Enrique Hernandez

ARTH 241 – Romberg

February 26, 2018
Analysis of Modern Society Through Street, Dresden (1908) by Ernst Ludwig Kirchner

Artist Ernst Ludwig Kirchner was one of the most powerful forces when it came to

establishing the German Expressionist group, Die Brücke (The Bridge) in 1905. Die Brücke was

founded in Dresden, Germany and was comprised of other expressionist artists, much like

Kirchner, who depicted modern life through their own particular lenses and mediums. Kirchner

himself lived in Dresden and at first glance of Street, Dresden (1908), the painting depicts the

Dresden crowds on a normal day in the city. Similarly, other German Expressionists such as,

Paula Modersohn-Becker and Gabrielle Münter, Kirchner’s works often depicted the subject

matter through very avant-garde techniques, resulting in paintings that were striking and often

creeping into the minds of modern day civilians. Street, Dresden (1908) can be alluded to

Ferdinand Tonnies, Community and Civil Society (1887), which dissects the definitions of

community and society in the modern age.1 Given that many civilians during this era were

adjusting to a new social climate, including Kirchner himself, Tonnies’s insight clarifies how

“community” and “society” have changed through time, and also how the Modern world reflects

these newly conceived notions.

At the center of Street, Dresden (1908) are two women who are walking towards viewers

in the downtown street. One woman wears a green dress, white scarf, and straw hat with flowers,

while the other wears a white topcoat and blue skirt, along with a black hat. In addition to the

two central women, there is also a young girl at the center of the painting with blonde braids and

wearing all black. Apart from the three distinguishable figures, the painting also depicts several

other women and the rest of the crowd in the downtown street. The painting is extremely busy; it

1
Ferdinand Tonnies, Community and Civil Society (1887) (Cambridge: Cambridge University Press, 2001), 17-24,
52-57.

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Enrique Hernandez
ARTH 241 – Romberg
February 26, 2018
feels just as if you were walking down a city street in Chicago or New York and there is a

diverse mix of faces, clothing, scents, and energy. Kirchner’s technique in Street, Dresden teeters

on voyeurism, as viewers feel as if they are looking from the outside within. Much like Vincent

Van Gogh, it appears Kirchner applied the paint with brushstrokes that were wide and

unblended. In this way, the hues of pink, magenta, blue, and green can be vividly seen, but do

not take away from the sense of motion the painting provides. The color palette is extremely

expressive and evokes emotions of anxiety and agitation. This could be in part due to the fact

that only silhouettes of the people featured are visible in the painting. Kirchner appears to have

manipulated their facial features to be undistinguishable through segmented strokes, only

amplifying the sense of anxiety, as none of these subjects are able to be recognized.

The sense of modern life as painted by Kirchner in Street, Dresden encompasses the

definitions of “community” and “society” as defined by Tonnies. Tonnies defines “community”

as “genuine, enduring life together.”2 Community relationships are those that are organic and

only grow stronger through time. Much like the bond between mother and child, a romantic

relationship, or a sibling relationship, these relationships serve as the foundation for our

conceived notions of what a community should be. Arguably the most powerful of the three is

the relationship between mother and child, as a child learns much about life, love, and how to

live through their mother. In contrast, Tonnies defines “society” as “transient and superficial.”3

Society is based upon structures and norms by which we should live by and become accustomed

to. In addition to this, society’s superficiality is often rooted in these norms (i.e. Gender roles,

proper manners, etc.) and provide a framework by which to live your life. When comparing

2
Tonnies, 19
3
Tonnies, 19

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Enrique Hernandez
ARTH 241 – Romberg
February 26, 2018
community to society, it is clear that every individual is arguably more at peace and comfortable

when placed in their community environment. However, by society’s standards, we must

abandon our comfort zones, and approach the world with what is often a facade, or a different

representation of who we are.

Street, Dresden (1908) embraces the definition of society rather than community. The

psychological effects as prompted through the brushstrokes and techniques of Kirchner evokes

the anxiety that one might face in a city environment. Although arguably everyone adapts to new

environments, societal adaptation proves to be extremely difficult, and often requires much more

time. Take for instance the divisive political climate in the United States; a mere 50% of the

nation voted for a candidate that openly embraced misogyny, racism, and sexism. Which proves

that even in 2018, half of the population is embracing societal constructs that many assumed to

be a thing of the past. For the remaining half of the population who voted against this candidate,

and arguably a much more liberal society, these results were shocking. Therefore, what makes

Kirchner’s work so prolific is its ability to capture the jarring nature of society at large.

Kirchner’s technique, much like society itself, is unfocused, abstract, and layered in a way that is

difficult to explain, but at once, recognizable. In the way that diversity makes up a society,

Street, Dresden (1908) embraces diversity, especially in color palette, but also evidently shows

how overwhelming modern life can be.

Kirchner’s works as a part of Die Brücke often carried the same effects of Street,

Dresden (1908) and showed an individual’s struggle to grapple with a changing society and

modern life. In allusion to Tonnies, Street, Dresden depicts the psychological turmoil and

increased sense of alienation within a society, especially with the advancements in the modern

age. By abandoning a sense of community, with respect to his membership within Die Brücke,

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Enrique Hernandez
ARTH 241 – Romberg
February 26, 2018
Kirchner accurately depicts the struggle of an individual trying to live in a rapidly changing

society where all meanings are muddled, and reality is obscured.

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Enrique Hernandez
ARTH 241 – Romberg
February 26, 2018
References

Ferdinand Tonnies, Community and Civil Society (1887) (Cambridge: Cambridge University
Press, 2001), 17-24, 52-57.