Ernst Ludwig Kirchner. Between painting and photography

The invention of photography ranks among the most significant cultural and artistic events of the 19th century. Photography rapidly evolved into a mass-market "image machine," allowing almost anyone who could afford it to capture their surroundings. Notably, the depiction of people became easily attainable with unparalleled ease, relatively high speed, and accuracy. This shift diminished painting's claim as a medium for documentation and ultimately led to a new (self-)understanding of this art form. Many artists, such as Alfons Mucha, André Derain, or Edgar Degas, embraced photography and its possibilities early on, using it both as a reference and inspiration and as an independent artistic medium.

However, only a few expressionist artists seriously engaged with photography in the long term, notably Gabriele Münter and, above all, Ernst Ludwig Kirchner. His first photographs were taken in Dresden in 1909. He documented his stays in Fehmarn as well as his Berlin studios and extensively explored this medium throughout his time in Switzerland. Kirchner left behind approximately 1300 glass and cellulose negatives, vintage prints, and five bound photo albums with 900 images of his paintings, drawings, sculptures, and prints, including installation photos of exhibitions. Most of these objects are now housed in the collection of the Kirchner Museum Davos.

Work photographs, primarily aimed at precisely reproducing his creations and thus disseminating his works, constitute a core component of Kirchner's photographic oeuvre. By personally taking photographic reproductions of his works and strictly stipulating that only his own images could be used for publications, Kirchner maintained control over the quality and selection of his illustrations. Regarding his paintings, these photographs now also provide valuable insights into works that were later revised or lost.

Another aspect of Kirchner's photographic work is devoted to artistic experiments with familiar themes such as landscape, portraiture, and studio scenes. They evidently operate under a different premise and served Kirchner not only as inspiration but also blur the boundaries between documentary and artistic photography. Consequently, the artist adeptly used photography as a tool in his creative process.

The question of whether the painter considered himself a photographic artist can only be answered ambiguously because his photographic work fluctuates between documentation, creative image-making practices, and the joy of the new visual medium. Influences of photography on his painting are evident within his works, yet it is often overlooked that creative developments and influences typically occur reciprocally. Without painting and its centuries-long engagement with classical themes, compositions, and an evolutionary aesthetic, photography as we know it would not exist. The deliberate use of light and shadow and the characteristic pose of a portrayed figure are just two examples illustrating the visual continuity from painting to photography. Conversely, photography, for instance, inspired the way the Impressionists cropped their subjects. Their compositions depict forms and figures cut off at the edges of the canvas in a way that appears accidental, enhancing the impression of a fleeting moment – a compositional technique that also appealed to the Expressionists.

When Kirchner began with photography at the beginning of the 20th century, he could already look back on a generation of painters trained in photography who could integrate photographic manipulation techniques into their painting. As a graduated architect and avant-garde artist, Kirchner simply could not use photography solely as a technical reproduction tool independent of art production. He was too familiar with pictorial techniques and compositions, and the artistic staging permeates his photography. Our exhibition focuses particularly on a series of images from the collection of the Kirchner Museum Davos that have not yet been thoroughly examined. Some of the glass negatives show traces of the artist's manipulation: areas of hatching and linear figures scratched into the glass – a significant theme in Kirchner's artistic exploration of photography. Were these attempts at composition, or did Kirchner experiment with editing techniques to influence photography artistically?

This exhibition now delves into this unique interplay between painting and photography in the painter's oeuvre. "Ernst Ludwig Kirchner: Between Painting and Photography" showcases Kirchner's innovative use of photography – not necessarily as an independent medium of art production but as a tool preceding his paintings, significantly shaping his motifs, painting style, and compositions.

By presenting a comprehensive overview of Kirchner's photographic work alongside the painting collection of the Kirchner Museum Davos, the exhibition aims to shed light on Kirchner's contribution to the osmotic connection between these two media and highlight how photography, in the hands of a masterful painter, became an integral tool.

Selective loans of unique key works complement the exhibition. An extensive exhibition newspaper with in-depth content will be available.