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* [[underline]] GERHARD MARCKS [[/underline]]
"Born in 1889 in Berlin. Studied under the sculptor Scheibe and met Kolbe and August Gaul. Marcks' art has developed slowly, but his power has become evident."

Prior to 1931, Gerhard Marcks was represented by sculpture in a number of museums in Germany.

* [[underline]] OTTO MUELLER [[/underline]]
"Born 1874 at Libau in Silensia. Joined the Dresden Brucke group in 1910. Otto Mueller learned much from his fellow members of the Dresden Brucke group, especially from Kirchner. During many years, until about 1925, Mueller painted a long series of compositions of straw-colored, slender, angular nudes against thinly painted yellow, green and blue landscapes. Toward the end of his life, Mueller turned to a darker, muffled palette of nut browns, ochres, dull orange, and greens. His subjects too became more varied and exotic. At the time of his death, Mueller's art was gaining in strength and quality."

Prior to 1931, Mueller was represented by paintings in eleven or more museums in the larger German cities.

[[underline]] E. V. NAY [[/underline]]
German - born 1895. A painter of modern abstract school whose works have been widely exhibited in Germany.

* [[underline]] EMIL NOLDE [[/underline]]
"One of the foremost masters in water color was born near Tondern in Schleswig, 1867. Nolde's art developed gradually with little trace of outside influence. His early pictures of landscapes and flowers are sombre in tone with only an occasional prophecy of his later style. About 1906, perhaps through interchange of ideas with the Brucke group, his colors became bolder and more arbitrary. By 1909, his expressionism had come into full vigor."

Prior to 1931, Nolde was represented by paintings in the museums of eighteen of the largest German cities.

* [[underline]] KARL SCHMIDT-ROTTLUFF [[/underline]]
"Born near Chemnitz, Germany, 1884. Schmidt-Rottluff is the most consistent and perhaps the most powerful painter of the earliest group of German expressionists. His palette is in a major key of strong reds, blacks, blues, and yellows. He outlines his figures with heavy, angular contours which seem derived from the leads of stained glass or 15th Century woodcuts, a technique which he employs perhaps more appropriately in his mosaics and woodcuts."

Prior to 1931, Schmidt-Rottluff was represented in fifteen museums in the larger German cities as well as the Detroit Institute of Arts.