Los

233

Georg SchrimpfMädchen am FensterAquarell über Bleistift auf chamoisfarbenem Velin mit

In Modern Art

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Georg SchrimpfMädchen am FensterAquarell über Bleistift auf chamoisfarbenem Velin mit - Bild 1 aus 2
Georg SchrimpfMädchen am FensterAquarell über Bleistift auf chamoisfarbenem Velin mit - Bild 2 aus 2
Georg SchrimpfMädchen am FensterAquarell über Bleistift auf chamoisfarbenem Velin mit - Bild 1 aus 2
Georg SchrimpfMädchen am FensterAquarell über Bleistift auf chamoisfarbenem Velin mit - Bild 2 aus 2
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Georg Schrimpf
Mädchen am Fenster

Aquarell über Bleistift auf chamoisfarbenem Velin mit Textilstruktur-Prägung. 42,2 x 33 cm. Unter Glas gerahmt. Unten rechts mit brauner Tinte signiert und datiert 'G. Schrimpf 27.' - Sehr farbfrisch erhalten.

Mit einer Foto-Expertise von Karl-Ludwig Hofmann, Heidelberg, vom 15. Juli 1991

Provenienz
Galerie Nierendorf, Berlin; Privatsammlung Niedersachsen

Literatur
Ausst. Kat. Galerie Nierendorf, Berlin, Herbst 1992, Kat. Nr. 239, Rücktitel mit ganzseitiger Farbabb.

Georg Schrimpf hat das Glück in seinem Leben Menschen wie Oskar Maria Graf, Herwarth Walden oder Franz Roh zu begegnen, deren Tun vehement für die Erneuerung der Moderne stehen. Nach seiner Bäckerlehre in Passau geht der junge Schrimpf auf die Walz und trifft Graf, ebenfalls Bäcker von Beruf. Enthusiastisch eingenommen von seinem jungen Weggefährten veröffentlicht dieser im Kunstblatt 1918: „Das kosmische Moment in Georg Schrimpfs Bildern ist das Neue. Seine Bilder sind Ausstrahlungen einer zutiefst aufjuchzenden, kosmischen Seele.“ (Oskar Maria Graf, Brief über Georg Schrimpf, in: Das Kunstblatt, 2. Jg., 1918, S.75).
Herwarth Walden, Herausgeber der Zeitschrift „Der Sturm“ und Betreiber der gleichnamigen Galerie in Berlin, stellt ab 1915 seine publizistischen wie galeristischen Möglichkeiten dem jungen Schrimpf zur Verfügung. Und auch der Künstler und Publizist Franz Roh schließlich beschreibt mit dem Begriff Nach-Expressionisten den neuen Malstil der 1920er Jahre, die Furore machende Neue Sachlichkeit: „Die neue Kunst will nun vor allem aber nicht mehr dynamisch, sondern statisch die Welt verstehen, eine entscheidende Umstellung, die weit über die bildende Kunst hinaus greifen dürfte.“ (Franz Roh, Georg Schrimpf. Seine kunstgeschichtliche Stellung, geschrieben 1924 für ein geplantes Buch über Georg Schrimpf, in: Georg Schrimpf und Maria Uhden, Leben und Werk, hrsg. von Wolfgang Storch, Berlin 1985, S. 142.). „Mädchen lesend“, „Mädchen auf dem Balkon“, „Mädchen am Fenster“ oder das mit dem Aquarell verwandte Gemälde „Ausschauende“ (siehe Vergleichsabbildung) sind Bilder voller Idealismus; sie zeigen eine Idee von Wirklichkeit, die der Künstler mit Akribie und detailgetreuer Genauigkeit beschreibt, in der seine Modelle agieren. Zeitgeschehen mag am Rande Einfluss nehmen, Reisen etwa nach Ascona oder Sizilien sich mit kleinen Details in den Aquarellen und Gemälden wiederfinden. Mitunter verblüfft erscheint wie hier, die Abwendung der jungen Frau von der dichten, hell gehaltenen, südlichen Landschaft mit dem rot bedachten Gehöft rechts und der einzelnen Zypresse links. Vor dem zarten Ausblick in eine weite Landschaft wächst das junge Modell trotz ihrer einfachen Erzählung zu einer heimlichen, introvertierten Monumentalität, die Franz Roh mit „magischer Realismus“ umschreibt.


Vergleichsabbildung: Georg Schrimpf, Ausschauende 1924, Öl/Leinwand 62 x 47,5 cm
Aus: Georg Schrimpf und Maria Uhden, Leben und Werk, hrsg. von Wolfgang Storch, Berlin 1985, S. 140

Georg Schrimpf
Mädchen am Fenster

Watercolour over pencil on chamois-coloured, fabric structured wove paper. 42.2 x 33 cm. Framed under glass. Signed and dated 'G. Schrimpf 27.' in brown ink lower right. - Very vibrant colours.

With a photo-certificate from Karl-Ludwig Hofmann, Heidelberg, dated 15 July 1991

Provenance
Galerie Nierendorf, Berlin; Private collection, Lower Saxony

Literature
Exhib. cat. Galerie Nierendorf, Berlin, 1992, cat. no. 239, with full-page colour illus. back cover

Georg Schrimpf had the good fortune to meet men like Oskar Maria Graf, Herwarth Walden and Franz Roh, who were vehement activists for the renewal of modern art. After his apprenticeship as a baker in Passau, the young Schrimpf set out as a journeyman and met Graf, who also worked as a baker. Enthusiastically fond of his young companion, he wrote the following in the “Kunstblatt” in 1918: “The cosmic element in Georg Schrimpf's pictures is what is new. His pictures are emanations of a profoundly jubilant, cosmic soul.” (Oskar Maria Graf, Brief über Georg Schrimpf, in: Das Kunstblatt, vol. 2, 1918, p. 75).
From 1915 Herwarth Walden, who edited the journal “Der Sturm” and ran the gallery of the same name in Berlin, placed his capacities as a publisher and gallerist at the service of the young Schrimpf. And, finally, the young artist and journalist Franz Roh also used the term Post-Expressionists to describe the new style of painting of the 1920s, the New Objectivity which was causing a sensation: “Above all, however, the new art now no longer wishes to understand the world dynamically, but statically - a decisive reorientation that may reach far beyond visual art.” (Franz Roh, Georg Schrimpf: Seine kunstgeschichtliche Stellung, written in 1924 for a planned book about Georg Schrimpf, in: Georg Schrimpf und Maria Uhden, Leben und Werk, ed. by Wolfgang Storch, Berlin 1985, p. 142). “Mädchen lesend”, “Mädchen auf dem Balkon”, “Mädchen am Fenster” or the painting “Ausschauende” (see comparative illustration), which is related to the watercolour, are pictures full of idealism; they present an idea of reality within which the artist's models move and which the artist describes meticulously and in detailed precision. Contemporary events may exert a marginal influence, for example, journeys to Ascona or Sicily, which can be recognised in small details in the watercolours and paintings. Sometimes, as in the case here, the young woman seems to turn away in amazement from the dense, light, southern landscape with the red-roofed farmstead on the right and the lone cypress on the left. In spite of her simple story, before the gentle view into an expansive landscape, the young model grows to take on a secretive, introverted monumentality that Franz Roh labelled “Magic Realism”.


Comparative illustration: Georg Schrimpf, Ausschauende 1924, oil/canvas 62 x 47.5 cm
From: Georg Schrimpf und Maria Uhden, Leben und Werk, ed. by Wolfgang Storch, Berlin 1985, p. 140
Georg Schrimpf
Mädchen am Fenster

Aquarell über Bleistift auf chamoisfarbenem Velin mit Textilstruktur-Prägung. 42,2 x 33 cm. Unter Glas gerahmt. Unten rechts mit brauner Tinte signiert und datiert 'G. Schrimpf 27.' - Sehr farbfrisch erhalten.

Mit einer Foto-Expertise von Karl-Ludwig Hofmann, Heidelberg, vom 15. Juli 1991

Provenienz
Galerie Nierendorf, Berlin; Privatsammlung Niedersachsen

Literatur
Ausst. Kat. Galerie Nierendorf, Berlin, Herbst 1992, Kat. Nr. 239, Rücktitel mit ganzseitiger Farbabb.

Georg Schrimpf hat das Glück in seinem Leben Menschen wie Oskar Maria Graf, Herwarth Walden oder Franz Roh zu begegnen, deren Tun vehement für die Erneuerung der Moderne stehen. Nach seiner Bäckerlehre in Passau geht der junge Schrimpf auf die Walz und trifft Graf, ebenfalls Bäcker von Beruf. Enthusiastisch eingenommen von seinem jungen Weggefährten veröffentlicht dieser im Kunstblatt 1918: „Das kosmische Moment in Georg Schrimpfs Bildern ist das Neue. Seine Bilder sind Ausstrahlungen einer zutiefst aufjuchzenden, kosmischen Seele.“ (Oskar Maria Graf, Brief über Georg Schrimpf, in: Das Kunstblatt, 2. Jg., 1918, S.75).
Herwarth Walden, Herausgeber der Zeitschrift „Der Sturm“ und Betreiber der gleichnamigen Galerie in Berlin, stellt ab 1915 seine publizistischen wie galeristischen Möglichkeiten dem jungen Schrimpf zur Verfügung. Und auch der Künstler und Publizist Franz Roh schließlich beschreibt mit dem Begriff Nach-Expressionisten den neuen Malstil der 1920er Jahre, die Furore machende Neue Sachlichkeit: „Die neue Kunst will nun vor allem aber nicht mehr dynamisch, sondern statisch die Welt verstehen, eine entscheidende Umstellung, die weit über die bildende Kunst hinaus greifen dürfte.“ (Franz Roh, Georg Schrimpf. Seine kunstgeschichtliche Stellung, geschrieben 1924 für ein geplantes Buch über Georg Schrimpf, in: Georg Schrimpf und Maria Uhden, Leben und Werk, hrsg. von Wolfgang Storch, Berlin 1985, S. 142.). „Mädchen lesend“, „Mädchen auf dem Balkon“, „Mädchen am Fenster“ oder das mit dem Aquarell verwandte Gemälde „Ausschauende“ (siehe Vergleichsabbildung) sind Bilder voller Idealismus; sie zeigen eine Idee von Wirklichkeit, die der Künstler mit Akribie und detailgetreuer Genauigkeit beschreibt, in der seine Modelle agieren. Zeitgeschehen mag am Rande Einfluss nehmen, Reisen etwa nach Ascona oder Sizilien sich mit kleinen Details in den Aquarellen und Gemälden wiederfinden. Mitunter verblüfft erscheint wie hier, die Abwendung der jungen Frau von der dichten, hell gehaltenen, südlichen Landschaft mit dem rot bedachten Gehöft rechts und der einzelnen Zypresse links. Vor dem zarten Ausblick in eine weite Landschaft wächst das junge Modell trotz ihrer einfachen Erzählung zu einer heimlichen, introvertierten Monumentalität, die Franz Roh mit „magischer Realismus“ umschreibt.


Vergleichsabbildung: Georg Schrimpf, Ausschauende 1924, Öl/Leinwand 62 x 47,5 cm
Aus: Georg Schrimpf und Maria Uhden, Leben und Werk, hrsg. von Wolfgang Storch, Berlin 1985, S. 140

Georg Schrimpf
Mädchen am Fenster

Watercolour over pencil on chamois-coloured, fabric structured wove paper. 42.2 x 33 cm. Framed under glass. Signed and dated 'G. Schrimpf 27.' in brown ink lower right. - Very vibrant colours.

With a photo-certificate from Karl-Ludwig Hofmann, Heidelberg, dated 15 July 1991

Provenance
Galerie Nierendorf, Berlin; Private collection, Lower Saxony

Literature
Exhib. cat. Galerie Nierendorf, Berlin, 1992, cat. no. 239, with full-page colour illus. back cover

Georg Schrimpf had the good fortune to meet men like Oskar Maria Graf, Herwarth Walden and Franz Roh, who were vehement activists for the renewal of modern art. After his apprenticeship as a baker in Passau, the young Schrimpf set out as a journeyman and met Graf, who also worked as a baker. Enthusiastically fond of his young companion, he wrote the following in the “Kunstblatt” in 1918: “The cosmic element in Georg Schrimpf's pictures is what is new. His pictures are emanations of a profoundly jubilant, cosmic soul.” (Oskar Maria Graf, Brief über Georg Schrimpf, in: Das Kunstblatt, vol. 2, 1918, p. 75).
From 1915 Herwarth Walden, who edited the journal “Der Sturm” and ran the gallery of the same name in Berlin, placed his capacities as a publisher and gallerist at the service of the young Schrimpf. And, finally, the young artist and journalist Franz Roh also used the term Post-Expressionists to describe the new style of painting of the 1920s, the New Objectivity which was causing a sensation: “Above all, however, the new art now no longer wishes to understand the world dynamically, but statically - a decisive reorientation that may reach far beyond visual art.” (Franz Roh, Georg Schrimpf: Seine kunstgeschichtliche Stellung, written in 1924 for a planned book about Georg Schrimpf, in: Georg Schrimpf und Maria Uhden, Leben und Werk, ed. by Wolfgang Storch, Berlin 1985, p. 142). “Mädchen lesend”, “Mädchen auf dem Balkon”, “Mädchen am Fenster” or the painting “Ausschauende” (see comparative illustration), which is related to the watercolour, are pictures full of idealism; they present an idea of reality within which the artist's models move and which the artist describes meticulously and in detailed precision. Contemporary events may exert a marginal influence, for example, journeys to Ascona or Sicily, which can be recognised in small details in the watercolours and paintings. Sometimes, as in the case here, the young woman seems to turn away in amazement from the dense, light, southern landscape with the red-roofed farmstead on the right and the lone cypress on the left. In spite of her simple story, before the gentle view into an expansive landscape, the young model grows to take on a secretive, introverted monumentality that Franz Roh labelled “Magic Realism”.


Comparative illustration: Georg Schrimpf, Ausschauende 1924, oil/canvas 62 x 47.5 cm
From: Georg Schrimpf und Maria Uhden, Leben und Werk, ed. by Wolfgang Storch, Berlin 1985, p. 140

Modern Art

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Takuro Ito, Auctioneer

 

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