Pastel over pencil drawing
Not in Venzmer. On creme flock coated paper. 42,7 x 49,8 cm (16,8 x 19,6 in), the full sheet

With an expertise from Dr. Gerhard Leistner, member of the research circle in the Adolf-Hölzel-Foundation, Stuttgart.

LITERATURE: Cf. Wolfgang Venzmer, Adolf Hölzel. Leben und Werk, Stuttgart 1982, . 182 (with illu., very similar concept).
Cf. Karin von Maur, Adolf Hölzel. Der verkannte Revolutionär. Werk und Wirkung, Hohenheim/Stuttgart/Leipzig 2003, p. 145 (with illu., very similar concept).

This work is a large-size composition which is quite characteristic of works from the 1930s. As usual, it does not reveal its message at first sight. Based on his occupation with glass windows and following his own intensive color, Adolf Hölzel attained a new form of abstraction. A form that enabled him to entirely integrate his composition ideas into a canon of color fields. This form of abstraction, which makes use of figurative motifs, is closely linked with the name Hölzel and his students. Sticking to basic religious motifs, which is only slightly hinted at in our composition, is particularly characteristic of Adolf Hölzel’s later pastels. They make for a kind of leitmotif, however, without ever playing a dominant role. [KD].