Karl Schmidt-Rottluff  Karl Schmidt-Rottluff (Karl Schmidt until 1905; 1 December 1884 – 10 August 1976) was a German expressionist painter and printmaker; he was one of the four founders of the artist group Die Brücke. Schmidt-Rottluff was born in Rottluff, nowadays a district of Chemnitz, on 1 December 1884. He attended the "humanistische gymnasium" (classics-oriented secondary school) in Chemnitz, where he befriended Erich Heckel. He enrolled in architecture at the Sächsische Technische Hochschule in Dresden in 1905, following in Heckel's footsteps, but gave up after one term. Whilst he was there, however, Erich Heckel introduced him to Ernst Ludwig Kirchner and Fritz Bleyl. They all passionately shared similar artistic interests and used architecture as a front to study art behind it. They founded Die Brücke in Dresden on 7 June 1905, with the aim of creating a style that was uncompromising and denouncing of all traditions. Its first exhibition opened in Leipzig in November of the same year. In 1906, Schmidt added his native town of Rottluff to his surname. He spent the summer of that year on the island of Alsen with Emil Nolde, where he convinced him to join Die Brücke. Being known as a loner of the group, Schmidt-Rottluff spent the summers on the coast at Dangast, near Bremen from 1907 to 1912. From 1905 to 1911, during the group's Dresden stay, Schmidt-Rottluff and his fellow group members followed a similar path of development, and were heavily influenced by the styles of Art Nouveau and Neo-impressionism. Schmidt-Rottluff’s works stood out from his peers because of their balance of composition and simple form, which together served to exaggerate their flatness. He spent 1910 painting some of his most infamous landscape works that received recognition and fame. In December 1911, he and the other members of Die Brücke moved from Dresden to Berlin. The group was dissolved in 1913, largely due to the artist's independent moves to Berlin and a systemic shift in artistic direction from each individual member. Schmidt-Rottluff began to adopt more subdued coloring and placed greater emphasis in his pictures on draughtsmanship, which featured dark, contrasting lines between shapes rather than juxtaposing colors, which had previously been the norm.