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Max SlevogtCrevetten auf EisÖl auf Holz 49,5 x 61 cm Gerahmt. Unten rechts schwarz signiert und

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Max SlevogtCrevetten auf EisÖl auf Holz 49,5 x 61 cm Gerahmt. Unten rechts schwarz signiert und
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
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Max Slevogt
Crevetten auf Eis

Öl auf Holz 49,5 x 61 cm Gerahmt. Unten rechts schwarz signiert und datiert 'Slevogt 1913'. - Die Ränder rahmungsbedingt teilweise geringfügig berieben mit einigen wenigen Retuschen. Kleine Farbabplatzung am unteren rechten Rand.

Imiela 1968, S. 389, Anm. 19 ("Crevetten")

Wir danken Bernhard Geil für bestätigende und ergänzende Informationen.

Provenienz
Ehem. Sammlung Carl Steinbart, Berlin; Sammlung Georg Schäfer, Schweinfurt; Villa Grisebach, Berlin, Kunst des 19. und 20. Jahrhunderts, Auktion 25, 30.5.1992, Los 138; Privatsammlung Rheinland-Pfalz, seitdem in Familienbesitz

Ausstellungen
Berlin 1918 (Freie Secession und Paul Cassirer), Ausstellung zum 50. Geburtstag Max Slevogts, Kat. Nr. 163 ("Krevetten auf Eis"); Berlin 1928 (Preußische Akademie der Künste), Ausstellung zum 60. Geburtstag Max Slevogts, Kat. Nr. 103; München 1964 (Haus der Kunst), Secession. Europäische Kunst um die Jahrhundertwende, Kat. Nr. 529 ("Grosses Crevetten-Stilleben"); Yokohama 1990 (Sogo Museum of Art), Impressionismus in Deutschland, Kat. Nr. 95 mit Farbabb. S. 144 ("Großes Crevetten-Stilleben")

Literatur
Kunst und Künstler. Illustrierte Monatsschrift für Bildende Kunst, Jg. XXVII, 1929, Abb. S. 27 ("Crevettenstilleben")

In unserem opulenten Stillleben kulminieren Max Slevogts außergewöhnliches Talent der Beobachtung und seine meisterhafte Auseinandersetzung mit der Farbe als Material. Obschon Slevogt im Laufe seines Lebens verhältnismäßig wenige Stillleben malte, offenbart sich doch gerade in diesen Werken sein besonderes Interesse an der bahnbrechenden Malerei Manets und Cézannes. Slevogt sucht in diesen bisweilen subtil experimentellen Arbeiten weniger nach der naturgetreuen Darstellung des Objektes, als nach dem freien Sehen und dem Erkennen des Gegenstands.
Großzügig wirkt die Wahl der Crevetten als zentralem Motiv, die Slevogt als üppige Portion auf einer Holzkiste um ein monolithisches Stück Eis herum inszeniert. Im Unterschied zu etwa Vincent van Goghs meisterhaft arrangiertem Stillleben mit Muscheln und Shrimps aus dem Jahr 1886 (F 256; Hulsker 1169), richtet Slevogt das Augenmerk noch entschiedener auf die Qualitäten von Licht und vor allem Farbe, die er mit pastosem Pinsel aufträgt und so zu einer Malerei von fast haptischer Qualität gelangt. Mit dem Eis schließlich ergänzt er ein für die Komposition ausnehmend reizvolles Element, das mit seinem opaque-funkelnden Oberflächenglanz in spannungsvollen Kontrast zur leuchtenden Farbigkeit der Schalentiere tritt.
Hans-Jürgen Imiela hat darauf hingewiesen, dass die verhältnismäßig kurzen Beschäftigungen mit dem Thema des Stilllebens bei Slevogt bisweilen eine klärende Funktion übernehmen (vgl. Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, S. 257). Tatsächlich entstand unser Gemälde nur kurz vor Slevogts Ägyptenreise, die seinem Werk noch einmal einen entscheidenden Impuls geben würde.
Max Slevogt
Crevetten auf Eis

Oil on wooden panel 49.5 x 61 cm Framed. Signed and dated 'Slevogt 1913' in black lower right. - The edges partly slightly rubbed due to framing with few retouches. Small loss of colour to lower right margin.

Imiela 1968, p. 389, annot. 19 ("Crevetten")

We would like to thank Bernhard Geil for confirmatory and additional information.

Provenance
Formerly Collection Carl Steinbart, Berlin; Collection Georg Schäfer, Schweinfurt; Villa Grisebach, Berlin, Kunst des 19. und 20. Jahrhunderts, Auction 25, 30 May 1992, Lot 138; Private collection, Rhineland-Palatinate, in family possession since

Exhibitions
Berlin 1918 (Freie Secession und Paul Cassirer), Ausstellung zum 50. Geburtstag Max Slevogts, cat. no. 163 ("Krevetten auf Eis"); Berlin 1928 (Preußische Akademie der Künste), Ausstellung zum 60. Geburtstag Max Slevogts, cat. no. 103; Munich 1964 (Haus der Kunst), Secession. Europäische Kunst um die Jahrhundertwende, cat. no. 529 ("Grosses Crevetten-Stilleben"); Yokohama 1990 (Sogo Museum of Art), Impressionismus in Deutschland, cat. no. 95 with colour illus. p. 144 ("Großes Crevetten-Stilleben")

Literature
Kunst und Künstler. Illustrierte Monatsschrift für Bildende Kunst, vol. XXVII, 1929, illus. p. 27 ("Crevettenstilleben")

Max Slevogt's extraordinary talent for observation and his masterful engagement with paint as material culminate in our opulent still life. Although Slevogt created relatively few still lifes over the course of his life, his particular interest in the pioneering painting of Manet and Cézanne nonetheless reveals itself precisely in these works. In these sometimes subtly experimental pictures, Slevogt is not seeking a naturalistic depiction of the object but a free gaze and recognition of his subject matter.
There is a generous effect to the selection of shrimp as the central motif, which Slevogt has presented in the form of an abundant serving placed on a wooden crate and surrounding a monolithic piece of ice. In contrast to Vincent van Gogh's masterfully arranged still life featuring mussels and shrimp from 1886 (F 256; Hulsker 1169), for example, Slevogt has focused his attention even more decisively on the qualities of the light and particularly the painted colour, which he has applied with impasto brushstrokes, thus achieving a painting possessing an almost haptic quality. Finally, with the ice, he has added an exceptionally charming element to the composition, with the opaque and sparkling gleam of its surface standing in captivating contrast to the luminous tonality of the shellfish.
Hans-Jürgen Imiela has pointed out that Slevogt's relatively short periods of occupation with the theme of the still life sometimes performed a clarifying function (see Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, p. 257). Our painting was, in fact, created just briefly before Slevogt's journey to Egypt, which would once again provide his work with a decisive impulse.

Max Slevogt
Crevetten auf Eis

Öl auf Holz 49,5 x 61 cm Gerahmt. Unten rechts schwarz signiert und datiert 'Slevogt 1913'. - Die Ränder rahmungsbedingt teilweise geringfügig berieben mit einigen wenigen Retuschen. Kleine Farbabplatzung am unteren rechten Rand.

Imiela 1968, S. 389, Anm. 19 ("Crevetten")

Wir danken Bernhard Geil für bestätigende und ergänzende Informationen.

Provenienz
Ehem. Sammlung Carl Steinbart, Berlin; Sammlung Georg Schäfer, Schweinfurt; Villa Grisebach, Berlin, Kunst des 19. und 20. Jahrhunderts, Auktion 25, 30.5.1992, Los 138; Privatsammlung Rheinland-Pfalz, seitdem in Familienbesitz

Ausstellungen
Berlin 1918 (Freie Secession und Paul Cassirer), Ausstellung zum 50. Geburtstag Max Slevogts, Kat. Nr. 163 ("Krevetten auf Eis"); Berlin 1928 (Preußische Akademie der Künste), Ausstellung zum 60. Geburtstag Max Slevogts, Kat. Nr. 103; München 1964 (Haus der Kunst), Secession. Europäische Kunst um die Jahrhundertwende, Kat. Nr. 529 ("Grosses Crevetten-Stilleben"); Yokohama 1990 (Sogo Museum of Art), Impressionismus in Deutschland, Kat. Nr. 95 mit Farbabb. S. 144 ("Großes Crevetten-Stilleben")

Literatur
Kunst und Künstler. Illustrierte Monatsschrift für Bildende Kunst, Jg. XXVII, 1929, Abb. S. 27 ("Crevettenstilleben")

In unserem opulenten Stillleben kulminieren Max Slevogts außergewöhnliches Talent der Beobachtung und seine meisterhafte Auseinandersetzung mit der Farbe als Material. Obschon Slevogt im Laufe seines Lebens verhältnismäßig wenige Stillleben malte, offenbart sich doch gerade in diesen Werken sein besonderes Interesse an der bahnbrechenden Malerei Manets und Cézannes. Slevogt sucht in diesen bisweilen subtil experimentellen Arbeiten weniger nach der naturgetreuen Darstellung des Objektes, als nach dem freien Sehen und dem Erkennen des Gegenstands.
Großzügig wirkt die Wahl der Crevetten als zentralem Motiv, die Slevogt als üppige Portion auf einer Holzkiste um ein monolithisches Stück Eis herum inszeniert. Im Unterschied zu etwa Vincent van Goghs meisterhaft arrangiertem Stillleben mit Muscheln und Shrimps aus dem Jahr 1886 (F 256; Hulsker 1169), richtet Slevogt das Augenmerk noch entschiedener auf die Qualitäten von Licht und vor allem Farbe, die er mit pastosem Pinsel aufträgt und so zu einer Malerei von fast haptischer Qualität gelangt. Mit dem Eis schließlich ergänzt er ein für die Komposition ausnehmend reizvolles Element, das mit seinem opaque-funkelnden Oberflächenglanz in spannungsvollen Kontrast zur leuchtenden Farbigkeit der Schalentiere tritt.
Hans-Jürgen Imiela hat darauf hingewiesen, dass die verhältnismäßig kurzen Beschäftigungen mit dem Thema des Stilllebens bei Slevogt bisweilen eine klärende Funktion übernehmen (vgl. Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, S. 257). Tatsächlich entstand unser Gemälde nur kurz vor Slevogts Ägyptenreise, die seinem Werk noch einmal einen entscheidenden Impuls geben würde.
Max Slevogt
Crevetten auf Eis

Oil on wooden panel 49.5 x 61 cm Framed. Signed and dated 'Slevogt 1913' in black lower right. - The edges partly slightly rubbed due to framing with few retouches. Small loss of colour to lower right margin.

Imiela 1968, p. 389, annot. 19 ("Crevetten")

We would like to thank Bernhard Geil for confirmatory and additional information.

Provenance
Formerly Collection Carl Steinbart, Berlin; Collection Georg Schäfer, Schweinfurt; Villa Grisebach, Berlin, Kunst des 19. und 20. Jahrhunderts, Auction 25, 30 May 1992, Lot 138; Private collection, Rhineland-Palatinate, in family possession since

Exhibitions
Berlin 1918 (Freie Secession und Paul Cassirer), Ausstellung zum 50. Geburtstag Max Slevogts, cat. no. 163 ("Krevetten auf Eis"); Berlin 1928 (Preußische Akademie der Künste), Ausstellung zum 60. Geburtstag Max Slevogts, cat. no. 103; Munich 1964 (Haus der Kunst), Secession. Europäische Kunst um die Jahrhundertwende, cat. no. 529 ("Grosses Crevetten-Stilleben"); Yokohama 1990 (Sogo Museum of Art), Impressionismus in Deutschland, cat. no. 95 with colour illus. p. 144 ("Großes Crevetten-Stilleben")

Literature
Kunst und Künstler. Illustrierte Monatsschrift für Bildende Kunst, vol. XXVII, 1929, illus. p. 27 ("Crevettenstilleben")

Max Slevogt's extraordinary talent for observation and his masterful engagement with paint as material culminate in our opulent still life. Although Slevogt created relatively few still lifes over the course of his life, his particular interest in the pioneering painting of Manet and Cézanne nonetheless reveals itself precisely in these works. In these sometimes subtly experimental pictures, Slevogt is not seeking a naturalistic depiction of the object but a free gaze and recognition of his subject matter.
There is a generous effect to the selection of shrimp as the central motif, which Slevogt has presented in the form of an abundant serving placed on a wooden crate and surrounding a monolithic piece of ice. In contrast to Vincent van Gogh's masterfully arranged still life featuring mussels and shrimp from 1886 (F 256; Hulsker 1169), for example, Slevogt has focused his attention even more decisively on the qualities of the light and particularly the painted colour, which he has applied with impasto brushstrokes, thus achieving a painting possessing an almost haptic quality. Finally, with the ice, he has added an exceptionally charming element to the composition, with the opaque and sparkling gleam of its surface standing in captivating contrast to the luminous tonality of the shellfish.
Hans-Jürgen Imiela has pointed out that Slevogt's relatively short periods of occupation with the theme of the still life sometimes performed a clarifying function (see Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, p. 257). Our painting was, in fact, created just briefly before Slevogt's journey to Egypt, which would once again provide his work with a decisive impulse.

Moderne und Zeitgenössische Kunst - Evening Sale

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