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  1. Formed in Munich in 1911, The Blue Rider were a community of painters, performers and musicians including Wassily Kandinsky, Gabriele Münter, Franz Marc and Marianne von Werefkin. Together they took creative risks that would define modern art.

  2. 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).

  3. The Blue Rider (German: Der Blaue Reiter) is an oil painting executed in Bavaria in 1903 by the Russian emigré artist Wassily Kandinsky. It is now held in a private collection in Zürich, and shares its name with an almanac and the art movement he would co-found with Franz Marc in the early 1910s.

  4. May 16, 2024 · Of course, the name “Blue Rider” is synonymous with the two artist-editors behind the almanac – Wassily Kandinsky (1866-1944, Russian) and Franz Marc (1880-1916, German) – yet Tate has chosen instead to name-check Kandinsky and his partner Gabriele Münter (1877-1962, German) in the exhibition title.

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    • 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...

  5. The Blue Rider (Der Blaue Reiter) was an informal collective of modern expressionist artists who came together in Munich, Germany in 1911. Led by artists including Wassily Kandinsky, Gabriele Münter and Franz Marc, the group aimed to explore the emotional and spiritual dimensions of art, emphasising abstraction, symbolism and expressive mark ...

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  7. Faced with a rapidly changing industrialised Germany, they yearned for a more spiritual alternative. The name and the symbol of the group was the ‘Blue Rider’. The horse represented creative energy and the rider the artist who controls it, the colour blue symbolising the spiritual.

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