11
Lyonel FeiningerStilleben auf blauem TischÖl auf Leinwand 55 x 75 cm Unter Glas gerahmt. Am
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Beschreibung
Lyonel Feininger
Stilleben auf blauem Tisch
Öl auf Leinwand 55 x 75 cm Unter Glas gerahmt. Am unteren Bildrand braun signiert 'Feininger'. - Partiell mit feinem Craquelé.
Hess 62
Wir danken Ulrich Luckhardt, Ingelheim, für ergänzende Hinweise zum Werk.
Provenienz
Privatbesitz, London; Galerie Grosshennig, Düsseldorf (1965); ehemals Sammlung Richard König, Duisburg; seitdem Familienbesitz, Rheinland
Ausstellungen
Düsseldorf 1964/1965 (Galerie Grosshennig), Meisterwerke des 19. und 20. Jahrhunderts. Gemälde - Plastik - Aquarelle, S. 23 mit Farbabb.
Gleich Lebewesen sind die einzelnen Objekte dieses bedeutenden frühen Stilllebens von Lyonel Feininger charakterisiert: so scheint der Öllampe in ihrer eigentümlichen Form ein Eigenleben innezuwohnen, die Tassen recht unorthodox platziert und die Orangen kullern um die dickbauchige Kanne mit Holzgriff in ihrer Keramikschale herum. Dieselbe Metallkanne mit Holzgriff ist bereits 1907 prominentes Objekt in dem „Stilleben mit grüner Kanne“, einem der ersten, in Paris entstandenen - heute in der Berliner Nationalgalerie bewahrten - Gemälde Lyonel Feiningers sowie in einem Stillleben mit ebenjener Kanne und einer hellgrauen Keramikvase (s. Vergleichsabbildungen).
Im Wechsel von erhöhter An- und Aufsicht auf das Arrangement des Tisches sorgen die Perspektiven für Bewegung in unserem Stillleben. Die Objekte scheinen auf den Betrachter zu, den Tisch hinab zu rutschen. Dazu unterstützt das überschnittene Bildformat die Unmittelbarkeit der Szenerie. Zartes Grün mildert den intensiven Komplementärkontrast von Blau und Orange und unterstreicht das Leuchten von Zinn und Messing. Mediterran in der Formgebung, scheinen auch die Farben an den Midi zu erinnern; die Gemälde von Cézanne und Matisse kommen einem in den Sinn.
Feininger beteiligt sich bereits 1904 mit seinen Karikaturen an Ausstellungen. Als Karikaturist entwickelt er für verschiedene Zeitschriften Comic strips und Figuren, wie die „Frau mit rotem Haar“ oder den „Mann mit Zylinder“, die er fortan auch als feste Typen in seiner Malerei etabliert. Der Blick für das Skurrile und sein Sinn für Humor werden sich weiter durch sein Werk ziehen: „Die Geburt der deutschen Moderne aus dem Geist der Karikatur, die entscheidenden Protagonisten für diese These sind Kubin, Klee, Grosz und Feininger. Formal bietet die Karikatur einen Freibrief für alle Abweichungen von der Regel. Übertreibung, Verzerrung und Deformation machen sie ebenso zu einer Vorschule der Moderne wie ihre Obsession für bizarre Formmischungen. Inhaltlich korrespondiert solcher Phantastie der Formen die Vorliebe der Karikatur für Scherz, Satire, Ironie und für die Verstandesschärfe der Aufklärung ebenso wie für alle möglichen Abgründe der menschlichen Psyche (…).“ (Peter-Klaus Schuster, Prisma-Ismus, in: Ausst. Kat. Feininger - Von Gelmeroda nach Manhattan, Berlin/München 1999, S. 239)
Verschiedene Aufenthalte in Paris bringen dem Maler die Werke der französischen Avantgarde näher. Im Entstehungsjahr unseres Stilllebens, 1911, stellt Feininger mehrere Arbeiten in der Pariser Megaveranstaltung der „Société des Indépendants“ aus, die mit 6 800 Werken von Kandinsky, Lehmbruck, Léger, Delaunay u.a. aufwartet. Große Aufmerksamkeit erlangen die Gemälde der Kubisten Metzinger und Gleizes. Durch die Begegnung mit dem Kubismus ändert sich auch Feiningers Naturauffassung; kubistische und prismatische Strukturen finden Eingang in seine Malerei. Ein Blick zurück auf die vier Jahre zuvor gemalten Kannenstillleben offenbart die Neuerungen und die außergewöhnliche Modernität des aus langjährigem Privatbesitz stammenden Gemäldes „Stilleben auf blauem Tisch“.
Lyonel Feininger
Stilleben auf blauem Tisch
Oil on canvas 55 x 75 cm Framed under glass. Signed 'Feininger' in brown lower margin. - Partially with fine craquelure.
Hess 62
We would like to thank Ulrich Luckhardt, Ingelheim, for additional information on the work.
Provenance
Private possession, London; Galerie Grosshennig, Düsseldorf (1965); formerly Collection Richard König, Duisburg; family possession, Rhineland, since
Exhibitions
Düsseldorf 1964/1965 (Galerie Grosshennig), Meisterwerke des 19. und 20. Jahrhunderts. Gemälde - Plastik - Aquarelle, p. 23 with colour illus.
The individual objects in this significant early still life by Lyonel Feininger are characterised like organisms: thus the oil lamp - with its distinctive form - seems to be filled with a life of its own, the placement of the cups is quite unorthodox and the oranges roll round the wide-bellied jug with a wooden handle in the ceramic bowl. The same metal jug with a wooden handle had already been a prominent motif in 1907 in “Stilleben mit grüner Kanne” - which was one of the first paintings Lyonel Feininger created in Paris and is now preserved in Berlin's Nationalgalerie - and in a still life with this same jug and a light-green ceramic vase (see comparative illustrations).
In their shifting downward views towards and on to the arrangement on the table, the perspectives provide our still life with a sense of movement. The objects seem to slide towards the viewer - the table, down and away. The immediacy of the scenery is also enhanced through its extending beyond the edges of the picture. A gentle green moderates the intense complementary contrast of blue and orange and underscores the gleam of the tin and brass. Mediterranean in the selection of forms, the colours also seem reminiscent of “le Midi”: the paintings of Cézanne and Matisse come to mind.
With his caricatures, Feininger had already participated in exhibitions in 1904. As a caricaturist he developed comic strips and characters for various magazines: these included the “woman with red hair” or the “man with top hat”, which he subsequently also established as fixed types in his paintings. His eye for the bizarre and his sense of humour would continue to run through his work: “The birth of German modernism out of the spirit of caricature - the decisive protagonists for this thesis are Kubin, Klee, Grosz and Feininger. Formally, caricature offers a carte blanche for all sorts of deviations from the rule. Exaggeration, distortion and deformation made it a training ground for modern art as did its obsession with bizarre mixtures of forms. In terms of content, this sort of fantasia of forms corresponds to caricature's predilection for joking, satire, irony and for the incisive insightfulness of the Enlightenment as well as for every conceivable recess of the human psyche […]." (Peter-Klaus Schuster, Prisma-Ismus, in: exhib. cat. Feininger - Von Gelmeroda nach Manhattan, Berlin/Munich 1999, p. 239).
Various stays in Paris familiarised the painter more closely with the works of the French avant-garde. In the year our still life was created, 1911, Feininger exhibited a number of works at the Parisian mega-event of the “Société des Indépendants”, which presented its audiences with 6,800 works by artists including Kandinsky, Lehmbruck, Léger and Delaunay. The paintings of the Cubists Metzinger and Gleizes attracted a great deal of attention. Feininger's encounter with Cubism also changed his concept of nature: Cubist and prismaist structures found their way into his painting. A retrospective look back at this still life with a jug painted four years prior to that reveals the innovations and the extraordinary modernity of “Stilleben auf blauem Tisch”, which has been in private hands for many years.
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Lyonel Feininger
Stilleben auf blauem Tisch
Öl auf Leinwand 55 x 75 cm Unter Glas gerahmt. Am unteren Bildrand braun signiert 'Feininger'. - Partiell mit feinem Craquelé.
Hess 62
Wir danken Ulrich Luckhardt, Ingelheim, für ergänzende Hinweise zum Werk.
Provenienz
Privatbesitz, London; Galerie Grosshennig, Düsseldorf (1965); ehemals Sammlung Richard König, Duisburg; seitdem Familienbesitz, Rheinland
Ausstellungen
Düsseldorf 1964/1965 (Galerie Grosshennig), Meisterwerke des 19. und 20. Jahrhunderts. Gemälde - Plastik - Aquarelle, S. 23 mit Farbabb.
Gleich Lebewesen sind die einzelnen Objekte dieses bedeutenden frühen Stilllebens von Lyonel Feininger charakterisiert: so scheint der Öllampe in ihrer eigentümlichen Form ein Eigenleben innezuwohnen, die Tassen recht unorthodox platziert und die Orangen kullern um die dickbauchige Kanne mit Holzgriff in ihrer Keramikschale herum. Dieselbe Metallkanne mit Holzgriff ist bereits 1907 prominentes Objekt in dem „Stilleben mit grüner Kanne“, einem der ersten, in Paris entstandenen - heute in der Berliner Nationalgalerie bewahrten - Gemälde Lyonel Feiningers sowie in einem Stillleben mit ebenjener Kanne und einer hellgrauen Keramikvase (s. Vergleichsabbildungen).
Im Wechsel von erhöhter An- und Aufsicht auf das Arrangement des Tisches sorgen die Perspektiven für Bewegung in unserem Stillleben. Die Objekte scheinen auf den Betrachter zu, den Tisch hinab zu rutschen. Dazu unterstützt das überschnittene Bildformat die Unmittelbarkeit der Szenerie. Zartes Grün mildert den intensiven Komplementärkontrast von Blau und Orange und unterstreicht das Leuchten von Zinn und Messing. Mediterran in der Formgebung, scheinen auch die Farben an den Midi zu erinnern; die Gemälde von Cézanne und Matisse kommen einem in den Sinn.
Feininger beteiligt sich bereits 1904 mit seinen Karikaturen an Ausstellungen. Als Karikaturist entwickelt er für verschiedene Zeitschriften Comic strips und Figuren, wie die „Frau mit rotem Haar“ oder den „Mann mit Zylinder“, die er fortan auch als feste Typen in seiner Malerei etabliert. Der Blick für das Skurrile und sein Sinn für Humor werden sich weiter durch sein Werk ziehen: „Die Geburt der deutschen Moderne aus dem Geist der Karikatur, die entscheidenden Protagonisten für diese These sind Kubin, Klee, Grosz und Feininger. Formal bietet die Karikatur einen Freibrief für alle Abweichungen von der Regel. Übertreibung, Verzerrung und Deformation machen sie ebenso zu einer Vorschule der Moderne wie ihre Obsession für bizarre Formmischungen. Inhaltlich korrespondiert solcher Phantastie der Formen die Vorliebe der Karikatur für Scherz, Satire, Ironie und für die Verstandesschärfe der Aufklärung ebenso wie für alle möglichen Abgründe der menschlichen Psyche (…).“ (Peter-Klaus Schuster, Prisma-Ismus, in: Ausst. Kat. Feininger - Von Gelmeroda nach Manhattan, Berlin/München 1999, S. 239)
Verschiedene Aufenthalte in Paris bringen dem Maler die Werke der französischen Avantgarde näher. Im Entstehungsjahr unseres Stilllebens, 1911, stellt Feininger mehrere Arbeiten in der Pariser Megaveranstaltung der „Société des Indépendants“ aus, die mit 6 800 Werken von Kandinsky, Lehmbruck, Léger, Delaunay u.a. aufwartet. Große Aufmerksamkeit erlangen die Gemälde der Kubisten Metzinger und Gleizes. Durch die Begegnung mit dem Kubismus ändert sich auch Feiningers Naturauffassung; kubistische und prismatische Strukturen finden Eingang in seine Malerei. Ein Blick zurück auf die vier Jahre zuvor gemalten Kannenstillleben offenbart die Neuerungen und die außergewöhnliche Modernität des aus langjährigem Privatbesitz stammenden Gemäldes „Stilleben auf blauem Tisch“.
Lyonel Feininger
Stilleben auf blauem Tisch
Oil on canvas 55 x 75 cm Framed under glass. Signed 'Feininger' in brown lower margin. - Partially with fine craquelure.
Hess 62
We would like to thank Ulrich Luckhardt, Ingelheim, for additional information on the work.
Provenance
Private possession, London; Galerie Grosshennig, Düsseldorf (1965); formerly Collection Richard König, Duisburg; family possession, Rhineland, since
Exhibitions
Düsseldorf 1964/1965 (Galerie Grosshennig), Meisterwerke des 19. und 20. Jahrhunderts. Gemälde - Plastik - Aquarelle, p. 23 with colour illus.
The individual objects in this significant early still life by Lyonel Feininger are characterised like organisms: thus the oil lamp - with its distinctive form - seems to be filled with a life of its own, the placement of the cups is quite unorthodox and the oranges roll round the wide-bellied jug with a wooden handle in the ceramic bowl. The same metal jug with a wooden handle had already been a prominent motif in 1907 in “Stilleben mit grüner Kanne” - which was one of the first paintings Lyonel Feininger created in Paris and is now preserved in Berlin's Nationalgalerie - and in a still life with this same jug and a light-green ceramic vase (see comparative illustrations).
In their shifting downward views towards and on to the arrangement on the table, the perspectives provide our still life with a sense of movement. The objects seem to slide towards the viewer - the table, down and away. The immediacy of the scenery is also enhanced through its extending beyond the edges of the picture. A gentle green moderates the intense complementary contrast of blue and orange and underscores the gleam of the tin and brass. Mediterranean in the selection of forms, the colours also seem reminiscent of “le Midi”: the paintings of Cézanne and Matisse come to mind.
With his caricatures, Feininger had already participated in exhibitions in 1904. As a caricaturist he developed comic strips and characters for various magazines: these included the “woman with red hair” or the “man with top hat”, which he subsequently also established as fixed types in his paintings. His eye for the bizarre and his sense of humour would continue to run through his work: “The birth of German modernism out of the spirit of caricature - the decisive protagonists for this thesis are Kubin, Klee, Grosz and Feininger. Formally, caricature offers a carte blanche for all sorts of deviations from the rule. Exaggeration, distortion and deformation made it a training ground for modern art as did its obsession with bizarre mixtures of forms. In terms of content, this sort of fantasia of forms corresponds to caricature's predilection for joking, satire, irony and for the incisive insightfulness of the Enlightenment as well as for every conceivable recess of the human psyche […]." (Peter-Klaus Schuster, Prisma-Ismus, in: exhib. cat. Feininger - Von Gelmeroda nach Manhattan, Berlin/Munich 1999, p. 239).
Various stays in Paris familiarised the painter more closely with the works of the French avant-garde. In the year our still life was created, 1911, Feininger exhibited a number of works at the Parisian mega-event of the “Société des Indépendants”, which presented its audiences with 6,800 works by artists including Kandinsky, Lehmbruck, Léger and Delaunay. The paintings of the Cubists Metzinger and Gleizes attracted a great deal of attention. Feininger's encounter with Cubism also changed his concept of nature: Cubist and prismaist structures found their way into his painting. A retrospective look back at this still life with a jug painted four years prior to that reveals the innovations and the extraordinary modernity of “Stilleben auf blauem Tisch”, which has been in private hands for many years.
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