Lot 457 
Raumbeispiel
457
Ernst Ludwig Kirchner
Akte im Atelier, Um 1907.
Black Chalk drawing
Estimation:
€ 10,000 / $ 11,000 Résultat:
€ 37,500 / $ 41,250 ( frais d'adjudication compris)
Akte im Atelier. Um 1907.
Black Chalk drawing.
Signed and pre-dated "04" on the reverse. Titled by a hand other than that of the artist on the reverse and with the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number "K Dre/Bg 37". On light board. 34.6 x 43.2 cm (13.6 x 17 in), the full sheet. [CH].
• Intimate, erotic scene in the artist's Dresden studio.
• The Dresden studio was not only the center of the "Brücke" artists' activities, it was also a meeting point for many female amateur models.
• In the following year Kirchner also explored this motif of the seated nude with legs akimbo in the oil paintings "Akt im Atelier", Städel Museum, Frankfurt am Main, and "Akt auf blauem Grund", Buchheim Museum, Bernried.
• Kirchner circumscribes this studio scene with a few accomplished contours.
The work is documented at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946, with the hand-numbered estate stamp on the reverse).
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).
EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Die "Brücke" und die Moderne 1904-1914, Bucerius-Kunst-Forum, Hamburg, October 17, 2004 - January 23, 2005, cat. no. 36 (with illu.).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 123 (with illu.).
Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, October 2 - December 20., 2015, cat. no. 9 (with illu).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
LITERATURE: Hauswedell & Nolte, Hamburg, June 9, 1972, lot no. 1146.
Heinz Spielmann (editor), Die Maler der Brücke. Collection Hermann Gerlinger, Stuttgart 1995, pp. 136f., SHG no. 109 (with illu.).
Hermann Gerlinger, Katja Schneider (editors), Die Maler der Brücke. Inventory catalog Hermann Gerlinger, Halle (Saale) 2005, p. 295, SHG no. 665 (with illu.).
Meike Hoffmann, Natur kollektiv erleben. Goethe, Steiner, Lipps und die Badeszenen der "Brücke"-Künstler, in: ex. cat. Im Rhythmus der Natur - Landschaftsmalerei der "Brücke". Meisterwerke der Sammlung Hermann Gerlinger, Ostfildern 2006, p. 37 (with illu on p. 39).
Black Chalk drawing.
Signed and pre-dated "04" on the reverse. Titled by a hand other than that of the artist on the reverse and with the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number "K Dre/Bg 37". On light board. 34.6 x 43.2 cm (13.6 x 17 in), the full sheet. [CH].
• Intimate, erotic scene in the artist's Dresden studio.
• The Dresden studio was not only the center of the "Brücke" artists' activities, it was also a meeting point for many female amateur models.
• In the following year Kirchner also explored this motif of the seated nude with legs akimbo in the oil paintings "Akt im Atelier", Städel Museum, Frankfurt am Main, and "Akt auf blauem Grund", Buchheim Museum, Bernried.
• Kirchner circumscribes this studio scene with a few accomplished contours.
The work is documented at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946, with the hand-numbered estate stamp on the reverse).
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).
EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Die "Brücke" und die Moderne 1904-1914, Bucerius-Kunst-Forum, Hamburg, October 17, 2004 - January 23, 2005, cat. no. 36 (with illu.).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 123 (with illu.).
Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, October 2 - December 20., 2015, cat. no. 9 (with illu).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
LITERATURE: Hauswedell & Nolte, Hamburg, June 9, 1972, lot no. 1146.
Heinz Spielmann (editor), Die Maler der Brücke. Collection Hermann Gerlinger, Stuttgart 1995, pp. 136f., SHG no. 109 (with illu.).
Hermann Gerlinger, Katja Schneider (editors), Die Maler der Brücke. Inventory catalog Hermann Gerlinger, Halle (Saale) 2005, p. 295, SHG no. 665 (with illu.).
Meike Hoffmann, Natur kollektiv erleben. Goethe, Steiner, Lipps und die Badeszenen der "Brücke"-Künstler, in: ex. cat. Im Rhythmus der Natur - Landschaftsmalerei der "Brücke". Meisterwerke der Sammlung Hermann Gerlinger, Ostfildern 2006, p. 37 (with illu on p. 39).
In 1905, after the artist had earned a degree in architecture from the Technical University in Dresden, Ernst Ludwig Kirchner founded the artists' group "Brücke" together with his former fellow students Karl Schmidt-Rottluff, Erich Heckel and Fritz Bleyl. Instead of architectural designs, the self-taught young painters were occupied with the modern art of their time, creating their own drawings, paintings and prints. By rejecting classic academic art studies, they drew and painted inspired by nature and tried to render direct and unadulterated expressions of what they experienced, that is "to take the stimulus to create from life and to become subordinate to experience", as E. L. Kirchner put it in the "Brücke" chronicle in 1913 (quoted from: Eberhard W. Kornfeld, Ernst Ludwig Kirchner. Nachzeichnung seines Lebens, Bern 1979, p. 43). At that time, the focus of the "Brücke" artists was on the depiction of the human being, in particular the nude, which they described as "the basis of all visual art" in 1913 (quoted from: Ex. cat. Bremer Kunsthalle, 100 Jahre Brücke, Bremen 2005, p. 65). Thus E. L. Kirchner studied the female body in spontaneous, dynamic drawings in the shared studio in the working-class district of Dresden-Friedrichstadt. His depictions were far from the stiff academy style, instead he preferred natural poses and motion sequences in plain manner. Within his entire oeuvre, Kirchner gave drawing a particularly high status. The medium allowed him to capture the immediacy the "Brücke" artists sought, the natural pose born of the moment. The loose naturalness and general permissiveness of the female models walking in and out the studio of the Dresden "Brücke" bohemians is clearly perceptible in the freely formulated, lively drawing offered here. A work in which the artist provides the proof that the traditional conservative-academic depiction of the nude has been overcome. [CH]
457
Ernst Ludwig Kirchner
Akte im Atelier, Um 1907.
Black Chalk drawing
Estimation:
€ 10,000 / $ 11,000 Résultat:
€ 37,500 / $ 41,250 ( frais d'adjudication compris)