Barthel GillesMädchen mit SchleierEgg tempera on fibreboard. 49.9 x 40.7 cm. Framed under glass.

Barthel Gilles
Mädchen mit Schleier
Egg tempera on fibreboard. 49.9 x 40.7 cm. Framed under glass. Signed and dated 'B. Gilles 1937' in yellow lower left. - Minor rubbing to the margins due to framing, occasional minimal loss of colour to edges.

Kuhlen 92

Provenance
Acquired directly from the artist by the former owner; Private possession, Rhineland-Palatinate

Literature
Adam C. Oellers/Michael Euler-Schmidt, Barthel Gilles 1891-1977. Leben und Werk, Recklinghausen 1987, p. 71 with full-page colour illus. no. 39

In the course of his artistic work, the painter Barthel Gilles, who lived in Cologne, experimented repeatedly with different painting techniques and styles. Influenced by studying the “Kölner Malerschule” and other masters of the 15th and 16th century, he predominantly carried out his works in a meticulous glazing technique with egg tempera on panel (cf. Eva Krabbe/Adam C. Oellers, Barthel Gilles, ein Maler der Neuen Sachlichkeit, Aachen 1982, p. 7 ff.). A specific Rhenish characteristic of New Objectivity is evident in Gilles' works: “The Cologne members of New Objectivity tend towards a classicistic direction which is surely also attributed to the genius loci, a Rhenish artistic tradition with a strong influence originating from the Middle Ages.” (cited from: Oellers/Euler-Schmidt, p. 46) His “Madonna mit Hund und Tauben“ (Kuhlen 7) from 1923/24 and his “Rheinische Madonna“ (Kuhlen 21) from 1926 are striking examples of this.
From 1937 onwards, Gilles revives his New Objectivist period and repeatedly takes up religious subjects again (“Krippenbild - Hl. Familie“, 1937, “Die Heilige Familie, Rast am Brunnen unter dem Olivenbaum“, 1938). The present portrait of a girl, executed in highly technical mastery as a half-length portrait, is partially derived from Christian iconography and features references to typical portraits of the Virgin Mary. The painting can be distinguished by its particular attention to detail. The precise rendering of the texture of the material, the arrangement of its folds as well as the emphasis on the hands are deliberately reminiscent of medieval portraits. Each individual thread of the fringe of the picturesque draped scarf is precisely painted. Gilles was obviously not looking for a depiction that was realistic or critical of the times. This is not a portrait of a sophisticated, self-conscious woman but rather an idealised portrait of a young woman in silent gracefulness who has defensively draped a shawl around herself. Despite her timid and sweet gaze, the portrait is able to evoke an uncertainty in the observer typical of the painting of the New Objectivity and which is emphasised by the dissonant triad of the colours lemon yellow, blue-green and orange.

Barthel Gilles
Mädchen mit Schleier
Eitempera auf Hartfaser. 49,9 x 40,7 cm. Unter Glas gerahmt. Unten links gelb signiert und datiert 'B. Gilles 1937'. - Die Ränder rahmungsbedingt teilweise geringfügig berieben, die Kanten mit vereinzelten minimalen Farbverlusten.

Kuhlen 92

Provenienz
Vom Vorbesitzer direkt beim Künstler erworben; Privatbesitz Rheinland-Pfalz

Literatur
Adam C. Oellers/Michael Euler-Schmidt, Barthel Gilles 1891-1977. Leben und Werk, Recklinghausen 1987, S. 71 mit ganzseitiger Farbabb. Nr. 39

Der in Köln lebende Maler Barthel Gilles erprobte im Laufe seines künstlerischen Schaffens immer wieder verschiedene Maltechniken und -stile. Beeinflusst durch das Studium der Kölner Malerschule und anderer Meister des 15. und 16. Jahrhunderts, führt er seine Werke vorrangig in sorgfältiger Lasurtechnik mit Eitempera auf Holz aus (vgl. Eva Krabbe/Adam C. Oellers, Barthel Gilles, ein Maler der Neuen Sachlichkeit, Aachen 1982, S. 7 ff.). Bei Gilles' Arbeiten wird eine spezifisch rheinische Ausprägung der neusachlichen Malerei erkennbar: „Die Neusachlichen von Köln tendierten der