{"id":"die-brucke","no":678,"name":"Die Brücke","ja":"ブリュッケ","sourceSlug":"die-brucke-the-bridge","era":"1905–1913","family":"前衛","kind":"スタイル","essence":"ドレスデンで結成された若い芸術家集団が、都市、裸像、自然、夜の娯楽を、鋭い輪郭、粗い木版、非自然色へ圧縮した表現主義。青騎士の精神的抽象より、身体、街路、共同制作の切迫した手触りを前へ出す。","cues":["角張った太い輪郭と平坦な非自然色","木版の彫り跡を残す白黒の強い切断","街路の人物や裸像を細長く歪める","赤、橙、緑、紫を隣接させて不安定な空間を作る"],"intents":["反骨","高揚"],"pair":["der-blaue-reiter","expressionism"],"study":["Ernst Ludwig Kirchner, Erich Heckel and Karl Schmidt-Rottluff","Die Brücke portfolios and woodcuts","urban modernity and communal studio practice"],"works":["都市生活や舞台の緊張を、鋭い輪郭と非自然色で伝えるポスターや版画","木版の抵抗と人物の歪みを一つの印刷言語へまとめる出版物"],"recipe":{"type":"文字も木版で彫ったような角張った骨格にし、行を整えすぎず図の切断へ合わせる。","layout":"人物を縦に引き延ばし、道路や室内の斜線を奥へ突き刺して、周囲との距離を詰める。","material":"粗い木版、厚い黒線、吸い込む紙、不透明な赤、橙、緑を使い、彫りの欠けを残す。"},"avoid":"粗い線を“原始的”と呼んで他文化の造形を無名の素材へしない。参照元と植民地主義的な収集背景を確認し、単なる下手さの演出にも落とさない。","colors":["#E0C765","#C94E38","#31594B"],"motif":"woodcut","collection":"Dictionary expansion 38","addedAt":"2026-08-23","source":{"title":"MoMA — Die Brücke","url":"https://www.moma.org/collection/terms/die-brucke-the-bridge"},"reference":{"status":"verified","pageUrl":"https://www.moma.org/collection/terms/die-brucke-the-bridge","credit":"MoMA — Die Brücke"},"en":{"essence":"The Dresden group that compressed the city, nude figure, nature, and nightlife into sharp contour, rough woodcut, and non-natural color. Unlike the Blue Rider's spiritual abstraction, it foregrounds the urgent material contact of bodies, streets, and collective making.","cues":["Angular heavy contours and flat non-natural color","Black-and-white cuts retaining the resistance of wood","Elongated urban figures and nudes","Red, orange, green, and violet creating unstable space"],"works":["Communicating urban tension through sharp contour and non-natural color","Unifying woodcut resistance and distorted figures in print"],"recipe":{"type":"Give letters the angular skeleton of carved wood and align the uneven rows with cuts in the image.","layout":"Stretch figures vertically and drive street or interior diagonals into shallow depth.","material":"Use rough woodcut, heavy black, absorbent paper, and opaque red, orange, and green, leaving chips visible."},"avoid":"Do not anonymize other cultures as primitive source material. Identify provenance and colonial collecting contexts, and do not reduce deliberate distortion to performed incompetence.","study":["Ernst Ludwig Kirchner, Erich Heckel and Karl Schmidt-Rottluff","Die Brücke portfolios and woodcuts","urban modernity and communal studio practice"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}