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The Kirchner Museum was founded in Davos in 1982 and was housed at first in the old post office building in Davos Platz. The Swiss art collector and dealer Eberhard W. Kornfeld, who had already acquired Kirchner's final house on Wildboden in Frauenkirch, near Davos, in the 1960s, and opened there his Kirchner collection to the public, on weekends, was instrumental in setting it up.
Ernst Ludwig Kirchner (6 May 1880 – 15 June 1938) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art.
In March 1940 it arrived at Ferdinand Möller's gallery in Berlin. In 1947 it came to Günther Franke's gallery in Munich. There it was sold to the art collector Josef Haubrich who donated it to the Wallraf-Richartz Museum in Cologne. In 1976 it was transferred to the Museum Ludwig. Berlin street scene (Berliner Straßenszene)
Compared to Kirchner's earlier depictions of buildings and structures, which often showed distorted proportions and perspectives, this image is closer to reality. In his depiction, Kirchner pays attention to the lines of the bridge and precisely reproduces the parabolic construction of the main arch and the semicircular formation of the smaller ...
Ernst Ludwig Kirchner: In the garden of the coffee-house (in German: Im Cafégarten, 1914) Ernst Ludwig Kirchner: Nude combing her hair (in German: Sich kämmender Akt, 1913) Opened in 1967, it features around 400 paintings and sculptures and several thousand drawings, watercolours and prints by members of Die Brücke , the movement founded in ...
The painting has the dimensions of 76 by 70 cm. It bears the inventory number WRM 2752 (WRM = Wallraf-Richartz-Museum). Kirchner's signature is on the top left: EL Kirchner II. Kirchner's half-nude painting shows Doris Große, known as Dodo, with whom he was together from 1909 to 1911, when he moved from Dresden to Berlin. Doris Große was a ...
Kirchner may have seen himself in the male role as a passive sexual object. [4] Between 1919 and 1923, Kirchner photographed a peasant girl with a bow and arrow, seen from below, to make her appear larger. Kirchner's later style, created around 1924, is characterized by a conscious move away from German Expressionism. A sense of abstraction ...
The portrait came to the industrialist and art collector Carl Hagemann collection in 1916. Hagemann was a friend of the artist who, in return for monthly financial support for Kirchner, was allowed to choose a painting from his studio on a regular basis.