Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16

(42.) Ibid., 106

(43.) Letter from Anton von Werner to the minister of religious and educational affairs, Dec. 7, 1911. The documents, which are in the Potsdam State Archive (Akte Pr.Br.Rep. 30 Bin. C Th 3841 Bl. 1-6), are published in Roland M[ddot{a}]rz, ed., Expressionisten: Die Avantgarde in Deutschland 1905-1920, exh. cat., Staatliche Museen zu Berlin Nationalgalerie und Kupferstichkabinett, 1986, 103-4. Max Pechstein recalled in his memoirs that a policeman had previously interrupted their work at the Moritzburg Ponds, where they practiced nudism and painted, and confiscated one of Pechstein's paintings while threatening to arrest him for endangering morality. Pechstein, Erinnerungen (Wiesbaden: Limes, 1960), 431.

(44.) Donald E. Gordon has linked the figure's forms to Kirchner's interest in mural paintings created about the 6th century C.E. in the Buddhist cave-temples at Ajanta, India, which he knew through John Griffiths, The Paintings in the Buddhist Cave-Temples of Ajanta, Khandesh, India (London, 1896). Gordon, "Kirchner in Dresden," Art Bulletin 48 (1966): 335-66. The flower's role in the poster also recalls the Ajanta murals, in which flowers figure prominently as symbolic offerings.

(45.) For these developments, see H[ddot{u}]tt (as in n. 35), 29-32.

(46.) Schmidt-Rottluff continued this engagement with craft during 1911, contributing textiles to a craft exhibition at the Applied Art School in Hamburg and including fifteen painted wooden chests in his exhibition at Galerie Commeter in the same city. Gerhard Wietek, Schmidt-Rottluff: Oldenburger Jahre 1907-1912 (Mainz: Philipp von Zabern, 1994), 63, 72, 528. For Hamburg's role in Die Br[ddot{u}]cke patronage, see Shulamith Behr, "Supporters and Collectors of Expressionism," in German Expressionism: Art and Society, ed. Stephanie Barron and Wolf-Dieter Dube, exh. cat., Palazzo Grassi, Venice, 1998, 49-52.

(47.) Letter nos. 25, 26, in Kirchner and Schiefler, 58.

(48.) Frederick R. Brandt, German Expressionist Art: The Ludwig and Rosy Fischer Collection, exh. cat., Virginia Museum of Fine Arts, Richmond, 1987, 32-33.

(49.) For the various versions of the distintegration of the MUIM Institute and Die Br[ddot{u}]cke, see G[ddot{u}]nter Kr[ddot{u}]ger, "Max Pechstein in Kunstwissenschaft und Kritik," in Max Pechstein: Das ferne Paradies, ed. Beate Grubert-Thurow and Wilfried Stoye, exh. cat., St[ddot{a}]dtisches Kunstmuseum Spendhaus, Reutlingen, 1995,98-104.

(50.) Letter nos. 45, 46, in Kirchner and Schiefler, 68-70; and diary entry for July 21, 1919, in Grisebach, 51.

(51.) Letter from Kirchner to Karl Osthaus of Dec. 23, 1917, in Hesse-Frielinghaus, 58.

(52.) Grisebach, 46, 52, 59, 68, 249-50, 253, 260, 269-70; and Kornfeld, 160. For Justi's comments about Street, Berlin, see Ludwig Justi, Neue Kunst: Ein F[ddot{u}]hrer zu den Gem[ddot{a}]lden der sogennannten Expressionisten in der National-Galerie (Berlin: Julius Bard, 1921).

(53.) Gordon, cat, no. 53; and Dube and Dube (as in n. 6), cat. no. L/55. Letters nos. 45, 46, in Kirchner and Schiefler, 68-70.