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Lovis Corinth, Meißener Schale mit Teerosen

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Lovis Corinth, Meißener Schale mit Teerosen - Bild 1 aus 3
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Lovis Corinth, Meißener Schale mit Teerosen - Bild 3 aus 3
Lovis Corinth, Meißener Schale mit Teerosen - Bild 1 aus 3
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Lovis Corinth, Meißener Schale mit Teerosen
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.

Berend-Corinth 507

Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen

Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38

Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Lovis Corinth, Meißener Schale mit Teerosen
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.

Berend-Corinth 507

Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia

Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38

Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).
Lovis Corinth, Meißener Schale mit Teerosen
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.

Berend-Corinth 507

Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen

Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38

Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Lovis Corinth, Meißener Schale mit Teerosen
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.

Berend-Corinth 507

Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia

Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38

Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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