Portrait of the painter Lovis Corinth

Portrait of the painter Lovis Corinth
	Max Liebermann , 1899
	Oil on canvas
	88 × 63 cm
	Collection Deutsche Bank AG

The portrait of the painter Lovis Corinth is a painting by the German painter Max Liebermann from 1899. The painter Lovis Corinth is shown as a half-portrait. The picture is currently in the possession of the Deutsche Bank AG Collection in Frankfurt am Main; it is recorded in Matthias Eberle's catalog raisonné as 1899/2.

Image description

The picture is a chest piece by the seated painter Lovis Corinth . The body and head are shown in profile and the head is slightly rotated so that it looks at the viewer looking over his left shoulder. According to Achenbach & Eberle in 1980, Liebermann usually painted his models from the front, so the side portrait is an exception.

Lovis Corinth: Self-Portrait with Skeleton , 1897.

Corinth sits in a chair “which he more than fills” with his left arm resting on the armrest. He is wearing a gray jacket and underneath a shirt with a white collar. The body is only hinted at, the image accordingly concentrates on the face with the striking mustache and shoulders of the sitter.

Compared to Corinth's self-portrayals, Liebermann does not portray him as the “rustic power man”, but rather as someone “who evades a direct confrontation with the other person.” Achenbach & Eberle 1980 further describe: “The huge body serves him more here as a protective shield behind which he hides, because as an instrument of his vitality. "

As with most of Liebermann's portraits, the background is neutral and iridescent gray. The picture is signed with the name M. Liebermann in the upper right corner.

Background and origin

Lovis Corinth: Portrait of Max Liebermann, 1899.

The picture was taken in 1899 when Lovis Corinth was visiting the first exhibition of the Berlin Secession in Berlin and paid a visit to the painter Liebermann. During this visit the two artists portrayed each other, after Corinth's death Liebermann wrote to his widow Charlotte Berend-Corinth in a letter:

“Your late husband painted me in my studio and on the same day I painted him, to the mutual great dissatisfaction of course. Trübner , who was a very clever fellow, once said: 'There is no safer reason to quarrel with someone than to paint them.' And if there are two painters. "

- Max Liebermann

Corinth had problems gaining a foothold in his home town of Munich at the time. In particular because of the exhibition of the controversial picture Salomé in Munich in the Berlin Secession in 1900, he finally came to Berlin in 1902 at the request of Walter Leistikow and Paul Cassirer . Even Ernst Oppler and Max Slevogt were due to the openness to Berlin, the latter after the Secession in 1899 his painting The Prodigal Son exhibited. Corinth also portrayed a colleague with Ernst Oppler as a motif.

Liebermann and Corinth later fell out, after 1911 he took over the chairmanship of the Secession for a short time after his resignation.

supporting documents

↑ ^a ^b ^c Angelika Wesenberg (Ed.): Max Liebermann - turn of the century. Catalog for the exhibition of the same name in the Alte Nationalgalerie from July 20 to October 26, 1997. Staatliche Museen zu Berlin 1997, ISBN 3-87584-978-7 , pp. 262–263.
↑ ^a ^b ^c Sigrid Achenbach, Matthias Eberle (ed.): Max Liebermann. Catalog for the exhibition at the Nationalgalerie Berlin from September 6 to November 4, 1980. Nationalgalerie 1980, ISBN 3-7913-0489-5 , pp. 284–285.
^ Portrait of Max Liebermann. In: Charlotte Berend-Corinth : Lovis Corinth: The paintings . Revised by Béatrice Hernad. Bruckmann Verlag, Munich 1992, BC 180, ISBN 3-7654-2566-4 , pp. 80-81.
↑ Robert Fleck (Ed.): Max Liebermann - Trailblazer of Modernity. Catalog for the exhibition of the same name in the Art and Exhibition Hall of the Federal Republic of Germany in Bonn from April 21 to September 11, 2011 and in the Hamburger Kunsthalle from September 30, 2011 to February 19, 2012. DuMont, Cologne 2011, ISBN 978-3- 8321-9350-8 , p. 52.

literature

Sigrid Achenbach, Matthias Eberle (eds.): Max Liebermann. Catalog for the exhibition at the Nationalgalerie Berlin from September 6 to November 4, 1980. Nationalgalerie 1980, ISBN 3-7913-0489-5 , pp. 284–285.
Angelika Wesenberg (Ed.): Max Liebermann - turn of the century. Catalog for the exhibition of the same name in the Alte Nationalgalerie from July 20 to October 26, 1997. Staatliche Museen zu Berlin 1997, ISBN 3-87584-978-7 , pp. 262–263.

[Wesenberg-1] Angelika Wesenberg (Ed.): Max Liebermann - turn of the century. Catalog for the exhibition of the same name in the Alte Nationalgalerie from July 20 to October 26, 1997. Staatliche Museen zu Berlin 1997, ISBN 3-87584-978-7 , pp. 262–263.

[Achenbach_&_Eberle_1980-2] Sigrid Achenbach, Matthias Eberle (ed.): Max Liebermann. Catalog for the exhibition at the Nationalgalerie Berlin from September 6 to November 4, 1980. Nationalgalerie 1980, ISBN 3-7913-0489-5 , pp. 284–285.

[BC-3] Portrait of Max Liebermann. In: Charlotte Berend-Corinth : Lovis Corinth: The paintings . Revised by Béatrice Hernad. Bruckmann Verlag, Munich 1992, BC 180, ISBN 3-7654-2566-4 , pp. 80-81.

[Fleck-4] Robert Fleck (Ed.): Max Liebermann - Trailblazer of Modernity. Catalog for the exhibition of the same name in the Art and Exhibition Hall of the Federal Republic of Germany in Bonn from April 21 to September 11, 2011 and in the Hamburger Kunsthalle from September 30, 2011 to February 19, 2012. DuMont, Cologne 2011, ISBN 978-3- 8321-9350-8 , p. 52.