Der Blaue Reiter (English: The Blue Rider) represented a collective of artists and served as a designation coined by Wassily Kandinsky and Franz Marc for their exhibition and publication endeavors, with both artists serving as the exclusive editors for the eponymous almanac (first issued in mid-May 1912). This editorial collective orchestrated two exhibitions in Munich during 1911 and 1912 to articulate their art-theoretical concepts through the displayed artworks. Subsequent touring exhibitions were held across German and other European urban centers. The Blue Rider dissolved with the commencement of World War I in 1914.
Der Blaue Reiter (English: 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 editorial team organized two exhibitions in Munich in 1911 and 1912 to demonstrate their art-theoretical ideas based on the works of art exhibited. Traveling exhibitions in German and other European cities followed. The Blue Rider disbanded at the start of World War I in 1914.
The artists associated with Der Blaue Reiter were significant progenitors of 20th-century modern art; they constituted a fluid network of affiliations rather than a tightly structured artistic movement, unlike Die Brücke (The Bridge) in Dresden. The artistic output of these associated individuals is categorized under German Expressionism.
History
Preceding the formation of The Blue Rider was the Neue Künstlervereinigung München (N.K.V.M: New Artists' Association Munich), initiated by Marianne von Werefkin, Alexej von Jawlensky, Adolf Erbslöh, and the German entrepreneur, art collector, aviation pioneer, and musician Oscar Wittenstein. The N.K.V.M was established in 1909, and Kandinsky, serving as its inaugural chairman, organized the exhibitions of 1909 and 1910. Prior to its initial exhibition, Kandinsky incorporated the "four square meter clause" into the N.K.V.M's statutes, a measure prompted by a disagreement with the painter Charles Johann Palmié; this provision subsequently enabled Kandinsky's departure from the N.K.V.M in 1911.
Persistent disagreements arose among the conservative factions within the N.K.V.M, exacerbated by Kandinsky's progressively abstract artistic style. In December 1911, Kandinsky presented Composition V for the association's third exhibition, yet the jury declined to accept the artwork. Consequently, Kandinsky, joined by Münter, Marc, and other artists, established a competing collective and promptly arranged a concurrent exhibition at the Thannhauser Gallery, occupying spaces contiguous to the official display. This emergent faction subsequently adopted the appellation Der Blaue Reiter.
Subsequently, Kandinsky recounted his foresight regarding the impending controversy and his prior preparation of substantial materials for the nascent group's exhibition. He stated: "Our halls were proximate to the NKVM exhibition rooms. It created a sensation. Having anticipated the 'commotion' well in advance, I had amassed a considerable amount of exhibition material for the BR [Blaue Reiter]. Thus, the two exhibitions occurred concurrently. (…) Revenge was gratifying!". The exhibition bore the official title First Exhibition of the Editorial Board of Der Blaue Reiter, a designation that underscored Kandinsky and Marc's intention to publish an art almanac sharing the same name.
Kandinsky relinquished his chairmanship of the N.K.V.M. on January 10, 1911, but continued his affiliation with the association as an ordinary member. Adolf Erbslöh assumed his position. In June, Kandinsky formulated plans for endeavors independent of the N.K.V.M. His intention was to publish an "almanac-like" work, potentially titled Die Kette (The Chain). On June 19, he presented his concept to Marc, securing his collaboration by proposing joint editorship of the publication.
The movement's designation shares its title with a painting created by Kandinsky in 1903; however, its precise origin remains ambiguous, particularly since Professor Klaus Lankheit discovered that the painting's title had been subsequently altered. Two decades later, Kandinsky articulated that the name originated from Marc's affinity for horses and his own predilection for riders, coupled with their mutual appreciation for the color blue. Kandinsky regarded blue as the hue of spirituality, positing that its deepening intensity further stimulated humanity's yearning for the eternal, a concept he expounded in his 1911 treatise On the Spiritual in Art.
Within the group, artistic methodologies and objectives diverged among individual members; nevertheless, a unifying aspiration among the artists was the articulation of spiritual verities through their creative output. Their tenets encompassed the advancement of modern art, the intrinsic link between visual arts and music, the spiritual and symbolic connotations of color, and an uninhibited, intuitive methodology in painting. The collective demonstrated an interest in both European medieval art and primitivism, alongside the burgeoning non-figurative art movements in contemporary France. Their engagement with Cubist, Fauvist, and Rayonist concepts consequently propelled them toward abstraction.
The artistic collective Der Blaue Reiter organized a series of exhibitions in 1911 and 1912, which subsequently toured throughout Germany. Additionally, the group published an almanac that showcased contemporary, primitive, and folk art, alongside children's artwork. Their participation in the inaugural German Herbstsalon occurred in 1913.
The onset of the First World War in 1914 significantly disrupted the group's activities. Tragically, Franz Marc and August Macke perished in combat. Wassily Kandinsky repatriated to Russia, while Marianne von Werefkin and Alexej von Jawlensky sought refuge in Switzerland. Internal disagreements further contributed to the dissolution of the collective. Consequently, Der Blaue Reiter had a brief existence, operating for only three years between 1911 and 1914.
In 1923, a new artistic alliance, Die Blaue Vier (The Blue Four), was established by Kandinsky, Feininger, Klee, and Alexej von Jawlensky, primarily at the initiative of painter and art dealer Galka Scheyer. Scheyer subsequently curated and organized Blue Four exhibitions across the United States, commencing in 1924.
A substantial collection of artworks by Der Blaue Reiter is permanently displayed at the Städtische Galerie im Lenbachhaus in Munich.
Art Reception and Legacy
The dissolution of Der Blaue Reiter coincided with the decline of Munich's prominence as an avant-garde hub for modern art. The group's foundational ideas largely faded from public consciousness, particularly as the Nazi regime actively sought to disparage many of its artists and their creations. Works deemed "degenerate art" were systematically confiscated, subsequently sold internationally, or destroyed. Paradoxically, the sale of these paintings inadvertently propelled the works of Der Blaue Reiter to international renown and influence. Post-1945, the group's concepts and artistic principles found broader dissemination and adoption in other nations than within Germany itself. Notably, artists from Denmark, Belgium, and the Netherlands, including Asger Jorn and the CoBrA group, continued to develop Kandinsky's theoretical frameworks.
In 1949, the Haus der Kunst (House of Art) in Munich inaugurated an exhibition titled Der Blaue Reiter. Munich and the art of the 20th century. The path from 1908-1914. Directed by Ludwig Grote, this exhibition featured artworks by Der Blaue Reiter. A significant portion of the paintings were loaned by Gabriele Münter, Nina Kandinsky, and Sonia Delaunay, while others originated from the collection of Hildebrand Gurlitt, who had previously served as an art dealer for Adolf Hitler.
The Almanac
Conceived in June 1911, the Der Blaue Reiter Almanach (The Blue Rider Almanac) was published by Piper in early 1912, with approximately 1100 copies sold. Franz Marc received the initial print on May 11. Kandinsky and Marc jointly edited the volume, and its production costs were financed by Bernhard Koehler, an industrialist, art collector, and relative of Macke. The almanac featured reproductions of over 140 artworks and included 14 significant articles. Although a second volume was planned, its realization was precluded by the outbreak of World War I. Consequently, a second edition of the original almanac was printed in 1914, also by Piper.
The Almanac comprised the following contents:
- Marc's essay, "Spiritual Treasures," which was visually enhanced by children's drawings, German woodcuts, Chinese paintings, and Pablo Picasso's Woman with Mandolin at the Piano.
- An analytical article on Cubism by the French critic Roger Allard.
- Arnold Schoenberg's scholarly article, "The Relationship to the Text," accompanied by a facsimile of his composition "Herzgewächse."
- Facsimiles of song settings composed by Alban Berg and Anton Webern.
- Thomas de Hartmann's critical essay titled "Anarchy in Music."
- An article by Leonid Sabaneyev providing insights into Alexander Scriabin.
- An article by Erwin von Busse discussing Robert Delaunay, featuring an illustration of his work The Window on the City.
- Vladimir Burliuk's contribution on the subject of contemporary Russian art.
- Macke's essay, "Masks."
- Kandinsky's theoretical essay, "On the Question of Form."
- Kandinsky's discourse titled "On Stage Composition."
- Kandinsky's theatrical piece, The Yellow Sound.
The artistic selections featured in the Almanac represented a significant departure from conventional Eurocentric perspectives. The collection predominantly showcased primitive, folk, and children's art, including artifacts from the South Pacific and Africa, Japanese drawings, medieval German woodcuts and sculpture, Egyptian puppets, Russian folk art, and Bavarian religious glass paintings. Notably, the five works by prominent artists such as Van Gogh, Cézanne, and Gauguin were surpassed in number by seven pieces from Henri Rousseau and thirteen contributions from child artists.
Exhibitions
The Inaugural Exhibition
The inaugural exhibition of the editorial board of Der Blaue Reiter (Erste Ausstellung der Redaktion Der Blaue Reiter) commenced on December 18, 1911, at Heinrich Thannhauser's Moderne Galerie in Munich, concluding in early 1912. This exhibition featured 43 artworks by 14 artists, including paintings by Henri Rousseau, Albert Bloch, David Burliuk, Wladimir Burliuk, Heinrich Campendonk, Robert Delaunay, Elisabeth Epstein, Eugen von Kahler, Wassily Kandinsky, August Macke, Franz Marc, Gabriele Münter, Jean Bloé Niestlé, and Arnold Schoenberg. An accompanying illustrated catalogue was also produced.
Subsequently, from January 1912 to July 1914, the exhibition embarked on a European tour, with presentations in Cologne, Berlin, Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim, and Göteborg.
Second Exhibition
The Second exhibition of the editorial board of Der Blaue Reiter (Zweite Ausstellung der Redaktion Der Blaue Reiter) took place from February 12 to April 2, 1912, at the Neue Kunst Hans Goltz in Munich, showcasing exclusively black-and-white artworks.
Additional Exhibitions
Artists associated with Der Blaue Reiter also contributed to the following exhibitions:
- The 1912 Sonderbund westdeutscher Kunstfreunde und Künstler exhibition, hosted in Cologne.
- The Erster Deutscher Herbstsalon, organized by Herwarth Walden and his gallery, Der Sturm, which occurred in Berlin in 1913.
Members
Notes
References
- Bowlt, John E., and Rose-Carol Washton Long. The Life of Vasilii Kandinsky in Russian art: a study of "On the spiritual in art" by Wassily Kandinsky. Newtonville, Mass., USA: Pub l., 1980. ISBN 0-89250-131-6; ISBN 0-89250-132-4.
- Kandinsky, Wassily. Concerning the Spiritual in Art. Translated by M. T. Sadler. Dover Publ. (Paperback), 80 pp. ISBN 0-486-23411-8. Also available from Lightning Source Inc. Publ. (Paperback). ISBN 1-4191-1377-1.
- West, Shearer. (1996). The Bullfinch Guide to Art. UK: Bloomsbury Publishing. ISBN 0-8212-2137-X.Vezin, Annette, and Luc Vezin. (1992). Kandinsky and the Blue Rider. Terrail. ISBN 978-2-87939-043-7.
- Media related to Der Blaue Reiter at Wikimedia Commons
- Collection: "Expressionism–Der Blaue Reiter" from the University of Michigan Museum of Art