Picture "Vase of Flowers on a Table" (1922), framed
Picture "Vase of Flowers on a Table" (1922), framed
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limited, 499 copies | reproduction, Giclée print on canvas | on stretcher frame | framed | size 55.5 x 77 cm (h/w)
Detailed description
Picture "Vase of Flowers on a Table" (1922), framed
Corinth's late work is of particular importance. First of all, there are the Walchensee pictures, which were painted near Urfeld in the south of Munich from 1919 onwards and in which the painter rediscovered landscape painting for himself. But he also sought and found new approaches in other subjects, such as portraits.
The picture "Flower Vase on a Table" from 1922, shows how another classical subject continued to develop in his work as he grew older. A little over a decade earlier, he had painted still lifes on canvas that still clearly emphasised their reference to the Old Masters and came across in deep, Rembrandtian brown tones. However, this is a watercolour wiwers show an armchair to the right and a dog nestled in its basket to the left. We see, in a nutshell, a retreat that promised the painter peace and relaxation.
Original: 1922, watercolour, 36.5 x 57 cm, Graphische Sammlung Albertina, Vienna.
Reproduction using Fine Art Giclée directly on artist's canvas and stretched on a stretcher frame. Limited edition of 499 copies. Framed in a natural coloured solid wood frame. Size 55.5 x 77 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
Customer reviews
Tolles Bild, gut verarbeitet, Lieferzeit zwar etwas lange, dann ist die Vorfreude um so größer!
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.
Giclée = derived from the French verb gicler "to squirt, to spray".
The Giclée method is a digital printing process. It is a high-resolution, large-format print produced with an inkjet printer using special different-coloured dye- or pigment-based inks (usually six to twelve). The inks are lightfast, meaning they are resistant to harmful UV light. They provide a high level of nuance, contrast, and saturation.
The Giclée process is suitable for art canvases, handmade paper and watercolour paper as well as silk.
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but placed side by side on the canvas, so that the final impression emerged in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac), this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.