“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

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

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "To get straight to the point, the local group of artist called Die Brücke would reckon it a high honour to be able to w…" by Karl Schmidt-Rottluff?

Karl Schmidt-Rottluff 6

German artist 1884–1976

Related quotes

“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

“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 (1880–1916) German painter

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

“.. 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)

“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

“[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

“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)

“Kandinsky was connected with Die Brücke and the Blue Rider: they had a concept and created a reality. But I prefer Jean Fautrier [French painter-artist; 1898 - 1965] with his suffering and self-absorption. And his purpose on bringing about changes was just as strong. As a result I see in Fautrier a stronger paradigm than in Kandinsky..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“[that all differences among the former Brücke members should be put in the past and that].. every individual conflict must be silenced and that everyone join together in the name of the whole, that is for our modern German art.”

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

In a letter to Hans Fehr, 1937; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 338 (transl. (transl. Claire Albiez)
When die Brücke was shown at the infamous 'Degenerate Art' show in Munich by the Nazi's in 1937, Kirchner wrote this to Hans Fehr
1930's

“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
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

Help us to complete the source, original and additional information

Karl Schmidt-Rottluff 6

Related quotes

Related topics