Kirchner captured a diverse range of themes within his photographic work, including nude work, scenes from within his own studio plus, of course, portraits and landscapes. He was an experimental artist by nature but particularly so within this medium. He saw so many new possibilities within photography that remained relatively untapped, as opposed to oil painting, watercolour painting and drawing which had developed over many centuries. The portrait photograph that we display here is from 1910 and is of Franzi Fehrman.
There has been a huge collection of negatives uncovered from Kirchner's career, numbering in the thousands. Some of these have been processed into prints in order to put together various exhibitions and these have all proven palatable with a modern art audience that now considers photography to be a highly significant art form. The artist also used photography to document his other artworks, such as recording the display of his paintings within exhibitions for future reference. Whilst this artist remains best known for his paintings, there has been a growing acceptance of his role in the development of German photography.
Art history has a long tradition of creative people who have experimented throughout their careers with a variety of mediums, genres and techniques. Many have found that constant experimentation has been the key to retaining motivation and intrigue, as well as developing onwards as an artist. Work in one area can also impact another just as an artist might study another's work in order to benefit their own careers. There is generally a lot of principles which cross over from one medium to the next. Those more knowledgeable around photography will be aware of the factors that make up a composition such as how the piece is cropped as well as lighting and colour. The rise in prominence of photography brought about the same considerations around cropping in painting, although this was also influenced by styles already found in Japanese art. Kirchner was someone who took his knowledge about the techniques of Expressionist painting into his photography and then back in the opposite direction.