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Art History 20th Century

Right: Wassily Kandinsky, Der Blaue Reiter, 1903

A small grouping of music artists in Munich, Germany formed Der Blaue Reiter, a secessionist art activity which lasted from 1911 until 1914 and with Die Brcke ended up being fundamental towards the German Expressionism motion which came after. The group name is considered to be produced by Wassily Kandinsky 1903 painting.

The group formed in reaction into the rejection of Kandinsky's artwork "Last Judgement" from a convention, a work which sparked a creative rebellion.

The group had been launched by a combination of German designers (Franz Marc, August Macke and Gabriele Mnter) and immigrants from Russia (Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin. The users had been partly from Neue Knstlervereinigung Mnchen (NKVM, Munich brand new Artist's Association), a link which formed in 1909, hosted 3 traveling events between 1909 and 1912.

Other people in the Der Blaue Reiter group included Lyonel Feininger, Albert Bloch, Paul Klee as well as others.

Der Blaue Reiter did not have a central imaginative manifesto, but ended up being instead centered around Kandinsky and Franz Marc.

Title Controversy

There clearly was an argument amongst art historians whether or not the name associated with the group was from 1903 painting "Der Blaue Reiter". Professor Klaus Lankheit believes the subject of the artwork was initially another thing also it was later on overwritten, but its unclear what year the painting ended up being renamed.

Based on Kandinsky's writing during the 1930s title hails from Franz Marc's enthusiasm for horses and Kandinsky's love of cyclists, and both designers liked the color azure. According to Kandinsky, azure may be the color of spirituality: the darker the blue, the greater it awakens personal desire to have the eternal. See also Kandinsky's 1911 book 'On the Spiritual in Art'.

Within the team, imaginative methods and aims diverse from musician to singer; however, the musicians shared a common aspire to express religious truths through their particular art. They believed in the promotion of modern art; the connection between visual art and music; the spiritual and symbolic associations of colour; and a spontaneous, intuitive approach to painting. Members had been thinking about European medieval art and primitivism, along with the contemporary, non-figurative art scene in France. Because of their particular activities with cubist, fauvist and Rayonist some ideas, they moved towards abstraction.

Der Blaue Reiter organized exhibitions in 1911 and 1912 that toured Germany. They even published an almanac featuring contemporary, primitive and folk art, and children's paintings. In 1913 they exhibited in the first German Herbstsalon.

The group ended up being interrupted by the outbreak of very first World War in 1914. Franz Marc and August Macke had been killed in combat.

Wassily Kandinsky, Marianne von Werefkin and Alexej von Jawlensky had been obligated to go to Russia due to their Russian citizenship. There have been in addition differences in opinion inside the group. Because of this, Der Blaue Reiter had been short-lived, enduring just for three-years from 1911 to 1914.

In 1923 Kandinsky, Feininger, Klee and Alexej von Jawlensky formed Die Blaue Vier (the Blue Four) team, and exhibited and lectured collectively in the United States in 1924.

A comprehensive collection of paintings by Der Blaue Reiter is exhibited in Stdtische Galerie within the Lenbachhaus in Munich.

Almanac

Conceived in June 1911, Der Blaue Reiter Almanach (The Blue Rider Almanac) had been published during the early 1912, by Piper, Munich, in a version of 1100 copies; on 11 might, Franz Marc got an initial print. The quantity was edited by Kandinsky and Marc; its prices were underwritten by the industrialist and art enthusiast Bernhard Koehler, a member of family of Macke. It included reproductions of more than 140 artworks, and 14 major articles. A second volume had been in the pipeline, nevertheless the start of World War I prevented it. Instead, a second edition of the original was printed in 1914, again by Piper.


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