Los

238

Karl Schmidt-RottluffFarnkraut

In Modern Art Catalogue Paul Baum Collection Gemm...

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Karl Schmidt-RottluffFarnkraut
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Köln

Karl Schmidt-Rottluff
Farnkraut

Öl auf Leinwand. 76 x 85 cm. Gerahmt. Oben links signiert 'S-Rottluff' sowie rückseitig auf dem oberen Keilrahmen zusätzlich schwarz mit dem Pinsel signiert und betitelt 'Schmidt=Rottluff "Farnkraut" ' sowie mit der Werknummer '((364))' versehen; auf der unteren Leiste mit dem Vermerk '=gewachst='. - Stellenweise mit leichtem Craquelé, im rechten Farn außen winzige Farbausbrüche. In der oberen linken Ecke mit leicht unregelmäßigen alten Farbverlusten, restauriert, sowie vornehmlich in der unteren Bildhälfte mit minimalen punktuellen fachmännischen Retuschen.

Wir danken Christiane Remm für freundliche Auskünfte und Hinweise; das Gemälde ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung dokumentiert.

Provenienz
Ehemals Irmgard Hasenclever, Langerwehe; seitdem in Familienbesitz, Privatsammlung Nordrhein-Westfalen, Nachlass

Literatur
Will Grohmann, Karl Schmidt-Rottluff, Stuttgart 1956, Chronologischer Oeuvrekatalog der Gemälde, S. 302 ("Farnkraut. 85:75 cm; Frau Irma Hasenclever, Langerwehe über Düren; nicht bezeichnet")

Farne - sind sie nicht bekanntlich urtümliche, triebkräftige wie raumgreifende botanische Geschöpfe von unverkennbar exotischer Silhouette, deren dekorative Blätter sich aus eigentümlich phantastischen Knospenbildungen entfalten, lebendige Geschöpfe... Schmidt-Rottluff gewinnt aus dem charakteristischen, biegsamen Wuchs eine starke Binnenform, die Musterwirkung der Kontur ist prägnant, formatfüllend wie expressiv eingesetzt. Bewusst gestaltet der Künstler die natürliche, diversifizierte Bewegung der spitzwinkligen länglichen Farnwedel und steigert das Motiv nicht nur in der Dimension sondern zusätzlich durch starke Farb- und Helligkeitskontraste. Mehr noch als herbstlich getönte Färbung entwickelt die Malerei ein intensives Leuchten von hoch emotionalem Charakter. Aus den starken Farbwerten der abstrahierten Form verselbständigt sich ein warmes Gelb-Orange, das sich wunderbar gegen die verschiedenen Grün-, Blau und Violetttöne absetzt. Die Wirkung scheint harmonisch, aber sie ist auch im gewählten Bildausschnitt hermetisch, monumentalisiert, aufrüttelnd, so dass man geneigt ist, eine unbewusste oder bewusste Metaphorik zu erkennen - zumal wenn man sich andere Gemälde Schmidt-Rottluffs in dieser Zeit vergegenwärtigt, die ähnlich dramatisches Farbleuchten inszenieren. Es sind für den Künstler, dessen Werk der Verfemung, Brandmarkung und Beschlagnahmung anheimfiel, Schicksalsjahre.
In diesem Kontext sei Ernst-Wilhelm Nay zitiert, er schrieb Schmidt-Rottluff 1963 aus Anlaß des 80. Geburtstages: „In jener schweren Zeit des Hitlerreiches, in der wir ‚Entartete' genannt wurden, befreundeten wir uns. Die Hieroglyphen, die Formzeichen, die Sie - im Magischen wartend - sich von der Natur schenken lassen konnten, waren wert der Bewunderung der ganzen Welt. Ohne der Beschmutzung zu achten, der Ihre Kunst damals ausgesetzt war, gingen Sie in der Gegenwart herum in der Erwartung, in der empfindsamsten Erwartung neuer Geschenke, aus der Natur, die entgegenzunehmen Ihre eigentliche Existenz war. Hohes Künstlertum ist es, sichtbar zu machen, was von selbst sichtbar werden will.“ (Zitiert aus: Ausst. Kat. Karl Schmidt-Rottluff, Gemälde, Aquarelle, Graphik, Frankfurter Kunstverein 1964, S. 9).



Karl Schmidt-Rottluff
Farnkraut

Oil on canvas. 76 x 85 cm. Framed. Signed upper left 'S-Rottluff'. Additionally signed and titled 'Schmidt=Rottluff "Farnkraut"' in black brush on the verso on upper stretcher bar and with work number '((364))'; annotated '=gewachst=' on lower stretcher bar. - In few places with minor craquelure, in the right outer fern tiny colour losses. In the upper left corner with slightly irregular old colour losses, restored, as well as mainly in the lower half of the picture with minimal islolated professional retouches.

We would like to thank Christiane Remm for kind information and advice; the painting is registered in the archive of the Karl und Emy Schmidt-Rottluff Stiftung, Brücke Museum Berlin.

Provenance
Formerly Irmgard Hasenclever, Langerwehe; since then in family possession, private collection, North Rhine-Westphalia, estate

Literature
Will Grohmann, Karl Schmidt-Rottluff, Stuttgart 1956, Chronologischer Oeuvrekatalog der Gemälde, p. 302 ("Farnkraut. 85:75 cm; Frau Irma Hasenclever, Langerwehe über Düren; nicht bezeichnet")

Ferns - are they not well known as primal, vigorously growing as well as expansive botanical organisms possessing an unmistakably exotic silhouette with decorative leaves which unfold from the strangely fantastic forms of their buds, living organisms … Schmidt-Rottluff develops this characteristic and flexible growth into a strong internal form; the effect of the contour as a pattern is concise, it is employed expressively and fills the picture. The artist has deliberately shaped the natural, varied movement of the fern's angular and elongated fronds and intensified the motif not just in its dimensions, but also through strong contrasts of colour and brightness. Beyond the autumnal tones of its colouring, the painting develops an intense luminosity of a highly emotional character. A warm yellowish orange emerges out from among the bold hues to take on a life of its own, contrasting magnificently with the various shades of green, blue and violet. The effect seems harmonious, but it is also sealed off within the view selected for depiction, monumentalised, jolting, such that we are inclined to identify an unconscious or conscious metaphor - particularly when calling to mind other Schmidt-Rottluff paintings from this period which present a similarly dramatic luminosity in their colours. These were fateful years for the artist, whose work fell victim to denunciation, stigmatisation and confiscation.
Ernst-Wilhelm Nay can be cited in this context. He wrote to Schmidt-Rottluff in 1963, on the occasion of his 80th birthday: “In that difficult period of the Hitler regime, in which we were called 'degenerates', we became friends. The hieroglyphs, the symbolic forms that you - waiting within the magical - were able to bring nature to present to you as gifts were worth the admiration of the whole world. Without heeding the smears to which your art was exposed at that time, you wandered in the present, awaiting - waiting with the greatest sensibility - new gifts, from nature, the receiving of which was your true existence. It is a great artistry, to render visible that which itself wishes to become visible.” (cited in: exhib. cat. Karl Schmidt-Rottluff, Gemälde, Aquarelle, Graphik, Frankfurter Kunstverein 1964, p. 9).


- - -

24.00 % buyer's premium on the hammer price
(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


Karl Schmidt-Rottluff
Farnkraut

Öl auf Leinwand. 76 x 85 cm. Gerahmt. Oben links signiert 'S-Rottluff' sowie rückseitig auf dem oberen Keilrahmen zusätzlich schwarz mit dem Pinsel signiert und betitelt 'Schmidt=Rottluff "Farnkraut" ' sowie mit der Werknummer '((364))' versehen; auf der unteren Leiste mit dem Vermerk '=gewachst='. - Stellenweise mit leichtem Craquelé, im rechten Farn außen winzige Farbausbrüche. In der oberen linken Ecke mit leicht unregelmäßigen alten Farbverlusten, restauriert, sowie vornehmlich in der unteren Bildhälfte mit minimalen punktuellen fachmännischen Retuschen.

Wir danken Christiane Remm für freundliche Auskünfte und Hinweise; das Gemälde ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung dokumentiert.

Provenienz
Ehemals Irmgard Hasenclever, Langerwehe; seitdem in Familienbesitz, Privatsammlung Nordrhein-Westfalen, Nachlass

Literatur
Will Grohmann, Karl Schmidt-Rottluff, Stuttgart 1956, Chronologischer Oeuvrekatalog der Gemälde, S. 302 ("Farnkraut. 85:75 cm; Frau Irma Hasenclever, Langerwehe über Düren; nicht bezeichnet")

Farne - sind sie nicht bekanntlich urtümliche, triebkräftige wie raumgreifende botanische Geschöpfe von unverkennbar exotischer Silhouette, deren dekorative Blätter sich aus eigentümlich phantastischen Knospenbildungen entfalten, lebendige Geschöpfe... Schmidt-Rottluff gewinnt aus dem charakteristischen, biegsamen Wuchs eine starke Binnenform, die Musterwirkung der Kontur ist prägnant, formatfüllend wie expressiv eingesetzt. Bewusst gestaltet der Künstler die natürliche, diversifizierte Bewegung der spitzwinkligen länglichen Farnwedel und steigert das Motiv nicht nur in der Dimension sondern zusätzlich durch starke Farb- und Helligkeitskontraste. Mehr noch als herbstlich getönte Färbung entwickelt die Malerei ein intensives Leuchten von hoch emotionalem Charakter. Aus den starken Farbwerten der abstrahierten Form verselbständigt sich ein warmes Gelb-Orange, das sich wunderbar gegen die verschiedenen Grün-, Blau und Violetttöne absetzt. Die Wirkung scheint harmonisch, aber sie ist auch im gewählten Bildausschnitt hermetisch, monumentalisiert, aufrüttelnd, so dass man geneigt ist, eine unbewusste oder bewusste Metaphorik zu erkennen - zumal wenn man sich andere Gemälde Schmidt-Rottluffs in dieser Zeit vergegenwärtigt, die ähnlich dramatisches Farbleuchten inszenieren. Es sind für den Künstler, dessen Werk der Verfemung, Brandmarkung und Beschlagnahmung anheimfiel, Schicksalsjahre.
In diesem Kontext sei Ernst-Wilhelm Nay zitiert, er schrieb Schmidt-Rottluff 1963 aus Anlaß des 80. Geburtstages: „In jener schweren Zeit des Hitlerreiches, in der wir ‚Entartete' genannt wurden, befreundeten wir uns. Die Hieroglyphen, die Formzeichen, die Sie - im Magischen wartend - sich von der Natur schenken lassen konnten, waren wert der Bewunderung der ganzen Welt. Ohne der Beschmutzung zu achten, der Ihre Kunst damals ausgesetzt war, gingen Sie in der Gegenwart herum in der Erwartung, in der empfindsamsten Erwartung neuer Geschenke, aus der Natur, die entgegenzunehmen Ihre eigentliche Existenz war. Hohes Künstlertum ist es, sichtbar zu machen, was von selbst sichtbar werden will.“ (Zitiert aus: Ausst. Kat. Karl Schmidt-Rottluff, Gemälde, Aquarelle, Graphik, Frankfurter Kunstverein 1964, S. 9).



Karl Schmidt-Rottluff
Farnkraut

Oil on canvas. 76 x 85 cm. Framed. Signed upper left 'S-Rottluff'. Additionally signed and titled 'Schmidt=Rottluff "Farnkraut"' in black brush on the verso on upper stretcher bar and with work number '((364))'; annotated '=gewachst=' on lower stretcher bar. - In few places with minor craquelure, in the right outer fern tiny colour losses. In the upper left corner with slightly irregular old colour losses, restored, as well as mainly in the lower half of the picture with minimal islolated professional retouches.

We would like to thank Christiane Remm for kind information and advice; the painting is registered in the archive of the Karl und Emy Schmidt-Rottluff Stiftung, Brücke Museum Berlin.

Provenance
Formerly Irmgard Hasenclever, Langerwehe; since then in family possession, private collection, North Rhine-Westphalia, estate

Literature
Will Grohmann, Karl Schmidt-Rottluff, Stuttgart 1956, Chronologischer Oeuvrekatalog der Gemälde, p. 302 ("Farnkraut. 85:75 cm; Frau Irma Hasenclever, Langerwehe über Düren; nicht bezeichnet")

Ferns - are they not well known as primal, vigorously growing as well as expansive botanical organisms possessing an unmistakably exotic silhouette with decorative leaves which unfold from the strangely fantastic forms of their buds, living organisms … Schmidt-Rottluff develops this characteristic and flexible growth into a strong internal form; the effect of the contour as a pattern is concise, it is employed expressively and fills the picture. The artist has deliberately shaped the natural, varied movement of the fern's angular and elongated fronds and intensified the motif not just in its dimensions, but also through strong contrasts of colour and brightness. Beyond the autumnal tones of its colouring, the painting develops an intense luminosity of a highly emotional character. A warm yellowish orange emerges out from among the bold hues to take on a life of its own, contrasting magnificently with the various shades of green, blue and violet. The effect seems harmonious, but it is also sealed off within the view selected for depiction, monumentalised, jolting, such that we are inclined to identify an unconscious or conscious metaphor - particularly when calling to mind other Schmidt-Rottluff paintings from this period which present a similarly dramatic luminosity in their colours. These were fateful years for the artist, whose work fell victim to denunciation, stigmatisation and confiscation.
Ernst-Wilhelm Nay can be cited in this context. He wrote to Schmidt-Rottluff in 1963, on the occasion of his 80th birthday: “In that difficult period of the Hitler regime, in which we were called 'degenerates', we became friends. The hieroglyphs, the symbolic forms that you - waiting within the magical - were able to bring nature to present to you as gifts were worth the admiration of the whole world. Without heeding the smears to which your art was exposed at that time, you wandered in the present, awaiting - waiting with the greatest sensibility - new gifts, from nature, the receiving of which was your true existence. It is a great artistry, to render visible that which itself wishes to become visible.” (cited in: exhib. cat. Karl Schmidt-Rottluff, Gemälde, Aquarelle, Graphik, Frankfurter Kunstverein 1964, p. 9).


- - -

24.00 % buyer's premium on the hammer price
(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

Modern Art Catalogue Paul Baum Collection Gemmer / Modern Art Part I and II

Auktionsdatum
Lose: 200 - 269
Lose: 1 - 61
Lose: 270 - 509
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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