Los

216

Christian RohlfsHäuser in SoestÖl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun

In Modern Art

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Christian RohlfsHäuser in SoestÖl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun - Bild 1 aus 2
Christian RohlfsHäuser in SoestÖl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun - Bild 2 aus 2
Christian RohlfsHäuser in SoestÖl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun - Bild 1 aus 2
Christian RohlfsHäuser in SoestÖl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun - Bild 2 aus 2
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Christian Rohlfs
Häuser in Soest

Öl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun monogrammiert 'CR'. - In sehr schöner Erhaltung.

Vogt 624

Provenienz
J. B. Neumann, Berlin; Stuttgarter Kunstkabinett R. N. Ketterer, 34. Auktion Moderne Kunst 20. u. 21. Nov. 1959, Los 805 ("Gasse in Soest"); Privatbesitz Schweiz; Privatbesitz Baden-Württemberg

Ausstellungen
Düsseldorf 1919 (Galerie Flechtheim ), Christian Rohlfs (zum 70. Geburtstag) - Ölbilder 1917/18, Kat. Nr. 14

Anlässlich seines 70. Geburtstages im Dezember 1919 beginnt der Hagener Museumsgründer des Folkwang, Karl Ernst Osthaus, seinen Glückwunsch in der Frankfurter Zeitung mit einer resümierenden und zugleich die historischen Umstände kritisierenden Feststellung: „Wohl keinem großen Meister deutscher Malkunst hat die Anerkennung der Öffentlichkeit länger gefehlt als Christian Rohlfs.“ (Karl Ernst Osthaus, Reden und Schriften, hrsg. von Rainer Stamm, Köln 2002, S. 166). Nach kurzem Aufenthalt in Berlin studiert der 1849 geborene Rohlfs ab 1870 an der als fortschrittlich geltenden Großherzoglichen Kunstschule in Weimar. Den Ort Schillers und Goethes, Herders und Nietzsches, eingebettet in einer saturierten Kulturlandschaft, wählt er anschließend zu seinem Lebensmittelpunkt. Für sein eigenes Fortkommen mag sicher der Umzug 1901 nach Hagen und der dort von Karl Ernst Osthaus inszenierte Impuls große Sogkraft ausgelöst haben, auch von Beginn an mitzuerleben, wie im Folkwang ein herausragendes Werk nach dem anderen in die Gemäldegalerie gehängt wurde. Der inzwischen Mittefünfzigjährige wird, nachdem er sich der Richtung des Impressionismus wie auch des Neoimpressionismus anschließt, in gleicher Weise zu den ‚Jungen Wilden' zu zählen sein, wie der schon 18 Jahre jüngere Emil Nolde oder die schon deutlich sich einer anderen Generation angehörig fühlenden, soeben zusammengefundenen Künstler der Künstlergemeinschaft Brücke.
1904 besucht Rohlfs erstmals die mittelalterliche Stadt Soest in Westfalen und ist begeistert von den Straßen und Plätzen, Kirchen, Türmen und Fachwerkhäusern: „ein herrliches Nest“, so Rohlfs zu seinem Freund Felix Bahlmann. (Zit. nach Paul Vogt, Christian Rohlfs, Aquarelle und Zeichnungen, Recklinghausen 1958, S. 34). Malt Rohlfs 1906 und 1907 erste Porträts von den markanten Kirchen und Türmen noch im Duktus und in Gedanken an Werke van Goghs im Folkwang, so emanzipiert er sich im Laufe der Jahre und entwickelt für die Soester Häuser- und Straßen-Ansichten eine kompakte, in seinem typischen, den Farbauftrag nivellierenden Geschlossenheit: Das Ocker als Grundierung der Szene, das sich vor dem Blau des Abends absetzende Rot der Dächer, das sowohl das Fachwerk als auch die Dynamik der Stadt markierende Schwarz entwickelt Rohlfs zu einem modernen „all over“. Die Gleichzeitigkeit von Statik und Bewegung, wie es die Futuristen in die Malerei der Expressionisten einbringen, ist für Rohlfs ein probates Mittel, den visuellen Reiz dieser Soester Häusersilhouette zu vermitteln. Sein Malstil zeigt Tendenzen fortschreitender Abstraktion, die sich aus dem souveränen Umgang mit Naturalismus und Entmaterialisierung der Farben ergeben.


Vergleichsabbildung: Ansichtskarte Freiligrath-Haus in Soest/Westfalen, ca. 1920, © Antik-Falkensee Postkarten (www.antik-falkensee.de), 2018

Christian Rohlfs
Häuser in Soest

Oil on canvas. 59.3 x 77.2 cm. Framed. Monogrammed 'CR' in red brown lower right. - In very fine condition.

Vogt 624

Provenance
J. B. Neumann, Berlin; Stuttgarter Kunstkabinett R. N. Ketterer, 34th auction Moderne Kunst 20 and 21 Nov. 1959, lot 805 ("Gasse in Soest"); Private possession, Switzerland; Private possession, Baden-Wuerttemberg

Exhibitions
Düsseldorf 1919 (Galerie Flechtheim ), Christian Rohlfs (zum 70. Geburtstag) - Ölbilder 1917/18, cat. no. 14

In his note published in the Frankfurter Zeitung in December 1919 to congratulate the artist on his 70th birthday, the founder of the Folkwang Museum, Karl Ernst Osthaus, began with an assertion that summarised and simultaneously criticised the historical situation: “Surely no great master of German painting has lacked public recognition longer than Christian Rohlfs.” (Karl Ernst Osthaus, Reden und Schriften, ed. by Rainer Stamm, Cologne 2002, p. 166). Rohlfs was born in 1849 and in 1870, after a brief stay in Berlin, he began studying at what was seen as the progressive grand-ducal art school in Weimar. He subsequently chose to settle there, in the home of Schiller and Goethe, Herder and Nietzsche, nestled within a landscape steeped in culture. His move to Hagen in 1901 and the impulse presented there by Karl Ernst Osthaus surely exercised a great impact on his own progress - as did experiencing, from the very beginning, how one outstanding work after another was hung in the picture gallery of the Folkwang Museum. Already in his mid-50s at that time, and having previously adopted the developments of Impressionism as well as Neo-Impressionism, he is just as much to be counted among the “wild youth” as Emil Nolde, who was a full 18 years younger than him, or the artists who had just joined together to form the artists collective of the Brücke, who clearly felt they already belonged to another generation.
In 1904 Rohlfs visited the medieval Westphalian town of Soest for the first time and was delighted by its streets and squares, churches, towers and half-timber houses: “a magnificent little town”, Rohlfs told his friend Felix Bahlmann (cited in Paul Vogt, Christian Rohlfs, Aquarelle und Zeichnungen, Recklinghausen 1958, p. 34). In 1906 and 1907 Rohlfs was still painting his first portraits of its striking churches and towers with the brushstroke of van Gogh and thinking of his works at the Folkwang Museum. However, he emancipated himself over the years and developed a compact cohesiveness featuring his characteristically counterbalanced use of colour for his views of Soest's buildings and streets: Rohlfs develops a modern “all-over” out of the ochre ground of the scene, the red of the roofs standing out against the blue of the evening and the black denoting both the half-timber work and the dynamism of the town. For Rohlfs the simultaneity of stasis and motion - like that brought to Expressionist painting by the Futurists - was a proven means of conveying the visual appeal of this architectural silhouette in Soest. His style of painting reveals tendencies towards an increasing abstraction resulting from his unfettered handling of naturalism and dematerialisation of colour.


Comparative illustration: picture postcard Freiligrath-Haus in Soest/Westphalia, ca. 1920, © Antik-Falkensee Postkarten (www.antik-falkensee.de), 2018
Christian Rohlfs
Häuser in Soest

Öl auf Leinwand. 59,3 x 77,2 cm. Gerahmt. Unten rechts rotbraun monogrammiert 'CR'. - In sehr schöner Erhaltung.

Vogt 624

Provenienz
J. B. Neumann, Berlin; Stuttgarter Kunstkabinett R. N. Ketterer, 34. Auktion Moderne Kunst 20. u. 21. Nov. 1959, Los 805 ("Gasse in Soest"); Privatbesitz Schweiz; Privatbesitz Baden-Württemberg

Ausstellungen
Düsseldorf 1919 (Galerie Flechtheim ), Christian Rohlfs (zum 70. Geburtstag) - Ölbilder 1917/18, Kat. Nr. 14

Anlässlich seines 70. Geburtstages im Dezember 1919 beginnt der Hagener Museumsgründer des Folkwang, Karl Ernst Osthaus, seinen Glückwunsch in der Frankfurter Zeitung mit einer resümierenden und zugleich die historischen Umstände kritisierenden Feststellung: „Wohl keinem großen Meister deutscher Malkunst hat die Anerkennung der Öffentlichkeit länger gefehlt als Christian Rohlfs.“ (Karl Ernst Osthaus, Reden und Schriften, hrsg. von Rainer Stamm, Köln 2002, S. 166). Nach kurzem Aufenthalt in Berlin studiert der 1849 geborene Rohlfs ab 1870 an der als fortschrittlich geltenden Großherzoglichen Kunstschule in Weimar. Den Ort Schillers und Goethes, Herders und Nietzsches, eingebettet in einer saturierten Kulturlandschaft, wählt er anschließend zu seinem Lebensmittelpunkt. Für sein eigenes Fortkommen mag sicher der Umzug 1901 nach Hagen und der dort von Karl Ernst Osthaus inszenierte Impuls große Sogkraft ausgelöst haben, auch von Beginn an mitzuerleben, wie im Folkwang ein herausragendes Werk nach dem anderen in die Gemäldegalerie gehängt wurde. Der inzwischen Mittefünfzigjährige wird, nachdem er sich der Richtung des Impressionismus wie auch des Neoimpressionismus anschließt, in gleicher Weise zu den ‚Jungen Wilden' zu zählen sein, wie der schon 18 Jahre jüngere Emil Nolde oder die schon deutlich sich einer anderen Generation angehörig fühlenden, soeben zusammengefundenen Künstler der Künstlergemeinschaft Brücke.
1904 besucht Rohlfs erstmals die mittelalterliche Stadt Soest in Westfalen und ist begeistert von den Straßen und Plätzen, Kirchen, Türmen und Fachwerkhäusern: „ein herrliches Nest“, so Rohlfs zu seinem Freund Felix Bahlmann. (Zit. nach Paul Vogt, Christian Rohlfs, Aquarelle und Zeichnungen, Recklinghausen 1958, S. 34). Malt Rohlfs 1906 und 1907 erste Porträts von den markanten Kirchen und Türmen noch im Duktus und in Gedanken an Werke van Goghs im Folkwang, so emanzipiert er sich im Laufe der Jahre und entwickelt für die Soester Häuser- und Straßen-Ansichten eine kompakte, in seinem typischen, den Farbauftrag nivellierenden Geschlossenheit: Das Ocker als Grundierung der Szene, das sich vor dem Blau des Abends absetzende Rot der Dächer, das sowohl das Fachwerk als auch die Dynamik der Stadt markierende Schwarz entwickelt Rohlfs zu einem modernen „all over“. Die Gleichzeitigkeit von Statik und Bewegung, wie es die Futuristen in die Malerei der Expressionisten einbringen, ist für Rohlfs ein probates Mittel, den visuellen Reiz dieser Soester Häusersilhouette zu vermitteln. Sein Malstil zeigt Tendenzen fortschreitender Abstraktion, die sich aus dem souveränen Umgang mit Naturalismus und Entmaterialisierung der Farben ergeben.


Vergleichsabbildung: Ansichtskarte Freiligrath-Haus in Soest/Westfalen, ca. 1920, © Antik-Falkensee Postkarten (www.antik-falkensee.de), 2018

Christian Rohlfs
Häuser in Soest

Oil on canvas. 59.3 x 77.2 cm. Framed. Monogrammed 'CR' in red brown lower right. - In very fine condition.

Vogt 624

Provenance
J. B. Neumann, Berlin; Stuttgarter Kunstkabinett R. N. Ketterer, 34th auction Moderne Kunst 20 and 21 Nov. 1959, lot 805 ("Gasse in Soest"); Private possession, Switzerland; Private possession, Baden-Wuerttemberg

Exhibitions
Düsseldorf 1919 (Galerie Flechtheim ), Christian Rohlfs (zum 70. Geburtstag) - Ölbilder 1917/18, cat. no. 14

In his note published in the Frankfurter Zeitung in December 1919 to congratulate the artist on his 70th birthday, the founder of the Folkwang Museum, Karl Ernst Osthaus, began with an assertion that summarised and simultaneously criticised the historical situation: “Surely no great master of German painting has lacked public recognition longer than Christian Rohlfs.” (Karl Ernst Osthaus, Reden und Schriften, ed. by Rainer Stamm, Cologne 2002, p. 166). Rohlfs was born in 1849 and in 1870, after a brief stay in Berlin, he began studying at what was seen as the progressive grand-ducal art school in Weimar. He subsequently chose to settle there, in the home of Schiller and Goethe, Herder and Nietzsche, nestled within a landscape steeped in culture. His move to Hagen in 1901 and the impulse presented there by Karl Ernst Osthaus surely exercised a great impact on his own progress - as did experiencing, from the very beginning, how one outstanding work after another was hung in the picture gallery of the Folkwang Museum. Already in his mid-50s at that time, and having previously adopted the developments of Impressionism as well as Neo-Impressionism, he is just as much to be counted among the “wild youth” as Emil Nolde, who was a full 18 years younger than him, or the artists who had just joined together to form the artists collective of the Brücke, who clearly felt they already belonged to another generation.
In 1904 Rohlfs visited the medieval Westphalian town of Soest for the first time and was delighted by its streets and squares, churches, towers and half-timber houses: “a magnificent little town”, Rohlfs told his friend Felix Bahlmann (cited in Paul Vogt, Christian Rohlfs, Aquarelle und Zeichnungen, Recklinghausen 1958, p. 34). In 1906 and 1907 Rohlfs was still painting his first portraits of its striking churches and towers with the brushstroke of van Gogh and thinking of his works at the Folkwang Museum. However, he emancipated himself over the years and developed a compact cohesiveness featuring his characteristically counterbalanced use of colour for his views of Soest's buildings and streets: Rohlfs develops a modern “all-over” out of the ochre ground of the scene, the red of the roofs standing out against the blue of the evening and the black denoting both the half-timber work and the dynamism of the town. For Rohlfs the simultaneity of stasis and motion - like that brought to Expressionist painting by the Futurists - was a proven means of conveying the visual appeal of this architectural silhouette in Soest. His style of painting reveals tendencies towards an increasing abstraction resulting from his unfettered handling of naturalism and dematerialisation of colour.


Comparative illustration: picture postcard Freiligrath-Haus in Soest/Westphalia, ca. 1920, © Antik-Falkensee Postkarten (www.antik-falkensee.de), 2018

Modern Art

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Germany

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Takuro Ito, Auctioneer

 

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