he had a great impact on Realism in Germany. The Berlin Secession was a group founded in 1898 by painters including Max Liebermann, who broadly shared the artistic approach of Manet and the French Impressionists, and Lovis Corinth then still painting in a naturalistic style. The group survived until the 1930s, despite splits, and its regular exhibitions helped launch the next two generations of Berlin artists, without imposing a particular style. Near the end of the century, the Benedictine Beuron Art School developed a style, mostly for religious murals, in rather muted colours, with a medievalist interest in pattern that drew from Les Nabis and in some ways looked forward to Art Nouveau or the Jugendstil ("Youth Style") as it is known in German. Franz von Stuck and Max Klinger are the leading German Symbolist painters. 20th century Even more than in other countries, German art in the early 20th century developed through a number of loose groups and movements, many covering other artistic media as well, and often with a specific political element, as with the Arbeitsrat für Kunst and November Group, both formed in 1918. In 1922 The November Group, the Dresden Secession, Das Junge Rheinland, and several other progressive groups formed a "Cartel of advanced artistic groups in Germany" (Kartell fortschrittlicher Künstlergruppen in Deutschland) in an effort to gain exposure. Die Brücke ("The Bridge") was one of two groups of German painters fundamental to expressionism, the other being Der Blaue Reiter group. Die Brücke was a group of German expressionist artists formed in Dresden in 1905 by architecture students who wanted to be painters: Fritz Bleyl (1880–1966), Erich Heckel (1883–1970), Ernst Ludwig Kirchner (1880–1938) and Karl Schmidt-Rottluff (1884–1976), with Max Pechstein and others later joining. The notoriously individualistic Emil Nolde (1867–1956) was briefly a member of Die Brücke, but was at odds with the younger members of the group. Die Brücke moved to Berlin in 1911, where it eventually dissolved in 1913. Perhaps their most important contribution had been the rediscovery of the woodcut as a valid medium for original artistic expression. Der Blaue Reiter ("The Blue Rider") formed in Munich, Germany in 1911. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin and others founded the group in response to the rejection of Kandinsky's painting Last Judgment from an exhibition by Neue Künstlervereinigung—another artists' group of which Kandinsky had been a member. The