ARTISTS / Modern art
Erich Heckel


Available works
1883born in Döbeln
1904Studies architecture at the Technical University in Dresden (together with Karl Schmidt-Rottluff, Fritz Bleyl and Ernst Ludwig Kirchner)
1905Founds the Expressionist artists' group Die Brücke (later joined by Max Pechstein and, for a time, Otto Mueller and Emil Nolde)
1906abandons studies and dedicates himself to art
until 1907draftsman for the architect Wilhelm Kreis
1911Moves to Berlin with the other Brücke artists (acquaintance with artists such as August Macke, Franz Marc and Lyonel Feininger)
1912Participates in the Sonderbund exhibition in Cologne
1913Dissolution of the Brücke
1915-18Medical service in the First World War in Berlin and Flanders
1919Heckel is a member of the acquisition commission of the National Gallery and was able to advocate for the interests of his painter friends
1937Exhibition ban, as his art was considered degenerate
1949-1955Lectureship at the Academy of Fine Arts in Karlsruhe (teaches Peter Dreher and Klaus Arnold, among others)
1952-1960Member of the board of the Deutscher Künstlerbund (German Artists' Association)
1953Grand Cross of Merit of the Order of Merit of the Federal Republic of Germany
1955Participation in documenta 1 in Kassel
1970Died in Radolfzell on Lake Constance
Heckel is one of the main representatives of German Expressionism. His work spans six decades. Around 1910, five years after the founding of the artists' association "Die Brücke", a distinct group style was achieved, but Heckel soon abandoned it in favor of independent pictorial solutions. The pure colors are broken, the forms twisted. One senses a need for psychological penetration of the figures.
After World War I, Heckel develops a new, world-oriented classicism, which is accompanied by a greater closeness to nature and a brightening of the palette. The pictorial structure solidifies, the landscape watercolor becomes the preferred genre. In the late work one notices a stronger concentration on the two-dimensionality of the picture and a dampening of the coloration. The ornamental autonomy of the picture is given more weight than the reproduction of the immediate visual experience. 
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