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Max LiebermannKind unter Bäumen - Studie zu den "Spielenden Kindern"Öl auf Papier, auf Holz

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Max LiebermannKind unter Bäumen - Studie zu den "Spielenden Kindern"Öl auf Papier, auf Holz
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Max Liebermann
Kind unter Bäumen - Studie zu den "Spielenden Kindern"

Öl auf Papier, auf Holz aufgezogen 26,9 x 16,4 cm Gerahmt. Unten links mit Tusche signiert 'MLiebermann'. - Rückseitig auf einem alten Papieretikett numeriert "2487".

Eberle 1882/7

Provenienz
Rudolf Lepke, Berlin 1908, Auktion 1514, 5.5.1908, Kat. Nr. 133 ("Mädchen an einen Baum gelehnt"); M. Goldschmidt, Frankfurt/Main 1911; Privatsammlung Berlin; Kunstkreis Berlin GbR; Privatsammlung Süddeutschland

Ausstellungen
Düsseldorf 1988 (Galerie Ludorff), Kat S. 164 mit Farbabb; Düsseldorf 1992 (Galerie Ludorff), Kat. S. 12 mit Farbabb.; Cannes 1996 (La Malmaison), Max Liebermann, Kat. S. 14 mit Farbabb.; Rüsselsheim 1999 (Opel-Villen), Max Liebermann. Stationen eines Malerlebens, Kat. S 38 mit Farbabb.; Dessau 2000 (Orangerie des Georgiums), Max Liebermann, Kat. S. 12 mit Farbabb.; Wernigerode 2001 (Schloß Wernigerode), Licht. Phantasie und Charakter - Max Liebermann, Kat. S. 28 mit Farbabb.; Schwäbisch Hall/Wuppertal 2004 (Kunsthalle Würth/Von der Heydt-Museum), Max Liebermann. Poesie des einfachen Lebens, Kat. S. 70 mit Farbabb. (rückseitiges Rahmenetikett)

Literatur
Der Kunstmarkt, Nr. 33, 22.5.1908, S. 247; Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Stuttgart/Leipzig 1911, S. 244, S. 254, Anm. zu S. 53; Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim/Zürich/New York 1994, Kat. E 43

Das „Kind unter Bäumen“ ist die Studie zu der mittleren Figur des ebenfalls 1882 datierten, in dem Dorf Zweelo entstandenen, größeren Gemäldes „Spielende Kinder“ von Max Liebermann (Eberle 1882/10). Die Kinder sind in einem kleineren mit jungen Obstbäumen bewaldeten Gartenstück bei einem Spiel gezeigt, bei dem es darum geht, dass ein Mitspieler denjenigen fangen soll, der bei dem Ruf „Bäumchen wechsel dich“ keinen Baum als Zufluchtsort findet. Unser Kind ist also zu dem Zeitpunkt dargestellt, an dem es auf die Aufforderung des Baumwechsels wartet. In der danach entstandenen großen Komposition bildet das Kind lediglich ein kleines Element in der Arbeitswelt und Kinderspiel beschreibenden Szenerie - Figuren, die wie die Wäschetrocknende auch nachfolgend zu eigenen Einzelmotiven etwa der Wäschebleiche verarbeitet werden.
Für den Berliner Künstler wird Holland zur künstlerischen Wahlheimat, weil er schon früh den Werken, Rembrandts, Frans Hals' und Vermeers verfällt, wie Margreet Nouwen ausführt. (in: Ausst. Kat. Max Liebermann. Der Realist und die Phantasie, Hamburg/Frankfurt.M./Leipzig1997/1998, S.11 ff.). Ab den frühen 1870er Jahren verbringt Max Liebermann die Sommermonate während einer Dauer von etwa 40 Jahren in den Niederlanden und widmet sich in seinen Gemälden vornehmlich der arbeitenden Landbevölkerung, den Bewohnern von Beginenstiften, Waisenhäusern und Männerasylen, bevor er sich in späteren Jahren mit dem vergleichsweise mondänen Strandleben an den holländischen Küsten beschäftigt. „1882 traf der deutsche Maler Helmuth Liesegang in Zweelo, einem kleinen Dorf in der Provinz Drenthe, auf Liebermann. Es war ein verregneter Sommer und Liebermann lief in Holzschuhen und einem blauen Kittel umher, weswegen ihn Liesegang (…) mit einem Viehhändler verwechselte.“ Ein Jahr später versuchte im übrigen Van Gogh Liebermann in Zweelo zu treffen und malte, wie er seinem Bruder Theo berichtete, dieselbe Obstbaumwiese. (Birte Frenssen, in: Ausst. Kat. Hamburg/Frankfurt.M./Leipzig1997/1998, op.cit. S. 178).
Ge

Full description on lot-tissimo.com
Max Liebermann
Kind unter Bäumen - Studie zu den "Spielenden Kindern"

Oil on paper, mounted on wooden panel 26.9 x 16.4 cm Framed. Signed 'MLiebermann' in India ink lower left. - Verso numbered "2487" on an old paper label.

Eberle 1882/7

Provenance
Rudolf Lepke, Berlin 1908, Auktion 1514, 5 May 1908, cat. no. 133 ("Mädchen an einen Baum gelehnt"); M. Goldschmidt, Frankfurt/Main 1911; Private collection, Berlin; Kunstkreis Berlin GbR; Private collection, South Germany

Exhibitions
Düsseldorf 1988 (Galerie Ludorff), cat p. 164 with colour illus.; Düsseldorf 1992 (Galerie Ludorff), cat. p. 12 with colour illus.; Cannes 1996 (La Malmaison), Max Liebermann, cat. p. 14 with colour illus.; Rüsselsheim 1999 (Opel-Villen), Max Liebermann. Stationen eines Malerlebens, cat. p. 38 with colour illus.; Dessau 2000 (Orangerie des Georgiums), Max Liebermann, cat. p. 12 with colour illus.; Wernigerode 2001 (Schloß Wernigerode), Licht. Phantasie und Charakter - Max Liebermann, cat. p. 28 with colour illus.; Schwäbisch Hall/Wuppertal 2004 (Kunsthalle Würth/Von der Heydt-Museum), Max Liebermann. Poesie des einfachen Lebens, cat. p. 70 with colour illus. (frame label verso)

Literature
Der Kunstmarkt, no. 33, 22 May 1908, p. 247; Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Stuttgart/Leipzig 1911, p. 244, p. 254, annot. to p. 53, ; Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim/Zurich/New York 1994, cat. E 43

“Kind unter Bäumen” is the study for the central figure of Max Liebermann's larger painting “Spielende Kinder” (Eberle 1882/10), which was created in the village of Zweelo and is also dated to 1882. The children are shown in a small area of a garden planted with young fruit trees, where they are playing a game in which one player is supposed to catch the player who fails to reach safety by touching a tree after the German equivalent of “Tiggy tiggy touch wood” is called. Our child is thus depicted in the moment of waiting to be told to switch to a new tree. In the large composition created afterwards, the child only forms a small element within a scene depicting the world of work and children's play - with figures, such as the woman drying laundry, who would also subsequently be developed into individual motifs themselves, in the bleaching of the laundry, for example.
For the artist from Berlin, Holland became his artistic adoptive home because, as explained by Margreet Nouwen, he had already fallen for the works of Rembrandt, Frans Hals and Vermeer early on (in: exhib. cat., Max Liebermann. Der Realist und die Phantasie, Hamburg/Frankfurt.M./Leipzig1997/1998, pp.11 ff.). From the early 1870s and for a period of around 40 years, Max Liebermann spent his summer months in the Netherlands, devoting his attention in his paintings primarily to the rural population at work, the inhabitants of Beguine houses, orphanages and men's asylums before occupying himself in later years with the relatively fashionable life at the beaches of the Dutch coast. “In 1882 the German painter Helmuth Liesegang came across Liebermann in Zweelo, a small village in the province of Drenthe. It had been a rainy summer and Liebermann was walking around in wooden shoes and a blue smock, which is why Liesegang […] mistook him for a cattle trader.” Incidentally, van Gogh attempted to meet Liebermann in Zweelo and painted, as he reported to his brother Theo, the same field of fruit trees (Birte Frenssen, in: exhib. cat., Hamburg/Frankfurt.M./Leipzig1997/1998, op. cit., p. 178).
Compared to the figures of the “Spielende Kinder” in Zweelo, who are positioned within a larger compositional framework, the preparatory study “Kind unter Bäumen” focuses in detail on the psychological element, the depicted figure's state of mind. The hesitant and absorbed aspect - within which the child's developing awareness and transformation into a girl or, alternatively, a young woman, may be taking place - as well as the contrast between the black, official-looking clothing and the chubby-cheeked, childish features make this little portrait a particularly

Full description on lot-tissimo.com

Max Liebermann
Kind unter Bäumen - Studie zu den "Spielenden Kindern"

Öl auf Papier, auf Holz aufgezogen 26,9 x 16,4 cm Gerahmt. Unten links mit Tusche signiert 'MLiebermann'. - Rückseitig auf einem alten Papieretikett numeriert "2487".

Eberle 1882/7

Provenienz
Rudolf Lepke, Berlin 1908, Auktion 1514, 5.5.1908, Kat. Nr. 133 ("Mädchen an einen Baum gelehnt"); M. Goldschmidt, Frankfurt/Main 1911; Privatsammlung Berlin; Kunstkreis Berlin GbR; Privatsammlung Süddeutschland

Ausstellungen
Düsseldorf 1988 (Galerie Ludorff), Kat S. 164 mit Farbabb; Düsseldorf 1992 (Galerie Ludorff), Kat. S. 12 mit Farbabb.; Cannes 1996 (La Malmaison), Max Liebermann, Kat. S. 14 mit Farbabb.; Rüsselsheim 1999 (Opel-Villen), Max Liebermann. Stationen eines Malerlebens, Kat. S 38 mit Farbabb.; Dessau 2000 (Orangerie des Georgiums), Max Liebermann, Kat. S. 12 mit Farbabb.; Wernigerode 2001 (Schloß Wernigerode), Licht. Phantasie und Charakter - Max Liebermann, Kat. S. 28 mit Farbabb.; Schwäbisch Hall/Wuppertal 2004 (Kunsthalle Würth/Von der Heydt-Museum), Max Liebermann. Poesie des einfachen Lebens, Kat. S. 70 mit Farbabb. (rückseitiges Rahmenetikett)

Literatur
Der Kunstmarkt, Nr. 33, 22.5.1908, S. 247; Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Stuttgart/Leipzig 1911, S. 244, S. 254, Anm. zu S. 53; Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim/Zürich/New York 1994, Kat. E 43

Das „Kind unter Bäumen“ ist die Studie zu der mittleren Figur des ebenfalls 1882 datierten, in dem Dorf Zweelo entstandenen, größeren Gemäldes „Spielende Kinder“ von Max Liebermann (Eberle 1882/10). Die Kinder sind in einem kleineren mit jungen Obstbäumen bewaldeten Gartenstück bei einem Spiel gezeigt, bei dem es darum geht, dass ein Mitspieler denjenigen fangen soll, der bei dem Ruf „Bäumchen wechsel dich“ keinen Baum als Zufluchtsort findet. Unser Kind ist also zu dem Zeitpunkt dargestellt, an dem es auf die Aufforderung des Baumwechsels wartet. In der danach entstandenen großen Komposition bildet das Kind lediglich ein kleines Element in der Arbeitswelt und Kinderspiel beschreibenden Szenerie - Figuren, die wie die Wäschetrocknende auch nachfolgend zu eigenen Einzelmotiven etwa der Wäschebleiche verarbeitet werden.
Für den Berliner Künstler wird Holland zur künstlerischen Wahlheimat, weil er schon früh den Werken, Rembrandts, Frans Hals' und Vermeers verfällt, wie Margreet Nouwen ausführt. (in: Ausst. Kat. Max Liebermann. Der Realist und die Phantasie, Hamburg/Frankfurt.M./Leipzig1997/1998, S.11 ff.). Ab den frühen 1870er Jahren verbringt Max Liebermann die Sommermonate während einer Dauer von etwa 40 Jahren in den Niederlanden und widmet sich in seinen Gemälden vornehmlich der arbeitenden Landbevölkerung, den Bewohnern von Beginenstiften, Waisenhäusern und Männerasylen, bevor er sich in späteren Jahren mit dem vergleichsweise mondänen Strandleben an den holländischen Küsten beschäftigt. „1882 traf der deutsche Maler Helmuth Liesegang in Zweelo, einem kleinen Dorf in der Provinz Drenthe, auf Liebermann. Es war ein verregneter Sommer und Liebermann lief in Holzschuhen und einem blauen Kittel umher, weswegen ihn Liesegang (…) mit einem Viehhändler verwechselte.“ Ein Jahr später versuchte im übrigen Van Gogh Liebermann in Zweelo zu treffen und malte, wie er seinem Bruder Theo berichtete, dieselbe Obstbaumwiese. (Birte Frenssen, in: Ausst. Kat. Hamburg/Frankfurt.M./Leipzig1997/1998, op.cit. S. 178).
Ge

Full description on lot-tissimo.com
Max Liebermann
Kind unter Bäumen - Studie zu den "Spielenden Kindern"

Oil on paper, mounted on wooden panel 26.9 x 16.4 cm Framed. Signed 'MLiebermann' in India ink lower left. - Verso numbered "2487" on an old paper label.

Eberle 1882/7

Provenance
Rudolf Lepke, Berlin 1908, Auktion 1514, 5 May 1908, cat. no. 133 ("Mädchen an einen Baum gelehnt"); M. Goldschmidt, Frankfurt/Main 1911; Private collection, Berlin; Kunstkreis Berlin GbR; Private collection, South Germany

Exhibitions
Düsseldorf 1988 (Galerie Ludorff), cat p. 164 with colour illus.; Düsseldorf 1992 (Galerie Ludorff), cat. p. 12 with colour illus.; Cannes 1996 (La Malmaison), Max Liebermann, cat. p. 14 with colour illus.; Rüsselsheim 1999 (Opel-Villen), Max Liebermann. Stationen eines Malerlebens, cat. p. 38 with colour illus.; Dessau 2000 (Orangerie des Georgiums), Max Liebermann, cat. p. 12 with colour illus.; Wernigerode 2001 (Schloß Wernigerode), Licht. Phantasie und Charakter - Max Liebermann, cat. p. 28 with colour illus.; Schwäbisch Hall/Wuppertal 2004 (Kunsthalle Würth/Von der Heydt-Museum), Max Liebermann. Poesie des einfachen Lebens, cat. p. 70 with colour illus. (frame label verso)

Literature
Der Kunstmarkt, no. 33, 22 May 1908, p. 247; Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Stuttgart/Leipzig 1911, p. 244, p. 254, annot. to p. 53, ; Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim/Zurich/New York 1994, cat. E 43

“Kind unter Bäumen” is the study for the central figure of Max Liebermann's larger painting “Spielende Kinder” (Eberle 1882/10), which was created in the village of Zweelo and is also dated to 1882. The children are shown in a small area of a garden planted with young fruit trees, where they are playing a game in which one player is supposed to catch the player who fails to reach safety by touching a tree after the German equivalent of “Tiggy tiggy touch wood” is called. Our child is thus depicted in the moment of waiting to be told to switch to a new tree. In the large composition created afterwards, the child only forms a small element within a scene depicting the world of work and children's play - with figures, such as the woman drying laundry, who would also subsequently be developed into individual motifs themselves, in the bleaching of the laundry, for example.
For the artist from Berlin, Holland became his artistic adoptive home because, as explained by Margreet Nouwen, he had already fallen for the works of Rembrandt, Frans Hals and Vermeer early on (in: exhib. cat., Max Liebermann. Der Realist und die Phantasie, Hamburg/Frankfurt.M./Leipzig1997/1998, pp.11 ff.). From the early 1870s and for a period of around 40 years, Max Liebermann spent his summer months in the Netherlands, devoting his attention in his paintings primarily to the rural population at work, the inhabitants of Beguine houses, orphanages and men's asylums before occupying himself in later years with the relatively fashionable life at the beaches of the Dutch coast. “In 1882 the German painter Helmuth Liesegang came across Liebermann in Zweelo, a small village in the province of Drenthe. It had been a rainy summer and Liebermann was walking around in wooden shoes and a blue smock, which is why Liesegang […] mistook him for a cattle trader.” Incidentally, van Gogh attempted to meet Liebermann in Zweelo and painted, as he reported to his brother Theo, the same field of fruit trees (Birte Frenssen, in: exhib. cat., Hamburg/Frankfurt.M./Leipzig1997/1998, op. cit., p. 178).
Compared to the figures of the “Spielende Kinder” in Zweelo, who are positioned within a larger compositional framework, the preparatory study “Kind unter Bäumen” focuses in detail on the psychological element, the depicted figure's state of mind. The hesitant and absorbed aspect - within which the child's developing awareness and transformation into a girl or, alternatively, a young woman, may be taking place - as well as the contrast between the black, official-looking clothing and the chubby-cheeked, childish features make this little portrait a particularly

Full description on lot-tissimo.com

Moderne und Zeitgenössische Kunst - Evening Sale

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Ort der Versteigerung
Neumarkt 3
Köln
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Germany

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