.
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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Vlaminck, Maurice de
1876 Paris - 1958 Rueil-la-Gadelière.
«Paysage». Oil on canvas. Signed lower right. Verso label «Kunsthaus Lempertz 1986, 617 Auktion». Minor pigment loss on the margin. Authentication: Paul Pétridès, Paris, 22.02.1982, no. 16.048, as copy. Provenance: private collection St. Gallen; Lempertz, auction 617, 1986, lot 1084; private property. Catalogue raisonné: confirmation of the inclusion in the catalogue raisonné de l'Œuvre de Maurice de Vlaminck, Institute Wildenstein, Paris 16.10.1998, referring to a survy based on photos.
1876 Paris - 1958 Rueil-la-Gadelière.
«Paysage». Öl/Lw. Unter einem stimmungsvoll abwechselnd dunkel und hell gefärbten Sturmhimmel ein Getreidefeld in verschiedenen Ockernuancen mit einigen Strohhaufen und vom heftigen Wind bewegten Bäumen. Am Horizont einige Häuser. U.r. sign. Verso Etikett «Kunsthaus Lempertz 1986, 617 Auktion». Min. Farbabsplitterungen im Randbereich. H. 58,5, B. 72,5 cm.
Authentizitätsbestätigung: Paul Pétridès, Paris, 22.02.1982, Nr. 16.048, in Kopie.
Provenienz: Privatsammlung St. Gallen; Lempertz, Auktion 617, 1986, Los 1084; Privatbesitz.
Werkverzeichnis: Bestätigung zur Aufnahme des Werkes in den catalogue raisonné de l'Œuvre de Maurice de Vlaminck, nach Begutachtung anhand von Photos, Institute Wildenstein, Paris 16.10.1998.
«Ich liebe das Land», schrieb Vlaminck in seinen Erinnerungen 1943 «nicht gelegentlich, sondern immer, denn hier lebe ich. (...) Die Atmosphäre einer Landschaft, wo die Erde Alleinherrscherin ist, hat mich, der ich aus der Vorstadtlandschaft von Chatou und Bougival kam, zunächst mit ihrer ungeheueren Weite verwirrt. Hier ist alles groß (...) eins (...) einfach, reich an wesentlicher Farbe und Zeichnung» (Maurice de Vlaminck, Rückblick in letzter Stunde, St. Gallen 1965). Diese leidenschaftliche Faszination zeigt sich auch in seinem Werk «Paysage» durch den virtuosen dynamischen Pinselstrich und das besondere Gefühl für Farbe. Raue Winde manifestieren sich in der für Vlaminck so typischen, wilden Bewegtheit des Baumwuchses, während die im Bildmittelgrund als statischer Gegenpol angelegte Dorflandschaft eine Betonung des Bildzentrums erreicht.