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Karl HoferTessiner Landschaft

In Evening Sale - Moderne und Zeitgenössische Kun...

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Karl HoferTessiner Landschaft
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Karl Hofer
Tessiner Landschaft

Öl auf Leinwand 70 x 100 cm Gerahmt. Unten rechts braun monogrammiert und datiert 'CH 43' (ligiert). - In tadelloser, farbfrischer Erhaltung.

Wohlert 1741

Provenienz
Privatsammlung; Lempertz Köln, Auktion Moderne Kunst 859, 5.6.2004, Los 768; Galerie Vömel, Düsseldorf; Rheinische Privatsammlung; Verkauf zugunsten des Vereins der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Köln

Von der Schweiz aus, wo Karl Hofers Mäzen Dr. Theodor Reinhart wohnte, entdeckte der Maler das Tessin als Landschaftsmotiv. Von 1925 an verbrachte Hofer meist die Sommermonate bis 1939 dort; 1931 erwarb er ein Haus am Luganer See, das "Torrazza di Caslano".
Die vorliegende Ansicht aus dem Tessin zeichnet sich durch seine besonders klaren Formen und ruhige Bildstruktur aus. Fein sind die Farbvaleurs gestuft und evozieren eine frühabendliche Atmosphäre. Still ruhen Berge, Wiesen und Gehöfte.
Bereits 1922 hatte Hofer sich unter dem Titel "Ein neuer Naturalismus" in der Zeitschrift "Das Kunstblatt" geäußert:
"Es ist nicht schwer, mit den Utensilien des Malers und Bildhauers naturähnliche illusionistische Bildwerke zu schaffen. Es ist ebenso leicht, mit demselben geduldigen Material naturferne, eigenschöpferische abstrakte Gebilde zu formen. Es ist schwer, oder vielmehr die seltene Gabe seltener Menschen, den inneren Ausdruck in der allen und zu allen Zeiten verständlichen Sprache der Naturformen darzustellen. Nicht durch ein Ungefähr oder Übertreibung, sondern durch verstehende Vereinfachung, die alles enthält, oder durch ein Allesgeben, das Anbetung ist und nicht Kopie, wie Narren glaubten." (zit. nach: Ausst. Kat. Karl Hofer - Malerei, Grafik, Zeichnung, Staatliche Galerie Moritzburg, Halle 1978/1979, S. 23)
Die Einsicht daß Malerei nicht naturnahe Wiedergabe, sondern äußerer Ausdruck eines inneren Bildes sein soll, erscheint für die vermutlich in den Sommermonaten 1943 enstandene "Landschaft im Tessin" erhellend, mag sie doch eher eine an Ruhe grenzende Leere im eigenen Befinden widerspiegeln. Denn im März war Hofers Berliner Atelier bei einem Bombenangriff völlig ausgebrannt, und es waren sämtliche Werke einer zehnjährigen Tätigkeit, etwa 150 Gemälde und 1500 Zeichnungen, zerstört worden. Vielleicht hatte Karl Hofer auch sein Gleichgewicht bereits wiedergefunden, hatte er doch in wenigen Monaten anhand von Fotoaufnahmen die meisten Werke neu gestaltet.
"[...] habe in berserkerhafter Schaffenswut einen grossen Teil schon bewältigt. Ich war mir klar, dass es sich dabei nicht um simple Wiederholungen handeln dürfe, sondern um Neugestaltungen, wenn auch teilweise in engstem Anschluss an das Vernichtete. Der ungeheure Auftrieb, der mir durch das Unglück ward, hat es mir ermöglicht, das Meiste weit besser zu gestalten," schrieb Hofer seinem Freund Leopold Ziegler bereits im Juli desselben Jahres (zit. nach: Ausst. Kat. Karl Hofer 1878 - 1955, Staatliche Kunsthalle Berlin 1978, S. 120).





Karl Hofer
Tessiner Landschaft

Oil on canvas 70 x 100 cm Framed. Monogrammed and dated 'CH 43' (joined) in brown lower right. - In excellent condition with fresh colours.

Wohlert 1741

Provenance
Private collection; Lempertz Köln, Auktion Moderne Kunst 859, 5 June 2004, lot 768; Galerie Vömel, Düsseldorf; Private collection, Rhineland; To be sold on behalf of the Verein der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Cologne.

Working from Switzerland, where Karl Hofer's patron Dr Theodor Reinhart lived, the painter discovered the Ticino as a landscape motif. From 1925 until 1939 Hofer usually spent the summer months there; in 1931 he purchased a house by Lake Lugano: the “Torrazza di Caslano”.
The present view from Ticino is distinguished by its particularly clear forms and calm pictorial structure. The tones of the colours are finely modulated and evoke an early evening atmosphere. Mountains, meadows and farmyards rest tranquilly.
Hofer had already expressed his views in a 1922 article entitled “Ein neuer Naturalismus” in the journal “Das Kunstblatt”:
“It is not difficult to use the utensils of the painter and sculptor to create illusionistic artworks that are similar to nature. It is equally easy to use the same acquiescent material to give shape to independently created, abstract forms that are distant from nature. It is difficult or, rather, the rare talent of rare individuals to depict the inner expression in the language of natural forms, which is understood by everyone and in every period. Not through an approximation or exaggeration, but through an understanding simplification that contains everything or through a presentation of everything that is a veneration and not a copy - as fools believe” (cited in: exhib. cat. Karl Hofer - Malerei, Grafik, Zeichnung, Staatliche Galerie Moritzburg, Halle 1978/1979, p. 23).
The insight that painting is not to be a naturalistic reproduction but the outward expression of an inner image seems illuminating for the “Landschaft im Tessin”, which was presumably created in the summer months of 1943 and may, after all, be more reflective of an emptiness bordering on tranquillity in the artist's own state of mind. Hofer's studio in Berlin had burned completely during a bombing raid in March, and every piece from ten years of work, around 150 paintings and 1500 drawings, had been destroyed. Perhaps Karl Hofer had also already regained his equilibrium - after all, he had used photographs to create most of the works anew in just a few months.
“[...] have already taken care of a large portion in a berserker-like rage of productivity. It was clear to me that this could not just be a matter of simple repetitions, but of newly formed works, even if they are sometimes extremely closely connected to what has been destroyed. The tremendous surge of energy that I experienced through the catastrophe enabled me to provide most of it with a far better form,” is what Hofer had already written to his friend Leopold Ziegler in July of the same year (cited in: exhib. cat. Karl Hofer 1878 - 1955, Staatliche Kunsthalle Berlin 1978, p. 120).





Karl Hofer
Tessiner Landschaft

Öl auf Leinwand 70 x 100 cm Gerahmt. Unten rechts braun monogrammiert und datiert 'CH 43' (ligiert). - In tadelloser, farbfrischer Erhaltung.

Wohlert 1741

Provenienz
Privatsammlung; Lempertz Köln, Auktion Moderne Kunst 859, 5.6.2004, Los 768; Galerie Vömel, Düsseldorf; Rheinische Privatsammlung; Verkauf zugunsten des Vereins der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Köln

Von der Schweiz aus, wo Karl Hofers Mäzen Dr. Theodor Reinhart wohnte, entdeckte der Maler das Tessin als Landschaftsmotiv. Von 1925 an verbrachte Hofer meist die Sommermonate bis 1939 dort; 1931 erwarb er ein Haus am Luganer See, das "Torrazza di Caslano".
Die vorliegende Ansicht aus dem Tessin zeichnet sich durch seine besonders klaren Formen und ruhige Bildstruktur aus. Fein sind die Farbvaleurs gestuft und evozieren eine frühabendliche Atmosphäre. Still ruhen Berge, Wiesen und Gehöfte.
Bereits 1922 hatte Hofer sich unter dem Titel "Ein neuer Naturalismus" in der Zeitschrift "Das Kunstblatt" geäußert:
"Es ist nicht schwer, mit den Utensilien des Malers und Bildhauers naturähnliche illusionistische Bildwerke zu schaffen. Es ist ebenso leicht, mit demselben geduldigen Material naturferne, eigenschöpferische abstrakte Gebilde zu formen. Es ist schwer, oder vielmehr die seltene Gabe seltener Menschen, den inneren Ausdruck in der allen und zu allen Zeiten verständlichen Sprache der Naturformen darzustellen. Nicht durch ein Ungefähr oder Übertreibung, sondern durch verstehende Vereinfachung, die alles enthält, oder durch ein Allesgeben, das Anbetung ist und nicht Kopie, wie Narren glaubten." (zit. nach: Ausst. Kat. Karl Hofer - Malerei, Grafik, Zeichnung, Staatliche Galerie Moritzburg, Halle 1978/1979, S. 23)
Die Einsicht daß Malerei nicht naturnahe Wiedergabe, sondern äußerer Ausdruck eines inneren Bildes sein soll, erscheint für die vermutlich in den Sommermonaten 1943 enstandene "Landschaft im Tessin" erhellend, mag sie doch eher eine an Ruhe grenzende Leere im eigenen Befinden widerspiegeln. Denn im März war Hofers Berliner Atelier bei einem Bombenangriff völlig ausgebrannt, und es waren sämtliche Werke einer zehnjährigen Tätigkeit, etwa 150 Gemälde und 1500 Zeichnungen, zerstört worden. Vielleicht hatte Karl Hofer auch sein Gleichgewicht bereits wiedergefunden, hatte er doch in wenigen Monaten anhand von Fotoaufnahmen die meisten Werke neu gestaltet.
"[...] habe in berserkerhafter Schaffenswut einen grossen Teil schon bewältigt. Ich war mir klar, dass es sich dabei nicht um simple Wiederholungen handeln dürfe, sondern um Neugestaltungen, wenn auch teilweise in engstem Anschluss an das Vernichtete. Der ungeheure Auftrieb, der mir durch das Unglück ward, hat es mir ermöglicht, das Meiste weit besser zu gestalten," schrieb Hofer seinem Freund Leopold Ziegler bereits im Juli desselben Jahres (zit. nach: Ausst. Kat. Karl Hofer 1878 - 1955, Staatliche Kunsthalle Berlin 1978, S. 120).





Karl Hofer
Tessiner Landschaft

Oil on canvas 70 x 100 cm Framed. Monogrammed and dated 'CH 43' (joined) in brown lower right. - In excellent condition with fresh colours.

Wohlert 1741

Provenance
Private collection; Lempertz Köln, Auktion Moderne Kunst 859, 5 June 2004, lot 768; Galerie Vömel, Düsseldorf; Private collection, Rhineland; To be sold on behalf of the Verein der Freunde des Wallraf-Richartz-Museums und des Museum Ludwig, Cologne.

Working from Switzerland, where Karl Hofer's patron Dr Theodor Reinhart lived, the painter discovered the Ticino as a landscape motif. From 1925 until 1939 Hofer usually spent the summer months there; in 1931 he purchased a house by Lake Lugano: the “Torrazza di Caslano”.
The present view from Ticino is distinguished by its particularly clear forms and calm pictorial structure. The tones of the colours are finely modulated and evoke an early evening atmosphere. Mountains, meadows and farmyards rest tranquilly.
Hofer had already expressed his views in a 1922 article entitled “Ein neuer Naturalismus” in the journal “Das Kunstblatt”:
“It is not difficult to use the utensils of the painter and sculptor to create illusionistic artworks that are similar to nature. It is equally easy to use the same acquiescent material to give shape to independently created, abstract forms that are distant from nature. It is difficult or, rather, the rare talent of rare individuals to depict the inner expression in the language of natural forms, which is understood by everyone and in every period. Not through an approximation or exaggeration, but through an understanding simplification that contains everything or through a presentation of everything that is a veneration and not a copy - as fools believe” (cited in: exhib. cat. Karl Hofer - Malerei, Grafik, Zeichnung, Staatliche Galerie Moritzburg, Halle 1978/1979, p. 23).
The insight that painting is not to be a naturalistic reproduction but the outward expression of an inner image seems illuminating for the “Landschaft im Tessin”, which was presumably created in the summer months of 1943 and may, after all, be more reflective of an emptiness bordering on tranquillity in the artist's own state of mind. Hofer's studio in Berlin had burned completely during a bombing raid in March, and every piece from ten years of work, around 150 paintings and 1500 drawings, had been destroyed. Perhaps Karl Hofer had also already regained his equilibrium - after all, he had used photographs to create most of the works anew in just a few months.
“[...] have already taken care of a large portion in a berserker-like rage of productivity. It was clear to me that this could not just be a matter of simple repetitions, but of newly formed works, even if they are sometimes extremely closely connected to what has been destroyed. The tremendous surge of energy that I experienced through the catastrophe enabled me to provide most of it with a far better form,” is what Hofer had already written to his friend Leopold Ziegler in July of the same year (cited in: exhib. cat. Karl Hofer 1878 - 1955, Staatliche Kunsthalle Berlin 1978, p. 120).




Evening Sale - Moderne und Zeitgenössische Kunst

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Köln
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Germany

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Conditions of sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
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