The aim of this thesis has been to achieve an understanding and make an interpretation of selected aspects of the german expressionist artists' group Brücke. An approximation is seeked by focusing on how they articulate an ambivalence due to the modern transformation around the early twentieth century. Further the thesis tryes to analyze how the impact of german philosopher F.W. Nietzsche affected the manifesto of the artists' group Brücke as well as their aesthetics. The ambivalence of the artists' group in relation to modern society is examined by illustrating the alienation they feel caused by the rapid and significant transformation of the urbanized metropolis as Berlin and Dresden. Furthermore by investigating the sources of inspiration and thematic influences on artists' group Brücke. It is argued that in their flight ”back to nature” the group articulate an ambivalence towards modern life which they consider as decadent. This is reflected in their art from both Moritzburg and Berlin. The aesthetics of the group is analysed in relation to the notions of Nietzsche’s Apollonian and Dionysian artistic impulses including the notion of artistic explosion referred to as Rausch. In the source material including diary as well as Ernst Ludwig Kirchners paintings it is argued that to some extent a link between Nietzsche's Aesthetics and the Aesthetics of artists' group Brücke can be found.
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