DOCSLIB.ORG

16 Deutscher Expressionismus Und Klassische Moderne MINIKATALOG

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
16 Deutscher Expressionismus Und Klassische Moderne MINIKATALOG ¢ £ ¤ ¥ ¦ § ¥ ¨ ¥ © ¥ ¥ ¥ ¦ ¥ ¦ ¦ § ¥ ¤ ¦ §¥ ¨¥© £¥¤ £ ¨ ! "# # $#$# $$ % & ' ¨ %()* ¦ + $ , % ( - ( - % ( .. .. & / 0 , % ( - ( - % ( .. 1 222 + & 3 # # & # ! + & 22 2+ & 3 # # !+ GERMAN EXPRESSIONISM AND MODERN ART Ernst Ludwig Kirchner: Berghirte im Herbst (Berghirte mit Ziegen). Oil on canvas 1921. Gordon 664. 120 x 90,5 cm. Obj. Id: 67942 29th April to 27th August 2016 ¢ ¨ ## ¦+ $ 24$# ¢ ¨ ## £¢ "!+#!+ 5$# 6 3$$$!+ $ ¢42# ¢ & 5$#+54 & 5$#5!++54 &74 & £!+6 £5$$#54 & £358 & 7358 & 99$$ & !+:#54 ¢£¤¥¦§¥ ¨¥© ¥ ¥ ¥¦¥¦ ¦§¥¤ ¦§¥¨¥©£¥¤ £ ¨ ! "##$#$#$$ % & '¨ %()* ¦+$ ,%(-(-%( .. .. & /0 ,%(-(-%( .. .1 222+&3##&#!+ & 222+&3##!+ GERMAN EXPRESSIONISM AND MODERN ART th th 29 April to 27 August 2016 A young goatherd, seated with his back half turned away from the viewer, watches over his goats as they graze on the staggered slopes of the mountainside. The boy is dressed in green, with a green hat and short, brown boots, and holds a stick in his hand. He dominates the foreground, while behind him, also in the foreground, one can make out what are probably blue gentians. Likewise coloured blue is the wooden hut in the middle ground behind the goatherd. Taking up a prominent position in the composition are three screes or avalanche paths that seem to scar the mountainside, not least by reason of their strongly contrasting, almost dusky pink, this being doubtless a reflection of the pink clouds in the light of the evening sun. Towards the right, grazing on the mountainside, one above the other, are three of our goatherd's goats. They are not only painted in a brilliant yellow but are also depicted overly large and out of perspective. The painting is rounded off in the distance by the two mountain peaks beneath the evening sky and its pink clouds. The painting “Berghirte im Herbst” (“Goatherd in Autumn”) was painted by the Expressionist painter Ernst Ludwig Kirchner in 1921, only a few years after he had left the German metropolis of Berlin for the idyllic Swiss mountain landscape of Davos. He had first visited Davos in 1917, but did not make it his permanent home until later. He regularly spent the summer months on the Stafelalp, where he rented a mountain hut for himself and his paints and canvases. This is where he probably painted “Goatherd in Autumn”, which still manifests much of his “urban style”. Indeed, Kirchner was able to transpose the rapid, jagged style typical of his years in Dresden and, more particularly, Berlin into the landscapes of his new home of Davos. He retained this style, simply adapting it to his new surroundings. The source of inspiration for his magnificent worlds of images was now no longer the erratic life of the metropolis but rather the idyllic mountain region and its inhabitants. This painting is still dominated by Kirchner's typical Expressionist style, with its richly contrasting colours and its non-perspectival rendering of details: yellow goats, pink screes, blue mountain hut, dusky pink clouds, features that do not reflect reality as seen by the artist but rather an imaginary, expressively composed reality. What is particularly impressive is the relationship in size between the individual elements of the composition as interpreted by the artist. Kirchner harks back to a pre-Renaissance perspective that relates the size of people and objects to their importance: the elements of the composition are arranged one above the other and not behind one another. The goats in particular are much too large for their position in the distant background formed by the mountainside. The mountain slopes seem too steep and the mountain peaks too prominent, as though everything is tilting forwards towards the viewer. This is a feature often encountered in Kirchner's works. Strict perspective has been completely waived in favour of a composition that gives priority to those elements that are significant and important. And what the artist wanted to emphasize in particular was simply made larger and more prominent and rendered in brighter colours. Thus it is that this painting is completely saturated, so to speak, with Kirchner's Expressionist style of his Berlin years. It was in Davos that Ernst Ludwig Kirchner made the acquaintance of several other artists, including Philipp Bauknecht, who had already been living there since 1910 on account of a tuberculosis disease, but there is no record of their having met one another before 1919. It was precisely around that time that Bauknecht painted his two works “Hirtenknabe” (“Young Goatherd”) and “Hirtenknabe mit Ziege” (“Young Goatherd wit goat”), which bear obvious similarities to the above described painting by Kirchner. They are not only of similar format but the subject matter is virtually identical: in Bauknecht's paintings, too, a goatherd – wearing a hat and holding a stick in his hand – is seated in the foreground and is watching over his herd in the bottom right-hand corner of the painting. The composition is slightly different in that the mountains in Bauknecht's versions assume a much more prominent role and the choice of colours – accentuating violets, pinks and reds – is even more expressive. Nonetheless, a direct affinity between the paintings can hardly be denied. Kirchner knew Bauknechts painting, as a photograph of 1919 documents. The paintings by Philipp Bauknecht are in private collections. Copyright Galerie Iris Wazzau Davos Our painting is in its original frame. It was ordered by Kirchner himself and then painted. The artist often purchased old frames or had them made according to own drawings, often subsequently cutting them to the required size and then painting then in colours that repeated those of the actual painting. His drawings of frame profiles are to be found in his sketchbooks. Other landscapes – by Erich Heckel, Conrad Felixmüller, Hans Purrmann and George Grosz – as well as still lifes by Karl Hofer, Christian Rohlfs, Ernst Ludwig Kirchner, Emil Nolde and Max Peiffer Watenphul will also be on show in our exhibition. The presentation will be complemented by several abstract works by Fritz Winter and Ernst Wilhelm Nay. We cordially invite you to the forthcoming exhibition. The vernissage will again take place on a Friday, namely on 29th April 2016, between 12.00 noon and 7.00 pm. If you cannot make it, you are of course welcome to visit the exhibition at any time within its duration. Your visit to our gallery could be complemented by a stroll through the wonderful exhibition halls of the Beyeler Foundation, which is located only a few hundred metres away from our gallery in Riehen. The exhibition “Jean Dubuffet – Metamorphoses of Landscape” is being shown there until 8th May 2016. The exhibition of Alexander Calder & Fischli/Weiss will then be open to visitors from 29th May until 4th September 2016. Works from the collection of the Fondation Beyeler may be viewed any time. We are looking forward very much to the pleasure of welcoming you and your friends to the forthcoming exhibition at our gallery. Alexandra Henze Triebold (Translation by John Brogden) For further information on our gallery’s programme and activities please visit our website: www.henze-ketterer-triebold.ch Hans Purrmann Berthold Müller-Oerlinghausen Weiblicher Akt auf blauem Sessel. Erwartung (Sitzender Jüngling). Oil on canvas 1918. Bronze 1952. Billeter 1918/18. Signed on the lower left side. Henze 254. Hight: 73-77 cm. 88,5 x 73,5 cm. Width: 53-54 cm. exemplar # 2. Obj. Id: 67132 Obj. Id: 66603 Karl Hartung Liegende mit über dem Kopf verschränkten Armen. Bronze circa 1948/49. Krause 411. One of 6 + 1 exemplars. Width: 78 cm. With stamps on the bottom: „HARTUNG“, „¡“ and „N“. Obj. Id: 67509 Ernst Ludwig Kirchner Ernst Ludwig Kirchner Schaf und Lamm. Bauer und trinkende Kuh. Pen and brush in ink 1927. Watercolour over black chalk 1924. On satined semi-board. Signed and dated on the On brownish drawing paper. 36,2 x 46,1 cm. upper left side, dedicated on the lower right side: With the estate-stamp on the verso. "Frau Bauer Weihnachten 28 von E und EL Obj. Id: 79480 Kirchner". 27,9 x 35,2 cm. Obj. Id: 79780 Ernst Ludwig Kirchner Ernst Ludwig Kirchner Zwei laufende Ziegen. Mädchen mit Ziegen. Pen and ink and watercolour 1918. Woodcut 1917. On satined semi-board. Dube H 306 II. On firm ASOKA-Blotting paper 38 x 50 cm. Verso: «Kühe», Pen and ink 1917/18 as (blind stamp). One of 18 previously known prints well as with the estate-stamp. by the artist. Signed on the lower right side and Obj. Id: 66272 labelled on the lower left side "Handdruck". 35,2 x 45,4 on 43,5 x 55,7 cm. Obj. Id: 67714 Emil Nolde Granada. Watercolour 1921. On Japan paper. Signed on the lower right side. 35 x 48 cm. Obj. Id: 76551 Ernst Ludwig Kirchner Ernst Ludwig Kirchner Weidende Kühe. Alpszene mit Pferd. Watercolour and reed pen drawing circa 1920. Etching 1922. On yellow-brown vellum. 34 x 48,5 cm. Dube R 419 II. On "Blotting" Paper (blind stamp). With the estate-stamp on the verso. One of 4 previously known prints by the artist. Obj. Id: 77267 Signed on the lower right side and labelled "Eigendruck". 25 x 30,3 on 30,7 x 43,9 cm. Obj. Id: 67704 Erich Heckel Park von Dilborn II. Oil on canvas 1914. not in Vogt. 83 x 93 cm. Signed and titled on the verso. With a label of the Pasadena Art Museums on the back frame. Obj. Id: 75273 Ernst Ludwig Kirchner Karl Hartung Hohe Kiefern vor Hügellandschaft. Liegende mit erhobenem Haupt. Oil on wood 1921-1923. Bronze circa 1948. Gordon 720. 70 x 37 cm. Verso: Stehender Akt in Krause 405. One of 6 + 1 exemplars. Width: 45 cm. Gelb und Rosa, 1930-1932, Gordon 720 verso, With stamps on the bottom: „HARTUNG“, „¡“ unfinished and overpainted, with the estate stamp.
Load more

Recommended publications
  • Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 Author(S): Sherwin Simmons Reviewed Work(S): Source: the Art Bulletin, Vol
    Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 Author(s): Sherwin Simmons Reviewed work(s): Source: The Art Bulletin, Vol. 82, No. 1 (Mar., 2000), pp. 117-148 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051367 . Accessed: 01/10/2012 16:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 SherwinSimmons An article entitled "Culture in the Display Window," which formulation of Berlin as a whore and representations of surveyed the elegant artistry of Berlin's display windows, fashion contributed to Kirchner's interpretation of the street- appeared in Der Kritiker,a Berlin cultural journal, during the walkers.8 My study extends such claims by examining the summer of 1913. Its author stated that these windows were an impact of specific elements within the discourse about luxury important factor in Germany's recent economic boom and and immorality on Kirchner's work and considering why such the concomitant rise of its culture on the world stage, serving issues would have concerned an avant-garde artist.
    [Show full text]
  • Modern Art and Politics in Prewar Germany
    Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists.
    [Show full text]
  • For Immediate Release Masterpieces of German Expressionism at Villa Grisebach's Spring Auctions Special Auction of Prints
    For immediate release Masterpieces of German Expressionism at Villa Grisebach’s Spring Auctions Special Auction of Prints From The Studio of Max Beckmann Several masterpieces of German Expressionism by the important Brücke artists will be offered at Villa Grisebach’s spring auctions in Berlin from May 29 until June 1. The total pre-sale estimate is more than 17 million euros. Emil Nolde’s large “Landschaft (mit Regenwolke)” is estimated at 1 to 1.5 million euros, Karl Schmidt-Rottluff’s radiant “Landschaft mit Leuchtturm und Windmühle” of 1920 at € 800,000/1,200,000 and Otto Mueller’s coquettish portrait of his lover, titled “Mädchen mit grünem Schal,” at € 700,000/1,000,000. Max Liebermann and Ernst Ludwig Kirchner take a look at Berlin in the 1920s in very different ways: Liebermann’s large Wannseegarten in summery bloom stands alongside Kirchner’s urban view of “Lützowufer am Morgen.” Both paintings have the same estimate (€ 500,000/700,000). Paintings and works on paper by Max Pechstein, Christian Rohlfs, Wassily Kandinsky, Paula Modersohn-Becker and others round out the sale’s selection of modern art. Singular is a collection of more than eighty prints by Max Beckmann from the estate of his wife, Quappi. The works – most are inscribed with the artist’s dedication give an overview of Beckmann’s graphic oeuvre and will be presented in a special auction accompanied by a separate catalog (“From The Artist’s Studio – Prints for Quappi”). The post-war and contemporary art selection has a particularly international appeal in Villa Grisebach’s spring auctions.
    [Show full text]
  • Cfar Kirshner
    Rowland & Petroff : "Berlin Street Scene" by Ernst Ludwig Kirchner Page 1 of 6 Search Search About Us Publications Practice Areas News Contact Us Home >> News >> Looted Art >> "Berlin Street Scene" by Ernst Ludwig Kirchner "Berlin Street Scene" by Ernst Ludwig Kirchner A BRIEF HISTORY OF THE OWNERSHIP OF KIRCHNER'S BERLIN STREET SCENE 1913-14 Ernst Ludwig Kirchner painted Berlin Street Scene in his apartment-turned-studio at Körnerstrasse 45, in Berlin's Friedenau district. Sometime before selling it he photographed the front and back of the canvas. The latter bears a landscape scene. 1918-23 In 1918, Alfred Hess (1879-1931), a Jewish businessman and co-proprietor of M. & L. Hess Schuhfabrik A. G., a shoe factory in Erfurt, began assembling what was to become one of the most important collections of German Expressionist art. Hess was initially advised by Edwin Redslob (1884-1973), director of the Städtisches Museum in Erfurt (today the Angermuseum) from 1912 -1919. He started to collect Kirchner paintings by 1918 with the aim of giving them to the museum along with other works from his growing collection. In 1920, the art historian Walter Kaesbach (1879-1961) became the new director of the museum. He soon developed a close friendship with Hess that would result in the collector's continued financial support and loans to the museum. Nevertheless, Hess's name was never mentioned in the museum's annual reports. This was due to the strong antisemitism in and around Erfurt. Long before the National Socialists came to power, nationalistic groups in this area of Germany already started to harass Jews, especially collectors such as Hess, and disparaged modern works of art.
    [Show full text]
  • Edvard Munch
    US $25 The Global Journal of Prints and Ideas May – June 2014 Volume 4, Number 1 Tauba Auerbach • John B. Flannagan • Richard Hamilton • German Romantic Prints • Edvard Munch • Anton Würth Flavin, Judd, Sandback • Jin Joo Chae • Fin de Siècle Printmaking in Paris • Adam Jeppesen • Prix de Print • ≤100 • News CROWD, 2014 | PORTFOLIO OF 5 COPPER PLATE ETCHINGS | 18 X 14", EDITION 40 Wayne Gonzales New Etchings GRAPHIC MATTER LEGUIT 23 | 2000 ANTWERP | BELGIUM | +32 475 27 51 62 | WWW.GRAPHICMATTER.BE | [email protected] May – June 2014 In This Issue Volume 4, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Four Associate Publisher Karen L Schiff 4 Julie Bernatz Tauba Auerbach: Dimensional Slippages Managing Editor Katherine Rangoon Doyle 9 Dana Johnson John B. Flannagan: Sculptor as Printmaker Reviews News Editor Isabella Kendrick Paul Coldwell 14 Richard Hamilton in London Manuscript Editor Jay A. Clarke 19 Prudence Crowther The Enchanted World of German Romantic Prints Online Columnist Sarah Kirk Hanley Alison W. Chang 23 Edvard Munch: Works on Paper Design Director Skip Langer Tiffany Johnson Bidler 27 Anton Würth and Engraving in the Editorial Associate 21st Century Michael Ferut Allison Rudnick 30 Prints: Flavin, Judd, Sandback Owen Duffy 32 III Elleree Erdos 34 Jin Joo Chae Susan Tallman 37 Adam Jeppesen Photogravures Elliott Mickleburgh 42 Out of Hand: Materializing the Postdigital Britany Salsbury 44 Printmaking in Paris CROWD, 2014 | PORTFOLIO OF 5 COPPER PLATE ETCHINGS | 18 X 14", EDITION 40 Treasures from the Vault 38 William Cole Christian Rohlfs: Der Gefangene Prix de Print, No. 5 40 Gill Saunders On the Cover: Carl Wilhelm Kolbe the Elder, Isca Greenfield-Sanders:Pikes Peak detail of Youth Playing a Lyre to a Maiden by Book Reviews 46 a Fountain (ca.
    [Show full text]
  • Expressionism in Germany and France: from Van Gogh to Kandinsky
    ^ Exhibition Didactics Expressionism in Germany and France: From Van Gogh to Kandinsky Private Collectors French avant-garde art was being avidly collected and exhibited in Germany, especially by private collectors, who did not have the same constraints that museum directors and curators faced. Karl Ernst Osthaus was one of the most passionate and important collectors and a fervent supporter of the German Expressionists. In 1902 Osthaus opened the Museum Folkwang in Hagen (today the museum is in Essen). There he exhibited his own collection, including the works of Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri Matisse, and Paul Signac. His museum was frequented by admirers of avant-garde art, including many of the new generation of Expressionists, among them August Macke, Franz Marc, Emil Nolde, Max Pechstein, and Christian Rohlfs (who later moved to Hagen and had a studio at the museum). The cosmopolitan Count Harry Kessler, who grew up partly in Paris and later divided his time between France and Germany, discovered Neo-Impressionism early through the works of Signac and Théo van Rysselberghe, which he saw in Paris. He was also interested in the French artists group known as the Nabis, and acquired The Mirror in the Green Room (on view in this exhibition) by Pierre Bonnard, one of its members. Kessler also commissioned works from French painters, including Henri-Edmond Cross’s Bather , also on view in this exhibition. In 1905, when he was the director of the Grand Ducal Museum in Weimar, Kessler organized the first major Gauguin exhibition in Germany. Although it provoked a scandal— Gauguin was criticized for being too “exotic”—the exhibition presented the artist’s colorful Symbolist paintings of Brittany and Tahiti to the German art world.
    [Show full text]
  • Ausstellungskalender
    FREIBERG in Sachsen Das Stadt- und Bergbaumuseum in Freiberg plant, die verstreuten Werke von Johann Christian Klengel in einer Ausstellung zu vereinen,- gleichzeitig soll ein Oeuvre-Katalog erscheinen. Alle Kunstsammlungen, Museen und Privatbesitzer von Klengel-Originalen werden um Mitwirkung und Einzelangaben gebeten. FULDA VONDERAU-MUSEUM DER STADT FULDA Das Museum ist der Öffentlichkeit noch nicht zugänglich, da das Gebäude noch nicht wiederhergestellt werden konnte. Im Kaisersaal des Museums finden Sonderveranstal­ tungen statt. So wurde im Dezember 1948 eine Weihnachtsausstellung des Fuldaer Künstlerbundes gezeigt. ZWICKAU in Sachsen STÄDTISCHES MUSEUM Das Gebäude blieb unversehrt, die Sammlungen sind mit geringen Verlusten erhalten. Sämtliche Abteilungen sind aufgestellt; die Abteilung Bergwesen ist im Neuaufbau be­ griffen. Seit 1946 finden auch Wechselausstellungen statt (u. a. von Werken von Max Pechstein, Hans Kuhn, Rolf Beyer sowie einheimischer Künstler). Direktorin: Gertrud Rudloff-Hille. AUSSTELLUNGSKALENDER AACHEN Städtisches Suermondt-tMuseum Ab 6. Februar 1949: Aquarelle der Maler Kurt Neyers, Curt Wittenbecher, Vorhinde­ lang, Franz Josef Herold und Bildhauerarbeiten von Helmut Schepp. BIELFELD Kunstsalon Otto bischer 3.-22. Januar 1949: Handzeichnungen des Bildhauers Kurt Zimmermann. BONN Qalerie 'Neue Kunst (Ausstellungen der Stadt Bonn) 30. Januar—6. März 1949: Werke von Erich Heckel, Emil Nolde, Christian Rohlfs und Karl Schmidt-Rottluff. 28 BREMEN Xunsthalle Februar 194-9: Graphische Arbeiten von Eduard Munch. Kupferstichkabinett: Deutsche Romantiker, Handzeichnungen und Graphik. Skulpturensaal: Meisterwerke der Plastik; Chronik des Kunstvereins Bremen. Ausstellungssaal, 13. Februar—6. März 1949: Arbei­ ten des Bildhauers Hermann Blumenthal. DUREN EeopoldEHoesdh-JWuseum Ab 30. Januar 1949: Gemälde von Oskar Moll (1875 —1947); Bildhauerarbeiten von Margarete Moll, geb. Haeffner (geb. 1884); Aquarelle, Zeichnungen, ^Graphik, von Heinrich Nauen (1880—1940).
    [Show full text]
  • Expressionism in Germany and France: from Van Gogh to Kandinsky
    LACM A Exhibition Checklist Expressionism in Germany and France: From Van Gogh to Kandinsky Cuno Amiet Mutter und Kind im Garten (Mother and Child in Garden) (circa 1903) Oil on canvas Canvas: 27 11/16 × 24 3/4 in. (70.4 × 62.8 cm) Frame: 32 1/2 × 28 9/16 × 2 1/4 in. (82.5 × 72.5 × 5.7 cm) Kunstmuseum Basel Cuno Amiet Bildnis des Geigers Emil Wittwer-Gelpke (1905) Oil on canvas Canvas: 23 13/16 × 24 5/8 in. (60.5 × 62.5 cm) Frame: 27 3/4 × 28 9/16 × 2 5/8 in. (70.5 × 72.5 × 6.7 cm) Kunstmuseum Basel Pierre Bonnard The Mirror in the Green Room (La Glace de la chambre verte) (1908) Oil on canvas Canvas: 19 3/4 × 25 3/4 in. (50.17 × 65.41 cm) Frame: 27 × 33 1/8 × 1 1/2 in. (68.58 × 84.14 × 3.81 cm) Indianapolis Museum of Art Georges Braque Paysage de La Ciotat (1907) Oil on canvas Overall: 14 15/16 x 18 1/8 in. (38 x 46 cm) K20 Kunstsammlung Nordrhein-Westfalen Georges Braque Violin et palette (Violin and Palette) (1909-1910) Oil on canvas Canvas: 36 1/8 × 16 7/8 in. (91.76 × 42.86 cm) Solomon R. Guggenheim Museum Heinrich Campendonk Harlequin and Columbine (1913) Oil on canvas Canvas: 65 × 78 3/8 in. (165.1 × 199.07 cm) Frame: 70 15/16 × 84 3/16 × 2 3/4 in. (180.2 × 213.8 × 7 cm) Saint Louis Art Museum Page 1 Paul Cézanne Grosses pommes (Still Life with Apples and Pears) (1891-1892) Oil on canvas Canvas: 17 5/16 × 23 1/4 in.
    [Show full text]
  • Press Release by the Chief Public Prosecutor in Augsburg
    Press Release by the Chief Public Prosecutor in Augsburg Press Release for the Press Conference “Confiscated Collection of Paintings” on November 5, 2013 The Augsburg public prosecutor is investigating against an individual who is sus- pected of criminal actions which are subject to the fiscal secret as well as of misap- propriation. As the consequence of an official inspection made on September 22, 2010 in a train from Zürich to Munich in the area of Lindau-Kempten and of ensuing lengthy prelimi- nary investigations the determination was made that there is an initial suspicion of tax fraud. Therefore, the customs investigations authority in Munich who collaborated with the public prosecutor in Augsburg conducted a search and confiscation in the apartment of the accused on the basis of a court warrant. During the search 121 framed and 1285 unframed works of art were confiscated, among them works by famous artists, and among them works (oil, ink, pencil, water- colour, lithographs and other prints) by • Max Liebermann • Max Beckmann • Otto Dix • Oskar Kokoschka • Henri de Toulouse-Lautrec • August Macke • Emil Nolde • Ernst Ludwig Kirchner • Pable Picasso • Carl Spitzweg • Albrecht Dürer • Marc Chagall • Pierre-Auguste Renoir • Karl Schmidt-Rottluff • Christian Rohlfs • Karl Christian Ludwig Hofer • August Macke. There are specific indications with regard to these works the non-monetary value of which cannot be estimated highly enough pointing to the works being so-called “De- generate Art” or so-called “Looted Art.” In this context investigations are going on as to whether these works had been mis- appropriated. The investigations are complex, as regards both the factual and the legal aspects.
    [Show full text]
  • Impressions of Modernity Prints from 1870 to 1945
    Impressions of Modernity Prints from 1870 to 1945 rints are often overlooked in histories of Modernism, Palthough many painters and sculptors in the late nineteenth and early twentieth centuries were also printmakers. This focus exhibition presents a roster of notable avant-garde artists and investigates how their prints challenged conventions of subject-matter, style, and technique and presented unique visions of an ever-changing world. The period often aligned with Modernism, ca. 1870 to 1945, saw some of the most drastic shifts in the political, economic, social, and cultural frameworks of societies across the globe. The rise of capitalism, the escalation of nationalism, the rapid development of technology and industry, as well as the calamitous devastation and repercussions of multiple wars irrevocably altered Europe, the Americas, and the world. Representing diverse perspectives and movements—including Realism, Impressionism, Fauvism, and Expressionism—these prints not only reflect artists’ impressions of their times, but also convey the ethos of perpetual transformation that defines modernity. Édouard Manet (French, 1832−1883) Le Guitarrero (The Guitar Player), 1867 or later Etching and drypoint on paper Gift of Dorothy Small (85.166) Best known today as a Realist and Impressionist painter, Manet was also an active printmaker. He began making etchings around 1860 at a time when he and others sought to revive the medium as a fine art. In 1862 Manet and other artists and printers formed the Société des Aquafortistes (Society of Etchers), a group that promoted Old Master print techniques and issued monthly installments of members’ works. Le Guitarrero is based on Manet’s 1860 painting The Spanish Singer (Metropolitan Museum of Art), one of two submissions that was accepted at the Paris Salon in 1861, his debut year.
    [Show full text]
  • Escape Into Art? the Brücke Painters in the Nazi Period
    Escape into Art? The Brücke Painters in the Nazi Period 14 April –11 August 2019 In 1937, the Nazis confiscated thousands Works from the Brücke-Museum collection materials. However, until the summer of of artworks from German museums, in- form the backbone of Escape into Art?, 1937 they were still exhibiting their works cluding key works by Karl Schmidt-Rottluff, supplemented by selected loans from the at galleries and art associations, and in Erich Heckel, Ernst Ludwig Kirchner, Max estates of the various artists and from pri- fact Pechstein continued to do so until Pechstein and Emil Nolde. In the propa- vate collectors. The exhibition also marks 1939. Their respective personal situation ganda exhibition entitled Degenerate Art, the first time the museum is opening out and stance during the Nazi era can thus public scorn was then poured on them. in spatial terms: While the period up to not be seen as some unchanging status, These aggressive attacks on their art have 1945 will be portrayed at Brücke-Museum, but must rather be construed as a dynamic tended to overshadow to this day how the the neighbouring Kunsthaus Dahlem will process. Brücke painters themselves experienced house the second part of the show and the Nazi regime. This focus on the events shed light on the immediate post-war era. It bears mentioning here that there were in the years 1937/38 has led to the artists Both galleries are united in their interest many artists who were victims of physical primarily being considered victims of the in a critical inquiry into the history of their persecution: Charlotte Salomon, Otto Nazi policy on art.
    [Show full text]
  • L O N D O N 2 0 2 0 Gilden's Art Gallery
    L G I L D E N ' S A R T G A L L E R Y O N D O N | 2 0 2 0 The Art of Germany Introduction Gilden’s Art Gallery is delighted to present our digital catalogue showcasing a sample of our current selection of important works by German Masters. This includes drawings, paintings, and original prints from both the German Impressionist and German Expressionist movements. The e-catalogue has been arranged by medium to show the diversity of media employed by the artists. Further to this e-catalogue, a small selection of these artworks have been arranged in a 3D exhibition available through Kunstmatrix, the link to which has been included in the newsletter alongside this catalogue. The works are also available to view in person at our London gallery until early November 2020 and a small number will be on view at Cologne Fine Art and Design 2020. L O N D O N | 2 0 2 0 2 T H E A R T O F G E R M A N Y | 2 0 2 0 T T I N T H U C C S D Z O L O O H W 3 4 Ore Mountain Landscape | Erzgebirgslandschaft [Erzgebirge im Schnee], 1914 Original Hand Signed, Dated and Titled Woodcut on Laid Watermarked Paper 64 x 45.1 cm. / 22.8 x 17.4 in. Reference: Dube H 285 II Provenance: Gropper Art Gallery, Cambridge, Massachusetts, 1972 Massachusetts Academic Collection. ERICH HECKEL 5 By the Nets | Bei den Netzen,1914 Original Hand Signed Woodcut on Laid Paper 51.2 x 62.4 cm.
    [Show full text]