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Ernst Ludwig Kirchner's remarkable series of paintings known as the Berlin Street Scenes is a highpoint of the artist's work and a milestone of German Expressionism, widely seen as a metaphor for modernity itself through their depiction of life in a major metropolis. Kirchner moved from Dresden to Berlin in 1911, and it was in this teeming city, immersed in its vitality, decadence and underlying sense of danger posed by the imminent World War I, that he created the Street Scenes in a sustained burst of creative energy and ambition between 1913 and 1915. As the most extensive consideration of these paintings in English, this richly illustrated volume examines the creative process undertaken by the artist as he explores his theme through various mediums, and presents the major body of related charcoal drawings, pen-and-ink studies, pastels, etchings, woodcuts and lithographs he created in addition to the paintings. The volume also investigates the significance of the streetwalker as a primary motif, and provides insight on the series in the context of Kirchner's wider oeuvre.
Ernst Kirchner, seminal expressionist painter and founding member of the influential artists' collective Die Brücke, came to the Swiss mountains during World War I to recuperate from a nervous breakdown.Ernst Ludwig Kirchner and his Friends is the first book to explore how Kirchner became a role model, teacher, and mentor for younger artists during his time in Davos. The momentous artistic exchange between Kirchner and his young admirers--whose ranks included the German Philipp Bauknecht, the Dutch Jan Wiegers, and the members of the Swiss Gruppe Rot-Blau--established a dialogue that had a formative influence on the direction of European art in the twentieth century. This matchless volume provides a record of the extraordinary bond that developed between a legendary--yet ailing--artist and the up-and-coming Gruppe Rot-Blaue in Switzerland.
An introduction to the German Expressionist painter, graphic artist and sculptor who, at the turn of the 19th century, was Germany's most influential artist.
Ernst Ludwig Kirchner (1880-1938) is one of the best-known painters and sculptors of German Expressionism. As co-founder of the artists' group the Brücke at the beginning of the twentieth century, he is also one of the most important artists of the avant-garde. His life and work were deeply shaped by his search for the 'exotic' and 'primordial', for foreign lands and cultures. What resulted were brilliantly colourful, imaginative artworks in which he create foreign worlds. This book traces the stages of Kirchner's life and artistic development. It illustrates how, by synthesising a great variety of influences from non-European cultures, the artists achieved an intermingling of art, life and work that manifested itself as 'exotic' Gesamtkunstwerk not only in his work but also in his live-in studios.
Ernst Ludwig Kirchner was one of the most important painters of the Expressionist movement, but he was also a skilled photographer who documented the era's main protagonists and milieu. Ernst Ludwig Kirchner: The Photographic Work, compiled and edited by the Kirchner Museum Davos, is the first collection of his photographs, taken between 1908 and 1938. Brought together, they offer insight into the beginning of the modern age and all its contradictions, not least in the wild bohemian life of the artists, set alongside scenes of the intensely archaic Alpine world. Kirchner also attempted to portray the "model society" of contemporary artists through his portraits, including subjects such as Oskar Schlemmer, Hermann Scherer and Albert Mller; authors such as Theodor W. Bluth and Alfred Dàblin; and collectors and patrons of the arts such as Carl Hagemann, Fr»d»ric Bauer and Botho Graef. The chronological sequence of images covers all the genres in which Kirchner worked as a photographer: self-portraits, individual and group portraits, nudes, scenes from his atelier, exhibition documentation, landscapes, installations and documentary photographs. The texts include an essay analyzing the historical and artistic context of this work and another on camera technique. The catalogue index contains formal descriptions of the photographs and their contents and an extensive register provides researchers easy access to information. A detailed biography, illustrated in part by previously unpublished photos, links the individual photographs to specific moments in Kirchner's life.
Springer sees in it, not a harsh condemnation of militarism, but a marked ambivalence in the artist's attitude toward war. This new reading of the painting grows out of Springer's assessment of its imagery in relation to patronage, gender relations, and national identity - and particularly to propaganda and satire. Using Kirchner's letters and other documentation, much of it only recently available, Springer reconstructs the years of Kirchner's military service.
Ernst Ludwig Kirchner's move from Dresden to Berlin in 1911 marked a turning point in his art. Under the influence of the most modern metropolis in Europe, during the years between 1912 and 1915 the artist created works whose exaggerated and condensed styl e could be regarded as a true metaphor for the attitude to life during the early years of the twentieth century. During this time of rapid change the capital of the German Empire promised progress and countless opportunities, but also danger and profound e xistential fear. The city was not only the centre of industry, which continued to grow unchecked, but also of increasing motorised traffic and, with three million inhabitants, it was the biggest "city of tenement blocks" in Europe. But Berlin was also the metropolis of the arts, of hedonism, prostitution and accordingly of a sexuality that could be lived to the full as never before. Berlin vibrated with challenging energy and intellectual challenges. In this melting pot of opportunities and risks Kirchner c reated pictures of breathless, existential directness which he launched unerringly at the conventions of the Wilhelminian age. The main area of focus of the publication will lie on this dialectic and the resulting tension. It will reproduce Kirchner's grea test masterpieces, and in order to demonstrate the profound changes in his style, a representative selection of his early works from Dresden will also be shown alongside the paintings, drawing s and prints from the time in Berlin.
A critical examination of German expressionism's relationship to the violence of colonialism. Ernst Ludwig Kirchner (1880-1938) and Emil Nolde (1867-1956) were leading figures in the German expressionist movement. Turning away from Western society and the established norms of bourgeois culture, the artists looked to people, lifestyles, and objects from other parts of the world for inspiration, especially Africa and Oceania. Kirchner and Nolde experienced these other parts of the world through ethnographic museums, popular culture, the staging of "exotic" environments in Kirchner's studio, and Nolde's travels to the German colony of New Guinea. This book examines Nolde's and Kirchner's works against the background of their historical and ideological context: colonialism, domination, and the European invention of a racialized Other, an idea that was created by bohemian fetishization of the exotic as much as conservative fear of it. Kirchner and Nolde thus unveils less familiar and more violent aspects of expressionism.