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Using a visual vocabulary of abstract forms and prismatic colors, Blaue Reiter artists explored the spiritual values of art as a counter to [what they saw as] the corruption and materialism of their age. The name, meaning “blue rider,” refers to a key motif in Kandinsky’s work: the horse and rider.
- Summary of Der Blaue Reiter
- Key Ideas & Accomplishments
- Beginnings of Der Blaue Reiter
- Der Blaue Reiter: Concepts, Styles, and Trends
- Later Developments - After Der Blaue Reiter
One of the two pioneering movements of German Expressionism, Der Blaue Reiter began in Munich as an abstract counterpart to Die Brücke's distorted figurative style. While both confronted feelings of alienation within an increasingly modernizing world, Der Blaue Reiter sought to transcend the mundane by pursuing the spiritual value of art. Wassily K...
Though Der Blaue Reiter had no official manifesto, Kandinsky's treatise Concerning the Spiritual in Art (1910) laid out several of its guiding principles. Concerning the Spiritualcrystallized the g...Der Blaue Reiter painting was structured around an idea that color and form carried concrete spiritual values. Thus, the move into abstraction resulted partly from radically separating form and col...In searching for a language that would express their unique approach to abstract visual form, the artists of Der Blaue Reiter drew parallels between painting and music. Often naming their works Com...Beside its own groundbreaking artists, Der Blaue Reiter's traveling exhibitions featured the leading proponents of Fauvism, Cubism, and the Russian avant-garde, creating a vital central European fo...The Neue Künstlervereinigung München
In January of 1909, Wassily Kandinsky proposed forming a new group of like-minded artists in opposition to traditional exhibition venues, the Neue Künstlervereinigung München (Munich New Artists' Association), a secession movement that contained several future members of Der Blaue Reiter. The founders included Kandinsky's Russian compatriots Alexej von Jawlensky and Marianne von Werefkin, as well as the Germans Gabriele Munter, Alexander Kanoldt, and the German-American Adolf Erbsloh. Aside f...
The Two Sides of German Expressionism
The Die Brückegroup, operating in Dresden from 1905 to 1911 and in Berlin until 1913, was an early influence for the directness of representation in the work of the NKvM and later, Der Blaue Reiter. The Munich artists, however, pursued rather different goals than their Dresden counterparts. While both groups learned of the importance of bold color from the Fauves, Die Brücke artists used vibrant color to express the heightened emotion of their simplified figures. For Kandinsky and his cohorts...
Concerning the Spiritual in Art
In 1910 Kandinsky wrote the treatise Concerning the Spiritual in Art, cementing himself as a revolutionary art theorist. An eclectic mix of spiritualism, theosophy, color theory, and art history, Concerning the Spiritualnevertheless managed to make a succinct, impassioned argument for the movement from figurative, naturalistic painting into the realm of abstraction. For Kandinsky, the modern artist had a messianic mission to lead his viewer to spiritual transcendence through his art. The type...
An International Aesthetic
Though style of painting varied from one artist to another within Der Blaue Reiter, certain similarities are worth noting. The expressionistic art of Der Blaue Reiter was envisioned partly as a coloristic rejoinder to the contemporary monochromatic formal explorations being undertaken by the Cubist avant-garde in Paris. If Picasso and Braque were simplifying their palettes to grays and browns to better focus on issues of form, Der Blaue Reiter artists were heightening their use of color and t...
Primitivism and the "Savages" of Germany
In an essay entitled "The 'Savages' of Germany" published in the Almanach, Marc described his colleagues - including the artists of the NKvM, the Berlin Secession, and Die Brücke - as "savages" fighting against an "old established power" to create "symbols that belong on the altars of a future spiritual religion." This rehabilitation of the notion of the "savage" went hand-in-hand with Der Blaue Reiter's interest in Primitivism in the arts. Primitivism - a perhaps outdated term with negative...
Color Theory
In Concerning the Spiritual in Art and in essays published in the Almanach, Kandinsky laid out and developed specific extra-visual values for colors that he defined as Eigenschaften(properties). Yellow, for example, was the color of warmth and excitement; it could signify joy, annoyance, or enervation. Blue was the most peaceful and spiritually resonant color - the darker the blue, the deeper the feeling of calm. Marc also established a theory of color that assigned symbolic values to specifi...
The end of Der Blaue Reiter was almost entirely due to the outbreak of World War I in 1914. Due to their Russian citizenship, Kandinsky, Jawlensky, and Werefkin were deported, with Kandinsky returning to Russia and Jawlensky and Werefkin immigrating to neutral Switzerland. Macke died in action a mere two months into the war, and Marc died at the Ba...
Dec 8, 2023 · The Blue Riders were a group of 20th-century artists who belonged to the German Expressionist Movement. The first half of German Expressionism was expressed in the collective known as “the bridge” or Die Brücke and was spearheaded by Ernst Ludwig Kirchner around 1905 in Dresden.
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- The 20th-century art collective known as Der Blaue Reiter translates to The Blue Rider group, and was a German Expressionist group based in Munich....
- The main artists associated with Der Blaue Reiter include Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Paul Klee, and Mariann...
- Wassily Kandinsky, a famous Russian-German avant-garde artist, was the co-founder of Der Blaue Reiter, who was also regarded as the most famous art...
Der Blaue Reiter (The Blue Rider) was a group of artists and a designation by Wassily Kandinsky and Franz Marc for their exhibition and publication activities, in which both artists acted as sole editors in the almanac of the same name (first published in mid-May 1912).
The Lenbachhaus has the world's largest collection of art of "Der Blaue Reiter" (The Blue Rider), one of the most important groups of avant-garde artists in the early twentieth century.
Jan 31, 2024 · At the dawn of the 20th century, a seismic shift was underway in the world of art. In the midst of sweeping cultural and societal changes, a group of innovative artists came together to form the seminal avant-garde movement known as “Der Blaue Reiter,” or the “Blue Rider” in English.
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