“Who are these 'savages' in Germany? For the most part they are both well-known and widely disparaged: Die Brücke in Dresden, the 'Neue Sezession' in Berlin, and 'Die Neue Vereinigung' in Munich.”

— Franz Marc

1911 - 1914, The 'Savages' of Germany' (1912)

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Franz Marc 35

German painter 1880–1916

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“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

“Harry Dresden: Because Thomas is too pretty to die. And because I'm too stubborn to die. And most of all because tomorrow is Oktoberfest, Butters, and polka will never die.”

Jim Butcher The Dresden Files

The Dresden Files, Dead Beat (2005)

“I made my examination in Berlin in 1915. And I must say also that Berlin was for me in another way very important. At the time there were all these new movements – 'Die Brücke'…… the 'Der Blaue Reiter', Walden of the 'Storm' Gallery. Then Kassierer who bought the Chagalls, the first Chagall's that were ever seen in Europe were there. And there was 'Die Brücke'. Rottluff, Heckel, and Kirchner. You know we saw all that. Which was good. You see, Kassierer was then the man who bought the modern French painters. He had particularly Degas who I consider still today a very good painter, one of the best. But, anyway, in spite of my teaching my art was my concern. On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich… So for the first time I saw the old masters, Rubens and all at the Alte Pinakothek.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“It is impossible to explain the latest works of these wild men | that is, the artists of Der Blaue Reiter, and Die Brücke, [working in Munich, and Berlin] in terms of a formal evolution and a reinterpretation of Impressionism. The loveliest prismatic colors and the famous Cubist style have become meaningless in terms of the objectives of the iconoclasts. Their thinking has a different aim: with their labor, they want to create symbols for their era. symbols that belong on the altars of the coming spiritual religions behind which the technical producer will vanish.”

Franz Marc (1880–1916) German painter

Quote of Franz Marc, in his text in the Almanac of the 'Blaue Reiter', 1912; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 95
1911 - 1914

“The first encounter with Otto Mueller's paintings was in Berlin, at the showing of the 'Rejects of the Berlin Secession'. which took place at the Galerie Macht in the spring of 1910. And we met him personally the very same day in his studio on Mommsenstrasse. This meeting was significant for all of us and occurred at a fruitful moment; and, as a matter of course, he belonged to Die Brücke community from then on.”

Erich Heckel (1883–1970) German artist

a later recall of Heckel; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 93

“.. differences arose that hindered the publication of the 'Chronik' (written by Kirchner and brought us to the agreement of dissolving Die Brücke group.”

Erich Heckel (1883–1970) German artist

In a note, 26 May 1913; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 266 (transl. Claire Albiez)

“It is a sad fate for a man to die too well known to everybody else, and still unknown to himself.”

Francis Bacon (1561–1626) English philosopher, statesman, scientist, jurist, and author

“[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

“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 (1881–1955) German artist

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

“And after a while… I mean how do you choose? Who gets to live? Part of life is that… well, some people have to die.”

Richelle Mead Shadow Kiss

Source: Shadow Kiss

“Who are these 'savages' in Germany? For the most part they are both well-known and widely disparaged: Die Brücke in Dresden, the 'Neue Sezession' in Berlin, and 'Die Neue Vereinigung' in Munich.”

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Franz Marc 35

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