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PROPERTY FROM A GERMAN PRIVATE COLLECTION

Carl Spitzweg
GERMAN
HERMIT MENDING HIS NETS 
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PROPERTY FROM A GERMAN PRIVATE COLLECTION

Carl Spitzweg
GERMAN
HERMIT MENDING HIS NETS 
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拍品詳情

十九世紀歐洲繪畫

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倫敦

Carl Spitzweg
1808 - 1885
GERMAN
HERMIT MENDING HIS NETS 
signed with the rhombus monogram lower left
oil on panel
22 by 32cm., 8¾ by 12¾in.
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來源

Gustav Kutter, Berlin (purchased from the artist in 1871)
Max Böhm, Berlin (by 1930; his sale: Lepke, Berlin, 28 January 1931, lot 58)
Private collection, Germany (probably purchased at the above sale; thence by descent)
Sale: Sotheby's London, 22 June 2000, lot 128
Private collection, Vienna (purchased at the above sale)
Galerie Westenhoff, Hamburg
Purchased by the previous owner from the above; thence by descent

展覽

Berlin, Akademie der Künste, Ausstellung der Sammlung Max Böhm, 1930, no. 60

出版

Carl Spitzweg's personal sale register, no. 287 (as Einsiedler Netz strickend mit Reh)
Eugen Kalkschmidt, Carl Spitzweg und seine Welt, Munich, 1945, p. 162, cited
Günther Roennefahrt, Carl Spitzweg: beschreibendes Verzeichnis seiner Gemälde, Ö̈lstudien und Aquarelle, Munich, 1960, pp. 109 & 269, no. 1203, illustrated
Siegfried Wichmann, Carl Spitzweg: Kunst, Kosten und Konflikte, Frankfurt, 1991, p. 336, no. 287
Siegfried Wichmann, Carl Spitzweg: Verzeichnis der Werke: Gemälde und Aquarelle, Stuttgart, 2002, p. 360, no. 815, catalogued & illustrated

相關資料

Painted circa 1875, this painting exemplifies Spitzweg’s heartwarming paintings of eccentric individuals, whether bookworms, monks, flower lovers, soldiers, or, as here, hermits. As is typical in Spitzweg’s work, the artist employs the keyhole perspective, a favourite compositional device, affording the viewer the pleasure of an indiscretion. His stage-like composition creates the effect of a vignette in which the life of the protagonist is played out for the curious spectator. However, beyond simply instilling amusement in the viewer, the device may be viewed in the broader context of the German Romantic spirit. The priviledged viewpoint may be interpreted as a nostalgic peak into happier times, or, as here, into the kind of rural hideout which was so fast disappearing in a rapidly industrialising nation.

十九世紀歐洲繪畫

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倫敦