In 1845, he founded the Physikalische Gesellschaft (Physical Society) in Berlin, together with Emil Du Bois-Reymond, Hermann von Helmholtz and others, in the house of physicist Heinrich Gustav Magnus.

Brücke's teachings did not only influence Freud's work; parts of the noted psychologist's theory were pulled directly from his professor's principles, specifically the idea that all living things are dynamic and must bow to the laws of chemistry and physics.

Early on in his career, Brücke was interested in optics, which led him to research the tapetum lucidum of the vertebrate eye and the action of the ciliary muscle.

Further investigation of this related subject found Brücke examining the color changes in chameleons and cephalopods, then studying pigment cells, and observing how muscular contraction is influenced by the duration of a stimulus.

In addition to optics, cellular investigations, and phonetics, Brücke had a deep interest in philosophy and aesthetics, which was demonstrated by his authorship of semi-popular books, specifically a work on the physiology of color in applied art.

[5] While a medical student in Berlin along with his colleague Emil Du Bois-Reymond, Brücke condemned the ideas of pantheism, all nature mysticism, and all talk of occult divine forces manifesting themselves in the real world.

He was used to anatomy being the dominant method of medical teaching and training, and Brücke challenged this with his newer version of physiology, which was animal experimentation.

Hyrtl made complaints that the barking of the dogs was preventing him from sleeping, and this may have been true, however, his real reason for complaining was the fact that he disliked Brücke's methods of investigation into physiology.

The debate was expanded to the idea that artists should make their representations, such as paintings and sculptures, in a way that accurately reflects the mechanics of the organism they are imitating.

He believed that artists should not be forced to contain the aesthetic of their art within parameters of reality and mechanics, because the invention of chronophotography was an ineffective stimulus for changing the locomotion of humans and animals, as it would not prompt the automatic correction of apparent impractical postures and movements.

To this end, Brücke believed that there had been a decline in art ever since the artist endeavored to mimic perfect reality instead of seeking out beauty in its multitude of appearances.