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Louis GurlittItalian LandscapeOil on canvas. 81 x 119 cm.Signed lower left: Gurlitt München.The
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Louis Gurlitt
Italian Landscape
Oil on canvas. 81 x 119 cm.
Signed lower left: Gurlitt München.
The present work originates from a German private collection and has either previously not been published in literature on Louis Gurlitt or could not be identified. It probably depicts a Sicilian landscape somewhere near Palermo. Among Gurlitt's known works, this landscape probably displays the most similarity to his “View of Monte Pellegrino near Palermo, as seen from the Abbey of Santa Maria di Gesu”, painted in 1847 and today housed in the collection of the Hermitage in St. Petersburg. The two works are of a similar size and both show simplified, angularly painted farmsteads, nestled among the earthy tones of the arid southern landscape. Thus, we can assume that the present work also depicts the view as seen from Monte Pellegrino (cf. U. Schulte-Wülwer op. cit., illus. 80, p. 83).
Gurlitt travelled to Sicily for the first time in 1846, accompanied by the Danish painters Wilhelm Marstrand and August Wilhelm Boesen. He wrote of the region, “I have to visit the island before I leave Italy. The beauty of the nature there surpasses all else. I will probably go there and then return straight to Germany to paint Sicilian landscapes” (L. Gurlitt, op. cit., p. 187). Gurlitt did in fact return home to Berlin from Sicily in late August, where he was commissioned to paint a series of Italian landscapes by Baron Ferdinand von Ritzenberg. He is not recorded as having stayed in Munich on his way back from Italy, but the location inscription beside the signature would suggest that he did. He is not known to have later resided in the Bavarian capital after returning from Sicily, and during his earlier Munich period he only travelled as far as northern Italy.
Louis Gurlitt
Italienische Landschaft
Öl auf Leinwand. 81 x 119 cm.
Signiert unten links: Gurlitt München.
Literatur
L. Gurlitt: Louis Gurlitt. Ein Künstlerleben des 19. Jahrhunderts. Dargestellt von seinem Sohn Ludwig Gurlitt, Berlin 1912. -U. Schulte-Wülwer und B. Hedinger: Louis Gurlitt 1812-1897. Porträts europäischer Landschaften in Gemälden und Zeichnungen. Ausstellungskatalog, Hamburg 1998.
Das vorliegende Gemälde von Louis Gurlitt aus einer deutschen Privatsammlung ist in der Literatur über den Künstler bisher nicht bekannt gewesen bzw. konnte dort nicht identifiziert werden. Es handelt sich wohl um eine sizilianische Landschaft aus der Gegend von Palermo. Denn von allen Landschaftsbildern Gurlitts ähnelt unseres am meisten seinem Gemälde „Blick auf den Monte Pellegrino bei Palermo vom Garten des Klosters Santa Maria di Gesu“ von 1847, das sich heute in der Sammlung der Eremitage in St. Petersburg befindet. Auf beiden, übrigens ähnlich großen Bildern findet man die einfachen, kubischen Bauerngehöfte und die erdigen Farbtöne der besonders trockenen südlichen Landschaft. Somit wäre auf unserem Bild, allerdings von einem anderen Standort aus, ebenfalls der Monte Pellegrino zu sehen (siehe U. Schulte-Wülwer, op. cit., Abb. 80, S. 83).
Anfang August 1846 kam Gurlitt, zusammen mit den dänischen Malern Wilhelm Marstrand und August Wilhelm Boesen, zum ersten Mal nach Sizilien. Über diese Region berichtete er u. a.: „Ehe ich Italien verlasse, muss ich auf jeden Fall dorthin. Die Natur übertrifft dort alles an Schönheit. Wahrscheinlich werde ich es so machen, dass ich gleich von dort nach Deutschland zurückkehre und dann sizilianische Bilder male." (L. Gurlitt, op. cit., S. 187) Gurlitt reiste in der Tat Ende August zurück nach Berlin, wo er damals wohnte und im Auftrag des Barons Ferdinand von Ritzenberg eine Serie von italienischen Landschaften zu malen hatte. Dass er sich auf dem Rückweg von Italien kurz in München aufgehalten hat, ist nicht überliefert. Die Ortsangabe München links unten neben der Signatur würde jedoch hierfür sprechen, denn ein späterer Aufenthalt in
Italian Landscape
Oil on canvas. 81 x 119 cm.
Signed lower left: Gurlitt München.
The present work originates from a German private collection and has either previously not been published in literature on Louis Gurlitt or could not be identified. It probably depicts a Sicilian landscape somewhere near Palermo. Among Gurlitt's known works, this landscape probably displays the most similarity to his “View of Monte Pellegrino near Palermo, as seen from the Abbey of Santa Maria di Gesu”, painted in 1847 and today housed in the collection of the Hermitage in St. Petersburg. The two works are of a similar size and both show simplified, angularly painted farmsteads, nestled among the earthy tones of the arid southern landscape. Thus, we can assume that the present work also depicts the view as seen from Monte Pellegrino (cf. U. Schulte-Wülwer op. cit., illus. 80, p. 83).
Gurlitt travelled to Sicily for the first time in 1846, accompanied by the Danish painters Wilhelm Marstrand and August Wilhelm Boesen. He wrote of the region, “I have to visit the island before I leave Italy. The beauty of the nature there surpasses all else. I will probably go there and then return straight to Germany to paint Sicilian landscapes” (L. Gurlitt, op. cit., p. 187). Gurlitt did in fact return home to Berlin from Sicily in late August, where he was commissioned to paint a series of Italian landscapes by Baron Ferdinand von Ritzenberg. He is not recorded as having stayed in Munich on his way back from Italy, but the location inscription beside the signature would suggest that he did. He is not known to have later resided in the Bavarian capital after returning from Sicily, and during his earlier Munich period he only travelled as far as northern Italy.
Louis Gurlitt
Italienische Landschaft
Öl auf Leinwand. 81 x 119 cm.
Signiert unten links: Gurlitt München.
Literatur
L. Gurlitt: Louis Gurlitt. Ein Künstlerleben des 19. Jahrhunderts. Dargestellt von seinem Sohn Ludwig Gurlitt, Berlin 1912. -U. Schulte-Wülwer und B. Hedinger: Louis Gurlitt 1812-1897. Porträts europäischer Landschaften in Gemälden und Zeichnungen. Ausstellungskatalog, Hamburg 1998.
Das vorliegende Gemälde von Louis Gurlitt aus einer deutschen Privatsammlung ist in der Literatur über den Künstler bisher nicht bekannt gewesen bzw. konnte dort nicht identifiziert werden. Es handelt sich wohl um eine sizilianische Landschaft aus der Gegend von Palermo. Denn von allen Landschaftsbildern Gurlitts ähnelt unseres am meisten seinem Gemälde „Blick auf den Monte Pellegrino bei Palermo vom Garten des Klosters Santa Maria di Gesu“ von 1847, das sich heute in der Sammlung der Eremitage in St. Petersburg befindet. Auf beiden, übrigens ähnlich großen Bildern findet man die einfachen, kubischen Bauerngehöfte und die erdigen Farbtöne der besonders trockenen südlichen Landschaft. Somit wäre auf unserem Bild, allerdings von einem anderen Standort aus, ebenfalls der Monte Pellegrino zu sehen (siehe U. Schulte-Wülwer, op. cit., Abb. 80, S. 83).
Anfang August 1846 kam Gurlitt, zusammen mit den dänischen Malern Wilhelm Marstrand und August Wilhelm Boesen, zum ersten Mal nach Sizilien. Über diese Region berichtete er u. a.: „Ehe ich Italien verlasse, muss ich auf jeden Fall dorthin. Die Natur übertrifft dort alles an Schönheit. Wahrscheinlich werde ich es so machen, dass ich gleich von dort nach Deutschland zurückkehre und dann sizilianische Bilder male." (L. Gurlitt, op. cit., S. 187) Gurlitt reiste in der Tat Ende August zurück nach Berlin, wo er damals wohnte und im Auftrag des Barons Ferdinand von Ritzenberg eine Serie von italienischen Landschaften zu malen hatte. Dass er sich auf dem Rückweg von Italien kurz in München aufgehalten hat, ist nicht überliefert. Die Ortsangabe München links unten neben der Signatur würde jedoch hierfür sprechen, denn ein späterer Aufenthalt in
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Louis Gurlitt
Italian Landscape
Oil on canvas. 81 x 119 cm.
Signed lower left: Gurlitt München.
The present work originates from a German private collection and has either previously not been published in literature on Louis Gurlitt or could not be identified. It probably depicts a Sicilian landscape somewhere near Palermo. Among Gurlitt's known works, this landscape probably displays the most similarity to his “View of Monte Pellegrino near Palermo, as seen from the Abbey of Santa Maria di Gesu”, painted in 1847 and today housed in the collection of the Hermitage in St. Petersburg. The two works are of a similar size and both show simplified, angularly painted farmsteads, nestled among the earthy tones of the arid southern landscape. Thus, we can assume that the present work also depicts the view as seen from Monte Pellegrino (cf. U. Schulte-Wülwer op. cit., illus. 80, p. 83).
Gurlitt travelled to Sicily for the first time in 1846, accompanied by the Danish painters Wilhelm Marstrand and August Wilhelm Boesen. He wrote of the region, “I have to visit the island before I leave Italy. The beauty of the nature there surpasses all else. I will probably go there and then return straight to Germany to paint Sicilian landscapes” (L. Gurlitt, op. cit., p. 187). Gurlitt did in fact return home to Berlin from Sicily in late August, where he was commissioned to paint a series of Italian landscapes by Baron Ferdinand von Ritzenberg. He is not recorded as having stayed in Munich on his way back from Italy, but the location inscription beside the signature would suggest that he did. He is not known to have later resided in the Bavarian capital after returning from Sicily, and during his earlier Munich period he only travelled as far as northern Italy.
Louis Gurlitt
Italienische Landschaft
Öl auf Leinwand. 81 x 119 cm.
Signiert unten links: Gurlitt München.
Literatur
L. Gurlitt: Louis Gurlitt. Ein Künstlerleben des 19. Jahrhunderts. Dargestellt von seinem Sohn Ludwig Gurlitt, Berlin 1912. -U. Schulte-Wülwer und B. Hedinger: Louis Gurlitt 1812-1897. Porträts europäischer Landschaften in Gemälden und Zeichnungen. Ausstellungskatalog, Hamburg 1998.
Das vorliegende Gemälde von Louis Gurlitt aus einer deutschen Privatsammlung ist in der Literatur über den Künstler bisher nicht bekannt gewesen bzw. konnte dort nicht identifiziert werden. Es handelt sich wohl um eine sizilianische Landschaft aus der Gegend von Palermo. Denn von allen Landschaftsbildern Gurlitts ähnelt unseres am meisten seinem Gemälde „Blick auf den Monte Pellegrino bei Palermo vom Garten des Klosters Santa Maria di Gesu“ von 1847, das sich heute in der Sammlung der Eremitage in St. Petersburg befindet. Auf beiden, übrigens ähnlich großen Bildern findet man die einfachen, kubischen Bauerngehöfte und die erdigen Farbtöne der besonders trockenen südlichen Landschaft. Somit wäre auf unserem Bild, allerdings von einem anderen Standort aus, ebenfalls der Monte Pellegrino zu sehen (siehe U. Schulte-Wülwer, op. cit., Abb. 80, S. 83).
Anfang August 1846 kam Gurlitt, zusammen mit den dänischen Malern Wilhelm Marstrand und August Wilhelm Boesen, zum ersten Mal nach Sizilien. Über diese Region berichtete er u. a.: „Ehe ich Italien verlasse, muss ich auf jeden Fall dorthin. Die Natur übertrifft dort alles an Schönheit. Wahrscheinlich werde ich es so machen, dass ich gleich von dort nach Deutschland zurückkehre und dann sizilianische Bilder male." (L. Gurlitt, op. cit., S. 187) Gurlitt reiste in der Tat Ende August zurück nach Berlin, wo er damals wohnte und im Auftrag des Barons Ferdinand von Ritzenberg eine Serie von italienischen Landschaften zu malen hatte. Dass er sich auf dem Rückweg von Italien kurz in München aufgehalten hat, ist nicht überliefert. Die Ortsangabe München links unten neben der Signatur würde jedoch hierfür sprechen, denn ein späterer Aufenthalt in
Italian Landscape
Oil on canvas. 81 x 119 cm.
Signed lower left: Gurlitt München.
The present work originates from a German private collection and has either previously not been published in literature on Louis Gurlitt or could not be identified. It probably depicts a Sicilian landscape somewhere near Palermo. Among Gurlitt's known works, this landscape probably displays the most similarity to his “View of Monte Pellegrino near Palermo, as seen from the Abbey of Santa Maria di Gesu”, painted in 1847 and today housed in the collection of the Hermitage in St. Petersburg. The two works are of a similar size and both show simplified, angularly painted farmsteads, nestled among the earthy tones of the arid southern landscape. Thus, we can assume that the present work also depicts the view as seen from Monte Pellegrino (cf. U. Schulte-Wülwer op. cit., illus. 80, p. 83).
Gurlitt travelled to Sicily for the first time in 1846, accompanied by the Danish painters Wilhelm Marstrand and August Wilhelm Boesen. He wrote of the region, “I have to visit the island before I leave Italy. The beauty of the nature there surpasses all else. I will probably go there and then return straight to Germany to paint Sicilian landscapes” (L. Gurlitt, op. cit., p. 187). Gurlitt did in fact return home to Berlin from Sicily in late August, where he was commissioned to paint a series of Italian landscapes by Baron Ferdinand von Ritzenberg. He is not recorded as having stayed in Munich on his way back from Italy, but the location inscription beside the signature would suggest that he did. He is not known to have later resided in the Bavarian capital after returning from Sicily, and during his earlier Munich period he only travelled as far as northern Italy.
Louis Gurlitt
Italienische Landschaft
Öl auf Leinwand. 81 x 119 cm.
Signiert unten links: Gurlitt München.
Literatur
L. Gurlitt: Louis Gurlitt. Ein Künstlerleben des 19. Jahrhunderts. Dargestellt von seinem Sohn Ludwig Gurlitt, Berlin 1912. -U. Schulte-Wülwer und B. Hedinger: Louis Gurlitt 1812-1897. Porträts europäischer Landschaften in Gemälden und Zeichnungen. Ausstellungskatalog, Hamburg 1998.
Das vorliegende Gemälde von Louis Gurlitt aus einer deutschen Privatsammlung ist in der Literatur über den Künstler bisher nicht bekannt gewesen bzw. konnte dort nicht identifiziert werden. Es handelt sich wohl um eine sizilianische Landschaft aus der Gegend von Palermo. Denn von allen Landschaftsbildern Gurlitts ähnelt unseres am meisten seinem Gemälde „Blick auf den Monte Pellegrino bei Palermo vom Garten des Klosters Santa Maria di Gesu“ von 1847, das sich heute in der Sammlung der Eremitage in St. Petersburg befindet. Auf beiden, übrigens ähnlich großen Bildern findet man die einfachen, kubischen Bauerngehöfte und die erdigen Farbtöne der besonders trockenen südlichen Landschaft. Somit wäre auf unserem Bild, allerdings von einem anderen Standort aus, ebenfalls der Monte Pellegrino zu sehen (siehe U. Schulte-Wülwer, op. cit., Abb. 80, S. 83).
Anfang August 1846 kam Gurlitt, zusammen mit den dänischen Malern Wilhelm Marstrand und August Wilhelm Boesen, zum ersten Mal nach Sizilien. Über diese Region berichtete er u. a.: „Ehe ich Italien verlasse, muss ich auf jeden Fall dorthin. Die Natur übertrifft dort alles an Schönheit. Wahrscheinlich werde ich es so machen, dass ich gleich von dort nach Deutschland zurückkehre und dann sizilianische Bilder male." (L. Gurlitt, op. cit., S. 187) Gurlitt reiste in der Tat Ende August zurück nach Berlin, wo er damals wohnte und im Auftrag des Barons Ferdinand von Ritzenberg eine Serie von italienischen Landschaften zu malen hatte. Dass er sich auf dem Rückweg von Italien kurz in München aufgehalten hat, ist nicht überliefert. Die Ortsangabe München links unten neben der Signatur würde jedoch hierfür sprechen, denn ein späterer Aufenthalt in
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Takuro Ito, Auctioneer
