The significance of drawing in the work of Ernst Ludwig Kirchner has been presented and emphasised in numerous texts and exhibitions - including monographs dedicated to this technique and discipline - not least in Kirchner's own writings, some of which were under his pseudonym Louis de Marsalle. As is usually the case with Kirchner, the study of this technique is based on his own, quite fascinatingly formulated statements, but for the most part remains there, failing to recognise his drawing in the overall history of this artistic technique. In this case too, Kirchner's eloquent self-portrayal, based on extremely precise self-observation and so precisely organised, has so far hindered an objective judgement of the art world. In terms of quality, quantity, variety and significance, Kirchner's drawings are in fact unique in the history of this artistic technique and cannot be compared with any other work of drawing. More than 20,000 drawings created by Kirchner have been preserved. They were created between 1905 and 1938, a few before that. They are among the masterpieces in the overall history of drawing.
Kirchner was particularly inspired by the naked human body, especially the female nude. Whether in the studios in Dresden, Berlin and Davos, or at the Moritzburg ponds, on the beaches of the island of Fehmarn and in the forests of Davos, Kirchner repeatedly depicted Erna, his partner and constant muse, models, visiting girlfriends, dancers and farmers' daughters, allowing their naked skin to inspire him to create marvellous compositions. What is more immediate than the naked body for the depiction of natural movement? He will certainly have been regarded as an eccentric as a result, especially in Davos.
