Lilia Sokolova

Summary

While multiple parallels can be drawn between The Blue Rider (1911–1914) and The Blue Four (1924–1940), the geographical connections pursued by the two artist groups notably diverge. The former looked up to the East, particularly Russia, as the locus of the forthcoming »spiritual revolution«; the latter turned their attention toward and tried to establish their ideas in the New World. The Blue Four’s promotional activities in America during the interwar period can be explained as a pursuit of profits in the country that was wealthier and economically more stable than the emaciated by the war Europe. On the other hand, the interest in the United States can suggest a continuation of The Blue Rider’s hopeful search for the center of spiritual awakening. The present essay introduces the connections between the two »blue« circles and inquires why The Blue Four send their art and ideas on a westward mission.