отдельный Бекманн из коллекции Мерцбахер
Отдельно - две чудесные работы немецкого экспрессиониста Макса Бекманна (Max Beckmann) с уже показанной выставки "Одичавший цвет" коллекции семьи Мерцбахер (2013, https://raf-sh.livejournal.com/1625415.html). Ради самих картин и некоторых дополнительных сведений.
Photo: mine, taken in the fall of 2013 at the exhibition Color Gone Wild. Fauve and Expressionist Masterworks from the Merzbacher Collection. Israel Museum, Jerusalem.
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Max Beckmann, 1884-1950
Woman with Red Rooster, 1941
www mpfa ie/expressionism htm:
"Woman with Red Rooster
Oil on canvas 55 x 95cm (22 x 38 inches) Signed by the artist and dated 1941
Provenance: The artist’s Studio;
Galerie Karl Bucholz, Berlin;
Private collection, Europe
Exhibited: Seurmondt Museum, Aachen: 1967;
Zurich, Thomas Ammann Fine Art, 1992;
Jerusalem, Israel Museum, 1998-1999;
Tokyo, Nagoya Aichi Museum, 2001;
London, Royal Academy, 2002
Literature: Lothar Gunther Buchheim, 1959;
Ernst Gunther Grimme, ‘Aacchener Kunstblatter’, 1966;
Seurmondt Museum, Aachen, 1970;
Eberhard and Barbara Gopel, Catalogue of Works, Berne, 1976, no.586
In the catalogue note to the Royal Academy exhibition in 2002, Masters of Colour, Dr. Tobia Bezzola raises a number of questions about the title of the painting and suggests that: “Although it appears as Woman with Red Rooster in the list of works and titles prepared by the artist himself, elsewhere he refers to it simply as ‘Woman with Bird’. Indeed, it is difficult to identify the bird perched on the right hand of the resting woman as a rooster. Its small size alone gives rise to doubt, and the feather crown is suggestive rather of an exotic bird of paradise, a bird that would seem more appropriate to the scene. The rooster is more likely to be found on a farm, and certainly appears quite out of place in this luxurious interior.”
Bezzola is indeed correct in pointing out that this is not a farmyard rooster. However, he does not allow for Beckmann’s renowned wit and powerful ability to play with words. The title may simply refer to the fact that the bird is roosting on the girl’s hand and Beckmann takes the opportunity to link this with the fabled red rooster. The bird does not fit with any particular species and represents, as Bezzola suggests, the exotic ambiance of the harem where colourful birds of this type were common. Beckmann may have been inspired to paint the work as a reaction to the looting of Matisse’s Odalisque from Paul Rosenberg in 1941. The model appears to be his second wife, Quappi, although there is no great attempt to represent her features with any degree of fine detail.
Dominic Milmo-Penny"
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Max Beckmann, 1884-1950
Red Tulips and Tiger Lilies, 1935
Additional information
www icollector com/PROPERTY-FROM-A-PRIVATE-AMERICAN-COL
[This item WAS NOT SOLD, auction date was 2002 Nov 04 @ 16:00]
PROPERTY FROM A PRIVATE
AMERICAN COLLECTION
MAX BECKMANN
(1884-1950)
Rote Tulpen und feuerlilien
(red tulips and tiger lily)
signed and dated
"Beckmann 35" (lower right)
oil on canvas
30 7/8 x 29 3/4 in. (78.5 x 75.5 cm)
painted in Berlin, 1935
Estimate: $500,000-700,000
Provenance
Sigmund Morgenroth, Santa Barbara (acquired in 1938)
Florence Theil-Lewis, Hollywood (before 1955)
Anon. sale: Christie's, London, October 9, 1996, lot 114
Acquired at the above sale by the present owner
Exhibited
Oakland, Ca, Mills College Art Gallery and San Francisco, M.H. de Young Memorial Museum, Max Beckmann, July 12-August 13, 1950, no. 14
Santa Barbara, Ca, Santa Barbara Museum of Art; San Francisco, San Francisco Museum of Art; and pasadena, Pasadena Art Institute, Max Beckmann, May 24-June 26, 1955, no. 12
Literature
The Artist's Handlist, Berlin, 1935 (as Rote Tulpen u. Feuerlilien)
Erhard and Barbara Göpel, Max Beckmann, Katalog der Gemälde, Bern, 1976, vol. I, p. 283, no. 427; vol. II, pl. 146 (illustrated)
In Rote Tulpen und Feuerlilien, one of a small group of still-lifes executed by Beckmann in 1935, the artist brilliantly fuses the traditional elements of still-life painting with a poignant symbolic component. In the composition, Beckmann clearly delineates the relationship between interior and exterior space by contrasting the objects to a blackened window. In Beckmann's depiction, the world outside is a dark, forbidding place - literally an inky, uninterrupted blackness. Such were the conditions in 1935 Germany under the Third Reich. Beckmann, dismissed by the National Socialists from his Frankfurt teaching post two years earlier, lived in relative retreat and isolation in Berlin. Perhaps this is why the chair rails strongly evoke the bars of a jail cell.
Yet Beckmann's scene is still hopeful. The interior colors are alive with fire and, although the tulips are wilting, the tiger lily bursts forth - a small but proud sun against the darkness. It is also no accident that the lily drinks from the cup of Juniper. ("Junip....Lyon" inscribed on the empty glass refers to the popular liquor produced in the region of Lyon.) These fragrant berries, not only the source of gin's distinctive taste, have long been associated with protection, warding off illness, negative forces, and evil. They become Beckmann's talisman, nourishing his tiger lily and making a striking impression in the black night.
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