Max Liebermann

Private Collection, Vienna & London
Thence by descent

Executed on panel. The impasto is very lively and strong. There is minor rubbing to the periphery of the panel. There are two spots of nail-heads sized paint loss in the green pigments of the upper left quadrant of the composition, When examined under UV light, there are two very minor spots of retouching to the upper right quadrant. The varnish is clean and the work is in otherwise excellent condition.
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The luxuriant gardens of Liebermann’s beloved summer residence in Wannsee were featured in many canvases throughout the mature period of his career. Having attained considerable recognition and financial success by the early 1900s, Liebermann commissioned this villa in 1909, sparing no expense on its formal flower beds, exotic shrubs and thick hedges. The villa was modelled on the country houses he saw in Hamburg, renowned for their comfort and splendor. When it was completed, Liebermann even spoke about it as his "Klein-Versaille." The artist took great pride and paid special attention to the design and layout of his gardens. The rose garden, depicted here in full bloom in the summer, was one of the highlights of the property. The layout of conventional flowerbeds interspersed with vegetable patches was an advanced horticultural concept, and one that made the garden a particular source of joy and inspiration for his paintings throughout the summer months. The canvases Liebermann produced at Wannsee share a particular quality; one that exudes a reassuring sense of freedom, both in subject and technique, and convey the contentment Liebermann derived from spending time at his country villa.

Discussing certain important influences on the painter’s work, Barbara C. Gilbert writes: "Liebermann’s paintings of his garden environment often evoke comparisons with works by other artists of the time, especially Monet’s paintings of his gardens at Giverny. Liebermann was well aware of Monet’s garden paintings—he owned two: Manet Painting in Monet’s Garden in Argenteuil, 1875, which depicts a rented home in the Paris suburb of Argenteuil where Monet lived before moving to Giverny, and Poppy Field, which Liebermann inherited from Felicie Bernstein. There are similarities between the experiences of the two artists: their personal involvement in planning their gardens as subjects for their paintings; their creation of compelling works based on relatively small, controlled areas; and their dogged persistence in painting the same subject with varying interpretations" (Barbara C. Gilbert, Max Liebermann: From Realism to Impressionism (exhibition catalogue), Skirball Cultural Center, Los Angeles, 2006, p. 51).