Oil on canvas, laid on wood Vogt 220. Monogrammed and dated lower right. 46 x 56,2 cm (18,1 x 22,1 in)
PROVENANCE: Collection Liefke, Coburg. Kunsthaus Lempertz, Colognr. Galerie Dr. Fetscherin, Munich (acquired some 50 years ago). Private ownership Southerm Germany.
Coming from Naturalism of the 1870s, Rohlfs attained his own interpretation of Impressionism, which can be said especially for his works from around the turn of the century. Landscapes in and around Weimar are a rich source of inspiration. Similar to artists of the School of Barbizon, who had explored the Paris surroundings some sixty years before and who rediscovered the landscape with their plein-air painting, Rohlfs found artistic fulfillment in the unspectacular rural motifs. The high sky becomes a dominant element and makes a major contribution to the statement. The particular charm of the landscape is in its pastoral calmness, which is contrasted with an exhilarated stroke of the brush that shows a very own interpretation of a color sensation originating from Impressionism expressed in a Tachist manner. The landscapes that Christian Rohlfs made in a period of transition before he attained his later style are living proof of the artist’s unbroken urge to explore into ever new artistic fields. [KD].