Lovis Corinth

O. Lorentz, Bielefeld (acquired in the 1920s)
Private Collection (by descent from the above)
Private Collection (sold: Christie's, London, 8th February 2005, lot 238)
Richard Green, London
Acquired from the above by the present owner in 2005

Bielefeld, Kunsthalle, Lovis Corinth, 1930, no. 7
Bielefeld, Kunsthalle, Lovis Corinth, 1951, no. 16
Bielefeld, Kunsthalle, Lovis Corinth. Aquarelle, Gemälde, Pastelle, Zeichnungen, 1974, no. 23, illustrated in the catalogue

Charlotte Berend-Corinth, Lovis Corinth, Die Gemälde, Munich, 1992, no. 719, illustrated p. 713

The canvas is unlined. There is a small area of retouching at the lower part of the extreme left edge, visible under ultra-violet light. Apart from some very fine and minor stable craquelure, this work is in very good condition. Colours: In comparison to the printed catalogue illustration, the colours are overall richer and fresher in the original, particularly the greens.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The rich, heavy brushstrokes combined with a strong, deep palette are characteristic of Corinth's mature flower paintings. The rounded vase that dominates the lower part of the painting is a motif that appears repeatedly in his still-lifes, whilst the deep red and purple tones of the flowers, contrasted with the white highlights reflecting the light coming from an invisible source, heighten a sense of dynamic equilibrium within the composition. Corinth's choice of subject matter, the bright palette and fluidity of brushstrokes reflect the influence of the French Impressionists, particularly Manet, who painted two important series of floral still-lifes.

 

Dating from the height of Corinth's career, Chrysanthemen und Rosen im Krug exhibits the richly expressive brushwork and vigorous painterly style of his mature œuvre. Writing about these late paintings, Georg Bussmann commented: 'He rejoices in painting wet upon wet, in painting colour upon colour, in smudging them and then stopping suddenly and simply allowing them to glow; there is a quality of rage in making all this into a picture, into forcing a vision to emerge' (G. Bussmann, 'Lovis Corinth: The Late Works', in German Art in the Twentieth Century. Painting and Sculpture 1905-1985 (exhibition catalogue), Royal Academy of Arts, London, 1985, p. 436).