Dance as the epitome of movement is an essential part of Kirchner's oeuvre. However, his performance undergoes profound changes in style and content, as explained in several contributions by well-known authors and Kirchner researchers and illustrated by around 60 works. culminating in the years of the »Brücke« in Dresden and Berlin. Here dance also becomes a metaphor for eroticism. The health consequences of the First World War led Kirchner to Switzerland, where the dancing peasants inspired him to create powerful woodcuts. On a trip to Germany in 1925/26 to Dresden, he met Mary Wigman and her expressionist dance, which he captured in drawings and a painting. In his late style, the dance depictions found a symbolically charged imagery.
