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Ernst BarlachDer Singende Mann

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Ernst BarlachDer Singende Mann
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Ernst Barlach
Der Singende Mann

Bronzeplastik Höhe 49,5 cm Seitlich unten an Fußstütze und Gewandsaum signiert 'E. Barlach' und mit dem Gießerstempel "H. NOACK BERLIN" versehen. Aus einer bei Laur genannten Gesamtauflage von 57 Exemplaren, davon ca. 16 frühe Lebzeitengüsse aus der Edition der Galerie Flechtheim. Posthumer Guss. - Mit schöner gold- olivfarbener Patina, an den geschlossenen Gusskanälen minimal dunkler.

Laur 432; Schult I 343

Provenienz
Wohl bei Roman Norbert Ketterer, Campione d'Italia, erworben (1972); seitdem bedeutende Privatsammlung Norddeutschland, Familienbesitz Rheinland

Ausstellungen
U.a. Berlin/Düsseldorf 1930 (Galerie Alfred Flechtheim), November/Dezember, Kat. Nr. 19; New York 1931 (Museum of Modern Art), Art in Our Time; Berlin 1951/1952 (Deutsche Akademie der Künste), Ernst Barlach, Kat. Nr. 54, S. 124; Bremen 1959 (Kunsthalle), Ernst Barlach, Kat. Nr. 34, S. 13 mit Abb.
Güsse befinden sich nach Laur in folgenden musealen Sammlungen: Neue Nationalgalerie, Berlin; The Cleveland Museum of Art, Cleveland/Ohio, USA; Museum am Ostwall, Dortmund; Ernst Barlach Haus, Hamburg; Sprengel Museum, Hannover; Kunsthalle Kiel; Museum Ludwig, Köln; Kunsthalle Mannheim; Pinakothek der Moderne, München; Lyman Allyn Museum, New London/Connecticut, USA; Museum of Modern Art, New York, USA; Germanisches Nationalmuseum, Nürnberg; Schloss Gottorf, Schleswig; Staatliches Museum Schwerin; Rathaus Wedel, Privatbesitz (ein nummerierter Guss 4/10); Ernst Barlach Stiftung, Güstrow; Hamburger Kunsthalle; Von der Heydt-Museum, Wuppertal

Literatur
U.a. Alfred H. Barr, Omnibus, German Sculpture, Berlin/Düsseldorf 1932, S. 38-42; Marguerite Devigne, Ernst Barlach, in: Les Beaux-Arts, Brüssel 1935, S. 14; Carl Dietrich Carls, Ernst Barlach, Das plastische, graphische und dichterische Werk, 5. Aufl., Flensburg/Hamburg 1950, S. 58; Paul Fechter, Ernst Barlach, Gütersloh 1957, S. 35; Franz Fühmann (Hg.), Ernst Barlach, Das Wirkliche und Wahrhaftige, Wiesbaden 1970, S. 159; Kunstblätter der Galerie Nierendorf, Ernst Barlach. Plastik, Zeichnungen, Graphik, 13.9.-5.12.1978, Berlin, September 1978, Kat. Nr. 41 mit Abb. Nr. 21 ; Anita Beloubek-Hammer, Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 116 f.; Helga Thieme, Ernst Barlachs Skulptur "Der singende Mann" in der Ausstellung "Neue deutsche Kunst", Oslo 1932, in: Ausst. Kat. Rostock 1998, S. 310 ff.

Ernst Barlachs „Singender Mann“ entsteht zunächst als Gipsplastik. Deren Umsetzung in den zu vervielfältigenden Bronzeguss wird in größerem Umfang erst mit Alfred Flechtheim ab 1930 angeregt. Barlach selbst ist zuerst zurückhaltend, liegt ihm doch sehr an der ursprünglichen Wirkung besonders der Holzskulpturen. An Flechtheim schreibt der Künstler im Oktober 1930: „Die erste größere Arbeit in Bronze, der Domengel in Güstrow, wollte mir gleich als Bestätigung der Eignung meiner Arbeit für Metall erscheinen. […] Lust und Überzeugung waren angeregt, und der Wechsel des Materials machte sich immer wünschenswerter. Freilich habe ich Entwürfe, die mir nur in Holz ausführbar scheinen, aber es unterlaufen mir doch immer wieder Dinge von einer gewissen Gewagtheit, wo nicht Leichtigkeit auch im Stofflichen, bei denen die momentane Geglücktheit so entscheidend ist, daß ihr Gelingen bei langsamer und mühevoller Ausführung in Holz unmöglich wäre. Diese Stücke vor allem verlangen nach Bronze, in der die ganze Frische des augenblicklichen Gefühls erhalten bleibt, hier vermag sie allein getreu zu sein und das Erlebnis der Minuten zu erhalten.“ (zit. nach Friedrich Schult, Ernst Barlach. Das plastische Werk, Hamburg 1959, S. 26). Den Moment, in dem der alles um sich herum vergessende, in sich Versunkene sich weit nach hinten lehnt, um seinen Brustkorb zu öffnen, sein Lied anstimmt, hat Barlach in seiner prachtvollen Plastik in einem geglückten Moment eingefangen.





Ernst Barlach
Der Singende Mann

Bronze sculpture Height 49.5 cm Signed 'E. Barlach' and with foundry mark "H. NOACK BERLIN" on lower side of footrest and cloak hem. From a total edition of 57 exemplars mentioned by Lauren, of which approx. 16 early lifte-time casts from the edition by Galerie Flechtheim. Posthumous cast. - Fine gold-olive-coloured patina, minimally darker in the closed casting channels.

Laur 432; Schult I 343

Provenance
Probably acquired from Roman Norbert Ketterer, Campione d'Italia (1972); since then important Private collection, North Germany, Family possesion, Rhineland

Exhibitions
I.a. Berlin/Düsseldorf 1930 (Galerie Alfred Flechtheim), November/Dezember, cat. no. 19; New York 1931 (Museum of Modern Art), Art in Our Time; Berlin 1951/1952 (Deutsche Akademie der Künste), Ernst Barlach, cat. no 34, p. 13 with illus.
According to Laur, casts are located in these museum collections: Neue Nationalgalerie, Berlin; The Cleveland Museum of Art, Cleveland/Ohio, USA; Museum am Ostwall, Dortmund; Ernst Barlach Haus, Hamburg; Sprengel Museum, Hannover; Kunsthalle Kiel; Museum Ludwig, Köln; Kunsthalle Mannheim; Pinakothek der Moderne, München; Lyman Allyn Museum, New London/Connecticut, USA; Museum of Modern Art, New York, USA; Germanisches Nationalmuseum, Nürnberg; Schloss Gottorf, Schleswig; Staatliches Museum Schwerin; Rathaus Wedel, Privatbesitz (numbered cast 4/10); Ernst Barlach Stiftung, Güstrow; Hamburger Kunsthalle; Von der Heydt-Museum, Wuppertal

Literature
I.a. Alfred H. Barr, Omnibus, German Sculpture, Berlin/Düsseldorf 1932, p. 38-42; Marguerite Devigne, Ernst Barlach, in: Les Beaux-Arts, Brüssel 1935, p. 14; Carl Dietrich Carls, Ernst Barlach, Das plastische, graphische und dichterische Werk, 5th ed., Flensburg/Hamburg 1950, p. 58; Paul Fechter, Ernst Barlach, Gütersloh 1957, p. 35; Franz Fühmann (ed.), Ernst Barlach, Das Wirkliche und Wahrhaftige, Wiesbaden 1970, p. 159; Kunstblätter der Galerie Nierendorf, Ernst Barlach. Plastik, Zeichnungen, Graphik, 13.9.-5.12.1978, Berlin, September 1978, cat. no. 41 with illus. no. 21 ; Anita Beloubek-Hammer, Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, p. 116 f.; Helga Thieme, Ernst Barlachs Skulptur "Der singende Mann" in der Ausstellung "Neue deutsche Kunst", Oslo 1932, in: Exhib. cat. Rostock 1998, p. 310 ff.

Ernst Barlach's “Singender Mann” was initially created as a plaster sculpture. Its realisation in a bronze casting for reproduction was first initiated on a larger scale through Alfred Flechtheim, beginning in 1930. Barlach himself was initially hesitant: the original effect, particularly of the wooden sculptures, was very important to him, after all. In October 1930 the artist wrote to Flechtheim: “The first larger work in bronze, the angel for the cathedral in Güstrow, immediately appeared to me as a confirmation of my work's suitability for metal. […] Desire and conviction were kindled, and the change of material asserted itself with more and more appeal. Granted, I have designs that seem to me to be realisable only in wood, but things do repeatedly occur to me that possess a certain daring, if not lightness - also in their materiality - in which the immediate success plays such a deciding role that their accomplishment through a slow and laborious realisation in wood would be impossible. It is these pieces in particular which call for bronze, in which the entire freshness of the momentary feeling remains preserved; here, i

Full description on lot-tissimo.com

Ernst Barlach
Der Singende Mann

Bronzeplastik Höhe 49,5 cm Seitlich unten an Fußstütze und Gewandsaum signiert 'E. Barlach' und mit dem Gießerstempel "H. NOACK BERLIN" versehen. Aus einer bei Laur genannten Gesamtauflage von 57 Exemplaren, davon ca. 16 frühe Lebzeitengüsse aus der Edition der Galerie Flechtheim. Posthumer Guss. - Mit schöner gold- olivfarbener Patina, an den geschlossenen Gusskanälen minimal dunkler.

Laur 432; Schult I 343

Provenienz
Wohl bei Roman Norbert Ketterer, Campione d'Italia, erworben (1972); seitdem bedeutende Privatsammlung Norddeutschland, Familienbesitz Rheinland

Ausstellungen
U.a. Berlin/Düsseldorf 1930 (Galerie Alfred Flechtheim), November/Dezember, Kat. Nr. 19; New York 1931 (Museum of Modern Art), Art in Our Time; Berlin 1951/1952 (Deutsche Akademie der Künste), Ernst Barlach, Kat. Nr. 54, S. 124; Bremen 1959 (Kunsthalle), Ernst Barlach, Kat. Nr. 34, S. 13 mit Abb.
Güsse befinden sich nach Laur in folgenden musealen Sammlungen: Neue Nationalgalerie, Berlin; The Cleveland Museum of Art, Cleveland/Ohio, USA; Museum am Ostwall, Dortmund; Ernst Barlach Haus, Hamburg; Sprengel Museum, Hannover; Kunsthalle Kiel; Museum Ludwig, Köln; Kunsthalle Mannheim; Pinakothek der Moderne, München; Lyman Allyn Museum, New London/Connecticut, USA; Museum of Modern Art, New York, USA; Germanisches Nationalmuseum, Nürnberg; Schloss Gottorf, Schleswig; Staatliches Museum Schwerin; Rathaus Wedel, Privatbesitz (ein nummerierter Guss 4/10); Ernst Barlach Stiftung, Güstrow; Hamburger Kunsthalle; Von der Heydt-Museum, Wuppertal

Literatur
U.a. Alfred H. Barr, Omnibus, German Sculpture, Berlin/Düsseldorf 1932, S. 38-42; Marguerite Devigne, Ernst Barlach, in: Les Beaux-Arts, Brüssel 1935, S. 14; Carl Dietrich Carls, Ernst Barlach, Das plastische, graphische und dichterische Werk, 5. Aufl., Flensburg/Hamburg 1950, S. 58; Paul Fechter, Ernst Barlach, Gütersloh 1957, S. 35; Franz Fühmann (Hg.), Ernst Barlach, Das Wirkliche und Wahrhaftige, Wiesbaden 1970, S. 159; Kunstblätter der Galerie Nierendorf, Ernst Barlach. Plastik, Zeichnungen, Graphik, 13.9.-5.12.1978, Berlin, September 1978, Kat. Nr. 41 mit Abb. Nr. 21 ; Anita Beloubek-Hammer, Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 116 f.; Helga Thieme, Ernst Barlachs Skulptur "Der singende Mann" in der Ausstellung "Neue deutsche Kunst", Oslo 1932, in: Ausst. Kat. Rostock 1998, S. 310 ff.

Ernst Barlachs „Singender Mann“ entsteht zunächst als Gipsplastik. Deren Umsetzung in den zu vervielfältigenden Bronzeguss wird in größerem Umfang erst mit Alfred Flechtheim ab 1930 angeregt. Barlach selbst ist zuerst zurückhaltend, liegt ihm doch sehr an der ursprünglichen Wirkung besonders der Holzskulpturen. An Flechtheim schreibt der Künstler im Oktober 1930: „Die erste größere Arbeit in Bronze, der Domengel in Güstrow, wollte mir gleich als Bestätigung der Eignung meiner Arbeit für Metall erscheinen. […] Lust und Überzeugung waren angeregt, und der Wechsel des Materials machte sich immer wünschenswerter. Freilich habe ich Entwürfe, die mir nur in Holz ausführbar scheinen, aber es unterlaufen mir doch immer wieder Dinge von einer gewissen Gewagtheit, wo nicht Leichtigkeit auch im Stofflichen, bei denen die momentane Geglücktheit so entscheidend ist, daß ihr Gelingen bei langsamer und mühevoller Ausführung in Holz unmöglich wäre. Diese Stücke vor allem verlangen nach Bronze, in der die ganze Frische des augenblicklichen Gefühls erhalten bleibt, hier vermag sie allein getreu zu sein und das Erlebnis der Minuten zu erhalten.“ (zit. nach Friedrich Schult, Ernst Barlach. Das plastische Werk, Hamburg 1959, S. 26). Den Moment, in dem der alles um sich herum vergessende, in sich Versunkene sich weit nach hinten lehnt, um seinen Brustkorb zu öffnen, sein Lied anstimmt, hat Barlach in seiner prachtvollen Plastik in einem geglückten Moment eingefangen.





Ernst Barlach
Der Singende Mann

Bronze sculpture Height 49.5 cm Signed 'E. Barlach' and with foundry mark "H. NOACK BERLIN" on lower side of footrest and cloak hem. From a total edition of 57 exemplars mentioned by Lauren, of which approx. 16 early lifte-time casts from the edition by Galerie Flechtheim. Posthumous cast. - Fine gold-olive-coloured patina, minimally darker in the closed casting channels.

Laur 432; Schult I 343

Provenance
Probably acquired from Roman Norbert Ketterer, Campione d'Italia (1972); since then important Private collection, North Germany, Family possesion, Rhineland

Exhibitions
I.a. Berlin/Düsseldorf 1930 (Galerie Alfred Flechtheim), November/Dezember, cat. no. 19; New York 1931 (Museum of Modern Art), Art in Our Time; Berlin 1951/1952 (Deutsche Akademie der Künste), Ernst Barlach, cat. no 34, p. 13 with illus.
According to Laur, casts are located in these museum collections: Neue Nationalgalerie, Berlin; The Cleveland Museum of Art, Cleveland/Ohio, USA; Museum am Ostwall, Dortmund; Ernst Barlach Haus, Hamburg; Sprengel Museum, Hannover; Kunsthalle Kiel; Museum Ludwig, Köln; Kunsthalle Mannheim; Pinakothek der Moderne, München; Lyman Allyn Museum, New London/Connecticut, USA; Museum of Modern Art, New York, USA; Germanisches Nationalmuseum, Nürnberg; Schloss Gottorf, Schleswig; Staatliches Museum Schwerin; Rathaus Wedel, Privatbesitz (numbered cast 4/10); Ernst Barlach Stiftung, Güstrow; Hamburger Kunsthalle; Von der Heydt-Museum, Wuppertal

Literature
I.a. Alfred H. Barr, Omnibus, German Sculpture, Berlin/Düsseldorf 1932, p. 38-42; Marguerite Devigne, Ernst Barlach, in: Les Beaux-Arts, Brüssel 1935, p. 14; Carl Dietrich Carls, Ernst Barlach, Das plastische, graphische und dichterische Werk, 5th ed., Flensburg/Hamburg 1950, p. 58; Paul Fechter, Ernst Barlach, Gütersloh 1957, p. 35; Franz Fühmann (ed.), Ernst Barlach, Das Wirkliche und Wahrhaftige, Wiesbaden 1970, p. 159; Kunstblätter der Galerie Nierendorf, Ernst Barlach. Plastik, Zeichnungen, Graphik, 13.9.-5.12.1978, Berlin, September 1978, cat. no. 41 with illus. no. 21 ; Anita Beloubek-Hammer, Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, p. 116 f.; Helga Thieme, Ernst Barlachs Skulptur "Der singende Mann" in der Ausstellung "Neue deutsche Kunst", Oslo 1932, in: Exhib. cat. Rostock 1998, p. 310 ff.

Ernst Barlach's “Singender Mann” was initially created as a plaster sculpture. Its realisation in a bronze casting for reproduction was first initiated on a larger scale through Alfred Flechtheim, beginning in 1930. Barlach himself was initially hesitant: the original effect, particularly of the wooden sculptures, was very important to him, after all. In October 1930 the artist wrote to Flechtheim: “The first larger work in bronze, the angel for the cathedral in Güstrow, immediately appeared to me as a confirmation of my work's suitability for metal. […] Desire and conviction were kindled, and the change of material asserted itself with more and more appeal. Granted, I have designs that seem to me to be realisable only in wood, but things do repeatedly occur to me that possess a certain daring, if not lightness - also in their materiality - in which the immediate success plays such a deciding role that their accomplishment through a slow and laborious realisation in wood would be impossible. It is these pieces in particular which call for bronze, in which the entire freshness of the momentary feeling remains preserved; here, i

Full description on lot-tissimo.com

Evening Sale - Moderne und Zeitgenössische Kunst

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Köln
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Germany

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Stichworte: Ernst Barlach, Bronze