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Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt.

In Modern Art

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Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 1 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 2 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 3 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 4 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 5 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 6 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 7 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 1 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 2 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 3 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 4 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 5 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 6 aus 7
Josef ScharlDer Requiem-Zyklus Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. - Bild 7 aus 7
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Josef Scharl
Der Requiem-Zyklus

Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. Jede Leinwand mit Pinsel signiert 'Jos. Scharl' sowie entsprechend datiert '1951' oder '1952' und jeweils betitelt 'REX TREMENDAE MAIESTATIS', 'FORS NATURAE', 'SEPTEM SOLES', 'VIRES IN SPATIO', 'QUATTUOR ELEMENTAE', 'STELLAE CONFLAGRANTES' und 'ABSENTIA RATIONIS'. - Partiell mit feinem Craquelé sowie vereinzelten Retuschen zu den Leinwandrändern (2 und 6). Eine Leinwand doubliert (6).

Lukas 546, 519, 520, 521, 547, 522, 548

Provenienz
Sammlung Aloys Greither, München; Galerie Günther Franke, München; Privatbesitz; Christie's, London, Impressionist and Modern Day Sale 7600, 25.6.2008, Lot 423, Privatsammlung Tschechien

Ausstellungen
New York 1959 (The Gallery St. Etienne), Josef Scharl. Last Paintings and Drawings; München 1971 (Galerie Günther Franke), Josef Scharl Kat. Nr. 47; München 1982/83 (Städtische Galerie im Lenbachhaus), Josef Scharl. 1896-1954, Kat. Nr. 46

Literatur
Aloys Greither, Josef Scharl. Requiem-Zyklus, München 1971

Geprägt von Vincent van Gogh, Paul Cézanne und schließlich Pablo Picasso zeichnet sich Josef Scharls Werk vor allem durch die farbgewaltige Auseinandersetzung mit Landschaft, Stillleben und nicht zuletzt dem Porträt aus. Erst spät hält eine intellektuelle Distanz Einzug in sein Werk. Formal durch eine teils ornamentale Flächigkeit geprägt, verlässt er nun häufiger den Bereich des Gegenständlichen und beschäftigt sich mit philosophisch-transzendentalen Inhalten. Scharl interessiert sich für die Kräfte der Natur, die Schriften Spinozas und die seines engen Freundes Albert Einstein. Er widmet sich biblischen Themen oder - wie im vorliegenden Zyklus - Mozarts Requiem (vgl. Ausst. Kat. Josef Scharl, Zum Siebzigsten Geburtstag. Ölbilder und Temperablätter, Galerie Nierendorf Berlin 1967, S. 9).
Trotz fortschreitender Krankheit stellt die Zeit um 1950 die vielleicht intensivste Schaffensphase des Künstlers dar: „Sonst suche ich Trost und Zuflucht in meiner Arbeit und was noch Schönes und Gutes in dieser verwirrten Welt zu finden ist: ein gutes Buch, gute Musik und einige wenige gute Menschen.“ Schreibt Scharl im April 1950 an seinen Freund Otto Schmidt (zit. nach: Andrea Lukas, Josef Scharl (1896 - 1954). Eine Biographie, in: Andrea Firmenich (Hg.), Josef Scharl. Monographie und Werkverzeichnis, Köln 1999, S. 27.). Vor dem Hintergrund seiner eigenen gesundheitlichen Verfassung mag wohl auch die malerische Auseinandersetzung mit Mozarts mythenumrankter letzter Komposition verstanden werden, die Scharl mit seinem Requiem-Zyklus in einen klingenden Farbraum zu verwandeln weiß.

Josef Scharl
Der Requiem-Zyklus

Oil on canvas (in 7 parts). 62/85 cm x 79/105 cm. Individually framed. Each canvas signed 'Jos. Scharl' in brush and dated '1951' or '1952' accordingly and each titled 'REX TREMENDAE MAIESTATIS', 'FORS NATURAE', 'SEPTEM SOLES', 'VIRES IN SPATIO', 'QUATTUOR ELEMENTAE', 'STELLAE CONFLAGRANTES' and 'ABSENTIA RATONIS'. - Partially with fine craqueleur and isolated retouches towards the canvas margins (2 and 6). One canvas relined (6).

Lukas 546, 519, 520, 521, 547, 522, 548

Provenance
Aloys Greither Collection, Munich; Galerie Günther Franke, Munich; Private possession; Christie's, London, Impressionist and Modern Day Sale 7600, 25 Jun. 2008, lot 423, Private collection, Czechia

Exhibitions
New York 1959 (The Gallery St. Etienne), Josef Scharl. Last Paintings and Drawings; Munich 1971 (Galerie Günther Franke), Josef Scharl cat. no. 47; Munich 1982/83 (Städtische Galerie im Lenbachhaus), Josef Scharl. 1896-1954, cat. no. 46

Literature
Aloys Greither, Josef Scharl. Requiem-Zyklus, Munich 1971

Strongly influenced by Vincent van Gogh, Paul Cézanne and finally Pablo Picasso, Josef Scharl's work is distinguished above all by his boldly colourful occupation with the landscape, still life and - not least - portrait. It was not until late in his life that an intellectual distance entered into his oeuvre. In works defined formally by a partly ornamental two-dimensionality, he began to more frequently leave the representational realm and concern himself with philosophical and transcendental content. Scharl was interested in the forces of nature as well as the writings of Spinoza and those of his close friend Albert Einstein. He devoted his attention to Biblical subjects or - as in the present series - Mozart's Requiem (see exh. cat., Josef Scharl, Zum Siebzigsten Geburtstag: Ölbilder und Temperablätter, Galerie Nierendorf Berlin 1967, p. 9).
In spite of his worsening illness, the period around 1950 may represent the most intense phase in the artist's work: “Otherwise I seek consolation and refuge in my work and that beauty and goodness which can still be found in this confused world: a good book, good music and a small handful of good people”, wrote Scharl in April of 1950 to his friend Otto Schmidt (cited in: Andrea Lukas, Josef Scharl (1896-1954): Eine Biographie, in: Andrea Firmenich (ed.), Josef Scharl: Monographie und Werkverzeichnis, Cologne 1999, p. 27). Scharl's painterly exploration of Mozart's final, myth-shrouded composition is presumably also to be understood in the context of the painter's own state of health: with his Requiem-Zyklus, Scharl was able to transform this music into a resonantly chromatic realm.
Josef Scharl
Der Requiem-Zyklus

Öl auf Leinwand (7-teilig). 62/85 cm x 79/105 cm. Einzeln gerahmt. Jede Leinwand mit Pinsel signiert 'Jos. Scharl' sowie entsprechend datiert '1951' oder '1952' und jeweils betitelt 'REX TREMENDAE MAIESTATIS', 'FORS NATURAE', 'SEPTEM SOLES', 'VIRES IN SPATIO', 'QUATTUOR ELEMENTAE', 'STELLAE CONFLAGRANTES' und 'ABSENTIA RATIONIS'. - Partiell mit feinem Craquelé sowie vereinzelten Retuschen zu den Leinwandrändern (2 und 6). Eine Leinwand doubliert (6).

Lukas 546, 519, 520, 521, 547, 522, 548

Provenienz
Sammlung Aloys Greither, München; Galerie Günther Franke, München; Privatbesitz; Christie's, London, Impressionist and Modern Day Sale 7600, 25.6.2008, Lot 423, Privatsammlung Tschechien

Ausstellungen
New York 1959 (The Gallery St. Etienne), Josef Scharl. Last Paintings and Drawings; München 1971 (Galerie Günther Franke), Josef Scharl Kat. Nr. 47; München 1982/83 (Städtische Galerie im Lenbachhaus), Josef Scharl. 1896-1954, Kat. Nr. 46

Literatur
Aloys Greither, Josef Scharl. Requiem-Zyklus, München 1971

Geprägt von Vincent van Gogh, Paul Cézanne und schließlich Pablo Picasso zeichnet sich Josef Scharls Werk vor allem durch die farbgewaltige Auseinandersetzung mit Landschaft, Stillleben und nicht zuletzt dem Porträt aus. Erst spät hält eine intellektuelle Distanz Einzug in sein Werk. Formal durch eine teils ornamentale Flächigkeit geprägt, verlässt er nun häufiger den Bereich des Gegenständlichen und beschäftigt sich mit philosophisch-transzendentalen Inhalten. Scharl interessiert sich für die Kräfte der Natur, die Schriften Spinozas und die seines engen Freundes Albert Einstein. Er widmet sich biblischen Themen oder - wie im vorliegenden Zyklus - Mozarts Requiem (vgl. Ausst. Kat. Josef Scharl, Zum Siebzigsten Geburtstag. Ölbilder und Temperablätter, Galerie Nierendorf Berlin 1967, S. 9).
Trotz fortschreitender Krankheit stellt die Zeit um 1950 die vielleicht intensivste Schaffensphase des Künstlers dar: „Sonst suche ich Trost und Zuflucht in meiner Arbeit und was noch Schönes und Gutes in dieser verwirrten Welt zu finden ist: ein gutes Buch, gute Musik und einige wenige gute Menschen.“ Schreibt Scharl im April 1950 an seinen Freund Otto Schmidt (zit. nach: Andrea Lukas, Josef Scharl (1896 - 1954). Eine Biographie, in: Andrea Firmenich (Hg.), Josef Scharl. Monographie und Werkverzeichnis, Köln 1999, S. 27.). Vor dem Hintergrund seiner eigenen gesundheitlichen Verfassung mag wohl auch die malerische Auseinandersetzung mit Mozarts mythenumrankter letzter Komposition verstanden werden, die Scharl mit seinem Requiem-Zyklus in einen klingenden Farbraum zu verwandeln weiß.

Josef Scharl
Der Requiem-Zyklus

Oil on canvas (in 7 parts). 62/85 cm x 79/105 cm. Individually framed. Each canvas signed 'Jos. Scharl' in brush and dated '1951' or '1952' accordingly and each titled 'REX TREMENDAE MAIESTATIS', 'FORS NATURAE', 'SEPTEM SOLES', 'VIRES IN SPATIO', 'QUATTUOR ELEMENTAE', 'STELLAE CONFLAGRANTES' and 'ABSENTIA RATONIS'. - Partially with fine craqueleur and isolated retouches towards the canvas margins (2 and 6). One canvas relined (6).

Lukas 546, 519, 520, 521, 547, 522, 548

Provenance
Aloys Greither Collection, Munich; Galerie Günther Franke, Munich; Private possession; Christie's, London, Impressionist and Modern Day Sale 7600, 25 Jun. 2008, lot 423, Private collection, Czechia

Exhibitions
New York 1959 (The Gallery St. Etienne), Josef Scharl. Last Paintings and Drawings; Munich 1971 (Galerie Günther Franke), Josef Scharl cat. no. 47; Munich 1982/83 (Städtische Galerie im Lenbachhaus), Josef Scharl. 1896-1954, cat. no. 46

Literature
Aloys Greither, Josef Scharl. Requiem-Zyklus, Munich 1971

Strongly influenced by Vincent van Gogh, Paul Cézanne and finally Pablo Picasso, Josef Scharl's work is distinguished above all by his boldly colourful occupation with the landscape, still life and - not least - portrait. It was not until late in his life that an intellectual distance entered into his oeuvre. In works defined formally by a partly ornamental two-dimensionality, he began to more frequently leave the representational realm and concern himself with philosophical and transcendental content. Scharl was interested in the forces of nature as well as the writings of Spinoza and those of his close friend Albert Einstein. He devoted his attention to Biblical subjects or - as in the present series - Mozart's Requiem (see exh. cat., Josef Scharl, Zum Siebzigsten Geburtstag: Ölbilder und Temperablätter, Galerie Nierendorf Berlin 1967, p. 9).
In spite of his worsening illness, the period around 1950 may represent the most intense phase in the artist's work: “Otherwise I seek consolation and refuge in my work and that beauty and goodness which can still be found in this confused world: a good book, good music and a small handful of good people”, wrote Scharl in April of 1950 to his friend Otto Schmidt (cited in: Andrea Lukas, Josef Scharl (1896-1954): Eine Biographie, in: Andrea Firmenich (ed.), Josef Scharl: Monographie und Werkverzeichnis, Cologne 1999, p. 27). Scharl's painterly exploration of Mozart's final, myth-shrouded composition is presumably also to be understood in the context of the painter's own state of health: with his Requiem-Zyklus, Scharl was able to transform this music into a resonantly chromatic realm.

Modern Art

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Köln
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Germany

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(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

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