There is, however, some slight but tangible foundation for the assertion that the work of the extreme men of Munich is closer to that of the Old Masters than the work of the extreme men of Paris, in that most of the former paint more solidly and substantially, while most of the latter paint more lightly and superficially—just about the difference that exists between the two cities, the two environments. The worker in Munich cannot help being influenced by the German atmosphere, the worker in Paris cannot help being influenced by the French—in fact each is where he is because he finds the particular atmosphere congenial.
“The New Artists’ Federation,” in Munich, was founded in January, 1909, by Adolf Erbslöh, Alexej von Jawlensky, Wassily Kandinsky, Alexander Kanoldt, Alfred Kubin, Gabriele Münter, Marianna von Werefkin, Heinrich Schnabel, and Oskar Wittenstein. During the first year Paul Baum, Wladimir von Bechtejeff, Erma Bossi, Karl Hofer, Moissey Koga, and Albert Sacharoff joined. Paul Baum and Karl Hofer soon resigned their membership. In 1910 the Frenchmen, Pierre Girieud and Le Fauconnier, became members, and in 1911 Franz Marc and Otto Fischer, followed in 1912 by Alexander Mogilewsky.
The first exhibition was held in the winter of 1909 in the Modern Gallery, Munich. Indignation and derisive laughter, and insults from the press were the outward result. Still the seed scattered was not lost. Similar exhibitions were held in many cities of Germany and Switzerland. Everywhere they met with opposition, but also made some friends at each place.
The second exhibition, held in the fall of the following year, brought the members into contact with a large number of outside artists, some of whom have become of great importance in the new art, and most of whom were, up to that time, unknown in Germany. These were the Germans, Hermann Haller, Bernhard Hoetger, Eugen Kahler, Adolf Nieder; the Frenchmen, Georges Bracque, André Derain, Kees Van Dongen, Francisco Durio, Pablo Picasso, Georges Rouault, and Maurice de Vlaminck; finally, the Russians, Mogilewsky, David and Wladimir Burljuk, and Seraphim Sudbinin. This was the first exhibition at which it was possible to rightly estimate the development and the international character of the new movement.
The preparations for the exhibition in the year 1911 led to a split. Some of the members insisted that, as regarded their works, the custom of a jury should be dispensed with, while others were in favor of having the entries rigidly judged in order to insure proper selection. Kandinsky, Kubin, Marc, and Gabriele Münter in consequence announced their withdrawal from the federation. Thus a difference of opinion and convictions was openly vented that had existed in secret for quite a time. The members named, under the name of “Redaktion des Blauen Reiters,” opened a separate exhibition and have since continued to work under this banner.
The New Artists’ Federation, since its third exhibition in 1912, has held a series of exhibits of the works of individual artists in its rooms at Munich, and its members are represented at nearly all important exhibitions in Germany and Switzerland.[45]
The key-note of the modern movement in art is expression of self; that is, the expression of one’s inner self as distinguished from the representation of the outer world.