Lovis Corinth:
Picture "Walchensee in Winter" (1923), white and golden framed version
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Picture "Walchensee in Winter" (1923), white and golden framed version
Lovis Corinth:
Picture "Walchensee in Winter" (1923), white and golden framed version

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ars mundi Exclusive Edition | limited, 980 copies | numbered | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size approx. 63.5 x 79.5 cm (h/w)

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Product no. IN-940008

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Picture "Walchensee in Winter" (1923), white and golden framed version
Lovis Corinth: Picture "Walchensee in Winter" (1923), whi...

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Picture "Walchensee in Winter" (1923), white and golden framed version

From 1919 onwards, Lovis Corinth (1858-1925) found a retreat in Urfeld above Lake Walchen, which inspired him for numerous works of his late period. This is how his wife Charlotte Berend-Corinth describes how much the place impressed him: "Lovis was immediately gripped by the beauty of the landscape - by the magic of the Walchensee, the mountain scenery, the light and the air".
Original: 1923, oil on canvas, 70 x 90 cm, Städel Museum, Frankfurt am Main.

Edition transferred to artist's canvas in Fine Art Giclée process and stretched on a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handmade, white-golden solid wood frame. Size approx. 63.5 x 79.5 cm (h/w). ars mundi Exclusive Edition.

Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de

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About Lovis Corinth

"True art (...) has no practical, utilitarian flavour. It exists solely for itself. Egotistical like a god, it stands before us in all its radiance." (Lovis Corinth)

The work of Lovis Corinth (1858-1925) is difficult to define as a whole. It is even questionable to classify his work as "German Impressionism" as opposed to French Impressionism - Corinth certainly experimented with the effect of colour in the sense of giving autonomy to the pictorial means. But he was mostly alien to scientific-academic calculations, colour systems, or the justification of colour effects rooted in physics. In general, he opposed the artistic trends of his time, and even scorned many of the new approaches of the young avant-garde as "formula art".

But at first glance, Corinth only appears to be a "conservative" painter. On the one hand, he remained attached to the figurative, realistic style of painting throughout his life. His sources of inspiration remained the old Dutch, above all Rembrandt, and he died near Amsterdam because he wanted to admire the originals there once more. However, on the other hand, he was regarded as a rebel and innovator, and always revisiting classical genres (historical paintings, biblical, and mythological themes) with a highly subjective eye, even to the point of parody and travesty. Thus, ultimately, he was completely and utterly an outstanding contemporary of his artistic epoch and was perceived as such. He was modern in every sense, and the series of his famous self-portraits show the sometimes-unstable Corinth, torn between artistic intoxication and depression, as a master of psychological self-interpretation.

Corinth's late work is of particular importance. First of all, there are the Walchensee paintings, created from 1919 onwards near Urfeld in southern Munich, where the painter rediscovered landscape painting for himself. But he also sought and found new approaches in other subjects, such as portraits and still lifes.

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