Los

235

Conrad FelixmüllerKornpuppen in trüber Landschaft (Klotzsche)Öl auf Leinwand. 75 x 60,5 cm. Gerahmt.

In Modern Art

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Conrad FelixmüllerKornpuppen in trüber Landschaft (Klotzsche)Öl auf Leinwand. 75 x 60,5 cm. Gerahmt.
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Köln
Conrad Felixmüller
Kornpuppen in trüber Landschaft (Klotzsche)

Öl auf Leinwand. 75 x 60,5 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'Felixmüller 25'. Rückseitig auf der Leinwand zusätzlich signiert, datiert und bezeichnet 'C. Felixmüller/1925/No 355'. - In farbfrischer Erhaltung. Lediglich einige wenige kleinere Farbausbrüche im Bereich der vorderen Kornpuppen.

T. Felixmüller 355

Provenienz
Vom Vorbesitzer direkt beim Künstler erworben (Mitte der 1970er Jahre); seitdem in Familienbesitz Norddeutschland

Ausstellungen
Stuttgart 1925 (Kunsthaus L. Schaller), Conrad Felixmüller - Sonderausstellung, Kat. Nr. 20; Wiesbaden 1926 (Nassauischer Kunstverein, Neues Museum), Conrad Felixmüller, Kat. Nr. 16; Braunschweig 1927 (Haus der Gesellschaft der Freunde Junger Kunst), Conrad Felixmüller, Kat. Nr. 17; Essen 1927 (Kunsthallen Hansahaus Essen), Conrad Felixmüller - Sonderausstellung, Kat. Nr. 7 ("Dorf Klotzsche")

„Klotzsche, herrlich zwischen Wäldern und Feldern, blumigen Gärten und und sandiger Heide gelegen […]“ - so euphorisch äußert sich Conrad Felixmüller 1928 zu seinem damaligen Lebensmittelpunkt (zit. aus: Conrad Felixmüller, Werke und Dokumente, Nürnberg 1981, S. 110). Der beschauliche Ort, unmittelbar vor den Toren seiner Heimatstadt Dresden gelegen, ist für Felixmüller und seine Familie von 1918 bis 1931 Wohnort und Refugium zugleich. In diesen 12 Jahren verschiebt sich der Fokus des vormals politisch-revolutionären Künstlers zusehends auf private Themen. In aller „Weltabgeschiedenheit“ (Felixmüller an Carl Sternheim, op. cit. S. 117) entstehen überwiegend Porträts, zugleich aber auch Landschaften seiner unmittelbaren Umgebung in den unterschiedlichen Jahreszeiten.
Einen besonderen Reiz üben auf Felixmüller die charakteristischen Kornpuppen auf den frisch abgeernteten Feldern aus, die er über die Jahre mehrfach malt. In unserem Bild verleiht er den groß gesehenen Heuhaufen mit langgezogenen kräftigen Pinselstrichen in Goldgelb eine beinahe anthropomorphe Anmutung. Kontrastierend hierzu ist der Feldboden mit kurzen, vertikal gesetzten Strichen in leuchtendem Grün-Braun gehalten. Ein dramatischer Spätsommerhimmel mit tief hängenden Regenwolken über den roten Dächern von Klotzsche lädt die Komposition mit zusätzlicher Spannung auf.
„Kornpuppen in trüber Landschaft (Klotzsche)“ gehört zu Felixmüllers letzten dezidiert expressiven Werken. In der zweiten Hälfte der 1920er Jahre mündet seine Malerei in einen neusachlich geprägten Realismus, den er bis zum seinem Lebensende beibehält.

Conrad Felixmüller
Kornpuppen in trüber Landschaft (Klotzsche)

Oil on canvas. 75 x 60.5 cm. Framed. Signed and dated 'Felixmüller 25' in black lower right. Additionally signed, dated and inscribed 'C. Felixmüller/1925/No 355' verso on canvas. - Vibrant colours. Merely few minor losses of colour in the area of the shocks of corn up front.

T. Felixmüller 355

Provenance
Acquired directly from the artist by the previous owner (mid 1970s); in North German family possession since

Exhibitions
Stuttgart 1925 (Kunsthaus L. Schaller), Conrad Felixmüller - Sonderausstellung, cat. no. 20; Wiesbaden 1926 (Nassauischer Kunstverein, Neues Museum), Conrad Felixmüller, cat. no. 16; Braunschweig 1927 (Haus der Gesellschaft der Freunde Junger Kunst), Conrad Felixmüller, cat. no. 17; Essen 1927 (Kunsthallen Hansahaus Essen), Conrad Felixmüller - Sonderausstellung, cat. no. 7 ("Dorf Klotzsche")

“Klotzsche, situated magnificently between woods and fields, flowery gardens and sandy heaths …” - that is how euphorically Conrad Felixmüller spoke in 1928 about the focal point of his life at that time (cited in: Conrad Felixmüller, Werke und Dokumente, Nuremberg 1981, p. 110). For Felixmüller and his family, this tranquil village lying directly outside the limits of his native Dresden was simultaneously their home and refuge from 1918 to 1931. In those 12 years, the focus of the formerly political and revolutionary artist visibly shifted to private subjects. In his “seclusion from the world” (Felixmüller to Carl Sternheim, op. cit., p. 117), he primarily created portraits, but also landscapes featuring his immediate surroundings in the different seasons.
The characteristic shocks of corn in the freshly harvested fields exerted a particular fascination on Felixmüller, and he would paint them multiple times over the years. In our painting he has used elongated, forceful brushstrokes in golden yellow to invest the monumentalised bunches of hay with an almost anthropomorphic sense. In contrast to them, the ground in the field has been done with short, vertical strokes in luminous green and brown. A dramatic, late-summer sky with low-hanging rain clouds above the red roofs of Klotzsche provides the composition with additional energy.
“Kornpuppen in trüber Landschaft (Klotzsche)” is among Felixmüller's last decidedly expressive works. In the second half of the 1920s, his painting developed into a realism shaped by the New Objectivity, and he would retain this style until the end of his life.
Conrad Felixmüller
Kornpuppen in trüber Landschaft (Klotzsche)

Öl auf Leinwand. 75 x 60,5 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'Felixmüller 25'. Rückseitig auf der Leinwand zusätzlich signiert, datiert und bezeichnet 'C. Felixmüller/1925/No 355'. - In farbfrischer Erhaltung. Lediglich einige wenige kleinere Farbausbrüche im Bereich der vorderen Kornpuppen.

T. Felixmüller 355

Provenienz
Vom Vorbesitzer direkt beim Künstler erworben (Mitte der 1970er Jahre); seitdem in Familienbesitz Norddeutschland

Ausstellungen
Stuttgart 1925 (Kunsthaus L. Schaller), Conrad Felixmüller - Sonderausstellung, Kat. Nr. 20; Wiesbaden 1926 (Nassauischer Kunstverein, Neues Museum), Conrad Felixmüller, Kat. Nr. 16; Braunschweig 1927 (Haus der Gesellschaft der Freunde Junger Kunst), Conrad Felixmüller, Kat. Nr. 17; Essen 1927 (Kunsthallen Hansahaus Essen), Conrad Felixmüller - Sonderausstellung, Kat. Nr. 7 ("Dorf Klotzsche")

„Klotzsche, herrlich zwischen Wäldern und Feldern, blumigen Gärten und und sandiger Heide gelegen […]“ - so euphorisch äußert sich Conrad Felixmüller 1928 zu seinem damaligen Lebensmittelpunkt (zit. aus: Conrad Felixmüller, Werke und Dokumente, Nürnberg 1981, S. 110). Der beschauliche Ort, unmittelbar vor den Toren seiner Heimatstadt Dresden gelegen, ist für Felixmüller und seine Familie von 1918 bis 1931 Wohnort und Refugium zugleich. In diesen 12 Jahren verschiebt sich der Fokus des vormals politisch-revolutionären Künstlers zusehends auf private Themen. In aller „Weltabgeschiedenheit“ (Felixmüller an Carl Sternheim, op. cit. S. 117) entstehen überwiegend Porträts, zugleich aber auch Landschaften seiner unmittelbaren Umgebung in den unterschiedlichen Jahreszeiten.
Einen besonderen Reiz üben auf Felixmüller die charakteristischen Kornpuppen auf den frisch abgeernteten Feldern aus, die er über die Jahre mehrfach malt. In unserem Bild verleiht er den groß gesehenen Heuhaufen mit langgezogenen kräftigen Pinselstrichen in Goldgelb eine beinahe anthropomorphe Anmutung. Kontrastierend hierzu ist der Feldboden mit kurzen, vertikal gesetzten Strichen in leuchtendem Grün-Braun gehalten. Ein dramatischer Spätsommerhimmel mit tief hängenden Regenwolken über den roten Dächern von Klotzsche lädt die Komposition mit zusätzlicher Spannung auf.
„Kornpuppen in trüber Landschaft (Klotzsche)“ gehört zu Felixmüllers letzten dezidiert expressiven Werken. In der zweiten Hälfte der 1920er Jahre mündet seine Malerei in einen neusachlich geprägten Realismus, den er bis zum seinem Lebensende beibehält.

Conrad Felixmüller
Kornpuppen in trüber Landschaft (Klotzsche)

Oil on canvas. 75 x 60.5 cm. Framed. Signed and dated 'Felixmüller 25' in black lower right. Additionally signed, dated and inscribed 'C. Felixmüller/1925/No 355' verso on canvas. - Vibrant colours. Merely few minor losses of colour in the area of the shocks of corn up front.

T. Felixmüller 355

Provenance
Acquired directly from the artist by the previous owner (mid 1970s); in North German family possession since

Exhibitions
Stuttgart 1925 (Kunsthaus L. Schaller), Conrad Felixmüller - Sonderausstellung, cat. no. 20; Wiesbaden 1926 (Nassauischer Kunstverein, Neues Museum), Conrad Felixmüller, cat. no. 16; Braunschweig 1927 (Haus der Gesellschaft der Freunde Junger Kunst), Conrad Felixmüller, cat. no. 17; Essen 1927 (Kunsthallen Hansahaus Essen), Conrad Felixmüller - Sonderausstellung, cat. no. 7 ("Dorf Klotzsche")

“Klotzsche, situated magnificently between woods and fields, flowery gardens and sandy heaths …” - that is how euphorically Conrad Felixmüller spoke in 1928 about the focal point of his life at that time (cited in: Conrad Felixmüller, Werke und Dokumente, Nuremberg 1981, p. 110). For Felixmüller and his family, this tranquil village lying directly outside the limits of his native Dresden was simultaneously their home and refuge from 1918 to 1931. In those 12 years, the focus of the formerly political and revolutionary artist visibly shifted to private subjects. In his “seclusion from the world” (Felixmüller to Carl Sternheim, op. cit., p. 117), he primarily created portraits, but also landscapes featuring his immediate surroundings in the different seasons.
The characteristic shocks of corn in the freshly harvested fields exerted a particular fascination on Felixmüller, and he would paint them multiple times over the years. In our painting he has used elongated, forceful brushstrokes in golden yellow to invest the monumentalised bunches of hay with an almost anthropomorphic sense. In contrast to them, the ground in the field has been done with short, vertical strokes in luminous green and brown. A dramatic, late-summer sky with low-hanging rain clouds above the red roofs of Klotzsche provides the composition with additional energy.
“Kornpuppen in trüber Landschaft (Klotzsche)” is among Felixmüller's last decidedly expressive works. In the second half of the 1920s, his painting developed into a realism shaped by the New Objectivity, and he would retain this style until the end of his life.

Modern Art

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