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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 2, 2016 | Koller Auktionen | Zurich | Auktion | 3214 | $****** - ****** | Tulpen, Flieder und Kalla | |||
Jun 11, 2004 | Villa Grisebach Auktionen | Berlin | Selected Works of Art | 16 | $****** - ****** | Tulips, lilac and calla lilies |
paintings
62 x 50 cm (24.41 x 19.69 in)
Oil on canvas
Signed upper left 'Lovis Corinth' and dated upper right '1915'
We thank Dr. Bettina Best for her scientific support.Provenance: Galerie Thannhauser, Berlin. Graphisches Kabinett, Bremen. Private collection, Austria.Exhibition: Wuppertal 1999, Lovis Corinth. Von der Heydt Museum, no. 34 (with ill. p.131). Berend-Corinth, Charlotte: Die Gemälde von Lovis Corinth. Werkkatalog. Mit einer Einführung von Konrad Röthel, München 1958, no. 647, p. 137 (with ill. p. 640). Berend-Corinth, Charlotte/Hernad, Béatrice, Lovis Corinth: Die Gemälde, Werkverzeichnis. Mit einer Einführung von Hans-Jürgen Imiela, München 1992, no. 647, p. 137 (with ill. p. 670).Stand-alone still lifes barely feature in the early work of Corinth. From the end of the first decade of the 20th century, however, he dedicated himself more and more often to this subject, and subsequently still lifes assumed an important and central role in the artist's oeuvre. This may be a convergence of several reasons: - Corinth's activity as teacher at a painting school for women; his wife Charlotte as instigator, who knew how to tempt him out of his depressive moods with flowers; and not least the physical limitations resulting from his stroke in 1911. Thereupon he began to engage intensely with nature, flowers and landscape, which came to dominate towards the end of his work. To capture and express nature in all its forms, building and destroying, as does nature itself, and so to become a part of her - that is Corinth's credo, like that of Goethe (...). Corinth's painting is the equivalent of the creativity of nature. Painting as natura naturans, the formula, probably first employed by Ludwig Justi, which encompasses the confusing double aspect of Corinth's painting: on the one hand, the painterly materialisation of all things in nature and at the same time a painterly hymn to creation and life, and, on the other hand, the transformation of the whole of nature into painting and thereby the de-materialisation and spiritualisation of all concrete things, their elevation to that autonomy and unreality of pure painting, which Lovis Corinth formulated as the highest goal. (Peter Klaus Schuster: Malerei als Passion. Corinth in Berlin, Exh. Cat. Munich, Berlin, 1996, pp. 54. f.)The present still life of flowers was created by Lovis Corinth at the age of 57, at the height of his career. In this year, 1915, he had been re-elected as president of the Berlin Secession and so organised the Secession exhibition in the new exhibition hall at the Kurfürstendamm. He supplied the exhibition with four works, including two still lifes, which were created in Klopstock Strasse Berlin, directly before and after our still life of flowers. Within the interplay of colours, the two Callas lilies at the top and a white flower below on the jug form the brightest points of light in the painting. Many further areas of white highlighting create a sense not only of a positive bright light, but suggest a certain quality in the flowers. This is a painting on the threshold between bearing witness to the object and automatic painting, flowing between light and dark, flowering and fading, with the greatest intensity of colour and cadence, in the most extreme delicacy in the substance of the flowers - but also the solidity of the bellied vase, as well as the angular book. Even if Corinth's paintings are known for their dual aspect of fullness of life and closeness to death, it is the former which dominates in the still lifes of flowers with lilacs, calla and tulips. This work has an especially powerful effect, with this new expressive style of short, pulsing brush strokes and glowing colours. The artistic yearning for freedom is strongly emphasised here in Corinth's style, and the artist's will to live is apparent
