NARRATOR:
Ernst Ludwig Kirchner’s Bathers Beneath Trees is a vivid example of how this German Expressionist’s images project an aggressive forcefulness. He distorted anatomy, scale, and perspective, and used strong colors and jagged angular brushstrokes. Like Kirchner’s exotic nudes, the opulent foliage and the canopy of trees appear wild and uncivilized. Behind them, a steep blue oval horizon rears up.
Kirchner’s recurring subjects are nudes, mountainous landscapes, and city streets. His paintings are directly related to his woodcuts, filled with violence and angst. Carving in wood to make these prints inspired him to reach his artistic goal.
KIRCHNER (ACTOR):
“If one traces the curves in the human body, one is led to the origins, to the spiritual energy that generated these forms and folds.”
NARRATOR:
In 1905, eight years before he made this painting, Kirchner organized Die Brucke, or The Bridge, in Dresden, with Erich Heckel and Karl Schmidt-Rottluff. These earliest exponents of German Expressionism introduced modern art into Germany. They were strongly influenced by the work of van Gogh and Gauguin, and owe as much to German art, especially the late Gothic.
After being drafted into the army during World War I, Kirchner suffered a nervous breakdown. He sought refuge in Switzerland, where he remained until his death in 1938. By the mid-1930s, the Nazis had labeled German Expressionism “decadent.” Kirchner’s works were under attack; many were later confiscated.
Bathers Beneath Trees, Fehmarn
1913
Ernst Ludwig Kirchner (German, 1880-1938)
On View
For this scene of nudes in a landscape, Kirchner reimagined the island of Fehmarn as a lush, tropical paradise. A founding member of the German Expressionist collective Die Brücke (The Bridge), Kirchner drew inspiration for his fractured forms and bold palette from the so-called “primitive” nonwestern art he encountered in Germany’s anthropological museums as well as French Post-Impressionist pictures exhibited in Berlin and Dresden. Here, Kirchner’s slashing brushstrokes betray a debt to Cézanne, while green and orange flesh tones suggest the influence of Van Gogh. But the determining inspiration seems to have come from Gauguin. His paintings of Tahiti in the 1890s present the island as a premodern paradise, inspiring Kirchner to describe the Baltic island where he spent his summer vacations as a land of “South Sea opulence.”
Details
- Artist Name: Ernst Ludwig Kirchner (German, 1880-1938)
- Title: Bathers Beneath Trees, Fehmarn
- Date: 1913
- Medium: Oil on canvas
- Dimensions: 59 1/2 x 47 1/2 in. (151.1 x 120.7 cm)
- Credit Line: Norton Simon Art Foundation
- Accession Number: M.1994.1.P
- Copyright: © (for works by E. L. Kirchner) by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern
Object Information
Estate of the artist in 1938;
Estate of artist’s wife, Erna Kirchner until 1945;
Basle Art Museum (maintaining estate) 1945/46-1954;
Brothers of artist, Biberach, Germany, 1954-1955;
[Roman Norbert Ketterer, Lago di Lugano, Switzerland (executor of artist’s estate), 1955-1969];
The Norton Simon Foundation, 1969-1994, transferred to;
Norton Simon Art Foundation.
Estate of artist’s wife, Erna Kirchner until 1945;
Basle Art Museum (maintaining estate) 1945/46-1954;
Brothers of artist, Biberach, Germany, 1954-1955;
[Roman Norbert Ketterer, Lago di Lugano, Switzerland (executor of artist’s estate), 1955-1969];
The Norton Simon Foundation, 1969-1994, transferred to;
Norton Simon Art Foundation.
Austellung der Berliner Sezession
- Sezessionshaus, 1917-10 to 1917-12
Ausstellung der Berliner Sezession
- Sezessionshaus, 1918 to
Ernst Ludwig Kirchner
- Kunsthalle Bern, 1933-03-15 to 1933-04-17
E. L. Kirchner
- Busch-Reisinger Museum, 1950-12-08 to 1951-01-12
Ernst Ludwig Kirchner
- New York, Curt Valentin Gallery, 1952-04-12 to 1952-05-10
[on loan]
- Museum of Modern Art (New York, NY), 1952 to
Austellung Ernst Ludwig Kirchner 1880-1938: Gemälde, Aquarelle, Zeichnungen, Graphik. Zur Erinnerung an den 75. Geburtstag des Künstlers
- Stuttgart, Württembergischer Kunstverein, 1956-09-08 to 1956-10-20
Maler der Brucke
- Stuttgard, Staatsgalerie, 1959-05-25 to 1959-06-28
Meisterwerke des deutschen Expressionismus: E. L. Kirchner, E. Heckel, Schmidt-Rottluff, M. Pechstein, Otto Mueller
- Bremen, Kunsthalle, 1960-03-20 to 1960-05-01
- Hanover, Kunstverein, 1960-05-15 to 1960-06-26
- Wallraf-Richartz-Museum, 1960-09-18 to 1960-11-20
- The Hague, Stedelijk-Museum, to
- Kunsthaus Zürich, 1961-05-18 to 1961-06-18
L'Espressionismo: Pittura, Scultura, Architettura
- Florence, Palazzo Strozzi, 1964-05-01 to 1964-06-30
Le Fauvisme français et les débuts de l'Expressionisme Allemand
- Paris, Musée National d'Art Moderne, 1966-01-15 to 1966-03-06
- Munich, Haus der Kunst, 1966-03-26 to 1966-05-15
Ernst Ludwig Kirchner and Blau-Rot
- Kunsthalle Basel, 1967-10 to
Ernst Ludwig Kirchner
- Lugano, Museo d'Arte Moderna, 2000-03-12 to 2000-07-02
Ausstellung Der Berlinger Sezession
- Sezessionshaus, 1917-10-01 to 1917-12-31
Meisterwerke Des Deutschen Expressionismus
The Blue Four and Their Contemporaries
- Norton Simon Museum, 1991-06-20 to 1992-05-24
- Ketterer, R. N., Moderne Kunst VI, no. 40 p. 71
- Apollonio, Umberto, "Die Brücke" e la cultura dell'espressionismo, 1952, no. 42
- Grohmann, Will, E. L. Kirchner, 1961, p. 96
- Masterpieces from the Norton Simon Museum, 1989, p. 179
- Gordon, Donald E., Ernst Ludwig Kirchner, 2000, no. 357 p. 371
- Campbell, Sara, Collector Without Walls: Norton Simon and His Hunt for the Best, 2010, cat. 645 p. 322
- Jill Lloyd and Janis Staggs, Ernst Ludwig Kirchner, 2019, Fig. 18 p. 46, p. 48; p. 48 (ill)
Image reproduction permission may be granted for scholarly or arts related commercial use. All image requests, regardless of their intended purpose, should be submitted via the reproduction request form.
Images may be protected by copyright and other intellectual property rights. Additional permission may be required.
Please allow up to four weeks for your request to be reviewed. Approved requests for the reproduction of an image will receive a contract detailing all fees and conditions of use of the image. Upon receipt of both the signed contract and full payment, the Office of Rights and Reproductions will provide the image. A complimentary copy of the published material must be provided to the Norton Simon Museum.