Mental states and
urban neurosis

Expressionism in Berlin 1910 – 1918

Jacoba van Heemskerck, Landscape, Painting I, around 1914
Jacoba van Heemskerck, Landscape, Painting I, around 1914
© Urheberrechte am Werk erloschen, Repro: Kai-Annett Becker

Fragmenting forms and vivid, sometimes garish colours – these devices were used by Expressionist artists to visualise mental states, emotions and matters of the spirit. They had lost interest in the atmospheric renderings of nature and light dabbed onto the canvas by Impressionists.

Expressionist painting by the painter Georg Tappert from 1911
Georg Tappert, Lot and his daughters, 1911
© VG Bild-Kunst, Bonn

Their wild, impetuous works polarised the art scene in Berlin. This new approach to art prompted outrage not only among people of conservative taste, but even among Impressionist artists in the Secession.
In 1910, when their works were rejected for the annual exhibition, a group of younger artists split away. They included Max Pechstein, Georg Tappert, Moriz Melzer and Heinrich Richter-Berlin. Together with colleagues they founded the New Secession, which supported Expressionism from 1910 to 1914. Along with Herwarth Walden’s avant-garde gallery Der Sturm, this association was instrumental in enabling Expressionist styles to gain a foothold in Berlin and Germany.

In 1911 members of another grouping, Die Brücke, left Dresden for Berlin, Europe’s youngest metropolis, to join the New Secession and participate in its exhibitions.
Many Expressionist artists depicted the world as nervous and out of joint: Berlin, with its ceaseless bustle, was frequently a backdrop for their paintings. The catastrophe of the First World War changed things dramatically for most Expressionists. Their works were now dominated by personal experiences of war and destruction.

Further topics

Raoul Hausmann, OFFEAH, 1918

Metropolis
Berlin

Dada, Novembergruppe and New Vision 1918–1933

Willy Römer, Untitled („Erste Russische Kunstausstellung in der Galerie van Diemen“), 1922

Berlin as a hub
between
East and West

Constructivism in the 1920s

Peter Foerster, Still Life with Oranges, around 1924

Europe’s most
objective capital

New Objectivity in the 1920s

Painting "Self-Portrait Wearing a Shroud (Group Portrait)" by Felix Nussbaum from the year 1942

Brought to heel

Berlin art under the Nazis 1933 – 1945

All topics

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