The third floor exhibits various German works from the same era, including art movements such as Der Blaue Reiter (The Blue Rider), Die Brücke (The Bridge), and the Bauhaus.
Encouraged by Hugo von Tschudi, Thannhauser housed the initial exhibitions of the "Neue Künstlervereinigung München" and "Der Blaue Reiter".
Der Spiegel | Der Rosenkavalier | Der Ring des Nibelungen | Rotenburg an der Fulda | Spittal an der Drau | Limburg an der Lahn | Weiden in der Oberpfalz | Dillingen an der Donau | Van der Graaf Generator | Kirchdorf an der Krems | Der Freischütz | Befehlshaber der U-Boote | Serena van der Woodsen | Rothenburg ob der Tauber | Oberkommando der Wehrmacht | Neustadt an der Orla | Neukirch an der Thur | Der Vampyr | Realencyclopädie der Classischen Altertumswissenschaft | Neuberg an der Mürz | Ludwig Mies van der Rohe | Brandenburg an der Havel | Bad Homburg vor der Höhe | Theater an der Wien | Schönenberg an der Thur | Rogier van der Weyden | Neustadt an der Weinstraße | Neumarkt in der Oberpfalz | Neuburg an der Donau | Melissa Auf der Maur |
Another German group was Der Blaue Reiter ("The Blue Rider"), led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future.
Gabriele Münter and Wassily Kandinsky of the Blaue Reiter artistic collective lived there for several years.
The Neue Künstlervereinigung München e.V (NKVM), ("Munich New Artist's Association", if literally translated from German) formed in 1909 in Munich around Wassily Kandinsky, and prefigured Der Blaue Reiter, the first modernist secession which is regarded as a forerunner and pathfinder for Modern art in 20th-century Germany.