rays of Colour) Oil on canvas, 195 x 150 cm Kirchner Museum Davos

Rechte Hälfte von Alpsonntag (vetro) 1922/23 (Right Half of Sunday in the Alps) Oil on canvas, 195 x 150 cm Kirchner Museum Davos

The painting Dancing Girls in Rays of Colour has rightfully been called one of Kirchner’s most important late works. Consisting of eight female figures, it shows dance, pirouette, and balance. The primary colors and their mixtures light up against the black ground, as they converge from the turbulent organic body forms into prismatic strips of color. The latter serve Kirchner to demonstrate the refraction of light into spectral colors and at the same time to convincingly realize his pictorial idea: to combine the colors and forms in rhythmic dance. Art comes into its own, as it were, in Kirchner’s late light- and-shade painting.

This painting is an example of the continuous reworking of his own oeuvre and the avant-gardist striving for renewal. Recently, a “lost work” by the artist was discovered on the reverse of the painting at the Kirchner Museum Davos. It was created in the context of the monumental Sunday in the Alps scenes Kirchner painted in Davos in the mid-1920s. The two largest paintings by Kirchner are nowadays in the collection of the Kunstmuseum Bern (Sunday in the Alps: Scene at the Well) and at the Chancellor’s office in Berlin (Mountain Peasants on Sunday: Sunday in the Alps). The earlier painting Sunday in the Alps was previously thought to be untraceable. The only evidence of the existence of this painting, which the artist had rejected, was its photographic documentation in one of his photo albums. Its discovery has provided clear evidence that Kirchner cut up the early Sunday in the Alps painting and used parts of the canvas for the painting Dancing Girls in Rays of Colour.

Ernst Ludwig Kirchner Bogenschützen 1935―1937 (Archers) Oil on canvas, 195 x 150 cm Kirchner Museum Davos

Between 1935 and 1937, Kirchner realized the monumental painting Archers. In a letter to the collector Carl Hagemann (1867―1940) he talked about having discovered “Luftschatten” or “air shadows” and wanting to incorporate these into the composition of the archery painting. Kirchner seems to have viewed the “air shadows” as a unique manifestation in the world of optical phenomena. In the painting, the “air shadows” are brown and appear like a combination of color aura and doppelganger. They embrace

5/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer

and repeat the figures, creating the impression of already anticipated movement sequences.

The image of marksmanship unfurls a complex action frame-work: The entire process from aiming with the greatest precision at the target object to pictorially tracing motion sequences to actually hitting the mark is captured in a single pictorial formula. Kirchner uses the bow and arrow as symbols of force, energy, movement, and dynamic. As early as the mid-1920s, he had noted that his specific artistic form had been developed from the “seeing of movement” and that basically “all of the visual and emotional experiences of people arise to a much greater extent from this condition of movement”. Kirchner’s sustained interest in the bow and arrow clearly indicates that he regarded them as adequate symbols for dynamic and targeted action processes. In addition, the subject reveals the artist’s continued quest for a new pictorial form vacillating between Cubism, Neo-Classicism, and Surrealism.

Rupprecht Matthies Rupprecht Matthies is deeply interested in people, in communication, and in social interaction. Having studied sociology, he sees himself as an artistic service provider tasked with giving concrete form and expression to social and communicative processes.

Matthies’s textual images bring together language, script, painting, and drawing. The twist is that Matthies often leaves his word creations to others, focusing all his attention on the sculptural design and choreography of the lettering. And this was his approach to his “exchange of words” with Kirchner, whose texts, letters, and postcards were a resource that Matthies transformed into visual art. He extracted particular expressions, sentences, dedications, observations on other artists, and thoughts about life from Kirchner’s correspondence and translated these into wall art. He thus explored the traces of Kirchner’s life and work and reflected the thoughts and messages of his predecessor in his own work.

Matthies is a playful enlightener, who appears to be working on a universal visual dictionary and believes in the healing power of words. His dancing letters release visions and longings and capture brief moments of the feel and the spirit of the times. Art and life are inextricably linked in his work— and it is this that he shares with Kirchner.

6/6 Work texts Ernst Ludwig Kirchner. The Painter as Photographer

Ernst Ludwig Kirchner The Painter as Photographer March 2―June 16, 2019 Mönchsberg [3]

Biography

1880 Born in Aschaffenburg on 6 May.

1890 Moves to Chemnitz with his family.

1901–1905 Studies architecture at the Technische Hochschule in Dresden. In 1903/04, Kirchner studies art in Munich for a semester. On 7 June 1905, the artist group Brücke is founded by Kirchner, Erich Heckel, Karl Schmidt-Rottluff, and Fritz Bleyl. In November, the Brücke group has a first exhibition at Kunsthandlung P. H. Beyer & Sohn in Leipzig.

1906/07 The Brücke drafts its program, which is also published as a woodcut by Kirchner. Emil Nolde and Max Pechstein become active members.

1908/09 First stay on the island of Fehmarn. The eight-year-old Fränzi Fehrmann becomes the Brücke’s most important model.

1910 Kirchner joins the Neue Secession in Berlin. Inspired by his visits to the Dresden Museum of Ethnology, Kirchner creates wooden sculptures.

1911 In October, Kirchner moves to Berlin, following Erich Heckel and Max Pechstein.

1912 The artist befriends Gerda Schilling and, in the summer, her sister, Erna. Pechstein is excluded from the Brücke.

1913 Due to disagreement about the Chronik der Brücke (Brücke Chronicle) written by Kirchner, the group dissolves on 27 May. In October, Kirchner moves into a spacious attic apartment in Berlin-Friedenau and designs some of its furniture himself.

Mönchsberg 32 5020 Salzburg Austria

T +43 662 842220-101 F +43 662 842220-700

[email protected] 1/3 Biography Ernst Ludwig Kirchner. The Painter as Photographer www.museumdermoderne.at

1914–1917 Kirchner “involuntarily voluntarily” reports for military duty. In September 1915, he is temporarily discharged from service due to mental illness through the intervention of Prof. Hans Fehr. In December, he leaves for a sanatorium in Königstein im Taunus. The diagnosis: alcoholism and addiction to sleeping pills and morphine. In January 1917, first stay in Davos. From September onwards, Kirchner stays at the Bellevue Sanatorium in Kreuzlingen on Lake Constance.

1918 From 20 September onwards, Kirchner lives in the house “In den Lärchen” in Davos Frauenkirch and sets about creating its sculptural décor. He paints a series of alpine landscapes of ecstatic colorfulness, which are among the most important works of those years. In the fall, he draws up his Glaubensbekenntnis eines Malers (Painter’s Creed).

1919 Kirchner spends the summer on the Stafelalp above Frauenkirch. Erna Schilling sends paintings, prints, and drawings from Berlin to clear the Berlin studio. Kirchner starts to partially restore as well as paint over his early paintings.

1920 First article by Kirchner on his own work, published under the pen name Louis de Marsalle; this alter ego writing about art serves to provide an “objective” account of his own artistic development.

1921/22 Erna Schilling now stays in Davos permanently. In 1922, Kirchner completely liquidates his studio in Berlin.

1923 Kirchner moves into the house on the Wildboden in Davos Frauenkirch.

1924 In June/July Kirchner has a major solo exhibition at the Kunstverein Winterthur, which scandalizes the public.

1925/26 Kirchner writes the essay “Das Werk” (The Work) in his diary, outlining his artistic development. From December 1925 until March 1926, he travels to Germany again for the first time.

1927 With the director of the newly built Museum Folkwang in Essen, Dr. Ernst Gosebruch, Kirchner discusses the possibility of painting murals for the museum’s central hall.

1928 At the Venice Biennale, Kirchner’s painting Schlittenfahrt (The Sleighride, 1923) is exhibited in the German pavilion.

2/3 Biography Ernst Ludwig Kirchner. The Painter as Photographer

1931 Participates in the exhibition German Paintings and Sculpture at the Museum of Modern Art in New York and is made a member of the Prussian Academy of Arts in Berlin.

1932/33 The situation of the art market in Germany, which is extremely important for Kirchner, becomes increasingly uncertain. He starts preparing for the major 1933 retrospective that is shown at the Kunsthalle Bern. The catalogue accompanying the exhibition includes the final essay written under the pen name Louis de Marsalle, whom Kirchner declares dead.

1936/37 Wilhelm R. Valentiner, director of the Detroit Institute of Art, offers the artist a first solo exhibition in the US, which is realized in 1937. 639 works of Kirchner are removed from German museums as “degenerate art;” subsequently, some are sold abroad or destroyed. In late July he is excluded from the Prussian Academy of Arts.

1938 The annexation of Austria by Germany on 13 March fuels Kirchner’s fear that the Germans could invade Grisons. He destroys some printing blocks and sculptures. On 15 June, he takes his own life with a gun; he is laid to rest at the Waldfriedhof cemetery in Davos.

3/3 Biography Ernst Ludwig Kirchner. The Painter as Photographer

Ernst Ludwig Kirchner The Painter as Photographer March 2—June 16, 2019 Mönchsberg [3]

List of Works

Works are listed in chronological order. Dimensions are given as height by width by depth in centimeters.

Ernst Ludwig Kirchner 1880 Aschaffenburg, DE—1938 Frauenkirch-Wildboden near Davos, CH

Paintings

Right Half of Sunday in the Alps (verso), 1922/23 Dancing Girls in Rays of Colour (recto), 1932–1937 Both: oil on canvas 195 x 150 cm, framed 220 x 175 x 5.7 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1990

The Rider, 1931/32 Oil on canvas 200 x 150 cm, framed 225.5 x 175.2 x 4 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1990

Archery, 1935–1937 Oil on canvas 195 x 150 cm, framed 215 x 171 x 6 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1990

Vitrines

Ernst Ludwig Kirchner’s Camera, after 1885 Travel-camera with shoulder bag without tripod R. Kechner’s Photographische Manufaktur (Wilh. Müller), Vienna, AT 31 x 23 x 16 cm Kirchner Museum Davos, Donation Foto Furtner AG, Davos

View Looking South to the Tinzenhorn from Kirchner’s Summer Cabin on the Stafelalp, c. 1919 Glass-plate negative, imitation 12 x 16.5 cm Kirchner Museum Davos

Sunday in the Alps (1922/23), 1922/23 Vintage print 10 x 22.5 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

1/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Reproduction Guidelines, 1923 Note on reverse side of the gelatin silver print (vintage print) of Gerda, Half-Length Portrait (1914) 21.7 x 15.7 cm Kirchner Museum Davos, Donation Wehrlin

Margreth, Dorothe and Elsbeth Rüesch in front of the Barn next to the Wildbodenhaus, c. 1925 Glass-plate negative, imitation 24 x 18 cm Kirchner Museum Davos

Present of E. L. Kirchner to Miss (Rosita) Schneider, 1931 Photo-plate box, newspaper (without the three glass-negatives) 21.5 x 26 x 3 cm Kirchner Museum Davos

Rosita Schneider on Horseback, 1931 Gelatin silver print (vintage print) 24 x 18 cm Kirchner Museum Davos, Donation Marlis Schneider

Photo Album V, Sculptures and Exhibitions, n. d. Photo album, p. 13: Nina Hard in front of the Entrance of the House “In den Lärchen” Closed 35 x 33.5 x 13 cm, open 35 x 65 x 20 cm Kirchner Museum Davos, Donation Roman Norbert and Rosemarie Ketterer

Contact Prints

Nude Group I (1907/08), 1907 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Nude Group II (1907/08), 1907 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Girl under Japanese Umbrella (1909), 1909 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

2/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Bathing Nudes in a Room (1909/1920), 1909/1920 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

“Negro Dancer” (1909/1920), 1909/1920 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Exhibition of Brücke Artists in Ernst Arnold Gallery, Schlossstraße, Dresden, September 1910 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Exhibition with Paintings by Ernst Ludwig Kirchner and Max Pechstein, 1910 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Fränzi Fehrmann and Peter, Dresden, 1910 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Interieur of Brücke Studio, Berliner Straße 80, Dresden, 1910 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Doris Grosse (Dodo) and Ernst Ludwig Kirchner, c. 1910 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Three Stove Tiles with Love Scenes and Standing Female, Caryatid, c. 1910 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Portrait Fränzi Fehrmann, Dresden, c. 1910 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Standing Nude with Hat (1910/1920) and Further Painting, Painted Curtain and Sitting Female in Kirchner’s Studio in Dresden, c. 1910 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

3/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

The Artists Milly and Sam in Kirchner’s Studio, Berliner Straße 80, Dresden, c. 1910/11 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Nelly and Sidi Heckel (Riha) in Erich Heckel’s Studio, Dresden, c. 1910/11 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Nelly and Sidi Heckel (Riha), Dancing in Erich Heckel’s Studio, Dresden, c. 1910/11 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Nudes under Trees (1911), 1911 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

The Masked Ball (1911), 1911 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Sculptures in Kirchner’s Studio, Berliner Straße 80, Dresden, 1911 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Two Nudes with Sculpture (1911), 1911 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Exhibition of Brücke Artists in the Fritz Gurlitt Kunstsalon, Berlin, April 1912 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Exhibition of Brücke Artists in the Fritz Gurlitt Kunstsalon, Berlin, with Erich Heckel, April 1912 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Female Nude, Sitting with Crossed Legs (1912), Wooden Sculpture in front of Painting, 1912 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

4/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Seated Nude in Studio (1912), 1912 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Portrait of Alfred Döblin in Kirchner’s Studio, 1912/13 Inkjet print, from the original gelatin silver print (modern print) 16.5 x 12 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

Erna Schilling and Ernst Ludwig Kirchner in Berlin-Wilmersdorf Studio, Durlacher Straße 14, c. 1912/1914 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Five Women on the Street (1913), 1913 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Artists’s Conversation (1913), 1913 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Three Sculptures: The Caller (1912); Kneeling, with Head turned Left (1912); Standing Girl, Caryatid (1910), c. 1913 Gelatin silver print, from the original glass-plate negative 20 x 17 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Sculptures (1912) in Kirchner’s Studio, Berlin, 1913/14 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Self-Portrait in Studio, 1913/1915 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Farewell; Botho and Hugo (1914), 1914 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Leipzig Street with Electric Tram; Small Street-Scene (1914), 1914 Gelatin silver print, from the original glass-plate negative 22 x 17 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

5/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Two Nudes in a Room (1914), 1914 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Botho Graef and Hugo Biallowons in the Berlin-Friedenau Studio, Körnerstraße 45, 1914/15 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Garret in Kirchner’s Studio Apartment in Berlin-Friedenau, Körnerstraße 45, 1914/15 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Portrait of a Young Man in the Garret in Kirchner’s Studio Apartment in Berlin-Friedenau, Körnerstraße 45, 1914/15 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Werner Gothein, His Girlfriend, Erna Schilling, E. L. Kirchner in the Berlin-Friedenau Studio, Körnerstraße 45, 1914/15 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Unknown Young Woman (Gerda Schilling?), E. L. Kirchner, Erna Schilling, Hermann Gewecke in the Studio in Berlin-Friedenau, Körnerstraße 45, c. 1914/15 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Artillerymen in the Shower (1915), 1915 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Drinker; Self-Portrait (1915), 1915 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Self-Portrait as a Soldier in the Berlin-Friedenau Studio, Körnerstraße 45, 1915) Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Self-Portrait as a Soldier in the Berlin-Friedenau Studio, Körnerstraße 45, 1915 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

6/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Standing Female Nude (1915), Sculpture in front of Painting, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Werner Gothein, Erna Schilling, Gerda Schilling (?) und Hugo Biallowons (E. L. Kirchner?) in Kirchner’s Studio, Körnerstraße 45, Berlin, 1915 Inkjet print, from the original modern print 13 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Werner Gothein, Hugo Biallowons (E. L. Kirchner?) and Erna Schilling in Kirchner’s Studio, Körnerstraße 45, Berlin, 1915 Inkjet print, from the original glass-plate negative 13 x 18 cm Collection E.W.K., Courtesy Kirchner Museum Davos

Women Bathing, Triptych (1915/1925), 1915/1925 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Two Wooden Sculptures in front of Painting I: Standing Female Nude with Averted Head (1913) and Two Girlfriends (1913), c. 1916 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Two Wooden Sculptures in front of Painting II: Lovers and Two Girlfriends (1913), c. 1916 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Self-Portrait as a Sick Man (1917/1920), 1917/1920 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Parents Ernst and Maria Kirchner, c. 1917 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Cathrin Müller, c. 1918/1920 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Mailman from Davos Frauenkirch, c.1918/1923 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

7/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Christian Prader, c. 1918/1923 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling, Cathrin Müller and Her Son Paul, c. 1918/1923 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Woman and Two Girls Having Afternoon Tea, c. 1918/1923 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Andres and Annamargret Müller (Kindschi), 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Country Girl Else Thöny, 1919 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Painter Philipp Bauknecht with Hans Biäsch and Andreas Biäsch in front of the House “In den Lärchen”, 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling with the Müller Family, “In den Lärchen”, Summer 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Painter Karl Stirner, 1919 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Karl Stirner, 1919 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Cowherds on the Stafelalp, 1919 Inkjet print, from the original vintage print 23 x 16.8 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

8/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

View Looking South to the Tinzenhorn from Kirchner’s Summer Cabin on the Stafelalp, c. 1919 Gelatin silver print, from the original glass-plate negative 12 x 16.5 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Farmer Kaspar Cadiepolt on the Stafelalp, c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Ernst Ludwig Kirchner, c. 1919 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Shepherd, c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Herd of Cows with Cowherds on the Stafelalp, c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Cows Running on the Stafelalp, c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Girl with Cat (probably Else Thöny), c. 1919 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Marie (Marieli) Kindschi and Another Girl on Adam-and-Eve-Chair I (1919), c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Martin Schmid, c. 1919 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Barn dance on the Upper Floor of the House “In den Lärchen”, Davos Frauenkirch, with Self-Portrait at the Left, 1919/20 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

9/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

The Painter; Self-Portrait (1919/20), 1919/20 Gelatin silver print, from the original glass-plate negative 23 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Henry van de Velde, 1919/20 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Man Drinking from a Spring in the Woods, 1919/1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Farmer, 1919/1923 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Farmer’s Girl Doing Archery in front of the House „In den Lärchen“, c. 1919/1923 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling in the House “In den Lärchen”, c. 1919/1923 Gelatin silver print, from the original glass-plate negative 16.5 x 12 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling in the House „In den Lärchen“, c. 1919/1923 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling next to a Carpet in the House „In den Lärchen“, c. 1919/1923 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Three Candidates for Confirmation in the House “In den Lärchen”, 1920 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Three Candidates for Confirmation in front of the Barn next to the House “In den Lärchen”, 1920 Gelatin silver print, from the original glass-plate negative 13 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

10/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Head of a Young Woman, 1920 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Stove and Jan Wiegers, in the Parlor of Kirchner’s House “In den Lärchen”, 1920 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Urseli Hunger with a Wreath of Flowers and Ernst Ludwig Kirchner’s Cat Boby, c. 1920 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Barbara Jegi Rüesch, c. 1920/1923 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Nina Hard and Erna Schilling in front of Kirchner’s Cabin on the Stafelalp, Summer 1921 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Nina Hard on the Stage of the Clavadel Sanatorium Zurich, September 1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Nina Hard in the Upper Floor of the House “In den Lärchen”, 1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Nina Hard, Dancing in the Upper Floor of the House “In den Lärchen”, 1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Dancer Nina Hard, 1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Landscape with Two Nudes (1921), 1921 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

11/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Woman and Girl; Mother and Girl (1922/23), 1922/23 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Erna Schilling, Walter Kirchner and Ernst Ludwig Kirchner in front of the House “In den Lärchen”, Summer 1923 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

June-Exhibition Kunsthalle Basel, 3—24 June 1923 Gelatin silver print, from the original glass-plate negative 8.8 x 11.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Black Springtime (1923), c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Dancer (1911), c. 1923 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Sunday in the Alps; Scene at the Well (1923–24/1925), 1923–24/1925 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Mountain Peasants on Sunday; Sunday in the Alps (1923–24/1926), 1923–24/1926 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

Self-Portrait, 1923/1928 Gelatin silver print, from the original glass-plate negative 18 x 13 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Exhibition Ernst Ludwig Kirchner, Kunstmuseum Winterthur, 22 June— 13 July 1924 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

12/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

The “Sculptor’s Studio” next to the Wildbodenhaus (Three Sculptures by Hermann Scherer and One by Kirchner), 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Friends (1924) and Eva (1921), 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

The Friends (1924) in front of the Barn next to the Wildbodenhaus, 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Standing Painter; Self-Portrait (1924), 1924 Gelatin silver print, from the original glass-plate negative 24 x 12.5 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

The Sculpture Eva (1921) in front of the Barn next to the Wildbodenhaus, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Woman Bust, Head Erna (1913), c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Woman Bust, Head Erna (1913) in front of Outer Wall of the Wildbodenhaus, c. 1924 Gelatin silver print, from the original glass-plate negative 11.5 x 8.5 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Lovers (1924) by Hermann Scherer, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Mother and Child (1924), c. 1924 Gelatin silver print, from the original glass-plate negative 10.5 x 23 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

Standing Girl (1914), Side View of Wooden Sculpture in front of Painting, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

13/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Standing Girl (1914), Front View of Wooden Sculpture in front of Painting, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Standing Nude, Sad Woman (1921), in front of Painting, c. 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

View of the Wildbodenhaus, after 1924 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

View from Ernst Ludwig Kirchner’s House on the Wildboden, after 1924 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

View from Ernst Ludwig Kirchner’s House on the Wildboden of Sertigtal, after 1924 Gelatin silver print, from the original cellulose-negative 14.5 x 9.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Sculpture Lovers in front of the Wildbodenhaus, after 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Dr. Frédéric Bauer, after 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Jakob (Joggi) Krieg, after 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Margreth, Dorothe, and Elsbeth Rüesch, after 1924 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Peter Ettinger, after 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Portrait of a Man, after 1924 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

14/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Davos Seen from Frauenkirch (1924–1926), 1924–1926 Gelatin silver print, from the original glass-plate negative 16.5 x 23 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Before Sunrise (1924–1926), 1924–1926 Gelatin silver print, from the original glass-plate negative 22 x 16 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Erna Schilling, 1925 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Margreth, Doroth, and Elsbeth Rüesch in front of the Barn next to the Wildbodenhaus, c. 1925 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Robert Wehrlin, c. 1925 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling, Paul Camenisch (seated) and Two Unknown Persons in front of the Wildbodenhaus, after 1925 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Anna Müller (Hübscher), 1925/26 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling and Anna Müller on the Veranda in front of the Wildbodenhaus, 1925/26 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Sertig Valley in Autumn (1925/26), 1925/26 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Dorothe, Barbara, and Elsbeth Rüesch in front of the Barn next to the Wildbodenhaus, c. 1925/26 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

15/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Five Pedestrians (1926), 1926 Gelatin silver print, from the original glass-plate negative 20 x 14.5 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Hermann Scherer, Paul Camenisch, Ernst Ludwig Kirchner on the Veranda in front of Kirchner’s House at the Wildboden, July 1926 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Two Nudes in the Forest II (1926), 1926 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Two Skiers, c. 1926 Gelatin silver print, from the original cellulose-negative 14.5 x 9.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

An Group of Artists: Otto Mueller, Kirchner, Heckel, Schmidt-Rottluff (1926/27), 1926/27 Gelatin silver print, from the original glass-plate negative 20 x 14.5 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Gustav Schiefler, 1927 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Café (1927/1929), 1927/1932 Gelatin silver print, from the original glass-plate negative 20 x 17 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Self-Portrait, c. 1928 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Dancer in the Forest, c. 1929 Inkjet print, from the original cellulose-negative 14.5 x 9 cm Brücke-Museum Berlin, Courtesy Kirchner Museum Davos

16/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Dancer in the Forest, c. 1929 Inkjet print, from the original cellulose-negative 14.5 x 9 cm Brücke-Museum Berlin, Courtesy Kirchner Museum Davos

Portrait of a Young Woman, c. 1929/1934 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Julius Hembus, after 1930 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Double Portrait of Julius and Elisabeth Hembus, c. 1930 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Double Portrait of Julius and Elisabeth Hembus at the Wildbodenhaus, 1930/1933 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Double Portrait of Julius and Elisabeth Hembus, c. 1930/1933 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

17/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Elisabeth Hembus Seated with Cat Schaky, c. 1930/1933 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

View into the Entrance of Ernst Ludwig Kirchner’s House on the Wildboden, after 1931 Gelatin silver print, from the original cellulose-negative 14.5 x 9.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

The Rider (1931/32), 1931/32 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

The Rider (1931/32), 1931/32 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Alfred Döblin, 1932 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Two Nudes in the Forest II (1926) and Portrait of Mrs. Albert Müller (1926/32), c. 1932 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Dancing Girls in Rays of Colour (1932–1937), 1932–1937 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Reclining Woman (1912), c. 1933 Inkjet print 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Reclining Woman (1912), Rearing Rider (1915), Head Erna (1913), Pair of Acrobats (1932), Reclining Woman (1912), c. 1933 Inkjet print 18 x 24 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Oskar Schlemmer, March 1934 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

18/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Erna Schilling, c. 1934 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Three Men Doing Archery, 1934/35 Inkjet print, from the original modern print 14.8 x 9.2 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

Three Men Doing Archery in the Wildboden, 1934/35 Inkjet print, from the original vintage print) 19.9 x 13 cm Private Collection, Permanent Loan to the Kirchner Museum Davos

Hans and Erika Staub (Weidemann), 1934/35 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Archery (1935–1937), 1935 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Roman Norbert Ketterer

Erna Schilling and Lise Gujer, c. 1935 Gelatin silver print, from the original glass-plate negative 8.8 x 11.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Erna Schilling and Lise Gujer on the Veranda in front of the Wildbodenhaus, c. 1935 Gelatin silver print, from the original glass-plate negative 8.8 x 11.8 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

Self-Portrait in front of the Wildbodenhaus, c. 1935 Gelatin silver print, from the original glass-plate negative 24 x 18 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 2001

Mountain Studio (1937), 1937 Gelatin silver print, from the original glass-plate negative 18 x 24 cm Kirchner Museum Davos, Donation Nachlass Ernst Ludwig Kirchner 1992

19/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

Films

Ernst Ludwig Kirchner. Leben und Werk, 1995/2013 (Ernst Ludwig Kirchner. Life and Work) DVD (color, sound) 23 min., DE/EN Script and realization: Phil Dänzer Counselling: Dr.h.c. Eberhard W. Kornfeld, Dr. Gabriele Lohberg Project management: Bruno Gerber Speaker (German): Marion Preuss, Ernst Jünger Sprecher (English): Renata Cosby, Mike McMahon Translation: Catherine Schelbert Production: Phil Dänzer – Audiovision, Zurich, CH Courtesy Kirchner Museum Davos

Der doppelte Kirchner, 2010 (Kirchner, doubled) Documentation (color, sound) 26 min., DE Script and realization: Barbara Dickenberger Production: Hessischer Rundfunk Courtesy Hessischer Rundfunk

Stephan Bösch (1982 St. Gallen, CH)

Louis de Marsalle. Visite à Davos, 2016 (Louis de Marsalle. Besuch in Davos) Series of 8 inkjet prints Framed 80 x 80 cm Courtesy the Artist

Rupprecht Matthies (1959 Hamburg, DE—Hamburg / Berlin, DE)

Well yes, it is difficult to be a German Painter, 2016 Acrylic glass, letter to Carl Hagemann (31 March 1933) C. 30 x 180 cm Kirchner Museum Davos, Donation by the Artist

I am just a strange bird, 2016 Acrylic glass, letter to Erna Schilling (14 January 1926) C. 30 x 300 cm Kirchner Museum Davos, Donation by the Artist

Circus and goats in the morning, 2016 Acrylic glass, letter to Frédéric Bauer (19 August 1923) C. 30 x 255 cm Kirchner Museum Davos, Donation by the Artist

20/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer

De Marsalle is currently in Sudan, 2016 Acrylic glass, letter to Will Grohmann (30 September 1925) C. 17 x 255 cm Kirchner Museum Davos, Donation by the Artist

21/21 List of Works Ernst Ludwig Kirchner. The Painter as Photographer