146
146

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Karl Schmidt-Rottluff
KÜHLER MORGEN (COOL MORNING)
JUMP TO LOT
146

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Karl Schmidt-Rottluff
KÜHLER MORGEN (COOL MORNING)
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Karl Schmidt-Rottluff
1884 - 1976
KÜHLER MORGEN (COOL MORNING)
signed S. Rottluff and dated 1909 (lower left); signed and titled on the reverse
watercolour on paper
47.7 by 65.5cm., 18 3/4 by 25 3/4 in.
Executed in 1909.
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This work is registered in the archives of the Karl und Emy Schmidt-Rottluff Foundation as Kühler Morgen.

Provenance

Arnold Zuckermann, Berlin
Otto Gerson Gallery, New York
Leonard Hutton Gallery, New York
Sale: Hauswedell & Nolte, Hamburg, 5th & 6th June 1980, lot 1164
Purchased at the above sale by the present owner

Exhibited

Dresden, Galerie Arnold, Künstler-Gemeinschaft Brücke, 1910, no. 73
Oldenburg, Vereinigung für junge Kunst, Dangaster Künstler im Lappan, 1922, n.n.
Berlin, Galerie Ferdinand Möller, Schmidt-Rottluff Aquarelle, 1922, no. 5
New York, Anderson Galleries, A Collection of Modern German Art, 1923, no. 232
New York, State University Art Gallery, German Expressionism: Selected Drawings, Prints and Watercolours, 1979, no. 23, illustrated in the catalogue

Literature

Gerhard Wietek, Schmidt-Rottluff, Oldenburger Jahre 1907-1912, Mainz, 1995, no. 59, illustrated in colour p. 317 titled as Weg im Herbst

Catalogue Note

The present work is an important example of Schmidt-Rottluff’s early work. Not only does Kühler Morgen illustrate the artist’s excitement with the wild and untouched nature of the countryside surrounding the small coastal town of Dangast, where between 1907 until 1912 he spent his summers, its vivid colours and feverish brush strokes exemplify the energy and radical experimentation that defined the artist’s involvement with Die Brücke. Alongside Ernst Ludwig Kirchner and Erich Heckel, Schmidt-Rottluff was one of the founders of the movement, pioneering a new form of art that promoted freedom of expression and rejected the traditions of academic painting that had been central to their artistic education in turn of the century Dresden.

In their experimentation with colour, the Brücke artists were influenced by prevailing currents of European modernism, particularly by the Post and Neo-Impressionists and the vivid compositions of the Fauves, which the Brücke artists are likely to have seen as early as 1906. In its bold and vivid use of colour Kühler Morgen captures something of the passion and energy felt by these young artists. In the present work the roadway is painted in deep reds and violets and the bushes, trees and the sky are made up of a striking conglomeration of blues, yellows and greens. As such, the work is indicative of the singular style that defines Schmidt-Rottluff’s œuvre of this period.

Barry Herbert observed of Schmidt-Rottluff's Brücke works: ‘His work reached an extreme pitch of emotional intensity in its semi-abstract handling of form and colour without ever quite losing contact with tangible reality. The brilliantly coloured, loosely applied paint communicates that feverish involvement with the subject that distinguished the young German artist’s vision from the more impersonal approach favoured by Matisse, and identified him as, above all, a direct successor to Van Gogh and Munch’ (Barry Herbert, German Expressionism, Die Brücke and Der Blaue Reiter, London, 1983, p. 118).

Impressionist & Modern Art Day Sale

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London