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What we [Brücke-artists] had to remove ourselves from [the German bourgeois mores] was clear; where we were heading was certainly less clear. (original German: Wovon wir weg mussten, war uns klar. Wohin wir kommen würden, stand allerdings weniger fest).

How glad I was to paint that for the soldiers it is very beautiful, how much respect and even love for art there is in human beings, in spite of everything, and who would have thought that my style, which seemed so modern and incomprehensible to critics and public at rotten exhibitions in the cities, would now be able to speak and convey something to men to whom I make a gift of it.

The first encounter with Otto Mueller's paintings was in Berlin, at the showing of the 'Rejects of the Berlin Secession'. which took place at the Galerie Macht in the spring of 1910. And we met him personally the very same day in his studio on Mommsenstrasse. This meeting was significant for all of us and occurred at a fruitful moment; and, as a matter of course, he belonged to Die Brücke community from then on.

I finished my first woodcut in Dresden in 1905 after the Xylographic art, cutting out of the hard boxwood the clean sketches with the slate pencil. Then followed the rounded iron, to arrive at the woodcut more freely through the simply ripped out sketch on the log (alder, lime tree, poplar), which would be utilized from here on out. Then finally came a short cobbler knife, and without a pré-sketch, the hand cuts freely into the wood a woodcut, just like it would work on paper with the pen.

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