Lovis Corinth

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Lovis Corinth ( Emil Stumpp , 1911)

Lovis Corinth (* July 21, 1858 as Franz Heinrich Louis Corinth in Tapiau , East Prussia ; † July 17, 1925 in Zandvoort , province of North Holland ) was a German painter, draftsman and graphic artist. Along with Max Liebermann , Ernst Oppler and Max Slevogt, he is one of the most important and influential representatives of German Impressionism. His late works are also inspired by Expressionism.


His parents Heinrich and Wilhelmine Corinth ran a tannery and a larger agricultural business. He was the only child of the two, but had five half-siblings on his mother's side, with whom he grew up. The house where he was born still exists, and a plaque commemorates the painter.

From 1866 to 1873 Corinth went to the Kneiphöfische Gymnasium in Königsberg . During this time he lived with his aunt in Königsberg. When the Franco-German War broke out in 1870, soldiers also moved into his aunt's apartment. When his mother died in 1873, Corinth went back to his parents' farm, and a little later the desire arose to become a painter. He himself described this in his autobiography as one of many wishes that changed regularly:

“It was precisely at Easter that my career fell on the painter, because almost every month I had a different passion for arranging my life: soldier, sailor, above all farmer, changed in a colorful dance and today fate meant that I wanted to become a painter. I have remained faithful to this job and I never wanted to regret it. "

A little later, his father sold the property in Tapiau and moved with his son to Koenigsberg to train him as a painter there. Corinth went to the Königsberg Art Academy and learned the basics of painting as well as conservative history painting as a student of Otto Günther . Corinth traveled with Günther and his other students to Berlin and Thuringia and visited the studios of Albert Brendel , then director of the Weimar Art School , as well as Friedrich Preller and Karl Buchholz . Corinth's own work focused on portraits and landscapes.

Munich, Antwerp, Paris

Lovis Corinth (1887)

In 1880, on the recommendation of his teacher Günther, Corinth went to the art academy in Munich , which at the time was considered the most important center for painting next to Paris and was in close contact with the cultural scene of this city. Louis Corinth first attended Franz von Defregger's class and then switched to Ludwig Löfftz , a former student of Wilhelm Diez . His classmates included Hans Olde and Bernt Grönvold , with whom Corinth had contact for many years. Corinth joined the current of naturalism , which was just beginning to assert itself against classical history painting. The nude painting played a big role in his education; In this way, in 1883, he painted Schächer am Kreuz , whose conception shows the influence of his teacher Löfftz and his former student Karl Stauffer-Bern . Another important teacher for Corinth in Munich was Wilhelm Trübner , for whom he also wrote an obituary in 1920.

Between 1882 and 1883 he interrupted his studies and did his military service as a one-year volunteer , after which he went with his father on a trip that mainly led to Italy and Lake Garda . Then he resumed his studies.

In 1884 Corinth went to Antwerp for three months, where he studied with Paul Eugène Gorge . In the same year he was able to record his first international success with his painting The Conspiracy . The picture was awarded a bronze medal at an exhibition in London (this is doubted by Ulrike Lorenz), and in 1885 it was shown at the Paris Salon . The painting Negro Othello , a portrait of a black man, was made in Gorge's studio and is one of his most famous paintings. He also painted his first portrait of the painter Paul Eugène Gorge , which was followed by two more in 1898 and 1908.

In October of that year he traveled on to Paris , where he entered the private academy Académie Julian . He learned from Tony Robert-Fleury and Adolphe William Bouguereau , who brought him closer to the practice of nude painting of women (peintre de la femme) . They influenced his further work very much, especially the design of his portraits of women over the next few years. However, he himself was not very successful in Paris and returned with around 20 large-format pictures, mostly nudes. Although modern and prominent Impressionists were also staying in Paris at the same time and pictures by masters who had died a few years earlier, such as Gustave Courbet or Édouard Manet , were on view in Paris, he did not notice them. On the other hand, he found inspiration in exhibitions by Jean-Louis-Ernest Meissonier , Wilhelm Leibl and above all in a retrospective by Jules Bastien-Lepage .

In the summer of 1886 Corinth traveled with Hans Olde to the Baltic Sea coast to paint impressions of the landscape and portraits (see: In the fisherman's house ) . In 1887 he returned to Königsberg and portrayed his father - and the exhibition of this picture in the Königsberg Academy was unsuccessful.

In 1887 Louis Corinth moved to Berlin and spent the winter there, where he met Max Klinger , Walter Leistikow and Karl Stauffer-Bern, among others . His first self-portrait was probably created in Berlin, which several others would follow in the course of his life. In the following year, however, he returned to his now seriously ill father in Königsberg and portrayed him there several times before he died on January 10, 1889.

Munich 1891 to 1900

In the slaughterhouse , 1893, State Gallery Stuttgart
Salome II , 1900, Museum of Fine Arts , Leipzig

In 1890 the painting Pietà , which he had submitted to the Paris Salon , received an award. Confirmed in his work, Corinth decided in 1891 to return to Munich. Here he looked for an apartment in Schwabing , just a house next to the apartment of his colleague Ernst Oppler. In the same year he captured the view from his studio window in several paintings, with which he, as well as Waldinneres bei Bernried , dealt with the plein airism current in Munich at the time - the artists left their studio and caught motifs “under the open sky " a. This was mainly transported in Germany by Arnold Böcklin , Max Klinger and Hans Thoma , who were among the most popular figures on the art scene in Munich. As a Bavarian prince and painter were Friedrich August von Kaulbach , Franz von Lenbach and Franz von Stuck . In addition to the pictures mentioned, Corinth's main work in the year of Diogenes was a large-format representation of Diogenes von Sinope . However, the exhibition of the picture in the Munich Glass Palace was not acknowledged with the hoped-for praise; on the contrary, it received massive criticism, which made Corinth doubt his work. He had his friend Otto Eckmann teach him the art of etching , and his cycle of etchings tragicomedies appeared by 1894 , in which he referred to Art Nouveau on the one hand and the work of Max Klinger on the other.

From 1892 onwards, a series of paintings was created that depict slaughterhouse scenes and were again able to convince the critics. The pictures were presented realistically and impressed with their motifs. Corinth had caught up with the “revolutionaries” of the Munich art scene, who did not exhibit in the established Glaspalast, but met in the artist society Allotria . In 1892, the Munich Secession was founded from this association , which was joined by Max Liebermann , Otto Eckmann, Thomas Theodor Heine , Hans Olde , Hans Thoma, Wilhelm Trübner , Franz von Stuck and Fritz von Uhde in addition to Corinth . In 1893 Corinth wanted to found the Free Association of XXIV together with Otto Eckmann, Trübner, Heine, Max Slevogt , Ernst Oppler , Hermann Obrist and Peter Behrens in order to improve the exhibition situation. This led to a dispute in the Secession, the establishment failed, and those involved were excluded from the Munich Secession. As the Free Association of XXIV / Münchner 24, they found an exhibition opportunity in the Eduard Schulte Gallery in Berlin.

In 1895 Corinth painted the first picture, Descent from the Cross , that he could even sell. It was exhibited in the Glass Palace that same year and awarded a gold medal. Between 1895 and 1900 he exhibited a number of other paintings there, which, however, did not cause a major stir. Through a friend, Corinth came into contact with the Munich literary group Die Nebenregierung around 1895/96 , which included writers Max Halbe , Count Eduard von Keyserling , Frank Wedekind and Otto Erich Hartleben . In 1896 Corinth was one of the founding members of the Masonic Lodge In Treue , which still exists today and for which he painted the painting The Lodge Brothers in 1898 , on which twelve members of his lodge are depicted. In the following years he created a number of his most successful and still best known paintings. In 1896 he created his self-portrait with a skeleton . In 1897 Corinth portrayed his friend Otto Eckmann using the wet-on-wet technique , which is particularly suitable for spontaneous, spirited work. He recommended this type of painting in his textbook “Learning to paint” because you can “keep painting and correcting” in it. The butcher's shop in Schäftlarn on the Isar was also built in 1897 as a continuation of his slaughterhouse scenes as well as historical pictures such as The Witches and The Seduction of St. Antonius . When Lovis Corinth was in Berlin for the first exhibition at the Berlin Secession in 1899 and Max Liebermann paid a visit, they portrayed each other. Testimony are the portrait of the painter Lovis Corinth and a portrait of Max Liebermann from 1899.

After moving within Munich, he painted Salome in 1900 , a picture in which he himself had high hopes, but which was rejected for an exhibition at the Munich Secession. This failure reinforced Corinth's intention to leave Munich and go to Berlin. There he was still in contact with Walter Leistikow, who founded the Berlin Secession in 1898 with Max Liebermann and Paul Cassirer . Salome was a success in Berlin with the second Secession exhibition in July 1900 and Corinth, in his own words, became “a capacity in Berlin.” His pictures of Susanna and the two elders and the crucifixion were also shown at this exhibition. Corinth received his first portrait commissions from Leistikow in Berlin.

Berlin years

"Paddle Petermann"
Lovis and Charlotte Corinth in the studio (1908)
Corinth family (1909)

Corinth moved to Berlin in autumn 1901 and became a member of the Berlin Secession . In the same year, the painting Perseus and Andromeda was shown at the Secession exhibition at Paul Cassirer's premises - alongside paintings by the late artists Vincent van Gogh , Wilhelm Leibl and Arnold Böcklin. Corinth got the studio in Klopstockstrasse again from Leistikow, and on October 14, 1901 Corinth opened a painting school. His first student was the then 21-year-old Charlotte Berend , who from then on regularly served as his model. Another student was Erich Lasse . The painting school became a financial success, and his pictures also became better known.

In December Paul Cassirer organized an exhibition devoted exclusively to Lovis Corinth. A year later Corinth was elected to the board of the Secession. The portrait of the poet Peter Hille was presented with further pictures by Corinth in the Secession exhibition in 1902: Samuel's Curse on Saul , The Three Graces and the Self-Portrait with a Model . In addition to his works, pictures by Édouard Manet and Edvard Munch were also exhibited, and the Hille portrait was purchased by the Kunsthalle Bremen in 1908.

On a trip to the Pomeranian Baltic coast, Corinth and Charlotte Berend got closer and began a relationship. Several portraits of her were created during the trip, to which he gave the nickname "Petermannchen", which he used for them: Petermannchen and Paddel-Petermannchen . Another portrait of the trip was the portrait of a girl with a bull , in which Charlotte Berend leads and strokes a sturdy bull by its nose ring, which attracted special attention in the Berlin Secession because of the meaning it contains : the picture symbolically showed the current relationship of the couple, in which Corinth, as a tamed bull, let the woman lead him around on a pink ribbon on the nose ring.

From 1902 to 1904 Corinth worked with the director and theater owner Max Reinhardt . In 1902 he created the set and, together with Max Kruse, the costumes for Hans Oberlaender's production of Oscar Wilde's Salome . In 1903, together with Leo Impekoven, he furnished Reinhardt's production of Maurice Maeterlinck's Pelléas et Mélisande at the New Theater on Schiffbauerdamm and together with Kruse Reinhardt's production of Hugo von Hofmannsthal's Elektra at the Small Theater in Berlin. Minna von Barnhelm and sister Beatrix von Maurice Maeterlinck followed in 1904 at the New Theater.

On February 22, 1904, Corinth visited the painter Lichtenberger in Munich . This was followed by a flying visit to Marianne von Werefkin and Alexej Jawlensky . On this occasion he got to know his largest painting " Helene in Spanish costume " , which the artist "had just finished painting".

On March 26, 1904, Lovis Corinth and Charlotte Berend married, who decided on the double name Berend-Corinth. Their son Thomas Corinth was born on October 13, 1904 and the family moved to Handelstrasse. The daughter Wilhelmine Corinth followed five years later on June 13, 1909.

In the annual exhibition in 1903, Corinth mainly presented the girl with the bull and Odysseus fighting the beggar , followed in 1904 by tiny senders and the entombment . Also in 1904 Lovis Corinth became a member of the Deutscher Künstlerbund , at whose first joint exhibition with the Munich Secessionists in the Kgl. Art exhibition building on Königsplatz he participated again with the Salome . In the same year Cassirer showed an exhibition by Paul Cézanne in his gallery , which Corinth strongly influenced. In 1906 Corinth began his first major literary work, his autobiography, which he continued to write until his death in 1925 and which was published posthumously by his wife in 1926. In the same year he produced a number of very well-known and sensational paintings, including the Descent from the Cross , Youth of Zeus , After the Bath and Rudolf Rittner as Florian Geyer . The Capture of Samson , The Great Martyrdom , the Self-Portrait with Glass and the much-discussed Reclining Nude followed in 1907 .

In 1907 he drew designs and figurines for The Demon and Minna von Barnhelm , but they were never realized.

1908 published two literary works of Corinth: first, the legends of the artist's life , such as the aforementioned autobiography an autobiographical work, on the other hand, the book Learning the painting , a textbook in which he closer introduces the reader to the art of painting and him with the Wanted to familiarize yourself with techniques. His artistic oeuvre of the year was also noteworthy: Susanna in the bath , Orpheus and the portrait of the painter Walter Leistikow . The latter died that year, and in addition to the picture Corinth also dedicated a book to him under the title The Life of the Painter Leistikow , which was published by Cassirer in 1910. In 1909 he participated a. a. with August von Brandis at the exhibition for Christian art in Düsseldorf, both were certified in a review to convince less through theological and more through artistic qualities. This year the painting Mood in Red was created .

In 1910 Corinth was able to accommodate some of his pictures in the now established Secession exhibition. This year he presented The Arms of Mars , the Washing of the Feet and above all the family portrait The Artist and His Family , on which he depicted his entire family. At that time, Corinth was one of the most popular and sought-after artists of the Berlin Secession alongside Max Liebermann and was able to sell several pictures to the Hamburger Kunsthalle in the same year .

In 1911, Max Liebermann resigned as President of the Berlin Secession together with board members Max Slevogt, Paul Cassirer and others, while Lovis Corinth was then elected as the new chairman. In the same year the Secession organized an exhibition in honor of the deceased member Fritz von Uhde , and works by Pablo Picasso and Ferdinand Hodler were also shown in the spring exhibition. At this exhibition Corinth presented his painting Nana and two portraits by Eduard Meyer . In December of that year he suffered a stroke that led to hemiplegia. Between 1909 and 1917 Corinth spent longer stays in the young seaside resort of Nienhagen near Bad Doberan and created several graphics and pictures with regional references to Mecklenburg . He spent the spring of 1912 with his wife in Bordighera on the Italian Riviera to relax, and in the summer he painted The Blinded Samson. In December of that year Paul Cassirer was re-elected to the board of directors of the Secession - Corinth then resigned and refused a position on the board or jury.

In 1913 Georg Biermann published the first monograph on Lovis Corinth. To reconcile with Corinth, Paul Cassirer organized a large retrospective of Corinth's works in the same year , which was opened by Max Liebermann. Corinth presented a total of 228 oil paintings at this exhibition. In addition to this exhibition, Corinth's paintings could also be viewed in the same year at the Great Art Exhibition in Düsseldorf in 1913 , in Mannheim and the World Exhibition in Ghent, as well as in various galleries and museums in Baden-Baden, Munich and Dresden. Also at the spring exhibition of the Berlin Secession, which celebrated its 15th anniversary, pictures of Corinth could be seen with Ariadne on Naxos and an oriental carpet dealer . In the same exhibition, the painter Henri Matisse was shown for the first time , alongside many other important artists who had accompanied the first 15 years of the Secession. This exhibition, as well as the autumn exhibition in autumn 1913 with pictures by Edvard Munch, Pablo Picasso, Ernst Ludwig Kirchner and others, was very successful. However, the success of the Secession and Cassirer's exhibitions could not hide the internal disputes: In the same year there were massive allegations against Cassirer for his dual function as a jury member of the Secession and as an art seller, which led to the resignation of 42 artists, including Max Liebermann and the entire board of directors, from the Secession and to the founding of the association now known as the Free Secession , where it culminated. Lovis Corinth remained loyal to the Berlin Secession.

Sea at La Spezia (1914)

In 1914 Corinth traveled to Monte Carlo and Rome , especially the Vatican , to see the frescoes by Raphael . He then went to St. Moritz , but was interrupted there due to the beginning of the First World War. When the war actually began on August 1st, Corinth was one of the prominent artists who welcomed Slevogt, Liebermann and Ernst Barlach . Corinth, who had already expressed himself patriotically in his lecture “On the Nature of Painting” in January 1914 before the Free Student Union of the Berlin University, saw the war as an opportunity for a new beginning in which German art could show that it was international most significant is:

“We want to show the world that German art is marching at the top of the world today. Away with the Gallic-Slavic mimicking of our last painting period! "

In 1915 Corinth was again chairman of the Berlin Secession and designed an exhibition in which emphasis should be placed on the old values ​​of German painting. He himself provided several still lifes and portraits as well as the paintings Joseph and Potiphar's Wife .

Portrait of Grand Admiral Alfred von Tirpitz (1917)

In the years that followed, popular images of war were created, such as Kain in 1917 and the portrait of Grand Admiral Alfred von Tirpitz . In the same year the author Karl Schwarz published the book Das graphische Werk des Lovis Corinth, the first comprehensive presentation of Corinth's drawings and graphics. In August Corinth traveled to his hometown Tapiau, which made him an honorary citizen and received several works from him. In 1917 he was awarded the title of professor by the Berlin Academy of the Arts .

In March 1918 the Berlin Secession organized an exhibition for Corinth's 60th birthday, at which 140 oil paintings by him were shown, and he was also represented in the spring exhibition with several works. At the same time, the Berlin National Gallery began to build up a systematic collection of his pictures, which were shown in the New Department in the Kronprinzenpalais after the war . In the summer of 1918 tensions arose within the Secession, Corinth intervened on behalf of Ernst Oppler and prevented him from leaving. In the same year the war ended, the German Empire collapsed and was replaced by the November Revolution and the subsequent Weimar Republic . Corinth saw his belief in German painting shaken by this:

“So the Hohenzollern state is meanwhile exterminated with stump and handle. I feel like a Prussian and an imperial German. "

The painter Wilhelm Gallhof was one of Corinth's students during his time in Berlin .

Late work at Walchensee

The artist in his studio (1918), the painting Cain (1917) on the easel
Walchensee panorama, view from the pulpit (1924)
Alice Berend , writer and sister-in-law of Lovis Corinth (1924)

In 1919 Lovis Corinth bought a piece of land in Urfeld on which his wife Charlotte Berend built him a house. He nicknamed it Haus Petermann for his wife . The Haus am Walchensee became the artist's place of retreat, where he mainly produced landscape pictures, portraits and still lifes, but also increasingly withdrew from the active art scene. Corinth painted more than sixty pictures of the Walchensee; these were also a great economic success. In his own words, “never was more sold than just after the collapse. The pictures were literally torn from the easel, and the exhibitions in the whole of Germany never flourished more than now. ” In the same year the etching portfolio Antike Legenden was published , followed in 1920 with Gesammelte Schriften, a compilation of Corinth's most important magazine articles and essays.

The Albertus University of Königsberg awarded him an honorary doctorate on March 15, 1921 . He completed his autobiography by his death in 1925 and painted pictures such as The Red Christ , which very clearly depicts the brutality of the crucifixion, as well as Flora and the last version of Susanna and the ancients. In addition, portraits of various colleagues of the painter, including Bernt Grönvold, Leonid Pasternak and Georg Brandes , were created from memory . Other important works in his late work were The Trojan Horse , Carmencita and the portraits of his children Thomas and Wilhelmine.

In 1922 Corinth worked again for the theater. For Victor Barnowsky's production of Faust I at the Lessingtheater (Berlin) he designed the set and costumes.

On his 65th birthday in 1923, the National Gallery held an exhibition with 170 paintings that were in private hands. Further exhibitions with works from his late work followed with the Secession exhibition in Berlin and the large Corinth exhibitions at the Kunsthaus Zürich and in Königsberg in 1924. In the same year he portrayed the Reich President Friedrich Ebert , in which he, according to his own admission, saw less the Social Democrats but rather the current ruler of Germany, and to whom he certified a good character.

In 1925 Corinth became an honorary member of the Bavarian Academy of the Arts, and his watercolor paintings were exhibited in Berlin. His last great works included Die Schöne Frau Imperia and his last great work Ecce Homo , which he painted before he set off on a trip to Düsseldorf on June 16, 1925 and from there to Amsterdam. There he wanted to look again at the pictures of Frans Hals and Rembrandt . On July 17th, he died of pneumonia in Zandvoort near Amsterdam. His body was transferred to Berlin and buried there in the south-west cemetery in Stahnsdorf . His grave, an honorary grave of the city of Berlin , is located in Block Trinitatis, field 8, hereditary burial 47. An important monograph by Alfred Kuhn was published posthumously , and in Berlin, with the exhibition of paintings and watercolors in the National Gallery and the graphic exhibition of the Academy of Arts held two important commemorative exhibitions in 1926.

In 1939, the physicist and Nobel Prize winner Werner Heisenberg acquired the Petermann house , in which his wife lived with the couple's five children during the Second World War.

Corinth's works at the time of National Socialism

Ecce Homo (1925)

Although Corinth was an important and respected representative of German art during his lifetime and represented and promoted it in a very patriotic way, many of his works were viewed very critically in Germany during the time of National Socialism . While the early work certainly corresponded to the ideal ideas of the National Socialists, the later, sometimes very Expressionist works were viewed as " degenerate ". This change in the artist's work was interpreted as a consequence of his stroke in 1911; a further increase after 1918 was again explained by a stroke, which in truth did not occur. Alfred Rosenberg gave the direction in the " Myth ":

LC showed a certain robustness, but this butcher master of the brush also melted in the clayey, corpse-colored bastardism of Berlin, which had become Syrian.

In the course of the “cleaning”, a total of 295 of his pictures were confiscated, including a large part of the collections of the National Gallery and the Hamburger Kunsthalle. Some of the works were shown in the same year in the exhibition "Degenerate Art" in Munich. Most of the pictures were then sold abroad, especially in Switzerland.


Overall representations

Lovis Corinth: Works and writings , selection and editing: Achim Raschka, Digital Library Volume 154, electronic resource CD-ROM, Directmedia Publishing , Berlin 2006, ISBN 978-3-89853-554-0 .

Paintings, drawings, graphics

Lady at the goldfish basin , 1911, Belvedere , Vienna
Still life with chrysanthemums and amaryllis , 1922, Belvedere , Vienna

Lovis Corinth produced well over a thousand paintings and a similar number of watercolors, drawings and graphics during his creative period. Despite the relatively large size, his work is in demand on the art market and achieves very good prices, even small-format or second-class works are offered at five-figure prices.

The Museum of Fine Arts in Leipzig houses a large collection of works by Lovis Corinth, with 13 paintings and around 400 graphic sheets. The Belvedere in Vienna has works that were created between 1896 and 1924 and offer a comprehensive overview of Corinth's entire oeuvre.

Corinth also wrote a number of books and articles in various art history journals.


  • The life of Walter Leistikow. A piece of Berlin's cultural history. Bruno Cassirer, Berlin 1910
  • The Song of Songs. With numerous lithographs. 5. Pan-Presse work, Paul Cassirer, 1911
  • About German painting - a lecture for the free student body in Berlin. Published by S. Hirzel, Leipzig 1914
  • Legends from the life of an artist. 1st and 2nd edition. Bruno Cassirer, Berlin 1918
  • Learning to paint. A manual. 1-3. Edition. Bruno Cassirer, Berlin 1920
  • Autobiography. Hirzel, Leipzig 1926. New edition: Renate Hartleb (Ed.) Autobiography. Kiepenheuer, Leipzig 1993, ISBN 3-378-00547-5 .
  • My early years. Claassen, Hamburg 1954 (published posthumously by Charlotte Berend-Corinth)
  • Collected Writings. Edited and with a foreword by Kerstin Englert, Fritz Gurlitt, Berlin 1920


Lovis Corinth Memorial Hall

In 1927/28 Alfred Rohde designed the Lovis Corinth Memorial Hall in the unfriedtbau of the Königsberg Palace . With the castle he went down in the air raids on Königsberg .


Corinth's written estate can be viewed in the German Art Archive in Nuremberg and in the archive of the Academy of Arts in Berlin.



  • Charlotte Berend-Corinth: Lovis Corinth: The paintings . Revised by Béatrice Hernad. Bruckmann Verlag, Munich 1992, ISBN 3-7654-2566-4
  • Thomas Corinth: Lovis Corinth. E. Wasmuth, Tübingen 1979, ISBN 3-8030-3025-0
  • Thomas Deecke: Lovis Corinth. Drawings after Dürer . Philobiblon vol. XI issue 2, Hamburg 1967
  • Thomas Deecke: The Drawings of Lovis Corinth: Studies for Style Development (Ph.D. diss., Free University Berlin, 1973)
  • Thomas Deecke: Lovis Corinth - An artist's life between times (p. 9ff.) In catalog Lovis Corinth , Von der Heydt Museum, Wuppertal 1999, ISBN 3-89202-058-2 / Cat. Lovis Corinth, Fundación Juan March, Madrid 1999, ISBN 84-89935-12-2
  • Norbert Eisold: Lovis Corinth: Fridericus Rex. A lithographic cycle. With a foreword by Robert Knüppel . German Foundation for Monument Protection - Monuments Publications, Bonn 2008, ISBN 978-3-936942-98-9
  • Herbert Eulenberg : Lovis Corinth a painter of our time . Delphin Verlag, Munich 1917
  • Sabine Fehlemann (Ed.): Lovis Corinth. Von der Heydt Museum, Wuppertal 1999, ISBN 3-89202-058-2 / Cat. Lovis Corinth, Fundación Juan March, Madrid 1999, ISBN 84-89935-12-2
  • Birgit Jooss: Estate administration with business acumen. How the written estate of Lovis Corinth got into the German Art Archive. In: From artist estates and their administrators. A publication of the working group of independent cultural institutes eV - AsKI. Edited by Volkmar Hansen, Ulrike Horstenkamp and Gabriele Weidle, Bonn 2011, pp. 34–51 ( digitized version )
  • Ulrike Lorenz, Marie-Amelie Princess zu Salm-Salm, Hans-Werner Schmidt (Ed.): Lovis Corinth and the birth of modernity. Kerber, Bielefeld / Leipzig 2008, ISBN 978-3-86678-177-1
  • Wolfgang Maier-Preusker (Ed.): Contribution by Lovis Corinth. In: Books and portfolios with graphics of German Expressionism. Exhibition Wismar 2006, ISBN 3-900208-37-9 .
  • Heinrich Müller: The late graphic of Lovis Corinth. Lichtwark Foundation, Hamburg 1960
  • Klaus Albrecht Schröder (Ed.): Lovis Corinth. Exhibition 'Lovis Corinth' in the art forum of Bank Austria in Vienna from September 2 to November 22, 1992 and in the forum of the Landesmuseum in Hanover from December 8, 1992 to February 21, 1993. Prestel, Munich 1992, ISBN 3-7913-1221 -9
  • Karl Schwarz: "Das Graphische Werk von / The Graphic Work of Lovis Corinth. Alan Wofsy Fine Arts, San Francisco 1985, ISBN 0-915346-73-7
  • Peter-Klaus Schuster , Christoph Vitali, Barbara Butts (Eds.): Lovis Corinth . Prestel, Munich 1996, ISBN 3-7913-1645-1
  • Werner Timm (Ed.): Lovis Corinth - The pictures from Walchensee; Vision and reality. Ostdeutsche Galerie , Regensburg 1986, ISBN 3-89188-041-3
  • Horst clock: Lovis Corinth. University of California Press, Berkeley 1990 (digitized version)
  • Leonie von Wilckens:  Corinth, Lovis. In: New German Biography (NDB). Volume 3, Duncker & Humblot, Berlin 1957, ISBN 3-428-00184-2 , p. 360 f. ( Digitized version ).
  • Lutherhalle Wittenberg (ed.): Martin Luther from the perspective of Lovis Corinth. An exhibition by the Lutherhalle Wittenberg, the University Library Erlangen-Nürnberg and the Luther Society, 4. – 22. June 1991
  • Zdenek Felix (Ed.): Lovis Corinth - 1858–1925 . DuMont Buchverlag, Cologne 1985, ISBN 3-7701-1803-0
  • Michael F. Zimmermann : Lovis Corinth. Beck Wissen bsr 2509 series. CH Beck, Munich 2008, ISBN 978-3-406-56935-7
  • HF Witzel : Learn to paint with Lovis Corinth. Worttransport.de Verlag, Berlin 2019, ISBN 978-3-944324-41-8

Web links

Commons : Lovis Corinth  - Collection of Images, Videos and Audio Files
Wikisource: Lovis Corinth  - Sources and full texts

Individual evidence

  1. Duden editorial office: Duden general education: Germany - Everything you need to know, p. 293 2015.
  2. ^ Lovis Corinth: autobiography . Hirzel, Leipzig 1926, p. 67.
  3. ^ Academy of Fine Arts Munich: Lovis Corinth, entry in the register book. Retrieved September 24, 2019 .
  4. ^ Lovis Corinth: Wilhelm Trübner in Gesammelte Schriften Fritz Gurlitt, Berlin 1920.
  5. Ulrike Lorenz: Lovis Corinth (1858-1925). In: Ulrike Lorenz, Marie-Amélie zu Salm-Salm, Hans-Werner Schmidt (eds.): Lovis Corinth and the birth of modernity . Kerber Verlag, Bielefeld 2008, ISBN 978-3-86678-177-1 , pp. 210-211.
  6. See homepage .
  7. Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, pp. 60f.
  8. ^ Lovis Corinth, The Learning of Painting, Berlin 1909, p. 57.
  9. ^ Lovis Corinth: autobiography . Hirzel, Leipzig 1926, p. 143.
  10. Lothar Brauner: Paddel-Petermannchen, 1902. In: Peter-Klaus Schuster , Christoph Vitali, Barbara Butts (ed.): Lovis Corinth . Prestel Munich 1996; 148. ISBN 3-7913-1645-1 .
  11. Hans-Werner Schmidt: Mädchen mit Stier, 1902 / Petermannchen, 1902 In: Ulrike Lorenz , Marie-Amélie zu Salm-Salm, Hans-Werner Schmidt : Lovis Corinth and the birth of modernity catalog on the occasion of the retrospective for the 150th birthday of Lovis Corinth (1858–1925) in Paris, Leipzig and Regensburg. Kerber Verlag, Bielefeld 2005, ISBN 978-3-86678-177-1 , pp. 214-215.
  12. ^ Premiere on September 29, 1903.
  13. ^ Premiere on April 3, 1903.
  14. Premiere on October 30, 1903.
  15. Premiere on January 14, 1904.
  16. Premiere on February 10, 1904.
  17. Max Reinhardt in Berlin , Berlin 1984, p. 327.
  18. Bernd Fäthke: Jawlensky and his companions in a new light. Munich 2004, p. 62 and note 572
  19. Alexej Jawlensky: Memorabilia In: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations , Hanau 1970, p. 109
  20. Barbara Hordych: Art History - Muse, Model - and Painter. SZ.de , April 26, 2016, accessed on September 12, 2017.
  21. ^ Exhibition catalog X. Exhibition of the Munich Secession: The German Association of Artists (in connection with an exhibition of exquisite products of the arts in the craft) . Publishing house F. Bruckmann, Munich 1904 (p. 20: Corinth, Louis, Berlin. Fig. 6: Salome and the head of John the Baptist. Property of Mr. Carl Toelle in Barmen.).
  22. "Art Library of the State Museums in Berlin", 25.1910; P. 10.
  23. Lovis Corinth with his wife in Bordighera , in Rhein and Düssel (No. 16) of April 20, 1912
  24. ^ Lovis Corinth: autobiography . Hirzel, Leipzig 1926, p. 129.
  25. ^ From Berlin's art life: Lovis Corinth, chairman of the Berlin Secession, was appointed professor. (with photo) , in Rhein and Düssel (No. 24) on June 9, 1917
  26. Jochen Bruns: Ernst Oppler (1867–1929); Life and work; with a catalog of his oil paintings and prints, Volume 1, Chapter V.
  27. ^ Lovis Corinth: autobiography . Hirzel, Leipzig 1926, p. 140.
  28. Martina Knoben: The lake of his life. Retrieved May 9, 2020 .
  29. ^ Lovis Corinth: Self-biography Hirzel, Leipzig 1926, p. 176.
  30. ^ Image as print in Berghof (Red.): Art in the persecution: Degenerate art (exhibition) 1937 in Munich. 18 examples. Also supplement: life data and personal reports. Neckar, Villingen 1998, without ISBN, large format.
  31. ^ Richard von Schirach: The night of the physicists - Heisenberg, Hahn, Weizsäcker and the German atomic bomb. 5th edition, Berenberg-Verlag, Berlin 2013, ISBN 978-3-937834-54-2 , pp. 16/17.
  32. in Rosenberg always paraphrase for "Jewish".
  33. Ulrike Lorenz (ed.): Lovis Corinth and the birth of modernity , 2008, p. 14.
  34. Agnes Husslein-Arco, Stephan Koja (ed.): Lovis Corinth. A festival of painting, 2009, p. 14.
  35. Written legacy: Academy of the Arts Berlin, Archive of Fine Arts: Lovis Corinth Archive .
  36. ^ The Ostpreußenblatt March 17, 1973 / Volume 11 / Page 12 , accessed on May 17, 2014.
  37. Irene Netta, Ursula Keltz: 75 years of the Städtische Galerie im Lenbachhaus and Kunstbau Munich . Ed .: Helmut Friedel. Self-published by the Städtische Galerie im Lenbachhaus and Kunstbau, Munich 2004, ISBN 3-88645-157-7 , p. 210 .
This version was added to the list of articles worth reading on September 11, 2006 .