Walter Dexel

Estate of the artist 

Galerie Gmurzynska, Cologne

Acquired from the above by the present owner in 1983

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Nachlass des Künstlers

Galerie Gmurzynska, Köln

Vom Obengenannten durch den derzeitigen Eigentümer 1983 erworben 

Frankfurt am Main, Zinglers Kabinett, Walter Dexel, 1919, no. 9, p. 9

Braunschweig, Städtisches Museum, Walter Dexel, 1962, no. 31, illustrated

Munich, Kunst Kabinett Klihm, Walter Dexel, 1964, no. 6

Braunschweig, Kunstverein, Walter Dexel, 1970, no. 13, illustrated

Basel, Galerie Charles Lienhard, Walter Dexel, 1970, no. 11, illustrated

Bonn, Städtisches Kunstmuseum, Walter Dexel, 1973, no. 38

Hanover, Kestner-Gesellschaft, Walter Dexel, 1974, no. 31, p. 107

Münster, Landesmuseum für Kunst und Kulturgeschichte, Walter Dexel, 1979, no. 43, p. 170

Cologne, Galerie Gmurzynska, Meisterwerke der Moderne, 1982, p. 35, illustrated

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Frankfurt am Main, Zinglers Kabinett, Walter Dexel, 1919, Nr. 9, S. 9

Braunschweig, Städtisches Museum, Walter Dexel, 1962, Nr. 31, abgebildet

München, Kunst Kabinett Klihm, Walter Dexel, 1964, Nr. 6

Braunschweig, Kunstverein, Walter Dexel, 1970, Nr. 13, abgebildet

Basel, Galerie Charles Lienhard, Walter Dexel, 1970, Nr. 11, abgebildet

Bonn, Städtisches Kunstmuseum, Walter Dexel, 1973, Nr. 38

Hannover, Kestner-Gesellschaft, Walter Dexel, 1974, Nr. 31, S. 107

Münster, Landesmuseum für Kunst und Kulturgeschichte, Walter Dexel, 1979, Nr. 43, S. 170

Köln, Galerie Gmurzynska, Meisterwerke der Moderne, 1982, S. 35, abgebildet

Ruth Wöbkemeier, Walter Dexel (1890-1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg, 1995, no. 129, p. 175, illustrated

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Ruth Wöbkemeier, Walter Dexel (1890-1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg, 1995, Nr. 129, S. 175, abgebildet

Brimming with energy and distinctive in its cheerful palette, Kleiner Viadukt is a typical example of Walter Dexel’s Cubist-inspired output from the late 1910s and early 1920s, when the artist’s pictorial language became dominated by industrial and urban themes.

Serving as its main horizontal axis, a viaduct with its three central arches takes central stage in the present composition, while the factory tower dominates its left-hand side, creating a strong vertical counterpoint. The scene is further animated by the artist introducing multiple planes and shifting perspectives within a single pictorial surface, particularly in the way he renders the rooftops, walls and windows of the numerous buildings, resulting in a highly dynamic and expressive composition.

Compared with another, slightly earlier oil by Dexel offered at Sotheby’s Cologne this season, Gasthaus zur Leutraquelle (Jena), the present work demonstrates Dexel’s increasingly abstract approach, which saw the artist eventually focusing on purely geometric forms in his compositions from around 1923 onwards.