Asta: 535 / Evening Sale with Collection Hermann Gerlinger del 09 dicembre 2022 a Monaco di Baviera Lot 20


Ernst Ludwig Kirchner
Im Wald, 1910.
Olio su tela
Stima: € 600,000 / $ 594,000
Im Wald. 1910.
Oil on canvas.
Gordon 142. Signed and dated in upper right. 58 x 70 cm (22.8 x 27.5 in).
• Prime example of the accomplished "Brücke" style.
• A highlight of the collaborative activities, the artists' life and work at the Moritzburg Ponds.
• The unconstrained nudes in pristine nature are a key theme of "Brücke" art.
• Shortly after it was made, the painting was shown in the legendary exhibition at Galerie Arnold in Dresden in September 1910 (according to Donald E. Gordon)

This work is documented in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.

PROVENANCE: Galerie Neupert, Zürich (with the label on the reverse).
Collection Werner Brunner, Sankt Gallen (acquired from the above in 1953).
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).

EXHIBITION: Dresden 1910, no. 26 (there with the title "Landschaft").
Die Kunst unserer Zeit, Künstlerhaus, Vienna, March to May 1930, cat. no. 14.
E. L. Kirchner und Rot-Blau, Kunsthalle Basel, September 2 – October 15, 1967, cat. no. 16.
E. L. Kirchner. Gemälde, Aquarelle, Zeichnungen und Druckgraphik, Kunstverein in Hamburg, December 6, 1969 – January 25, 1970, Frankfurter Kunstverein, Frankfurt am Main, February 6 – March 29, 1970, cat. no. 19 (with illu., no. 34).
Künstler der Brücke an den Moritzburger Seen 1909-1911, Brücke-Museum, Berlin, cat. no. 33 (with illu., p. 17).
Paul Gauguin. Das verlorene Paradies, Museum Folkwang, Essen, June 17, 1998 – October 18, 1998, Neue Nationalgalerie, Berlin, October 31, 1998 – January 10, 1999, cat. no. E 5 (with illu.).
Frauen in Kunst und Leben der "Brücke", Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig, September 10 – November 5, 2000, cat. no. 52 (with illu. p. 138).
Die Brücke in Dresden 1905-1911, Dresdner Schloss, Staatliche Kunstsammlungen Dresden, Galerie Neue Meister, October 20, 2001 – January 6, 2002, cat. no. 266 (with illu., p. 221).
Die "Brücke" und die Moderne 1904-1914, Bucerius Kunst Forum, Hamburg, October 17, 2004 – January 23, 2005, cat. no. 133 (with illu. p. 158).
Im Rhythmus der Natur: Landschaftsmalerei der Brücke, Städtische Galerie, Ravensburg, October 28, 2006 – January 28, 2007, p. 83 (with illu. p. 82).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Vienna, June 1 – August 26, 2007, cat. no. 144 (with illu., p. 229).
Der Blick auf Fränzi und Marcella. Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, Sprengel-Museum, Hanover, August 29, 2010 – January 9, 2011, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), February 6 – 15, 2011, cat. no. 81 (with illu., p. 111).
'Keiner hat diese Farben wie ich.' Kirchner malt, Kirchner-Museum, Davos, December 4, 2011 - April 15, 2012, p. 29 (with illu.).
Brückenschlag: Gerlinger – Buchheim!, Buchheim Museum, Bernried, October 28, 2017 - February 25, 2018, pp. 184-187 (with illu.).

LITERATURE: Estate Donald E. Gordon, University of Pittsburgh, Gordon Papers, series I., subseries 1, box 1, folder 143.
Donald E. Gordon, Ernst Ludwig Kirchner. Mit einem kritischen Katalog sämtlicher Gemälde, München/Cambridge (Mass.) 1968, pp. 69 and 294, cat. no. 142 (with illu.).
Leopold Reidemeister, Künstler der "Brücke" an den Moritzburger Seen 1909-1911. Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, in: Ex. cat. Künstler der "Brücke" an den Moritzburger Seen 1909-1911, Brücke-Museum, Berlin, 1970, p. 18.
Mario-Andreas von Lüttichau, Künstlergemeinschaft "Brücke", in: Ex. cat. Stationen der Moderne. Die bedeutendsten Kunstausstellungen des 20. Jahrhunderts in Deutschland, Berlinische Galerie, Berlin, 1988/89, p. 90 (with illu., no. 1/8).
Heinz Spielmann (ed.), Die Maler der Brücke, Sammlung Hermann Gerlinger, Stuttgart 1995, p. 153, SHG no. 147 (with illu.).
Heinz Spielmann, Die Brücke und die Moderne 1904-1914, in: Vernissage Nord, Ausstellungen Herbst/Winter, 2004/05, p. 8 (with illu.).
Hermann Gerlinger, Katja Schneider (ed.), Die Maler der Brücke, inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 316, SHG no. 712 (with illu.)
Franz Schwarzbauer, Andreas Gabelmann (eds.), Im Rhythmus der Natur: Landschaftsmalerei der "Brücke". Meisterwerke der Sammlung Hermann Gerlinger, Ostfildern 2006, pp. 23ff
Volkmar Billig, 'Gefilde der Seligen'. Zur Inselfaszination der "Brücke"-Künstler, in: Christoph Wagner and Ralph Melcher (eds.), Die "Brücke" und der Exotismus. Bilder des Anderen, Berlin 2011, p. 21 (with illu., no. 4, p. 23).

"We had been familiar with the landscape for quite some time, and we knew that we could paint plein-air nudes without any disturbances [..] We were living in a state of absolute harmony, we worked and bathed. Whenever we were short of a male model as counterpart, one of us three would fill in."
Hermann Max Pechstein, Erinnerungen, 1993, p. 41.

Called up: December 9, 2022 - ca. 17.38 h +/- 20 min.

The speed and intensity of urbanisation in Germany during the early twentieth century provoked an anti-urban counter movement advocating sun and air therapy, among other reformist ideas aimed at ‘healing’ modern society. For example, in the same year that the "Brücke" artists founded their group (1905), the Society for Forest Relaxation was inaugurated to promote ‘fresh air culture’ in the woods surrounding Dresden; several nudist bathing resorts were also established in the countryside around the city (see Jill Lloyd, German Expressionism, Primitivism and Modernity, 1991 p.110 f.).
Kirchner and the other Brücke artists embraced the ethos of these reformist ideas, fusing them with their own desire to renew the art and culture of their times. Together with Brücke artists Erich Heckel and Max Pechstein, and a group of friends and models, Kirchner spent the summer of 1910 in Moritzburg, painting and skinny-dipping in the forest ponds. The artists emulated what they understood as a ‘primordial’ lifestyle, inspired by tribal artefacts they discovered in the Dresden Ethnographic Museum and exhibitions of tribal villages Kirchner visited and sketched in the Dresden Zoo, which were intended to stimulate popular interest in German colonialism. In the forest and lakes surrounding Motitzburg, the artists often set up their easels side by side, recording the same scenes: hence the nude couple in Kirchner’s Im Wald, reappears in Heckel’s Zwei Menschen im Freien (1909/10), where the left-hand nude crosses her arms protectively across her chest in a similar gesture, and the same yellow and red flesh tones recur. Indeed, the casually dressed man in the foreground of Kirchner’s painting is probably Erich Heckel, walking towards his easel to pick up his own paints and brushes.

The Pictorial Coalescence of Kirchner's Figures With Surrounding Nature

The sketchy, androgenous nudes in Kirchner’s painting partially merge with surrounding nature: their contours rhyme with the boughs of the trees, the figure with crossed arms blends coloristically with the sunlit forest glade, and sketchy, spontaneous brushwork features throughout. Similarly, the green jacket and dark legs of the foreground figure blend with the colors of the surrounding forest, while touches of complementary red on the man’s hands and face brighten the color composition and relate him chromatically to the nudes. Kirchner applies his fast-drying oil colors (thinned with benzine and combined with a wax additive to enhance their luminosity), much as he would apply watercolors to a drawing: visible areas of white primed canvas resemble the white pages of his sketchbooks, allowing the surface of the painting to breathe and intensifying the brightness of the colors. In this instance, the slivers of white canvas add a sparkle to the scene, evoking the effect of sunshine slanting through the trees.
Jill Lloyd


Commissione, tassa e diritti di seguito
Questo oggette viene offerto con regime fiscale normale o con imposizione sul margine del profitto.

Calcolo imposizione particolare sul margine del profitto:
Prezzo di aggiudicazione fino a 500.000 €: supplemento del 32%
Prezzo di aggiudicazione superiore a 500.000 €: Parte del prezzo fino a 500.000 € supplemento del 32 %, parte del prezzo che supera i 500.000 € supplemento del 27%
Nel supplemento è compresa l'IVA che tuttavia non compare sulla fattura.

Calcolo regime fiscale normale:
Prezzo di aggiudicazione fino a 500.000 €: supplemento del 25%, maggiorato dell´IVA legale
Prezzo di aggiudicazione superiore a 500.000 €: Parte del prezzo fino a 500.000 € supplemento del 25 %, parte del prezzo che supera i 500.000 € supplemento del 20%, a talvolta maggiorato dell'IVA legale.

La preghiamo di avvisarci prima della fatturazione nel caso in cui desidera applicare il regime fiscale normale.

Calcolo diritti di seguito:
Per gli oggetti realizzati da un artista la cui morte risale a meno di 70 anni, viene fatturata una quota sui diritti di seguito pari all'2,4% IVA legale inclusa.