Rather than imposing any restrictions on style, the Brücke embraced a diversity of international sources and influences. They emphasized spontaneous self-expression in their work and aspired to move German art in a radical new direction. Believing that the art of their day lacked a sense of passion and commitment, they rejected rigid and narrow artistic standards. The Brücke’s members set out to express their creative visions and convictions by using irrational, unrealistic symbolic images in defiance of the principles of idealized, academic German art and Impressionism. Inspired by the writings of the German philosopher Friedrich Nietzsche, Nietzsche, Friedrich who stressed the importance of artistic creativity, Schmidt-Rottluff chose the group’s name as an allusion to a passage from Nietzsche’s Also sprach Zarathustra: Ein Buch für Alle und Keinen (1883-1885 Thus Spake Zarathustra, 1896): “What is great in man is that he is a bridge and no end.” Art movements German expressionism Brücke, Die German expressionism Expressionism German Avant-Garde Artists Form Die Brücke (Summer, 1905) Artists Form Die Brücke, Avant-Garde (Summer, 1905) Die Brücke, Avant-Garde Artists Form (Summer, 1905) Art movements German expressionism Brücke, Die German expressionism Expressionism German Germany Summer, 1905: Avant-Garde Artists Form Die Brücke Arts Summer, 1905: Avant-Garde Artists Form Die Brücke Kirchner, Ernst Ludwig Heckel, Erich Schmidt-Rottluff, Karl Bleyl, Fritz Nolde, Emil Pechstein, Max Müller, Otto The group was made up of Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, and Fritz Bleyl, all of whom shared an interest in art.
One of Germany’s first avant-garde artists’ groups, Die Brücke (the bridge) was founded in Dresden by a group of young architectural students in the summer of 1905.
The artists’ group Die Brücke created a shocking new style, using deliberately distorted images and antinaturalistic, dissonant colors, which became known as expressionism.
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