In their experimentation with colour, the Brücke artists were influenced by prevailing currents of European modernism, particularly by the Post and Neo-Impressionists and the vivid compositions of the Fauves, which the Brücke artists are likely to have seen as early as 1906. In its bold and vivid use of colour Kühler Morgen captures something of the passion and energy felt by these young artists. In the present work the roadway is painted in deep reds and violets and the bushes, trees and the sky are made up of a striking conglomeration of blues, yellows and greens. As such, the work is indicative of the singular style that defines Schmidt-Rottluff’s œuvre of this period.
Barry Herbert observed of Schmidt-Rottluff's Brücke works: ‘His work reached an extreme pitch of emotional intensity in its semi-abstract handling of form and colour without ever quite losing contact with tangible reality. The brilliantly coloured, loosely applied paint communicates that feverish involvement with the subject that distinguished the young German artist’s vision from the more impersonal approach favoured by Matisse, and identified him as, above all, a direct successor to Van Gogh and Munch’ (Barry Herbert, German Expressionism, Die Brücke and Der Blaue Reiter, London, 1983, p. 118).
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