.
Carl Spitzweg
5th February 1808 – 23th September 1885
Carl Spitzweg was born on 5th of February in 1808 in Unterpfaffenhofen, Bavaria. Although trained as a chemist, he discovered quite early his talent for drawing and his affinity with art. Spitzweg travelled extensively during his lifetime and the impressions formed by his travels greatly influenced his work. Shortly after completing his studies in pharmaceutics in 1832, he visited Italy. It was particularly in the cities of Florence, Rome, and Naples that he discovered the many significant works of Western culture which were to leave a permanent imprint on him.
A severe case of dysentery in 1833 strengthened his resolve to abandon his career as a chemist and he proceeded to commit himself solely to his painting. In June 1835, he became a member of the Munich Art Association and travelled that same year to southern Tirol with the landscape painter Eduard Schleich, the Elder.
In 1839 he completed his first painting entitled ''The Poor Poet'. Although this recurring motif would later be considered his most well-known body of work, the painting was not accepted at this time by the jury of the Munich Art Association.
As regards his graphic production, the first publication in 1844 of his own illustrations in the Munich weekly paper 'Fliegende Blätter' is considered quite significant. His visits to the Industrial Exposition in Paris and the World's Fair exhibition in London in 1851 were his first contact with the Oriental scenes which would begin to inform his work.
To the deserving painter were bestowed numerous honours during the second half of Spitzweg's lifetime: in 1865 the Bavarian Royal Merit Order of St. Michael was conferred upon him, and in 1875 he was named an honorary member of the Academy of Fine Arts.
Carl Spitzweg died on 23th of September in 1885 and was entombed in the historic South Cemetery in Munich.
He leaves behind a body of work dedicated to the townspeople who inhibit his genre scenes, and with acute and pointed, but never ill-natured humour he portrays the everday bourgeois life of his time.
Lit: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke, Gemälde und Aquarelle, Stuttgart: Belser, 2002.
Carl Spitzweg
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2037
Herbstauktionen 19.–20.10.2018
Maillol, Aristide
1861 Banyuls-sur-Mer - 1944 ebd.
«Les deux lutteuses». 1900. Dark patinated bronze on a marble base. Monogrammed to plinth, as well as verso numbered 5/6 and stamped «F. Godard Fondeur Paris». Under the base a printed label of Richard Gray Gallery, Chicago/New York, with the work's data.
H (including base)
Aristide Maillol, who began to turn towards sculpture almost exclusively from 1900 on, is today regarded as a main representative of French and European sculpture in the first half of the 20th Century. Already the artist's contemporaries were aware of the importance of his completely new and unique interpretation of the female body: Maillol is the beginning of Modernism in sculpture, the art historian Julius Meier-Graefe is writing back in 1904. The artist's motifs are almost exclusively strong, sensuous and very feminine nude women in classical simplicity. The clearly defined shapes and smooth surfaces, accentuating the physicality and effecting a remarkable naturalness in expression and appearance, are characteristic for his work. The unaffected, relaxed poses of the figures sometimes remind of models of ancient Greece.
Maillol's work, initiating the returning to the classical laws of sculpture, had a strong influence on the entire European sculpture.
Provenance: The Perls Galleries, New York; Richard Gray Gallery, Chicago/New York; private collection.
Literature: Maurice Denis, Aristide Maillol, Paris 1925, ill.
Catalogue raisonné: Rewald 99. 
1861 Banyuls-sur-Mer - 1944 ebd.
«Les deux lutteuses». 1900. Bronze, dunkel patiniert, auf Marmorsockel. Oben auf der Plinthe monogr. sowie verso 5/6 num. und gestempelt «F. Godard Fondeur Paris». Unter dem Sockel ein gedrucktes Etikett der Richard Gray Gallery, Chicago/New York, mit den Angaben zum Werk.
H. (mit Sockel)
Aristide Maillol, der sich ab 1900 fast ausschließlich der Bildhauerei zuwandte, gilt heute als einer der Hauptvertreter der französischen und europäischen Skulptur der 1. Hälfte des 20. Jahrhunderts. Schon zu Lebzeiten des Künstlers war man sich der Bedeutung seines völlig neuen und eigenen Stils der Interpretation des weiblichen Körpers bewusst: Mit Maillol beginne die Moderne für die Plastik, schreibt bereits 1904 der Kunsthistoriker Julius Meier-Graefe. Die Motive des Künstlers sind nahezu ausnahmslos kraftvolle, sinnfreudige und sehr weibliche Frauenakte in klassischer Einfachheit. Charakteristisch sind die klar umrissenen Formen und glatten Oberflächen, die die Körperlichkeit betonen und eine große Natürlichkeit in Ausdruck und Gestalt bewirken, sowie die ungekünstelten, gelassenen Posen der Figuren, die zuweilen an Vorbilder der griechischen Antike erinnern.
Maillols Werk, das eine Rückbesinnung auf die klassischen Gesetze der Skulptur einleitete, übte starken Einfluss auf die gesamte europäische, besonders aber die deutsche Bildhauerei aus.
Provenienz: The Perls Galleries, New York; Richard Gray Gallery, Chicago/New York; Privatsammlung.
Literatur: Maurice Denis, Aristide Maillol, Paris 1925, Abb.
Werkverzeichnis: Rewald 99.