Blaue Reiter

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant garde circles, including cofounding the Munich ba...

Since around 1911 Verdilhan's preoccupations brought him very close to the work of the German expressionists, and in particular to the group of early Expressionist artists known as t...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

He exhibited with the Der Blaue Reiter group in Germany in 1912, and at the Armory Show in New York the following year.

He exhibited with the Der Blaue Reiter group in Germany in 1912, and at the Armory Show in New York the following year.

He exhibited with the Der Blaue Reiter group in Germany in 1912, and at the Armory Show in New York the following year.

He exhibited with the Der Blaue Reiter group in Germany in 1912, and at the Armory Show in New York the following year.

He exhibited with the Der Blaue Reiter group in Germany in 1912, and at the Armory Show in New York the following year.

Edita ha un ruolo importante nella rivista e ancor più nell’attività editoriale; le sue opere degli anni ‘20, pubblicate in «Valori plastici» sono collegate all’avanzare della rifles...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant garde circles, including cofounding the Munich ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-ba...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.

He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.

He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.

Naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an al...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.

He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.

In 1912 he visited Kandinsky and briefly joined the Blaue Reiter; he showed at the first Autumn Exhibition.

In 1911 Kandinsky and Franz Marc established Der Blaue Reiter—the Blue Rider—which brought together artists interested in color, spirituality, folk art and alternatives to naturalist...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

In 1913, at the invitation of the German Expressionists’ group Der Blaue Reiter, which had been founded in 1911 by Wassily Kandinsky and Franz Marc, he participated in the Erster Deu...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

In 1913, at the invitation of the German Expressionists’ group Der Blaue Reiter, which had been founded in 1911 by Wassily Kandinsky and Franz Marc, he participated in the Erster Deu...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blau...

He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among...