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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 8, 2019 | Ketterer Kunst | Munich | Modern Art II | 765 | $****** - ****** | Pfälzer Landschaft |
paintings
61.7 x 77.3 cm (24.29 x 30.43 in)
Oil on canvas
Signed and dated in lower left
Collection Fänn and Willy Schniewind, Neviges/Düsseldorf (inscribed with the artist's name on verso of the canvas by a hand other than that of the artits).
Private collection USA.
Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, p. 394, annotation 16.
"In painting the light and bright colors must be preferred, and despite all the colors' melting, the different shades and reflections must be distuingishable. [..] It is recommendable to apply the oil paint in pastose (thick) manner onto the panel; and, where possible, the paint should remain unmixed, as it provides stronger freshness and a wider range of colors. Cadmium and naples yellow, cobalt, vermilion, green should be preferred to the heavy earthen colors [..]."
Max Slevogt, Das Erlernen der Malerei, Berlin o. J. (after 1902), pp. 97 and 69, quote from: Ex. cat. Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 04 -October 12, 2014, p. 249.
Pfälzer Landschaft. 1910.
Oil on canvas.
Not in Imiela. Signed and dated in lower left. 61.7 x 77.3 cm (24.2 x 30.4 in).
Slevogt's parents-in-law owned a country house in Godramstein (near Landau), where the artist spent the summer and autumn months with his family as of 1909. This work here shows the view from the house's balcony towards Frankweiler with the Haardt mountain range on the rim of the Palatinate Forest in background. [CH].
- Gaudy vernal illustration.
- Along with Max Liebermann and Lovis Corinth Slevogt is part of the triumvirate of German Impressionism.
- Notable provenance.
This work's authenticity has kindly been confirmed orally by Bernhard Geil. We are grateful for his kind expert advice.
PROVENANCE: Collection Fänn and Willy Schniewind, Neviges/Düsseldorf (inscribed with the artist's name on verso of the canvas by a hand other than that of the artits).
Private collection USA.
LITERATURE: Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, p. 394, annotation 16.
"In painting the light and bright colors must be preferred, and despite all the colors' melting, the different shades and reflections must be distuingishable. [..] It is recommendable to apply the oil paint in pastose (thick) manner onto the panel; and, where possible, the paint should remain unmixed, as it provides stronger freshness and a wider range of colors. Cadmium and naples yellow, cobalt, vermilion, green should be preferred to the heavy earthen colors [..]."
Max Slevogt, Das Erlernen der Malerei, Berlin o. J. (after 1902), pp. 97 and 69, quote from: Ex. cat. Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 04 -October 12, 2014, p. 249.
