“We [the artists of Die Brücke ] were overjoyed to discover our complete unison in the urge for liberation, for an art surging forward, unrestricted by convention.”

— Max Pechstein

from a note of Pechstein; as quoted in Expressionism, a German Intuition, 1905-1920, [exhibition-catalogue 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 5

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Max Pechstein14

German artist 1881–1955

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“I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.”

Max Pechstein (1881–1955) German artist

Quote of Pechstein in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32-33

“[the way of life of Die Brücke artists] though strange to the ordinary man, was not meant to shock, it was a pure and simple compulsion to integrate art and life..”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote in Expressionism, a German Intuition, 1905-1920: [Exhibition 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 7
undated

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

Wassily Kandinsky (1866–1944) Russian painter

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

“What we [Brücke-artists] had to remove ourselves from [the German bourgeois mores] was clear; where we were heading was certainly less clear.”

Erich Heckel (1883–1970) German artist

original German: Wovon wir weg mussten, war uns klar. Wohin wir kommen würden, stand allerdings weniger fest <br class="br">Quote of Heckel in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010; as cited in Claire Louise Albiez https://www.researchgate.net/publication/272168564 (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 24

“To get straight to the point, the local group of artist called Die Brücke would reckon it a high honour to be able to welcome you as a member. Of course you will know as little about Die Brücke as we knew about you before your ehibition at [Arnold’s [gallery Arnold at Dresden. Now, one of the aims of Die Brücke is to attract all the revolutionary and fermenting elements to itself – that’s the menaing of the name Brücke. The gruop also arranges several exhibitions a year, which it sends on tour in Germany... Now, dear Herr Nolde, think as you like and what you like, we hope this offer is the proper price for your tempests od colour.”

Karl Schmidt-Rottluff (1884–1976) German artist

In a letter of Schmidt-Rottluff from Dresden, 1906 to Emil Nolde; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32
Schmidt-Rottluff was one of the founders of Die Brücke and invited Emil Nolde to participate, and emphasized the group's spirit of experimentation which they recognized in Nolde's painting art

“.. and the first thing for he artists [of Die Brücke ] was free drawing from the free human figure in the freedom of nature... We drew and we painted. Hundreds of paintings a day, with talk and fooling in between, the artists joining the models before the easel and vice versa. All the encounters of everyday life were incorporated in our memories in this way. The studio became the home of the people who were being drawn; they learned from the artists and the painters from them. The picture [ made] took on immediate and abundant life.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote from Kirchner's Diary, 1923; as cited in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 28-29
1920's

“We saw your [ Cuno Amiet's ] work with feelings of admiration and enthusiasm... Our group [ Die Brücke ] would be exceedingly glad to find in you a comrade in arms and a champion of its cause.”

Erich Heckel (1883–1970) German artist

Quote of Heckel, in a letter of 1 September 1906, to the Swiss artist Amiet; as cited by Günter Krüger, in Die Künstlergemeinschaft Brücke und die Schweiz; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; by Museum Associates, California & Prestel-Verlag, Germany, 1986, p. 70
Amiet's radically simplified art-style obviously attracted the younger artists of Die Brücke

“If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the presuppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter II. Ancient Oriental Urban cultures

“We have to do our best to uphold in our own lives the values that they were prepared to die for. We have to honor those who carry forward that legacy, recognizing that people cannot live in freedom unless free people are prepared to die for it.”

Barack Obama (1961) 44th President of the United States of America

Remarks by President Obama at the 70th Anniversary of D-Day at Normandy American Cemetery and Memorial, Omaha Beach, Normandy, France at June 6, 2014 http://www.whitehouse.gov/the-press-office/2014/06/06/remarks-president-obama-70th-anniversary-d-day-omaha-beach-normandy <br class="br">2014

“In every art we are always obliged to return to the accepted means of expression, the conventional language of the art. What is a black-and-white drawing but a convention to which the beholder has become so accustomed that with his mind's eye he sees a complete equivalent in the translation from nature?”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 334)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“We [the artists of Die Brücke ] were overjoyed to discover our complete unison in the urge for liberation, for an art surging forward, unrestricted by convention.”

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Max Pechstein14

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