Lovis Corinth

Tod und Jungling - Lithograph by L. Corinth - 1921

1921

Image dimensions: 43 x 40 cm. Painter and Model is an original burnt-Sienna color lithograph on paper, realized in 1959 by the Austrian Expressionist master Oskar Kokoschka (1886-19...

Bordellszene is an original lithograph, realized by Otto Gleichmann in 1924, hand- signed and dated. In very good conditions. Here the artwork represents two men in Expressionistic...

Figure is a vintage offset print realized after a drawing of the Sicilian artist Renato Guttuso, 1980s. Signed on plate. Good conditions. Renato Guttuso (Bagheria, Palermo 1912 -...

Figure is an original modern artwork realized in the first decades of the 20th Century by the French artist Henri Farge (1884-1970). Original etching on i...

Lovis Corinth Tapiau 1858 - 1925 Zandvoort Bathing Establishment, 1920 Lithograph on handmade paper Signed in pencil lower right Marked "Probedruck" (proof print) lower left Image size: 32 x 36.8 cm Frame: 57 x 60 cm Good original condition, under passe-partout (additional photos available upon request) Rare proof print prior to the original edition of 115 copies Published by Fritz Gurlitt, Berlin Catalogue raisonné Schwarz 442 Handcrafted model frame, museum glass Viewing and pickup possible by appointment Authenticity confirmed in writing. Lovis Corinth was born on July 21, 1858, in the town of Tapiau in East Prussia (now Gwardejsk, Russia). While attending high school in Königsberg, he developed an interest in Greek and Roman mythology as well as the Christian stories of the Bible. From 1876, Lovis Corinth attended the art academy in Königsberg, where he studied under Otto Günther, who introduced him to Weimar plein air painting. In 1880, he transferred to the Munich Academy. Works from his Munich period demonstrate his orientation towards the naturalistic painting style of Wilhelm Leibl's circle. In 1883, Lovis Corinth traveled to Italy with his father, and in 1884 he spent three months in Antwerp, where he took painting lessons from Paul Eugène Gorge. From 1884 to 1887, Corinth studied at the Académie Julian in Paris. The artist then traveled to Berlin, where he probably painted his first self-portrait in 1887/88, which was followed by numerous others over the years. From 1891 to 1899, Corinth lived as a freelance painter in Munich, where he belonged to the Secession. After meeting Max Liebermann and Walter Leistikow in the winter of 1898/99, he decided to move to Berlin, where he settled in 1901. Prior to this, his work "Salomé with the Head of John the Baptist...

Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout. - Strong, precise impression. Frame a little bit rubbed and with two small damages. About the artwork The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight. During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906. After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image. The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life. Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...

Medium: original etching and drypoint. The English translation of the German title is "The Hug". Published in Leipzig, Germany by Zeitschrift fur bildende Kunst in 1915. The plate me...

Corinth, Lovis. WEIBLICHER AKT MIT BREITKREMPIGEM HUT (Female Nude with Broad-Brimmed Hat). Schwartz 226A. Etching, 1916. 11 3/4 x 7 3/4 inches, 300 x 198 mm. The earlier version, be...