An essay exploring Ernst Ludwig Kirchner's design for poet Georg Heym's Umbra Vitae (The Shadow of Life, ), a major work in Fred Grunwald's collection. Ernst Ludwig Kirchner. Tue-Sun 10 am - 6 pm, Wed 10 am - 8 pm. read more. Ernst Ludwig Kirchner was born in Aschaffenburg in Germany on 6 May and grew up in Chemnitz. From he Kirchner's Selbstbildnis als Soldat ( Self Portrait as a Soldier) dates from (Figure 1). Available in colour online.
The publishing world warily embraced Kirchner's newfound tenacity.
- Ernst Ludwig Kirchner
- Ernst Ludwig Kirchner
In Aprilfollowing the sudden deaths of both his father and his patron Karl Ernst Osthaus, Kirchner wrote to editor Hans Mardersteig about illustrating a new edition of Umbra Vitae. This issue also contained numerous poems by Heym, illustrated with a single woodcut by the artist Max Kaus, a former student of Kirchner's in Berlin. Kirchner used the opportunity to invent a fictitious French art critic, Louis de Marsalle, as the essay's author; by ascribing his views to a seemingly neutral third party, Kirchner could exercise even more control over his image and reputation.
He felt no need to hide, however, when it came to approving reproductions of his work.
His requirements for printing images in Genius were strict, and he insisted on assessing financial penalties for failure to meet contractual standards. Mardersteig worked with him throughout on a second essay credited to Marsalle for Genius on Kirchner's graphic work fig. Marsalle claimed that Kirchner pioneered the simultaneous printing of his plates with typeset text in an issue of Der Sturm, which unwittingly started a fad for books illustrated with woodcuts.
This achievement was cast as ironic, as Kirchner had failed to attract commissions from publishers and thus failed to capitalize on his technical innovation.
Kirchner is also credited with being the first artist to assemble text and image into a discrete unit for printing, a feat illustrated by two woodcuts, so-called "title vignettes," from a yet-to-be-published Umbra Vitae.
Based on the edition of the book, this maquette included fifty woodcuts and an evocative binding depicting two figures a woman on the front cover and a man on the back cover bathed in green and black shadows against a gold background fig.
This design was later used for the final version of the book. Unlike Kirchner's maquette, they contain only illustrations, suggesting that the volumes did not have a preparatory function but were more likely produced as a personal memento or collector's item late in the production process.
Ernst Ludwig Kirchner’s Shadow
The prints are divided into two volumes with identical bindings that differ markedly from that of the maquette fig. There is no lettering, only the dark moss green of a thin layer of goatskin, which is accented on both sides by meandering bands of black sheepskin onlays, almost as if black lines from the figural binding of the maquette had expanded and slithered across the surface. A preliminary design for the book's cover, which is included in the first volume, incorporates more familiar figural elements: Seattle Art Museum, Chicago, The Museum of Contemporary Art, Ernst Ludwig Kirchner London, Royal Academy of Arts, German Art in the 20th Century, Painting and Sculpture October - December also shown at Stuttgart, Staatsgalerie.
Los Angeles County Museum of Art, New York,p. Translated by Ilse Falk. Kunstbarbarei im Dritten Reich.
MoMA | The Collection | Ernst Ludwig Kirchner. Winter Moonlit Night (Wintermondnacht). ()
Kirchner, Heckel and Schmidt-Rottluff. Ich bin, ich war, ich werde sein: Henze, Wolfgang, Ingeborg Henze, et al.
Berlin and German Expressionism. A German Intuition Guggenheim Museum, New York,p. The Shock of the New. A Culture Cut Short.
New Haven and London,pp. A Revolution in German Art. Originally published as Expressionismus: Eine deutsche Kunstrevolution Cologne, The Third Reich's mocking exhibit of 'degenerate' works is re-created for the first time. Abstract Expressionism and the Modern Experience. Cambridge, England, and New York,pp. Von Jena nach Davos. Stadtmuseum Guehre, Jena,pp.Ernst Ludwig Kirchner’s Canvas of Contrasts
Tanz zwischen den Frauen. Avant-Garde Art and the Great War. New Haven,pp.
Technical Data The paint is applied evenly with visible brushstrokes completely covering the ground. Forms are outlined in black; colors are worked wet-in-wet. The original plain-weave canvas was line, restretched on an ICA-type spring stretcher, and coated with a synthetic varnish in ; the back of the lining canvas was treated with an aluminum paint and the edges covered with black tape.
This tape has since caused some staining to the perimeter of the original paint surface. Otherwise the painting is in excellent condition, wiht only minor inpainting and fills at the corners and along the top edge. The initials of the artist's signature E. Uneven saturation of the present varnish gives a slightly matte appearance to darker tones in the composition. Kirchner sent this photo of himself in uniform along with New Year's greetings to his friends Hans and Erika Staub.
See Anna-Maria Ehrmann and Dr. Von Jena nach Davos exh. Oil on canvas, Even inwhen his worst fears had been realized, Kirchner continued to carve woodcuts. Die Strassenbilder Stuttgart, Richard Cork A Bitter Truth: Ketterer, Ernst Ludwig Kirchner: Zeichnungen und Pastelle Stuttgart, Meisterwerke der Druckgraphik exh.
Das Graphische Werk, 2 vols. Munich, ; 3rd ed. Gordon, Ernst Ludwig Kirchner. Kirchners Davoser Tagebuch Cologne, Nele van de Velde, E.