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53-557: The group was led by Max Pechstein and César Klein . Linked less by their styles of art than by shared socialist values, the group campaigned for radical artists to have a greater say in such issues as the organisation of art schools, and new laws around the arts. The group merged in December 1918 with Arbeitsrat für Kunst ( Workers Council of the arts – or 'The Art Soviet'). After its founding meeting on 3 December 1918 in Berlin ,

106-641: A professor at the Berlin Academy . Beginning in 1933, Pechstein was vilified by the Nazis because of his art. He was banned from painting or exhibiting his art and later that year was fired from his teaching position. A total of 326 of his paintings were removed from German museums. Sixteen of his works were displayed in the Entartete Kunst ( Degenerate Art ) exhibition of 1937. During this time, Pechstein went into seclusion in rural Pomerania . He

159-463: A sensitive and milieu-oriented objectivity.” From July to December 1920, the Novembergruppe published six issues of the journal Der Kunsttopf . The texts reflected the liberal attitude of the authors, who consisted of members of the association as well as guests. The numerous illustrations documented the heterogeneous stylistic spectrum represented by the Novembergruppe. Recurring themes were

212-471: A serious crisis. The group parted company with its managing director Hugo Graetz in the spring of 1930 and moved its office to the rooms of the gallery Die Kunststube , which was located at Königin-Augusta-Straße 22 in Berlin (today Reichpietschufer, at the height of house number 48). Members had already presented their works here on several occasions, including Otto Möller and Arthur Segal . The management of

265-605: A true dodecaphony , in the sense of Arnold Schoenberg , whom he critically admired. The composer also formally oriented himself on traditional models, such as the sonata form , however he commonly varied it or gave it up entirely in more than a few works in favor of a development form which has no breaks. He always tried to find an individual form for each work, as his symphonic works show in an exemplary manner, in which all cyclic formations are represented, from single-movement to five-movement works. A rather moderately productive composer before 1945 and almost completely silenced during

318-468: Is considered to be the first public screening of abstract film in Germany and at the same time the culmination of experiments in absolute film. The artists were convinced that the experience of the accelerated movement of the technical age called for a new art, and they sought new, innovative forms of representation through film in order to create a genuine art of movement. The Berlin press strongly condemned

371-594: The Donaueschinger Musiktage . In 1929, Hermann Scherchen conducted Butting's Third Symphony in Geneva , which also brought him recognition at the international level. In the same year, the composer became the vice-chairman of the Genossenschaft deutscher Tonkünstler (Co-operative of German Composers). Butting was one of the first composers to confront his art with the medium of radio . He

424-707: The Berlin Baukunst exhibition . The Kazimir Malevich Show in 1927, organised by the November Group, was one of the highlights of its exhibition history. In addition, the association repeatedly exhibited in local galleries in Berlin: for example, in April/May 1920, an exhibition was held at the Gurlitt Gallery. This was followed by a smaller Novembergruppe exhibition from 4 to 30 November 1920 at

477-715: The Munich University . Butting learned composition by private instruction from Walter Courvoisier , for the most part, whom Klose had recommended to him after a disagreement. Butting was medically unfit for service in World War I . On the urging of his father, he worked as an assistant in his father's business when he returned to Berlin in 1919, where he remained until 1923. However, he was allowed sufficient free time for composing. He quickly got in contact with other young artists and became friendly with Walter Ruttmann and Philipp Jarnach , among others. In 1921, Butting

530-824: The Pacific Ocean . Upon the outbreak of World War I , Pechstein was interned in Japan and returned to Germany via Shanghai , Manila , and New York . He was sent to fight on the Western Front (World War I) in 1916. Despite his notably conservative stance and style, after the German Revolution of 1918–19 , Pechstein joined two radical socialist groups: the Arbeitsrat für Kunst and the November Group (German) . Beginning in 1922, Pechstein became

583-522: The 1920s. He gradually managed to develop a distinctive personal style, which is pre-eminently characterized by counterpoint and is equally close to both musical neoclassicism and expressionism . The meter/rhythm is complex for the most part and commonly contains changes in time. The harmony varies within an often dissonant, sharpened tonality. From time to time, there are twelve-tone themes, for example in Sinfonie Nr. 9 , however Butting never develops

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636-521: The Nazi regime, Butting experienced a new creative impetus after the end of the war. The fact that the largest number of his works by far were created in the GDR is explainable above all in that he now made it one of his responsibilities to also write "everyday music", which was supposed to fulfill the state demand for a popular, easy-to-understand art. He started from some works he had already written especially for

689-543: The November Group being the most strongly represented group with 24 artists. The show became a great success with the Russian public, to whom German art had been largely unknown until then. In 1925, a cohesive group of Prague architects participated in the November Group's exhibition at the Große Berliner Kunstausstellung . In 1926, more than 30 architects from the November Group participated in

742-529: The Novembergruppe published an appeal in the Expressionist journal with the title Die schöne Rarität, which was also sent out as a circular letter to artists throughout Germany on 13 December 1918, soliciting further members. The association's first office was located at 113 Potsdamer Strasse in Berlin (destroyed during the Second World War, level with today's No. 81). The house belonged to

795-649: The Novembergruppe was no longer permitted to participate in public exhibitions. The association was officially deprived of its legal capacity on 24 July 1935. Whether the dissolution of the Novembergruppe was requested or enforced by the Nazis themselves cannot be said with certainty due to the patchy nature of the files. The November Group was called the Red November Group by the National Socialists. Because of their commitment to abstraction and atonality, their members were reviled as Bolshevik. In

848-671: The Novembergruppe's section at the Große Berliner Kunstausstellung . Also in 1923, Ivan Puni and László Péri were among the exhibitors. In the spring of 1922, the “Cartel of advanced artistic groups in Germany” (in German: Kartell fortschrittlicher Künstlergruppen in Deutschland ), of which the November Group was a member, participated unitedly in the First International Art Exhibition in

901-461: The Novembergruppe. Of the 49 founding members from the Sturm circle, Hilla Rebay was only one woman, although a large number of women were active in the Sturm circle. This was different at exhibitions of the November Group. Here, several women participated in exhibitions, in addition to Hannah Höch and Marie Laurencin, for example, Emy Roeder and Emmy Klinker. A definitive list of all the members of

954-600: The Protection of Performance Rights). In the GDR, Butting received numerous honors: he received the silver Patriotic Order of Merit in 1961 and later in gold, an honorary doctorate from the Humboldt University of Berlin in 1968, and the National Prize of East Germany in 1973. Butting's music at first took up the style of Anton Bruckner and Max Reger and moved closer to more modern trends in

1007-646: The aforementioned Berlin Secession all by himself and without paintings of other members of the Brücke. This expulsion was a relatively happy one as Pechstein had been receiving rewards and recognition far beyond his peers owing to his conservative style that appealed to a wider audience. This recognition only distanced him from the group and bred animosity among the members. His paintings eventually became more primitivist , incorporating thick black lines and angular figures. Looking for inspiration, he traveled to Palau in

1060-432: The architect Wilhelm Kreis . It was here, starting in 1902, that he became a pupil of Gussmann; a relationship that lasted until 1906 when Pechstein met Erich Heckel and was invited to join the art group Die Brücke . He was the only member to have received formal art training. He was an active member of the Brücke until 1910 and often worked alongside Brücke painters creating a homogeneous style of this period. In 1905 he

1113-512: The art dealer and publisher Wolfgang Gurlitt . The artists and founding members César Klein and Max Pechstein in particular had been associated with the art dealer for some time. In the first few months, 170 artists joined the newly founded Novembergruppe: 49 of them alone came from the editorial environment of Herwarth Walden 's magazine Sturm. In the beginning, the artists' group was joined by Italian Futurists, important DADA artists as well as important Bauhaus members, some of whom belonged to

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1166-505: The art shop was in the hands of Ludwig Hermann Schütze and Charlotte Luke. The November Group held regular art festivals, costume parties, studio visits as well as literary and musical events. After the National Socialists came to power, all artists' and art associations were brought into line in the spring of 1933. This is effectively equivalent to an exhibition ban for the Novembergruppe. Like all avant-garde associations,

1219-540: The artist Hannah Höch . The project was discontinued after only one issue. With the dissolution of the Arbeitsrat für Kunst in spring 1921, many architects who had hitherto been organised in this association joined the November Group. In the same year, artists from the left wing of the November Group called for an end to the “bourgeois development” of the artists. The declaration was signed by Otto Dix , George Grosz , Raoul Hausmann, John Heartfield , Hannah Höch, Rudolf Schlichter and Georg Scholz . On 20 January 1922,

1272-557: The artists of the November Group was a style syncretism that was often referred to as Cubofutoexpressionism. The neologism refers to Cubism , Futurism and Expressionism . The November Group was known for the diversity of its styles and disciplines, but is also criticised for this lack of uniformity and the resulting difficulty in classifying them stylistically. This diversity ranged from Expressionism and Cubism to Constructivism and represented “a middle ground between visionary and lyrical expressivity, constructive pictorial organisation and

1325-632: The beginning of 1939. To ensure the survival of the business and thus be able to support himself, the composer finally found himself obliged to join the Nazi Party in 1940. After the Second World War, Butting gave up his business activities and lived as a freelance composer in East Berlin. In 1948, he became a member of the Kulturbund der DDR ( Cultural Association of the DDR ) and chief editor in

1378-448: The book and art antiquarian shop Fraenkel & Co (Josef Altmann). Josef Altmann, who had run the small gallery since 1914, can be considered the first art dealer of the Novembergruppe, who also represented individual members. Altmann's gallery again held a group exhibition from 1 to 30 November 1921. The group was initially founded mainly by painters Max Pechstein , Georg Tappert , César Klein , Moriz Melzer and Heinrich Richter . At

1431-501: The diatribe Säuberung des Kunsttempels (The Cleaning of the Temple of Art) by Wolfgang Willrich , 174 former members and guests of the association were listed by name and publicly pilloried as “degenerate”. Like many avant-garde artists, former members of the Novembergruppe were dismissed from public office. According to Oskar Schlemmer, the dissolution of the artists' group began as early as 1932. Exhibitions were regularly organised as

1484-443: The driving forces under their leader Max Butting (later replaced by Hans Heinz Stuckenschmidt ). At the end of 1924, Ludwig Mies van der Rohe took over the chairmanship of the association. In January 1925, the latter proposed that the management of the group must be professionalised in commercial terms. Hugo Graetz then became managing director and the association's office was moved to his gallery (Kunsthandlung Hugo Graetz), which

1537-652: The first letter of the surname: Max Pechstein Hermann Max Pechstein (31 December 1881 – 29 June 1955) was a German expressionist painter and printmaker and a member of the Die Brücke group. He fought on the Western Front during World War I and his art was classified as Degenerate Art by the Nazis . More than 300 paintings were removed from German Museums during the Nazi era . Pechstein

1590-416: The first meeting on 3 December 1918 they were joined by Karl Jakob Hirsch , Bernhard Hasler , Richard Janthur , Rudolf Bauer , Bruno Krauskopf , Otto Freundlich , Wilhelm Schmid , the sculptor Rudolf Belling and the architect Erich Mendelsohn . From this group the first working committee were drawn. As in other revolutionary artists' associations, there were only a few women on the membership list of

1643-608: The following three years). After being categorically rejected from exhibiting in the Berlin Secession in 1910, he helped to found and became chairman of the New Secession and gained recognition for his decorative and colorful prints that were inspired by the art of Van Gogh, Matisse , and the Fauves . In 1912, after years of rising tensions, Pechstein was expelled from the Brücke after exhibiting some of his work in

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1696-458: The general assembly of the Novembergruppe decided to admit writers and sound artists. In 1922, the decentralised November Group restructured away from a conglomeration of local groups and became part of the “Cartel of advanced artistic groups in Germany” (in German: Kartell fortschrittlicher Künstlergruppen in Deutschland ). As well as painters, there were many artists from other disciplines such as architecture and music. The musicians became one of

1749-568: The group is difficult to establish due to a lack of early documentation. According to research conducted by the Berlinische Galerie as part of the exhibition project Freedom. The art of the Novembergruppe 1918–1935 (2018), three lists of members have survived. Georg Tappert compiled a handwritten list of members in 1918, which is now in the estate of Walter Gropius in the Bauhaus Archive Berlin . A second list with

1802-599: The heirs of Hugo Simon the Pechstein entitled Nus dans un paysage . In 2023, Christie's brokered a settlement with the heirs of Robert Graetz , a Jewish textile industrialist and art collector who was deported and murdered by the Nazis, concerning Still Life With a Cup , which Graetz's daughter sold as a refugee in South Africa. He was a prolific printmaker, producing 421 lithographs , 315 woodcuts and linocuts , and 165 intaglio prints, mostly etchings . He

1855-512: The membership of the Novembergruppe was printed in the catalogue of 1925. A third list of members from 1930 was compiled by the Novembergruppe's managing director, Hugo Graetz, a copy of which is now in the Archive of the Academy of Arts in Berlin. Among the mostly over 120 members were architects, painters, musicians and art theorists. The following is a listing of the members alphabetically by

1908-863: The most important means of self-expression. Every year, the members of the artists' group were represented at the Große Berliner Kunstausstellung (Great Berlin Art Exhibition) with their own room. In addition, they exhibited together with the artists of their local groups scattered throughout the republic of the Weimar Germany . The Novembergruppe invited important international artists or representatives of artist groups to its exhibitions. Thus in 1919 Marc Chagall , in 1920 Georges Braque , Fernand Léger and Marie Laurencin , in 1922 Henryk Berlewi and in 1923 El Lissitzky (with his legendary Proun Room) were represented in

1961-479: The older Werkbund. The artists of the November group described themselves as radical and revolutionary. Their work, like that of the similar Arbeitsrat für Kunst (Working Council for Art), aimed to support a socialist revolution in Germany. A key objective of the group was the union of art and the people. Furthermore, the group tried to influence public and cultural aspects of society. In order to be entered in

2014-532: The radio at the end of the 1920s, which are stylistically close to sophisticated light music. In the center of Butting's works are the ten symphonies, which identify him as one of the most important German symphonists of his generation. In addition to these, he wrote a chamber symphony for thirteen solo instruments, two symphoniettas ("little symphonies") and a triptychon for large orchestra. Aside from that, he wrote chamber music above all, among which ten string quartets stand out. Others of his remaining works include

2067-460: The register of associations, the association formulated the “representation and promotion of its artistic interests” as the purpose of its association in its statutes and gave itself an organisational form that endured with slight modifications in the following years. The executive committee consisted of a chairman, a secretary and a treasurer. The association had itself entered in the Berlin register of associations on 20 August 1920. Characteristic of

2120-625: The rooms of the Düsseldorf department stores' Leonhard Tietz . One of the most important international exhibition collaborations was a graphics exhibition held in collaboration with the Italian Futurists at the Casa d'Arte in Rome from 23 October to the end of November 1920, arranged by Filippo Tommaso Marinetti and Novembergruppe member Enrico Prampolini . In 1921, the association

2173-420: The screening. At the beginning of 1927, all the architects except Alfred Gellhorn left the November Group and tried to represent their interests in the architects' association Der Ring (The Ring). Several visual artists and musicians also left the Novembergruppe in 1927. The loss of so many prominent comrades-in-arms plunged the association, which from this point on consisted of some 72 permanent members, into

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2226-575: The social responsibility of art and the opening of disciplines to collaborative work. At the beginning of 1921, Raoul Hausmann attempted to take a leading role in the November Group. He drafted a sketch for the redesign of the Kunstopf in January. Together with Hans Siebert von Heister, Hausmann edited a new journal entitled NG (publication of the November Group), whose cover was designed by

2279-761: The state radio committee of the GDR . In 1950, he was a founding member of the DDR Academy of Arts, Berlin of which he was vice-president from 1956 until 1959, and a board member of the Verband Deutscher Komponisten und Tonsetzer (Association of German Composers, the VdK of the GDR) as of 1951, as well as the leader of the advisory council of the Anstalt zur Wahrung der Aufführungsrechte (AWA, Institute for

2332-677: Was a German composer . Max Butting was the son of an ironmonger and of a piano teacher. He received his first musical instruction from his mother and later from the organist Arnold Dreyer. After attending secondary school ( Realgymnasium ), he studied at the Akademie der Tonkunst (Academy of Composition) in Munich from 1908 to 1914. There, he received instruction in composition from Friedrich Klose , conducting from Felix Mottl and Paul Prill, as well as singing from Karl Erler. He also attended lectures in psychology , philosophy and musicology at

2385-557: Was admitted into the left-wing Novembergruppe and he led their musical events until 1927. In 1925, he was also a musical journalist for the " Sozialistischen Monatsheften " ( Socialist Monthly Magazine ). His works became better known through performances at the music festivals of the Gesellschaft für Neue Musik (Society for New Music), where Butting worked as a member of the board in the German section between 1925 and 1933, and at

2438-651: Was born in Zwickau , the son of a craftsman who worked in a textile mill. The family of eight lived on the father's salary. An early contact with the art of Vincent van Gogh stimulated Pechstein's development toward expressionism . He first worked as a decorator in his home town before enrolling at the School of Applied Arts and then at the Royal Art Academy in Dresden , where he met the painter Otto Gussman and

2491-696: Was in Dresden where the museum of ethnology showed wood carvings from the South Seas. As a result he developed his first woodcut. In 1907 Pechstein traveled to Italy to receive an award, and upon his return in 1908 spent time in Paris where he met the Fauvist painter Kees van Dongen whom he persuaded to join Die Brücke. Later that year Pechstein moved to Berlin (a move that fellow painters were to make in

2544-601: Was located at Achenbachstraße 21 (at the level of today's Lietzenburger Straße 33) in Berlin-Schöneberg . On 3 and 10 May 1925, the November Group, in cooperation with the cultural department of UFA , organised the matinée Der absolute Film (The Absolute Film) at the Ufa-Palast on Kurfürstendamm in Berlin. Abstract and surrealist avant-garde films by German and French artists, including Ludwig Hirschfeld-Mack and Francis Picabia , were presented. The matinee

2597-751: Was married to Charlotte Karpolat from 1911 until 1923 and later was married to Marta Möller. He died in West Berlin and is buried in the Evangelischer Friedhof Alt-Schmargendorf in Berlin. At a 1999 Sotheby's auction, The Yellow Mask I (1910), the portrait of a woman wearing a yellow mask, was sold for $ 1.37 million. In 2008, Zirkus mit Dromedaren (c. 1920) was auctioned for £1.9 million in London. Max Butting Max Butting (6 October 1888 in Berlin , German Empire – 13 July 1976 in Berlin, East Germany )

2650-555: Was one of his students. In January 1933, Butting was even named a member of the Prussian Academy of Arts , however it became clear soon after Adolf Hitler took power that he was not wanted by the National Socialists . Until 1938, Butting was still able to work in the copyright company, STAGMA. After that, he again had to exist from his father's ironmonger business, partial ownership of which he had inherited after his father's death in 1932, and which he took over on his own at

2703-517: Was reinstated in 1945, and subsequently won numerous titles and awards for his work. Many of Pechstein's collectors were Jews whose collections were seized by the Nazis or lost owing to Nazi persecution. In May 2013 the Bavarian State Paintings Collections agreed to restitute Pechstein's White House , (1910) and his Meadow Valley (1911) to the heirs of Curt Glaser . In July 2021, France decided to restitute to

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2756-810: Was represented at the 16th Jury-Free Art Exhibition at the Stedelijk Museum in Amsterdam from 5 February to 6 March, at the invitation of the Dutch artists' group De Onafhankelijken . In October 1924, the First General German Art Exhibition in Soviet Russia took place in Moscow , which subsequently travelled to Leningrad (now Saint-Petersburg) and Saratov . Thirteen German artists' associations participated, with

2809-429: Was thus a member of the cultural advisors of the Funkstunde (Radio Hour) from 1926 until 1933 and the leader of a studio for radio interpretation at the Klindworth-Scharwenka Conservatory from 1928 until 1933. Aside from that, he held master courses in radio composition at the Rundfunkversuchsstelle (Radio Experimental Office) of the Berliner Hochschule für Musik (Berlin College of Music), where Ernst Hermann Meyer

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