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24-448: The Jewish Thannhauser family came from Mönchsdeggingen . Heinrich Thannhauser first learned the profession of a tailor. He founded his Munich Modern Gallery (Moderne Galerie)in 1904. At first he exhibited the artworks of French Impressionists such as Édouard Manet, Edgar Degas and Paul Gauguin. Later works by Pablo Picasso and Georges Braque were added. In 1909, Thannhauser separated from his partner Franz Josef Brakl and continued to run

48-717: A branch of the gallery in Lucerne. In 1934 in attempting to flee from the Nazis to Switzerland, Thannhauser died of a stroke at the border. His son Justin Thannhauser , who was also an art dealer, established branches in Lucerne (1919) and Berlin (1927). The parent company in the Arco-Palais, Theatinerstraße 7 in Munich, was dissolved in 1928. In 1937, the National Socialists confiscated

72-747: A second edition of the original was printed in 1914, again by Piper. The contents of the Almanac included: The art reproduced in the Almanac marked a dramatic turn away from a Eurocentric and conventional orientation. The selection was dominated by primitive, folk and children's art, with pieces from the South Pacific and Africa, Japanese drawings, medieval German woodcuts and sculpture, Egyptian puppets, Russian folk art, and Bavarian religious art painted on glass. The five works by Van Gogh , Cézanne , and Gauguin were outnumbered by seven from Henri Rousseau and thirteen from child artists. On December 18, 1911,

96-559: A trip through Westphalia , where he composed an album of sketches. In the 1920s, he turned to the New Objectivity ; an art movement that was a reaction against Expressionism. A major feature of the new style was a return to lighting and shading effects, which the Expressionists had disdained. His last solo exhibition during his lifetime took place in 1931. A joint exhibition was planned for 1934, but had to be cancelled because most of

120-485: The Academy of Fine Arts, Karlsruhe , where he studied with Ernst Schurth  [ de ] and Ludwig Schmid-Reutte . In 1905, he continued his studies at the Academy of Fine Arts, Munich , with Ludwig von Herterich . In 1907, he married his second cousin, Adeline Schuchard (1880-1974), the daughter of Hugo Schuchard  [ de ] , who owned a large import-export business. The following year, he came up with

144-726: The First exhibition of the editorial board of Der Blaue Reiter ( Erste Ausstellung der Redaktion Der Blaue Reiter ) opened at the Heinrich Thannhauser's Moderne Galerie in Munich, running through the first days of 1912. 43 works by 14 artists were shown: 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 , and an illustrated catalogue edited. From January 1912 through July 1914,

168-406: The N.K.V.M. He intended to publish a "kind of almanac" which could be called Die Kette ( The Chain ). On 19 June, he pitched his idea to Marc and won him over by offering him the co-editing of the book. The name of the movement is the title of a painting that Kandinsky created in 1903, but it is unclear whether it is the origin of the name of the movement as Professor Klaus Lankheit learned that

192-468: The association and organize the first Blue Rider exhibition. The Blue Rider was thus a spin-off from the N.K.V.M. When there were repeated disputes among the conservative forces in the N.K.V.M, which flared up due to Kandinsky's increasingly abstract painting, he resigned the chairmanship on 10 January 1911 but remained in the association as a simple member. His successor was Adolf Erbslöh . In June, Kandinsky developed plans for his activities outside of

216-480: The contemporary, non-figurative art scene in France . As a result of their encounters with Cubist , Fauvist and Rayonist ideas, they moved towards abstraction. Der Blaue Reiter organized exhibitions in 1911 and 1912 that toured Germany. They also published an almanac featuring contemporary, primitive and folk art , along with children's paintings. In 1913, they exhibited in the first German Herbstsalon. The group

240-749: The exhibition toured Europe with venues in Cologne, Berlin, Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim and Göteborg. From February 12 through April 2, 1912, the Second exhibition of the editorial board of Der Blaue Reiter ( Zweite Ausstellung der Redaktion Der Blaue Reiter ) showed works in black-and-white at the New Art Gallery of Hans Goltz (Neue Kunst Hans Goltz) in Munich. The artists of Der Blaue Reiter also participated in these other exhibitions: Adolf Erbsl%C3%B6h Adolf Erbslöh (27 May 1881, New York – 2 May 1947, Icking )

264-561: The gallery under the name Galerie Thannhauser. The first exhibition of the Neue Künstlervereinigung München took place in the Arco-Palais in the same year. In 1911 he began collaborating with Der Blaue Reiter . In 1918 he had himself painted in Berlin simultaneously by Lovis Corinth and by Max Liebermann ; the one he sat for a portrait in the morning, the other in the afternoon. In 1920 his nephew Siegfried Rosengart opened

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288-618: The group Die Blaue Vier ( The Blue Four ) at the instigation of painter and art dealer Galka Scheyer . Scheyer organized Blue Four exhibitions in the United States from 1924 onward. An extensive collection of paintings by Der Blaue Reiter is exhibited in the Städtische Galerie in the Lenbachhaus in Munich. Conceived in June 1911, Der Blaue Reiter Almanach ( The Blue Rider Almanac )

312-484: The group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of modern art; the connection between visual art and music; the spiritual and symbolic associations of color; and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and primitivism , as well as

336-686: The holdings. Justin Thannhauser emigrated to Paris, where he ran a gallery until 1941. Its inventory of artworks was confiscated during the Nazi occupation of Paris. Justin Thannhauser managed to escape to New York, where he continued to deal in art. In 1963 Justin Thannhauser donated his private collection as well as that of his father, Heinrich, to the Guggenheim Museum , New York, where a room commemorates him. Heinrich Thannhauser's daughter, Trude Thannhauser Beyer, also collected art. Der Blaue Reiter Der Blaue Reiter ( The Blue Rider )

360-633: The plan for the "Neue Künstlervereinigung München" (NKVM), which was chartered in 1909. He initially served as its Secretary. Their first informal showing was in Barmen, followed by a public exhibition at the Galerie Heinrich Thannhauser in Munich. Their first museum exhibition was in 1910, at what is now the Von der Heydt Museum in Wuppertal . That same year, he was elected the association's Chairman, upon

384-634: The resignation of Wassily Kandinsky , who helped co-found a competing art group, " Der Blaue Reiter ". In 1913, he participated in creating the Münchener Neue Secession  [ de ] , with some of his associates from the NKVM and former members of the Munich Secession . They held their first exhibition in 1914. He was conscripted in 1915; serving in Flanders and France. The following year, he

408-804: The start of World War I in 1914. The artists associated with Der Blaue Reiter were important pioneers of modern art of the 20th century; they formed a loose network of relationships, but not an art group in the narrower sense like Die Brücke (The Bridge) in Dresden . The work of the affiliated artists is assigned to German Expressionism . The forerunner of The Blue Rider was the Neue Künstlervereinigung München (N.K.V.M: New Artists' Association Munich), instigated by Marianne von Werefkin , Alexej von Jawlensky , Adolf Erbslöh and German entrepreneur, art collector, aviation pioneer and musician Oscar Wittenstein  [ de ] . The N.K.V.M

432-505: The title of the painting had been overwritten. Kandinsky wrote 20 years later that the name is derived from Marc's enthusiasm for horses and Kandinsky's love of riders, combined with a shared love of the color blue. For Kandinsky, blue was the color of spirituality; the darker the blue, the more it awakened human desire for the eternal (as he wrote in his 1911 book On the Spiritual in Art ). Within

456-515: Was a German Expressionist painter; one of the founders of the Neue Künstlervereinigung München . He was born to a merchant family; originally from Barmen . His father, Gustav Adolf (1844-1900), was a junior partner in the export firm, Dieckerhoff, Raffloer & Co., and spent fifteen years at their New York office; returning to Barmen in 1887. Adolf received commercial training, although he displayed some talent for drawing. The year after his father's death, he abandoned his business career to attend

480-591: 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

504-483: Was chosen to be a war painter for the regimental staff in Verdun but, as there was no such official position for non-commissioned officers, he was employed as an assistant clerk. His drawings from the field show portraits of his war comrades, forests and houses that had been destroyed. The colors of his oil paintings from that time were generally dull and pale. He returned to Munich in 1919. Shortly after, he and Adeline took

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528-431: Was co-founded in 1909 and Kandinsky (as its first chairman) organized the exhibitions of 1909 and 1910. Even before the first exhibition, Kandinsky introduced the so-called "four square meter clause" into the statutes of the N.K.V.M due to a difference of opinion with the painter Charles Johann Palmié ; this clause would give Kandinsky the lever to leave the N.K.V.M in 1911. In 1911, Palmié allowed Kandinsky and Marc to leave

552-520: Was disrupted by the outbreak of the First World War in 1914. Franz Marc and August Macke were killed in combat. Wassily Kandinsky returned to Russia, and Marianne von Werefkin and Alexej von Jawlensky fled to Switzerland. There were also differences in opinion within the group. As a result, Der Blaue Reiter was short-lived, lasting for only three years from 1911 to 1914. In 1923, Kandinsky , Feininger , Klee and Alexej von Jawlensky formed

576-444: Was published in early 1912 by Piper in an edition that sold approximately 1100 copies; on 11 May, Franz Marc received the first print. The volume was edited by Kandinsky and Marc; its costs were underwritten by the industrialist and art collector Bernhard Koehler, a relative of Macke. It contained reproductions of more than 140 artworks, and 14 major articles. A second volume was planned, but the start of World War I prevented it. Instead,

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