As a member of Die Brücke, Heckel often filled the role of business manager, which allowed the collective to network with other upcoming artists at the time, such as the Munich-based Franz Marc.
This subsequently led to greater publicity for the collective, such as their mention in the almanac of Franz Marc's own artistic coalition, the Blaue Reiter.

It is worthwhile to note that with the exception of one favorable review by Paul Fetcher in the leading Dresden newspaper Dresdner Neueste Nachrichten, the exhibition in Löbtau at the factory of the lamp manufacturer Max Seifert was considered to be a flop.
In addition, Heckel's poster, no longer extant, had been barred from public display by the Dresden police.

In 1906 and 1907 the Die Brücke had another exhibition in Löbtau, devoted exclusively to graphics and including a group of woodcuts by Wassily Kandinsky.
Unfortunately, the group once again failed to strike a chord with the public.

However, much more noteworthy and ironically also notorious, were the next three annual shows by the Die Brücke, this time held in the fashionable Emil Richter Gallery.
In large, silent rooms, expensively furnished and smothered with lush carpets, the group's unconventional paintings and prints struck a foreseeably strident chord, amongst them notably a nude poster of a woman that ruffled many a complacent Dresdener.

Heckel and other members of Die Brücke greatly admired the work of Edvard Munch, and aimed to make a "bridge" between traditional neo-romantic German painting and modern expressionist painting.
The four founding members made much use of the print as a cheap and quick medium with which to produce affordable art.

Primitive art was also an inspiration to the members of the Die Brücke.
It was Heckel's brother who introduced the group to African sculpture, and it is noted that their acceptance of primitive art, which was to fortify decisively the expressive yearnings of European artists- Was unequivocal.
 It is through this style that they found a source of strength in the barbaric figures.
As a member of Die Brücke, Heckel often filled the role of business manager, which allowed the collective to network with other upcoming artists at the time, such as the Munich-based Franz Marc. This subsequently led to greater publicity for the collective, such as their mention in the almanac of Franz Marc's own artistic coalition, the Blaue Reiter.
It is worthwhile to note that with the exception of one favorable review by Paul Fetcher in the leading Dresden newspaper Dresdner Neueste Nachrichten, the exhibition in Löbtau at the factory of the lamp manufacturer Max Seifert was considered to be a flop. In addition, Heckel's poster, no longer extant, had been barred from public display by the Dresden police.
In 1906 and 1907 the Die Brücke had another exhibition in Löbtau, devoted exclusively to graphics and including a group of woodcuts by Wassily Kandinsky. Unfortunately, the group once again failed to strike a chord with the public.
However, much more noteworthy and ironically also notorious, were the next three annual shows by the Die Brücke, this time held in the fashionable Emil Richter Gallery. In large, silent rooms, expensively furnished and smothered with lush carpets, the group's unconventional paintings and prints struck a foreseeably strident chord, amongst them notably a nude poster of a woman that ruffled many a complacent Dresdener.
Heckel and other members of Die Brücke greatly admired the work of Edvard Munch, and aimed to make a "bridge" between traditional neo-romantic German painting and modern expressionist painting. The four founding members made much use of the print as a cheap and quick medium with which to produce affordable art.
Primitive art was also an inspiration to the members of the Die Brücke. It was Heckel's brother who introduced the group to African sculpture, and it is noted that their acceptance of primitive art, which was to fortify decisively the expressive yearnings of European artists- Was unequivocal.  It is through this style that they found a source of strength in the barbaric figures.
Erich Heckel