Quote from a letter of Franz Marc to Wassily Kandinsky , c. Cohen, Lexington Books, Sep 14, , p. The loveliest prismatic colors and the famous Cubist style have become meaningless in terms of the objectives of the iconoclasts. Their thinking has a different aim: with their labor, they want to create symbols for their era. Joachim Neugroschel ; publisher: Solomon R. Guggenheim Foundation, New York, , p.

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Neither a movement nor a school with a definite program, Der Blaue Reiter was a loosely knit organization of artists that organized group shows between and The work of these artists was diverse , but it generally reflected an interest in free experimentation and spiritual expression.

Wishing to give form to mystical feelings, these artists wanted to imbue their art with deep spiritual content. The almanac featured essays by various artists as well as reproductions of works of primitive and folk art. Get exclusive access to content from our First Edition with your subscription.

Subscribe today The two Blaue Reiter exhibitions traveled throughout Europe from to At that time the German-American artist Lyonel Feininger became affiliated with the group, and the Russian painter Alexey von Jawlensky , though not officially a member of Der Blaue Reiter, supported its aims. While the general public never embraced the radical visual ideas of the movement, the ideas and writings of Der Blaue Reiter artists helped lay the groundwork for a generation of avant-garde experimentation, especially abstraction.

Members of that group were united by a desire to exhibit together rather than by a similarity of style. They exhibited their work together from to , but they were not nearly as influential as Der Blaue Reiter.

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Der Blaue Reiter

Franz Marc , Blue Horse I, The name of the movement is the title of a painting that Kandinsky created in , but it is unclear whether it is the origin of the name of the movement, as Professor Klaus Lankheit learned that the title of the painting had been overwritten. Within the group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their 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 were interested in European medieval art and primitivism , as well as the contemporary, non-figurative art scene in France. As a result of their encounters with cubist , fauvist and Rayonist ideas, they moved towards abstraction. Der Blaue Reiter organized exhibitions in and that toured Germany.


Der Blaue Reiter Artworks

Her Self-Portrait of exemplifies the experimentation of the former group and the semi-abstract manipulation of form and color that would develop in the latter. Her loose, dynamic brushwork shows the early influence of Vincent van Gogh on the NKvM artists and her use of arbitrary color is reminiscent of their study of Paul Gauguin and Edvard Munch. However, when Kandinsky painted that early canvas, perhaps indebted more to Gustav Klimt or Les Nabis, he had not yet developed the theory of color symbolism he would publish in Concerning the Spiritual in Art. Beyond his visual offerings, Kandinsky was central to the group as a theorist, and behind this cover he continued that role by publishing two essays and an experimental theater piece.

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