恩斯特 · 路德维希 · 基什内尔Ernst Ludwig Kirchner

恩斯特 · 路德维希 · 基什内尔Ernst Ludwig Kirchner（1880年5月6日——1938年6月15日），是一位德国人表现主义画家和版画复制匠。

中文名恩斯特 · 路德维希 · 基什内尔
外文名Ernst Ludwig Kirchner
性别男
国籍德国
出生日期1880年5月6日
逝世日期1938年6月15日
职业画家

早期的生活和工作

恩斯特路德维希·基什内尔出生在Aschaffenburg,巴伐利亚.普鲁士血统的他的父母和他的母亲的后代胡格诺派教徒基什内尔经常被提到,这一事实。基什内尔的父亲找了一份工作,一家人经常移动,基什内尔在法兰克福和Perlen上学,直到他的父亲获得论文科学教授的位置大学开的技术基什内尔,在那里参加了中学。虽然基什内尔的父母鼓励他的艺术生涯也想让他完成他的正规教育在1901年,他开始研究架构技术Hochschule Konigliche(皇家技术大学)德累斯顿。该机构提供了一个广泛的研究除了建筑之外,如徒手画、透视图和艺术的历史研究。在出席,他成了亲密的朋友弗里茨Bleyl在第一个任期内,基什内尔见过他。他们在一起讨论艺术,还研究了自然,有一个激进的前景共同之处。基什内尔继续研究1903 - 1904年在慕尼黑,1905年回到德累斯顿完成学位。

马尔泽拉(1909 - 10)

1905年,基什内尔Bleyl和另外两个建筑系学生,卡尔Schmidt-Rottluff和Erich黑格尔,建立了艺术家群体Die Brucke(“桥”)。从此,他致力于艺术。^[2]该组织旨在避免普遍的传统学术风格和找到一个新的艺术表达方式,这将形成一个桥(因此得名)在过去和现在之间。他们回应过去艺术家等Albrecht Durer,马提亚Grunewald和卢卡斯Cranach老,以及当代国际前卫的运动。肯定他们的民族遗产的一部分,他们恢复老媒体,特别是木刻版画.

竞争者Holzplastiken,1912,达拉斯艺术博物馆

他们的组织是一个重要的在适当的时候对的发展产生重大影响现代艺术在20世纪,创造了风格表现主义.^[7]该组织最初在基什内尔的第一工作室,这以前的肉店。Bleyl将它描述为“一个真正的波西米亚,到处都充满了绘画躺,绘画,书籍和艺术家的材料——更像一个艺术家的浪漫比组织架构的家住宿学生”。

基什内尔的工作室成为一个场地,推翻了社会习俗允许随意做爱和频繁的裸体。组织抗议会话发生的使用模型的社交圈,而不是专业人士,选择一刻钟对鼓励自发性。Bleyl描述这样一个模型,伊莎贝拉,从附近一个15岁的女孩,“一个非常活泼,美丽,快乐的个体,没有任何变形引起的胸衣的愚蠢的方式,完全适合我们的艺术要求,尤其是在她少女的味蕾的开花情况。”

1906年宣言写的一组基什内尔说,“凡繁殖,直接没有幻想,无论他的感官创造的冲动,属于我们”。

1906年9月和10月,第一组展览举行,集中在女性裸体,展厅的手下塞弗特,在德累斯顿co .)。

1906年,他会见了多丽丝Große直到1911年,谁是他最喜欢的模型。在1907年至1911年之间,他呆在夏天Moritzburg湖泊和岛上的Fehmarn(直到1914年)他重新审视与其他Brucke成员;他的作品特色的女性裸体在自然环境中。1911年,他搬到柏林,他创立了一所私立艺术学校,MIUM-Institut,合作马克斯Pechstein颁布的目的“现代化Unterricht im小的”(现代绘画教学)。这不是一个成功和封闭的第二年,他也开始一段关系时厄纳先令,持续了他的余生。

1913年,他的写作Chronik der Brucke(Brucke纪事报)结束了。在这个时候,他建立了一个个人身份与他的第一次个展,在埃森举行Folkwang博物馆.在接下来的两年里,他画了一系列的“Straßenszenen”(街景)显示柏林的街道,的中心人物街上行人.

基什内尔1915年柏林工作室

的发病第一次世界大战1914年9月,基什内尔自愿参加军事服务。1915年7月,他被送往哈莉·der Saale训练作为一个司机的储备单元第75 Mansfeld野战炮兵团。基什内尔骑教练,汉斯•菲尔教授安排基什内尔精神崩溃后出院。基什内尔然后回到柏林和继续工作,产生许多画作包括自画像当兵(1915);在1915年12月被康斯坦博士的疗养院Konigstein陶努斯,在那里他被诊断出患有一种强烈的依赖佛罗拿和酗酒。^[3]哈格曼博士在一封给卡尔的朋友和赞助人,基什内尔写道:“漫长的挣扎之后,我现在发现自己在一段时间内把我心中某种秩序。这是一个非常困难的事情,当然,是陌生人的一天。但也许我能看到并创造新的东西。就目前而言,我想更多的和平与绝对的隔离。当然,我越来越对我的工作和我的工作室。理论可以很好保持精神上的平衡,但他们都是灰色的,相比之下,工作和生活”。整个1916年,基什内尔定期回到柏林几周时间来继续他的工作在他的工作室,他也产生了一系列的油画,和许多画,在他呆在Konigstein。后,他的作品在画廊的展览路德维希Schames,在法兰克福,1916年10月,基什内尔出售许多,开始做好财务工作。去年12月,他患有神经衰弱,考入Edel博士的疗养院在柏林夏洛滕堡。

自画像当兵(1915)

达沃斯论坛

1917年,在埃伯哈德Grisebach的建议下,海琳斯宾格勒邀请基什内尔达沃斯论坛他认为一个展览在哪里费迪南德Hodler的绘画。基什内尔的首次访问达沃斯同时异常寒冷的天气,他回到柏林后只呆十天。

埃伯哈德Grisebach拜访他今年3月,写信给海伦斯宾格勒基什内尔的条件:“我花了两个上午基什内尔,我永远不会忘记。我发现他坐在椅子旁边很低小,和热火炉,sloping-roofed阁楼。只有一根棍子的帮助下他能走路,惊人的在房间里……彩绘的窗帘隐藏大量的绘画。当我们开始看他们,他还活着。跟我在一起,他看到他所有的经验漂移在画布上,小,timid-looking女人留出我们见过,带来了一瓶酒。他发表了简短的解释在一个疲惫的声音。每幅图片都有它自己独特鲜明的性格,都有巨大的悲伤,我曾发现难以理解,现在未完成创建相同的微妙和敏感的印象他的个性。到处寻找风格,心理的理解他的数据。最动人的是统一的自我肖像用右手剪除。然后他向我展示了他对瑞士的旅行证。他想回到达沃斯……恳求我问父亲医学证书。…女人与他正确地说,虽然很多人都想帮助他,没有人能够这样做了……我离开的时候,我想起了梵高的命运,认为这将是他的,迟早的事。后来人们会理解和看他有多少画”。^[3]

站在裸体与帽子,1910

不久之后,基什内尔的亲密的朋友和导师,Botho虚拟死亡,基什内尔决定回到达沃斯接受治疗。卢修斯斯宾格勒博士在他的照顾下,基什内尔被迫遵守严格的规则程序。基什内尔的强烈不满,他能力所及的一切欺骗了医生:“斯宾格勒和我不知道要做什么,这个优秀的男人对我的欺骗是完全陌生的方式思考”。为了避免被持续监控下,基什内尔搬到Reusch小屋Stafelalp在1917年的夏天。基什内尔继续经历抑郁,偶尔疼痛,麻痹的四肢,但在一个更愉快的语气哈格曼博士在7月底:“我希望留在世界和世界。这里的高山将帮助我”。夏天非常富有成效,尽管基什内尔的疾病。他完成了一些重要的部分在两个月期间,如“Monstein教会的观点”和“月亮上升Stafelalp”。一起11木刻版画,这些作品标志着基什内尔的高山生活的开始。

基什内尔承认到贝尔维尤疗养院,由路德维希下肢痉挛性,在Kreuzlingen继续产生绘画和木刻版画。1918年,基什内尔是给定一个居住证,他搬到了Frauenkirch达沃斯的“窝落叶松的”他在那里租了一间房间在一楼,最终在1919年以上的房间,而他雕刻装饰着家具。他写的亨利·范·德·威尔德:“我住在一个美丽的老灰鼬鼠带厨房的房子看起来像伦勃朗的工作室”。基什内尔克服了他的病,虽然他仍依赖吗啡,他的医生是他剂量缓慢减少。他还写道“一个画家的信条”,他说:“有一个知识监护在世界各地,这是男人…。这是最后的判断,在他们面前你站……他们帮助你,当你工作。你可以感谢他们只有通过工作。当你想死时,他们有时会出现你。当你完全空的和完全开放,你属于他们”。厄纳先令,他的生活伴侣,在Frauenkirch定期拜访他,同时维护一个居住在柏林照顾基什内尔的业务。^[3]

景观与太阳光格劳宾登

基什内尔继续工作到1919年和1920年作为他的健康也迅速改善。他的名声越来越与几个展览于1920年在德国和瑞士。他提供了许多主题画知道该地区的农民,他们惊讶基什内尔的留声机。基什内尔达沃斯人写道:“住在这里而感到自豪的人。努力工作,完成了伟大的爱,他们对待动物的方式(你很少看到动物被虐待)赋予他们感到骄傲。在大多数情况下,在这里工作已经达到理想的标准做的爱。你可以看到它的运动。反过来,使面部表情和给所有个人接触崇高伟大的美味。这是一个民主的国家已经成为现实。这人的话还重要,你不用担心睡你的门打开。我很高兴可以来到这里,通过努力工作,我应该感谢善良的人们他们展示了我”。^[3]基什内尔开始写自己的艺术批评的假名下路易德Marsalle为了控制舆论的他和自由自己依赖的艺术评论家。

1921年,基什内尔的工作的一个主要显示在柏林,评论是有利的。基什内尔的父亲死于2月14日。基什内尔参观苏黎世5月初和舞蹈家,尼娜,他邀请回到Frauenkirch(尽管厄纳的反对)。尼娜硬基什内尔将成为一个重要的模型,将会出现在他的许多作品。基什内尔开始创建设计丽丝编织的地毯然后Gujer。^[3]

1923年,基什内尔搬到Wildboden房子,在他的日记里写:“我们的新小房子对我们是一个真正的快乐。我们将住在这里舒适和伟大的新秩序。这真的会是我生活的一个转折点。一切都必须以明确的顺序和小房子布置尽可能简单、温和,虽然仍在美丽和亲密”。房子看着Frauenkirch Stafelalp一边和另一方面,达沃斯和基什内尔使用这些风景作为他的许多画作主题。

在1925年夏天,达沃斯

1925年,基什内尔成了亲密的朋友与其他艺术家,阿尔伯特·穆勒和他的家人。新艺术团体Rot-Blau总部位于巴塞尔的成立赫尔曼·谢勒阿尔伯特·穆勒,保罗Camenisch和汉斯Schiess所有访问基什内尔,在他的指导下工作。在1925年底,基什内尔回到德国法兰克福,轮、开(他的母亲是生活),和柏林他在那里会见了卡尔Schmidt-Rottluff基什内尔想要组建一个新的艺术家的群,基什内尔礼貌地拒绝了。然后他回到Frauenkirch接触1926年3月26日博士写道:“现在我又在家安静地坐着,我很高兴能够在不受打扰的情况下工作。我做了大量的草图的生活在德国和非常有趣的生活。我也很高兴看到伦勃朗的老照片,再次杜勒等,确认和鼓励他们给我。对于现代人来说,我看到该死的小困扰我。”1926年12月,基什内尔的亲密朋友,阿尔伯特·穆勒,沿着与妻子死于伤寒,安妮穆勒。1927年,基什内尔组织纪念展览为阿尔伯特·穆勒Kunsthalle巴塞尔.有一个大型展览的基什内尔在校舍在达沃斯的工作;积极的评论。

基什内尔在Frauenkirch继续工作,他的风格越来越抽象。1929年,基什内尔被迫保持距离Rot-Blau后他们发誓效忠于他,这大大打乱基什内尔。他解决了他们在“巴塞尔红蓝组的一封公开信”Das Kunstbaltt 5号,说他不是他们的赞助人。^[3]同年,基什内尔访问了苏黎世,柏林,埃森市。他还参观了Frauenkirch的画家弗里茨冬季.

1930年,基什内尔开始体验到健康问题由于吸烟和在柏林1931年厄纳不得不接受手术由于怀疑增长。1931年,他的一员普鲁士艺术学院在柏林。作为德国纳粹党上台,基什内尔也不可能卖他的画。1933年,他被迫辞职的普鲁士艺术学院。基什内尔越来越感到不安的情况在德国,写道:“我们已经听到可怕的谣言关于酷刑的犹太人,但肯定都是不真实的。我有点累了,伤心的情况。空气中有一个战争。博物馆,来之不易的文化成就,过去的20年里遭到了严重的破坏,然而,我们成立了Brucke的原因是德国艺术,鼓励真正的德国制造。现在应该是un-German。亲爱的上帝。它沮丧我”。

弓箭手,1935 - 1937

1934年,基什内尔访问伯尔尼和苏黎世,发现前者比后者更令人愉快,和满足保罗克利.在1935年的冬天,一所新学校被计划建于Frauenkirch和基什内尔给画了一幅壁画。这个项目被撤销,而基什内尔创建一个雕塑放置高于校舍的门。反思校舍的就职典礼在1936年,他写道,“新学校昨天宣誓就职。这是一个庆祝和歌曲,跳舞,演讲,紧随其后的是饮酒,如我没有见过或经历过几十年……他们包括我所以我,坐在我再次在这些人收到这样的善良和友爱的高山二十年前。救援发现支持和经常提到的演讲”。

在1936年和1937年,基什内尔开始体验健康问题和规定阿华田和Eukodal他的医生。在1937年,堕落的艺术展览在德国举行,共有639个基什内尔的作品被博物馆和25是显示在展览。基什内尔在柏林艺术学院开除的成员。基什内尔继续工作和组织的一个主要表现在巴塞尔,评论褒贬不一。在1938年,基什内尔与德国的局势变得越来越沮丧。后被德国吞并奥地利联合基什内尔变得不安,德国可能入侵瑞士。基什内尔1938年6月15日,结束了自己的生命,枪声在Frauenkirch的家中。三天后,基什内尔在Waldfriedhof墓地安葬。厄纳继续住在家里直到1945年她去世。

遗产

1913年,在美国首次公开展示发生在基什内尔的工作军械库艺术博览会,也是第一个主要显示的现代艺术在美国。1921年,美国博物馆开始收购他的工作,这么做之后越来越多。他第一次独自博物馆展示在美国底特律艺术学院在1937年。1969年,作品的回顾展,图纸,并输出去西雅图艺术博物馆,帕萨迪纳市艺术博物馆,波士顿美术博物馆.在1992年,国家美术馆的艺术华盛顿,举行了一个专题节目,利用其现有的集合;重大国际贷款展览发生在2003年。2006年11月在佳士得基什内尔的街景,柏林(1913)获取3800万美元,一个记录的艺术家。2008年8月3日至11月10日现代艺术博物馆在纽约举行了一个大型展览,“可能包括他的最好的作品”。

English Introduction

Early life and work

Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria. His parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred.^[3] As Kirchner's father searched for a job, the family moved frequently and Kirchner attended schools in Frankfurt and Perlen until his father earned the position of Professor of Paper Sciences at the College of technology in Chemnitz, where Kirchner attended secondary school. Although Kirchner's parents encouraged his artistic career they also wanted him to complete his formal education so in 1901, he began studying architecture at the Königliche Technische Hochschule (royal technical university) of Dresden. The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art.^[4] While in attendance, he became close friends with Fritz Bleyl, whom Kirchner met during the first term.^[5] They discussed art together and also studied nature,^[5] having a radical outlook in common.^[6] Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree.^[2]

In 1905, Kirchner, along with Bleyl and two other architecture students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke ("The Bridge"). From then on, he committed himself to art.The group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge (hence the name) between the past and the present.They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements.As part of the affirmation of their national heritage, they revived older media, particularly woodcut prints.

Their group was one of the seminal ones which in due course had a major impact on the evolution of modern art in the 20th century and created the style ofExpressionism The group met initially in Kirchner's first studio, which had previously been a butcher's shop. Bleyl described it as "that of a real bohemian, full of paintings lying all over the place, drawings, books and artist’s materials — much more like an artist’s romantic lodgings than the home of a well-organised architecture student".

Kirchner's studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. Bleyl described one such model, Isabella, a fifteen-year-old girl from the neighbourhood, as "a very lively, beautifully built, joyous individual, without any deformation caused by the silly fashion of the corset and completely suitable to our artistic demands, especially in the blossoming condition of her girlish buds."

A group manifesto written by Kirchner in 1906 stated that "Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us".

In September and October 1906, the first group exhibition was held, focused on the female nude, in the showroom of K.F.M. Seifert and Co. in Dresden.

In 1906, he met Doris Große, who was his favoured model until 1911. Between 1907 and 1911, he stayed during the summer at the Moritzburg lakes and on the island of Fehmarn (which he revisited until 1914) with other Brücke members; his work featured the female nude in natural settings.In 1911, he moved to Berlin, where he founded a private art school, MIUM-Institut, in collaboration with Max Pechstein with the aim of promulgating "Moderner Unterricht im Malen" (modern teaching of painting). This was not a success and closed the following year, when he also began a relationship with Erna Schilling that lasted the rest of his life.

In 1913, his writing of Chronik der Brücke (Brücke chronicle) led to the ending of the group. At this time, he established an individual identity with his first solo exhibition, which took place at the Essen Folkwang Museum.^[2] During the next two years, he painted a series of "Straßenszenen" (street scenes) showing the streets of Berlin,^[2] with the central characters of street walkers.

At the onset of the First World War in September 1914, Kirchner volunteered for military service. In July 1915 he was sent to Halle an der Saale to train as a driver in the reserve unit of the 75th Mansfeld Field Artillery Regiment.^[3] Kirchner's riding instructor, Professor Hans Fehr, arranged for Kirchner to be discharged after a mental breakdown.^[3] Kirchner then returned to Berlin and continued to work, producing many paintings including Self-Portrait as a Soldier (1915); in December 1915 he was admitted to Dr. Kohnstamm’s sanatorium in Königstein in Taunus, where he was diagnosed with a strong dependency on Veronal, and alcoholism.^[3] In a letter to Dr. Karl Hagemann, a friend and patron, Kirchner writes: "After lengthy struggles I now find myself here for a time to put my mind into some kind of order. It is a terribly difficult thing, of course, to be among strangers so much of the day. But perhaps I’ll be able to see and create something new. For the time being, I would like more peace and absolute seclusion. Of course, I long more and more for my work and my studio. Theories may be all very well for keeping a spiritual balance, but they are grey and shadowy compared with work and life".^[3] Throughout 1916, Kirchner periodically returned to Berlin for a few weeks at a time to continue his work at his studio; he also produced a series of oil paintings, and many drawings, during his stays in Königstein.^[3] After an exhibition of his work in at the gallery of Ludwig Schames, in Frankfurt am Main, in October 1916, Kirchner sold many works and began to do well financially.^[3] In December, he suffered from a nervous breakdown and was admitted to Dr. Edel’s sanatorium in Berlin Charlottenburg

Davos

In 1917, at the suggestion of Eberhard Grisebach, Helene Spengler invited Kirchner toDavos where he viewed an exhibition of Ferdinand Hodler's paintings.^[3] Kirchner's first visit to Davos coincided an exceptionally cold weather and he returned to Berlin after a stay of only ten days.^[3]^[10]

Eberhard Grisebach visited him in March, writing to Helen Spengler of Kirchner's condition: "I spent two mornings with Kirchner which I shall never forget. I found him sitting on a very low chair next to a small, hot stove in a yellow-painted, sloping-roofed attic. Only with the help of a stick was he able to walk, staggering around the room. ... A colourfully painted curtain concealed a large collection of paintings. When we began to look at them, he came alive. Together with me, he saw all his experiences drift by on canvas, the small, timid-looking woman set aside what we had seen and brought a bottle of wine. He made short explanatory remarks in a weary voice. Each picture had its own particular colourful character, a great sadness was present in all of them; what I had previously found to be incomprehensible and unfinished now created the same delicate and sensitive impression as his personality. Everywhere a search for style, for psychological understanding of his figures. The most moving was a self- portrait in uniform with his right hand cut off. Then he showed me his travel permit for Switzerland. He wanted to go back to Davos... and implored me to ask father for a medical certificate. ... As the woman with him rightly said, though many people want to help him, nobody is able to do so any longer. ... When I was leaving, I thought of Van Gogh’s fate and thought that it would be his as well, sooner or later. Only later will people understand and see how much he has contributed to painting".

Soon after, Kirchner's close friend and mentor, Botho Graef died and Kirchner decided to return to Davos for treatment. There he was under the care of Dr. Lucius Spengler who forced Kirchner to adhere to strict rules and routine.^[3] Kirchner deeply resented this and did everything in his power to deceive the doctor: "Spengler didn’t know what to do with me, for my deception was totally alien to this excellent man’s way of thinking".^[3] To avoid being under constant watch, Kirchner moved to the Reusch Hut on the Stafelalp in the summer of 1917.^[3] Kirchner continued to experience depression, occasional pain and paralysis of his limbs but wrote in a more cheerful tone to Dr. Hagemann at the end of July: "I wish to remain in the world and for the world. The high mountains here will help me".^[3]The summer was very productive despite Kirchner's illness.^[3] He finished some important pieces during the two month, such as "View of the Church in Monstein" and "Rising Moon in the Stafelalp". Together with 11 woodcuts, these works marked the start of Kirchner's Alpine life.

Kirchner was then admitted to The Bellevue Sanatorium, run by Ludwig Binswanger, in Kreuzlingen where he continued to produce paintings and woodcuts.^[3] In 1918, Kirchner was given a residence permit and he moved to "In den Lärchen" in Frauenkirch Davos where he rented a room on the first floor and eventually the above rooms in 1919, which he decorated with furniture that he carved.^[3] He wrote of the house to Henry van de Velde: "I’m living in a beautiful old Grisons house with a kitchen that looks like Rembrandt’s studio".^[3] Kirchner overcame his illness and, although he was still dependent on morphine, his doctor was slowly decreasing his doses.^[3] He also writes "A Painter's Credo" where he states: "There is an intellectual guardianship over the world, it is man…. This is the last judgement, before them you stand….. They help you when you work. You can thank them only through work. When you want to die, they sometimes appear to you. When you are completely empty and completely open, you belong to them".^[11] Erna Schilling, his life partner, visited him periodically in Frauenkirch, while also maintaining a residence in Berlin to take care of Kirchner's business there.^[3]

Kirchner continued to work through 1919 and 1920 as his health also rapidly improved.^[3]His reputation grew with several exhibitions in Germany and Switzerland in 1920.^[2] He was provided with many subjects to paint as he came to know the farmers of the area, who were amazed by Kirchner's gramophone.^[3] Kirchner writes of the people of Davos: "The people who live here are proud. The hard work, which is done with great love, the way they treat animals (you very seldom see an animal being mishandled) entitle them to be proud. In most cases, work here has reached the ideal standard of being done with love. You can see it in the movements of their hands. And that, in turn, ennobles the facial expression and imbues all personal contacts with a great delicacy. This is a country in which democracy has become reality. Here a man’s word still counts, and you need have no fears about sleeping with your doors open. I am so happy to be allowed to be here, and through hard work I should like to thank the people for the kindness they have shown me". Kirchner began writing critiques of his own art under the pseudonym of Louis de Marsalle in order to control public opinion of him and free himself of dependence upon the art critics of the day.

In 1921, there was a major display of Kirchner's work in Berlin; the reviews were favourable.Kirchner's father died on the 14 February.^[3] Kirchner visited Zurich at the beginning of May and met the dancer, Nina Hard, whom he invited back to Frauenkirch (despite Erna's objections). Nina Hard would become an important model for Kirchner and would be featured in many of his works.^[3] Kirchner began creating designs for carpets which were then woven by Lise Gujer.

In 1923, Kirchner moved to the Wildboden house, writing in his diary: "Our new little house is a real joy to us. We shall live here comfortably and in great new order. This will really come to be a turning point of my life. Everything must be put in clear order and the little house furnished as simply and modestly as possible, while still being beautiful and intimate".^[3] The house looked over Frauenkirch and the Stafelalp on one side and on the other, Davos and Kirchner used these landscapes as subjects for many of his paintings.

In 1925, Kirchner became close friends with fellow artist, Albert Müller and his family. Rot-Blau, a new art group based in Basle, was formed by Hermann Scherer, Albert Müller, Paul Camenisch and Hans Schiess, who all visited Kirchner and worked under his guidance.^[3] At the end of 1925, Kirchner returned to Germany and made his rounds to Frankfurt, Chemnitz (where he mother was living), and Berlin where he met with Karl Schmidt-Rottluff who wanted Kirchner to form a new artist's group; Kirchner politely refused.^[3] He then returned to Frauenkirch and wrote to Dr. Hageman on 26 March 1926: "Now I’m sitting quietly at home again and I’m happy to be able to work undisturbed. I made a lot of sketches of life in Germany and it was very intriguing to see life there. I was also glad to see the old pictures of Rembrandt, Dürer, etc. again and to have the confirmation and encouragement they gave me. As for the moderns, I saw damned little that gripped me".^[3] In December 1926, Kirchner's close friend, Albert Müller, died of typhus along with his wife, Anni Müller. In 1927, Kirchner organized a memorial exhibition for Albert Müller at the Kunsthalle Basel.^[3] There was a major exhibition of Kirchner's work at the schoolhouse in Davos; the reviews were positive.

Kirchner continued to work in Frauenkirch, his style growing increasingly abstract. In 1929, Kirchner was forced to distance himself from Rot-Blau after they pledged allegiance to him, which upset Kirchner greatly. He addressed them in "An open letter to the Basle Red-Blue group" in No. 5 of Das Kunstbaltt, where stated that he was not their patron.^[3] In the same year, Kirchner visited Zurich, Berlin, and Essen.^[3] He was also visited in Frauenkirch by the painter Fritz Winter.

In 1930, Kirchner began to experience health problems due to smoking and in 1931 Erna had to undergo surgery in Berlin due to a suspected growth.^[3] In 1931, he was made a member of the Prussian Academy of Arts in Berlin. As the Nazi party took power in Germany, it became impossible for Kirchner to sell his paintings. In 1933, he was forced to resign from thePrussian Academy of Arts. Kirchner became increasingly disturbed by the situation in Germany, writing: "Here we have been hearing terrible rumours about torture of the Jews, but it’s all surely untrue. I’m a little tired and sad about the situation up there. There is a war in the air. In the museums, the hard-won cultural achievements of the last 20 years are being destroyed, and yet the reason why we founded the Brücke was to encourage truly German art, made in Germany. And now it is supposed to be un-German. Dear God. It does upset me".

In 1934, Kirchner visited Berne and Zurich, finding the former more pleasing than the latter, and met Paul Klee. In the winter of 1935, a new school was being planned to be built in Frauenkirch and Kirchner offered to paint a mural. This project was dropped and instead Kirchner created a sculpture to be placed above the door of the schoolhouse.^[3]Reflecting on the inauguration of the schoolhouse in 1936 he writes, "the new school was inaugurated yesterday. It was a celebration with songs, dancing and speeches, followed by drinking such as I have not seen or experienced in decades...They made a point of including me and so there I was, sitting once again amongst these people who had received me with such kindness and friendliness on the alp twenty years ago. The relief has found favour and was mentioned often in the speeches".

Throughout 1936 and 1937, Kirchner began to experience health problems and was prescribed Ovaltine and Eukodal by his doctors.^[In 1937, the Degenerate Art Exhibitiontook place in Germany; a total of 639 works by Kirchner were taken out of museums and 25 were displayed in the exhibition.The Academy of Arts in Berlin expelled Kirchner as a member.Kirchner continued to work and organised a major exhibit in Basle, which received mixed reviews. Throughout 1938, Kirchner became increasingly upset with the situation in Germany. After Austria was annexed by Germany in the Anschluss, Kirchner became disturbed by the idea that Germany might invade Switzerland.^[3] On 15 June 1938, Kirchner took his own life by gunshot in front of his home in Frauenkirch.^[1]^[3] Three days later, Kirchner was laid to rest in the Waldfriedhof cemetery.^[3] Erna continued to live in the house until her death in 1945.

Legacy[edit]

In 1913, the first public showing in the United States of Kirchner's work took place at the Armory Show, which was also the first major display of modern art in America.In 1921, U.S. museums began to acquire his work and did so increasingly thereafter.^[12] His first solo museum show in the US was at the Detroit Institute of Arts in 1937.^[12] In 1969, a major retrospective of paintings, drawings,and prints traveled to the Seattle Art Museum, the Pasadena Art Museum, and the Museum of Fine Arts, Boston.^[13] In 1992, the National Gallery of Art, Washington, held a monographic show, using its existing collection; a major international loan exhibition took place in 2003.^[12] In November 2006 at Christie's, Kirchner's Street Scene, Berlin (1913) fetched $38 million, a record for the artist.^[14] From 3 August to 10 November 2008, the Museum of Modern Art in New York held a major exhibition that "probably comprises the very best of his oeuvre."

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美术百科参考资料

1、Ernst Ludwig Kirchner