[et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_image=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/19_Campendonk-scaled.jpg“ height_tablet=““ height_phone=““ height_last_edited=“on|desktop“][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“][\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“][\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“ header_2_text_shadow_style=“preset3″ header_2_text_shadow_horizontal_length=“0em“ header_2_text_shadow_vertical_length=“0em“ header_2_text_shadow_blur_strength=“0.3em“ header_2_text_shadow_color=“#000000″ header_3_text_shadow_style=“preset3″ header_3_text_shadow_color=“#000000″]<\/p>\n
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The 20th century begins with several sensations. Sigmund Freud discovers the subconscious, the Lumi\u00e8re brothers invent filmmaking and the Wright brothers conquer the skies. Life in the modern world has become more difficult to fathom, full of pictures and \u2013 most of all \u2013 faster. In Germany, artists react with a revolution. They want to free colors and forms from their representational prisons. It is not how things appear that is important, but how they are felt. And because a revolution can only be successful when undertaken together, the artists team up to form collectives. In Dresden, Die Br\u00fccke is formed, and in Munich it\u2019s Der Blaue Reiter. Their joint solution is called \u201cExpressionism\u201d. And their goal is \u201cAbstraction\u201d.<\/p>\n
The influence of Der Blaue Reiter on painting in the 20th century can hardly be overestimated. However, the group within itself is much less stable and harmonious than it appears from the outside. Tensions about their artistic direction and the looming war lead to estrangement between the members. They will disband in the summer of 1914. Too soon for the aspiring artist Heinrich Campendonk, only 25 years old at the time, who hardly benefited from Der Blaue Reiter nimbus at all.<\/p>\n
At first, Expressionism is a German phenomenon. While Cubism in France was breaking apart seeing in perspective and Futurism in Italy celebrating progress, the German avant-garde were working on the liberation of forms and colors. Expressionism is thus by definition a countermovement of Early Impressionism. It is no longer important how we see things, but how the artists express themselves in them. A change of perspective: instead of from the outside in, things are now thought through from the inside out. The artist collective Der Blaue Reiter is at the heart of this revolutions. Forms and colors are no longer bound by representationalism, but now only serve to convey artistic expression.<\/p>\n
[\/et_pb_text][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/WB-malt-am-Muenterhaus-2.jpg“ title_text=“Wolfgang Beltracchi in Murnau“ align=“center“ _builder_version=“4.7.3″ _module_preset=“default“ custom_margin=“||1px|||“ hover_enabled=“0″ alt=“Wolfgang Beltracchi in Murnau“ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_font=“Open Sans||on||||||“ text_text_color=“#666666″ text_font_size=“13px“ text_line_height=“1.1em“ custom_margin=“0px||100px||false|false“ text_font_size_tablet=“12px“ text_font_size_phone=“12px“ text_font_size_last_edited=“on|phone“]In June 2017, Wolfgang Beltracchi paints the group portrait of Der Blaue Reiter in front of The M\u00fcnter House in Murnau. He had already prepared studies for the work in his studio.<\/span>[\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]Heinrich Campendonk, born in 1889 and the youngest member of Der Blaue Reiter, owed almost everything artistically speaking to the group. His stylistic development, at first influenced by French Cubism, then by Franz Marc, and later increasingly by Kandinsky, reached its peak in 1914, the year Der Blaue Reiter was disbanded. Campendonk must have found the signs of disintegration within the group particularly tragic. Just when he had found his own style, the friends scattered in all directions. As a premonition of this development, Campendonk could have painted the group portrait in the summer of 1914 as a last reminiscence of happier times. Wolfgang Beltracchi designed the group portrait with the dimensions 190 x 275 cm. The format is an allusion to the turbulent birth of Der Blaue Reiter. In 1911, Kandinksy submitted an abstract painting with exactly these dimensions to the Neue K\u00fcnstlervereinigung M\u00fcnchen. As Kandinsky had anticipated, the jury rejected the painting. This cleared the way for Kandinsky, Marc and M\u00fcnter, among others, to found the new artist collective. The photo gallery shows how the painting was created. <\/span>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#666666″][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/Folie1-3.png“ title_text=“Skizze f\u00fcr das Gem\u00e4lde“ _builder_version=“4.7.3″ _module_preset=“default“ hover_enabled=“0″ alt=“Skizze f\u00fcr das Gem\u00e4lde“ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_font=“Open Sans||on||||||“ text_text_color=“#f4f4f4″ text_font_size=“13px“ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ text_font_size_tablet=“12px“ text_font_size_phone=“12px“ text_font_size_last_edited=“on|phone“]<\/p>\n A first sketch for the group portrait of Der Blaue Reiter, which Beltracchi will paint using the artistic voice of Heinrich Campendonk. The depiction of the six different personalities and their painting styles pose an enormous challenge for composition of the picture. How can it do justice to all Der Blaue Reiter painters?<\/span><\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/Folie2-3.png“ title_text=“Unterzeichnung des Gem\u00e4ldes“ _builder_version=“4.7.3″ _module_preset=“default“ hover_enabled=“0″ alt=“Unterzeichnung des Gem\u00e4ldes“ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_font=“Open Sans||on||||||“ text_text_color=“#f4f4f4″ text_font_size=“13px“ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ text_font_size_tablet=“12px“ text_font_size_phone=“12px“ text_font_size_last_edited=“on|phone“]<\/p>\n Wolfgang Beltracchi works on the underdrawing in his Swiss studio. This is among other things essential for orientation on the 190 x 275 cm canvas.<\/span><\/p>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/Folie3-3.png“ title_text=“Beltracchi malt Kandinsky“ _builder_version=“4.7.3″ _module_preset=“default“ hover_enabled=“0″ alt=“Beltracchi malt Kandinsky“ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_font=“Open Sans||on||||||“ text_text_color=“#f4f4f4″ text_font_size=“13px“ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ text_font_size_tablet=“12px“ text_font_size_phone=“12px“ text_font_size_last_edited=“on|phone“]<\/p>\n The underdrawings on the faces of the six artists depicted are fixated, so that the contours still partially shine through even after being painted over.<\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/08\/Folie4-3.png“ title_text=“Beltracchi malt vor dem M\u00fcnter-Haus“ _builder_version=“4.7.3″ _module_preset=“default“ hover_enabled=“0″ alt=“Beltracchi malt vor dem M\u00fcnter-Haus“ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_font=“Open Sans||on||||||“ text_text_color=“#f4f4f4″ text_font_size=“13px“ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ text_font_size_tablet=“12px“ text_font_size_phone=“12px“ text_font_size_last_edited=“on|phone“]<\/p>\n Wolfgang Beltracchi paints The M\u00fcnter House on site in Murnau. He paints standing at the exact location where all Der Blaue Reiter painters in his work would actually have been. Beltracchi doesn\u2019t just paint Kandinsky, Marc and all the others using the artistic voice of Heinrich Campendonk; he also paints various paintings on the artists\u2019 easels using their respective artistic voices, portraying how they could each have painted The M\u00fcnter House.<\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#ffffff“][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]<\/p>\n Der Blaue Reiter and Die Br\u00fccke are considered to be the two most influential artist collectives of German Expressionism. Their influence on painting in the 20th century was enormous, although both groups were only short-lived. Die Br\u00fccke existed for eight years, Der Blaue Reiter only three.<\/span><\/p>\n <\/span><\/p>\n There was a 180-degree turn from Impressionism to Expressionism. Impressionism is regarded as a movement that wanted to reproduce the world as it appeared to the artist from within. Expressionism (from Latin expressio \u201cexpression\u201d) reverses this direction. From now on, what is inside the artist is to be expressed in the things depicted. Colors and forms are thus no longer bound to objects, but are oriented towards artistic expression.<\/span><\/p>\n Three of Der Blaue Reiter members \u2013 Kandinsky, Werefkin and Jawlensky \u2013 came from Russia. However, the First World War abruptly broke up this German-Russian cooperation. Kandinsky, Werefkin and Jawlensky have to flee Germany. Marc and Macke fall on the battlefields in France.<\/span><\/p>\n Der Blaue Reiter artists are not only productive with the brush, but also with the pen. Kandinsky and Marc especially compose numerous written works, which are meant to be an art theoretical accompaniment to the Expressionist Revolution. This reflection on their own works and artistic paths calls into question the sovereignty of critic\u2019s opinions. At the beginning of the 20th century, that is also avant-garde.<\/span><\/p>\n The Expressionist Revolution extends beyond painting. The liberation of forms and colors corresponds in music with the liberation of harmonies from tonality, and in poetry with the liberation of sound from meaning. Painting, music, poetry: this trio of arts is also reflected in the artists\u2019 lives. Franz Marc is close friends with the expressionist poet Else Lasker-Sch\u00fcler. And a self-portrait by Arnold Sch\u00f6nberg, composer and occasional painter, is shown in Der Blaue Reiter\u2019s first exhibition.<\/span><\/p>\n Many artists in Germany believe the war that is breaking out over Europe to be a force of nature and a purifying force. Franz Marc is convinced that the war is a \u201chealing, albeit cruel, passage\u201d. The general mood is permeated with a desire for departure and change. But Marc and his comrades-in-arms confuse the aesthetic revolution with the real horror of war. True understanding only comes on the battlefield: \u201cThe war is of a nameless cruelty. You\u2019re gone before you know it,\u201d writes Macke from the front. Macke, Marc and many other artists of the time pay for the error in judgement with their lives.<\/span>.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#242424″][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“ custom_padding=“||0px|||“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“ custom_padding=“||0px|||“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“] Roman art<\/a><\/p>\n Byzantine icon painting<\/a><\/p>\n Medieval art<\/p>\n Early Netherlandish painting<\/p>\n Italian Renaissance<\/p>\n German Renaissance<\/a><\/p>\n Mannerism<\/p>\n Early Baroque<\/p>\n Little Ice Age<\/a><\/p>\n Dutch Golden Age<\/a><\/p>\n Rokoko<\/p>\n German Romanticism<\/a> <\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]English Romanticism<\/a><\/p>\n Impressionism<\/p>\n Post-Impressionism<\/p>\n Symbolism<\/p>\n Art Nouveau<\/a><\/p>\n Futurism<\/p>\n Expressionism<\/a><\/p>\n Avant-garde<\/a><\/p>\n New Objectivity<\/p>\n Surrealism<\/p>\nExpressionism<\/span><\/h3>\n
1. FROM THE INSIDE OUT<\/strong><\/h5>\n
2. GERMAN-RUSSIAN CONNECTION<\/strong><\/h5>\n
3. ART IN PRACTICE AND IN THEORY<\/strong>
<\/span><\/h5>\n4. MORE THAN JUST PAINTING<\/strong>
<\/span><\/h5>\n5. A FATAL MISTAKE<\/strong>
<\/span><\/h5>\nEras of art in the KAIROS project<\/span><\/h3>\n