Berlin immerses himself within the cosmos of ‘The blue rider’, a motion that revolutionized the artwork of the 20th century | Culture | EUROtoday

The motion The blue rider (Der Blaue Reiter) He marked the artwork world like no different. This community initiated by Wassily Kandinsky and Franz Marc was a pioneer in summary artwork, a sort of declaration of battle on realism. Now, the Kupferstichkabinett Museum in Berlin, proprietor of a big set of those works exhibits them to the general public for the primary time in an exhibition beneath the title of The Cosmos of The Blue Rider: from Kandinsky to Campenconk. The artists who have been a part of the universe of The blue riderbased in Munich in 1911 by Kandinsky and Marc, have been vital precursors of contemporary artwork of the twentie The bridge.

“It is the first time we have such an exhibition at the Kupferstichkabinett,” stated Museum’s director Dagmar Korbacher, throughout the presentation to the exhibition press, which could be seen till June 15. “It was not an organization or group of strictly organized or hierarchical artists, but it really was a cosmos,” he defined in regards to the title of the exhibition, which additionally describes very effectively its origin, as a result of “it arose from the cosmos of the collection of state museums in Berlin.”

In their exhibitions, Kandinsky and Marc not solely included artists from their closest circle, akin to Gabriele Münter or Alfred Kubin, but additionally to protagonists of the nationwide and European inventive scene, from Ernst Ludwig Kirchner to Robert Delaunay and Natalia Goncharova. Berlin, with the Sturm gallery, was an vital platform for the actions of The blue riderwhich ended abruptly with the start of World War I in the summertime of 1914.

“In seven chapters already through about 90 works – all owned by Berlin, except three works provided – the exhibition shows the artistic and stylistic diversity of this universe,” Korbacher stated. All of them mirror the trail of every of the artists in the direction of abstraction. According to Kandinsky, the title emerged virtually casually whereas consuming espresso together with his buddy Marc in a cafeteria in southern Germany. “Kandinsky remembers that both of them liked blue, as color of the spiritual-critical, also of the masculine, which today would also be questioned, of course, but both of them liked it because it adjusted a lot to that spiritual impulse, almost religious ultimately,” explains to El País the commissioner of the pattern, Andreas Schalhorn.

Meanwhile, the rider was for Kandinsky “the symbol of the avant -garde, the rider who fights the academy, against the conservative company” and with the “that rides towards abstraction.” And Mark, who had studied first of animals portray, like his father, favored horses. “This is how everything joined and gave rise to this symbiosis. And that is the legend of how Schalhorn recalls on a name with which everything came to life and was marketed accordingly.

At the end of 1912 the movement was announced to the public with two exhibitions and the almanac of the same name, the most important programmatic publication of modernity. Kandinsky had arrived in Munich from Moscow before 1900. He was a training and ethnologist economist, but also worked in a printing press in Moscow. In the exhibition you can see several of his works that reflect the tales of fairy and Russian legends such as The mirror (1907) or wood engraving Leak (1914), a unique piece of Kandinsky.

As continued by the sample, the visitor contemplates the process that he did towards abstraction with the appearance of horses. “You can see how Kandinsky’s painting and graphic art, at first influenced by the Art Nouveauthey are inspired by Russian stories and legends and how their objects and figures dissolve more and more in colors and shapes, ”explains Schalhorn. The route takes the visitor through a representative selection“ in which he can contemplate classics, but also great strangers, ”he details. In the room there are from Augke Macke water Münter, Oskar Kokoschka and Heinrich Championonk for the magazine The stormedited in Berlin by Herwarth Walden or three famous watercolors from trip to Tunisia, which Macke brought with him his trip to the former French colony.

The testimonies of so unique pictorial correspondence between the poet Else Lasker-Schüler and Franz Marc occupy a central place in the sample. In one of the exposed postcards, a blue rider rides at full speed through emerald mountains. In another, a black horse rises his head impatiently and behind, the painter writes from the Bavarian town of Sindelsdorf to his friend who lived in Berlin: “If your environment bothers you too much, ride this dark horse and come running” (1913). Until early 1916 dozens of letters and cards are written, many of them with drawings and watercolors. On March 4, Marc, who held the range of reserve lieutenant, dies in the Front of Verdún.

Likewise, the exhibition dedicates an entire chapter to the women of The blue riderheaded by Gabriele Münter, who lived with Kandinsky, the Russian Natalja Goncharova, who contributed to her cubofuturist works, or Jacoba von Heemskerck, from the Netherlands, which headed towards pure abstraction in parallel to Kandinsky. His approach was international, interdisciplinary and radically open to the most diverse styles.

Although it is normally associated The blue rider With Munich, Berlin also had an important role. Herwarth Walden was an art march, art agent and writer who had an important gallery in the German capital, Sturm. He was one of the main promoters of the German avant -garde of the early twentieth century and founder of the magazine The storm (1910-1932).

“Berlin was very related to The blue rideras a result of it was extra open and avant -garde than Munich at the moment, ”explains Schalhorn. In reality, the town owned numerous his work, lots of which have been misplaced throughout World War Title of Kandinsky cosmos: geometric abstraction within the twentieth century It opened its doorways on the Barberini Museum in Potsdam, very near Berlin. “It was a coincidence,” says the professional. “Also the titles are a coincidence.”

“In Potsdam you can see how Kandinsky followed and what consequences he had. Here we see how he became an artist. It is the making of from Kandinsky: what circle happened, what culture and what climate there were, “he details.” You can see how the cosmos of The blue riderhow it was radicalized and where it comes from. That is why I think it’s like in those action films, in which it is not always explained how the characters have been created. Our exhibition is like a prequel to those films, ”he says.

With the start of World War I in 1914, the group dissolved. Franz Marc died within the contest, whereas Kandinsky fled to Moscow and didn’t return to Berlin till 1929. As he wrote later, with out his buddy Franz Marc, The blue rider It was not more than historical past.