• 尼采（Friedrich Wilhelm Nietzsche,1844-1900） 《悲劇的誕生》 “在所有具有真正創造力的人們中，本能是強大肯定的力量，而 理性則是勸阻者和批評者。” “酒神代表人性中激情衝動的那一面，而太陽神則象徵著人性理 智靜觀的另一面。他們在悲劇中得到了統一。悲劇揭示人真實的 生存，讓人直接面對生命本身。” “現代人都過度高估了他們的『阿波羅』（Apollonian）本質，而 喪失了他們的『戴奧尼索斯』(Dionysian)本性。”
• 詞彙最早出現於法國 “佛利、我和一位年輕的記者聚集一起討論畫展的名稱。佛利首先 提出各種名稱，如「表現主義」（Expressionism），用意是不使這些 畫家與印象派畫家混淆在一塊，但是那位記者對他提出的所有名稱 都不贊同。”
Henri Matisse, “Notes of a Painter” (1908) “…….but to show more clearly, through what they have done, what I am attempting to do. What I am after, above all, is expression. “ “But the thought of a painter must not be considered as separate from his pictorial means, for the thought is worth no more than its expression
by the means, which must be more complete (and by complete I do not mean complicated) the deeper is his thought.”
• 展覽確立”Expressionism”在德國的發展 • 作品反映了畫家的個人意志 • 對於實證主義、寫實主義和印象派的反動 “It is easier to establish what Expressionism is not, than what it was.” • 橋派與藍騎士
1905 Founder : Ernst Ludwig Kirchner
1913 Broke up
19th 末 Expressionism
20th 初 Die Brücke Expressionism
基希納（Ernst Ludwig Kirchner, 1880～ 1938），用色強烈、造型堅實，受到 非洲雕刻的影響。 ᠋᠌᠍ ᠋᠌᠍ 施密特‧羅特盧夫（Karl SchmidtRottluff,1884～1976），具有日耳曼人 的力的表現，手法粗獷、感情激越。 ᠋᠌᠍ ᠋᠌᠍ 黑克爾（Eric Heckel, 1883～1970 ）注 重素描的表現，常常流露出對中世紀 歌德式藝術的興趣。
表現主義 ᠋᠌᠍ 與 ᠋᠌᠍ 橋派特殊風格
沙發上的女孩
Woman Seated on a Red-‐Flowered Sofa Gustave CailleboAe 1882
表現主義 • 個人主觀意識 • 以顏色與形狀 抒發純粹情感 • 扭曲與誇張的 表現 Girl on a Divan Ernst Ludwig Kirchner 1906
橋派特殊風格 裸體 原始風格 簡化形體
Woman Bathing (La baigneuse) William-‐Adolphe Bouguereau 1864
Franzi Standing Erich Heckel (1883-‐1970) 1911
Masks Emil Nolde (1867-‐1956) 1910
Ernst Ludwig Kirchner
1880 – 1938
• 1901 Architecture at the Königliche Technische Hochschule of Dresden • 1905 founded Die Brücke ᠋᠌᠍ - Fritz Bleyl , Karl Schmidt-Rottluff and Erich Heckel • 1911 founded MIUM-Institut in Berlin • 1913-15 "Großstadtbilder" • First World War • 1933 Degenerate art
Kirchner’s studio in Dresden
Erna Kirchner (Schilling) and Ernst Ludwig Kirchner in his studio
Nude under a Japanese Umbrella (1909) Fränzi in front of a Carved Chair (1910) Nude (1910)
People on the Street (1913)
Street, Berlin (1913)
Self-‐Portrait as a Soldier (1915)
Woman and Girl (1922-‐23)
Karl Schmidt-Rottluff
1884 – 1976
畫風粗曠，多以鮮豔色塊表達 • 1905 -1913 橋派時期 – 常往北海以及波羅的海旅行
• 1915-1918 第一次世界大戰 – 作品多為版畫 題材多關於宗教
• 1920-30s 作品多為水彩畫 – 至30s初期仍每個暑假仍常至波羅的海
1905 -1913 橋派時期
Karl Schmidt-‐RoAluff Houses at Night 1912, Oil on canvas, 95.6 x 87.4 cm
第一次世界大戰與 Karl Schmidt-Rottluff Karl Schmidt-‐RoAluff 1918 -‐ ist euch nicht Kristus erschiene 1918, HolzschniA, Bildmaß 50,1 x 39,1 cm,
Karl Schmidt-‐RoAluff Head of Christ 1919, stained glass panel
Erich Heckel 1883 – 1970
以版畫及風景畫著名 • 1905 -1913 橋派時期 – 夏天常往北海 Dangast 作畫 – 1911 同橋派夥伴遷居柏林-畫風轉變
• 1914-1918 第一次世界大戰 – 在醫療部門服務
• 1920s 每年夏天旅行歐洲 – 特別迷戀山丘地形
1905 -1913 橋派時期 • 1911前
• 1911後
Erich Heckel Weisses Haus in Dangast；oil paint 1908
Erich Heckel Zwei Männer am Tisch；colored woodcut 1913
第一次世界大戰與 Erich Heckel
Erich Heckel Portrait of a Man 1919,colored woodcut 46.2X32.6 cm
1920s 每年夏天旅行歐洲
Erich Heckel Fluss im Gebirge. Öl auf Leinwand 1923. Vogt 1923/9. 83 x 96 cm.
Der Blaue Reiter 1911-‐1914(WWI), Munich
The group’s moAo
• “Who wishes to be creative must first blast and destroy accepted values.”
The name Der Blaue Reiter • Marc’s love for horses(symbols of rebirth, the turning back to nature, and an aspect of primitivism) • Their loves of the color blue(the most spiritual color). • A painting by Kandinsky: • a symbol for moving beyond realistic representation. • Kandinsky apparently had always been fascinated by riders on horseback (horses are symbols of power, freedom and pleasure)
Compared with Die Brücke • An informal, loose association rather than a coherent group like Brücke. • While both groups learned of the importance of bold
color from the Fauves— • Die Brücke: used vibrant color to express the heightened emotion of their simplified figures. • Der Blaue Reiter: those colors needed to go beyond mere emotive persuasion to find resonance in the human soul.
Compared with Die Brücke While both confronted feelings of alienation within an increasingly modernizing world— (1) Die Brücke: to address that feeling through unsettling depictions of traumatic experience, averse to total abstraction. (2) Der Blaue Reiter sought to transcend the mundane by pursuing the spiritual value of art.
Compared with Die Brücke While both groups found the Western tradition lacking in inspiration and reached beyond it to "primitive" forms of art— (1) Die Brücke: accept a certain level of crude "ugliness" in their art. (2) Der Blaue Reiter: harmonious compositions of color and form.
「藝術是自我和宇宙的接觸點，這種接觸是悲劇性 的。Kandinsky談過，他如何開始感覺到外表虛飾的 不可靠。『非物質狀態』的宇宙在他眼前分崩離析 而重新組合。可見物的形象自我分解成能量和張力。 所有的對立消失了；但再去搜索它時，卻又在內心 裡發現。這種創作的悲劇性感覺源於內心深處的需 要，並將它轉變成生命，為Kandinsky展現了一種深 邈無淵的彩色世界。」
The end of Der Blaue Reiter • August, 1914: Kandinsky was forced to return to his homeland, and Marc and another Blaue Reiter artist, August Macke, were killed in action.
Influence • Der Blaue Reiter artists helped lay the groundwork for a generation of avant-garde experimentation, especially abstraction.
• Degenerate art: a category that included all modernist art, especially abstract, Cubist, Expressionist, and Surrealist art. • “True” German art and Aryan spirit: the tradition of German 19th realistic genre painting. • Degenerate Art exhibition and Jewishness.
• 橋派與藍騎士是否有承接或者交互影響的關係？ • 關於表現主義作品的界定多有疑義；如何判定作 品屬於某主義/畫派/風格？過程中誰扮演了關鍵 的角色？