Gartenweg zum Sommerhaus (Godramstein). 1912.
Oil on canvas.
Imiela p. 394. Signed and dated lower right. 61,8 x 77,5 cm (24,3 x 30,5 in).

This work's authenticity has kindly been confirmed orally by Mr. Bernhard Geil.

PROVENANCE: Leo Smoschewer, Wroclaw (since 1933).
Else Smoschewer, (since 1938).
1939 confiscated.
Städtische Kunstsammlungen, Görlitz (acquired in 1940, with address stamp on stretcher).
Returned to heirs of Leo and Else Smoschewer, October 2003.
Galerie Paffrath, Düsseldorf.
Private collection Luxemburg.

EXHIBITION: Max Slevogt 1868-1932, Deutsche Akademie der Künste Berlin, 30 June - 31 July, 1966, and Leipzig 1966. Cat. with illu., no page.
Malerei der deutschen Impressionisten, Nationalgalerie Berlin 1976, cat. no. 106.
Max Slevogt, Landesmuseum Mainz/Saarlandmuseum, Saarbrücken, May - July 1992, cat. no. 110 with illu.
Galerie Paffrath, Düsseldorf 2004, cat. XII/10.
Max Slevogt - Die Berliner Jahre, Von der Heydt-Museum Wuppertal, 6 March - 22 May, 2005.
Der deutsche Impressionismus, Kunsthalle Bielefeld, 22 November, 2009 - 28 February, 2010.

LITERATURE: Karl Römpler. Der deutsche Impressionismus, Dresden 1958, no. 81 with illu.
Städtische Kunstsammlungen Görlitz, 1956, p. 96.
M. Freitag , Max Slevogt. Berlin 1988, illu. 13.
Berthold Roland. Max Slevogt, Pfälzische Landschaften. Munich 1991, pp 100/101.
A. Klammt and M. Winzeler, "Die moderne Kunst muß zur Geltung gebracht werden" - Zur Erwerbung von Kunstwerken aus jüdischem Eigentum für die Kunstsammlungen Görlitz, in: Beiträge öffentlicher Einrichtungen der Bundesrepublik Deutschland zum Umgang mit Kulturgütern aus ehemaligem jüdischen Besitz. Magdeburg 2001 with illu. p. 118.

Between 1884 and1890 Max Slevogt studied at the Munich Art Academy. At this time his work was still under the influence of Wilhelm Trübner, Wilhelm Leibl and Arnold Böcklin. A stay in Italy in 1889/90 helped him to free himself from the Munich Academy even though Slevogt remained in Munich from 1890 onwards. His work was forthwith stylistically influenced by his interest in Dutch art. In 1898, for instance, Slevogt attended a Rembrandt exhibition in Holland. Following a brief interlude in Frankfurt, the artist settled in Berlin in 1901 in Berlin, spending the summer months at Neukastel, his country estate in the Palatinate. That same year, 1901, he was appointed professor at the Munich Art Academy.

Among the big three German late impressionists Max Liebermann, Lovis Corinth and Max Slevogt, the work of the latter best resonances French Impressionism. Emil Waldmann, Slevogt’s chronicler, time and again mentions this influence in his interpretations of Slevogt‘s works, especially that of Edouard Manet. And yet, German Impressionism with its independent approach is an enrichment of German art of the late 19\up5 th and early 20\up5 th century. It shows the rich heritage from the 19\up5 th century, which was handed down by Blechen and Menzel. In his impressions of Palatinate landscapes, Max Slevogt found a power of expression that was strongly influenced by French Impressionism, under formal aspects, however, it was rather geared at German 19\up5 th century painting. Our impressive painting shows the entry of a simple auxiliary building on the estate of his parents in law. By means of a side view Slevogt manages to contrast the lavishly blooming garden on the left side with the scant sand path on the right side and the plain facade in the background. He deliberately chose a narrow image section and focuses the view of the beholder on important details.

Impressionism informs the artist's œuvre although it has retained elements of earlier painting, Symbolism and Art Nouveau. Dramatisation of the subject matter dominates the early work. These paintings are in a dark palette and the coarse handling represents a deliberate revolt against traditional history painting. However, increasing familiarity with French Impressionism then caused Slevogt to lighten his palette and apply paint in the pastose style which he would retain for the rest of his career. The interrelationship of light and color became the dominant factor in his pictorial conception. Slevogt is not only one of the most important German painters of the early 20th century; he is also outstanding as an illustrator and print-maker. In these media he worked mainly with mythological or fairy-tale material as exemplified by the well-known 'Ali Baba' (1903), 'Lederstrumpf' ['The Leatherstocking Tales'] (1907) and 'Die Insel Wak-Wak' ['Wak-Wak Island'] (1922) cycles. [KD].