name Der Blaue Reiter derived from Marc's enthusiasm for horses, and from Kandinsky's love of the colour blue. For Kandinsky, blue is the colour of spirituality—the darker the blue, the more it awakens human desire for the eternal (see his 1911 book On the Spiritual in Art). Kandinsky had also titled a painting Der Blaue Reiter (see illustration) in 1903. The intense sculpture and printmaking of Käthe Kollwitz was strongly influenced by Expressionism, which also formed the starting point for the young artists who went on to join other tendencies within the movements of the early 20th century. Die Brücke and Der Blaue Reiter were both examples of tendency of early 20th-century German art to be "honest, direct, and spiritually engaged" The difference in how the two groups attempted this were telling, however. The artists of Der Blaue Reiter were less oriented towards intense expression of emotion and more towards theory- a tendency which would lead Kandinsky to pure abstraction. Still, it was the spiritual and symbolic properties of abstract form that were important. There were therefore Utopian tones to Kandinsky's abstractions: "We have before us an age of conscious creation, and this new spirit in painting is going hand in hand with thoughts toward an epoch of greater spirituality." Die Brücke also had Utopian tendencies, but took the medieval craft guild as a model of cooperative work that could better society- "Everyone who with directness and authenticity conveys that which drives him to creation belongs to us". The Bauhaus also shared these Utopian leanings, seeking to combine fine and applied arts (Gesamtkunstwerk) with a view towards creating a better society. Weimar period A major feature of German art in the early 20th century until 1933 was a boom in the production of works of art of a grotesque style. Artists using the Satirical-Grotesque genre included George Grosz, Otto Dix and Max Beckmann, at least in their works of the 1920s. Dada in Germany, the leading practitioners of which were Kurt Schwitters and Hannah Höch, was centered in Berlin, where it tended to be more politically oriented than Dada groups elsewhere. They made important contributions to the development of collage as a medium for political commentary- Schwitters later developed his Merzbau, a forerunner of installation art. Dix and Grosz were also associated with the Berlin Dada group. Max Ernst led a Dada group in Cologne, where he also practiced collage,