47
Ernst Ludwig Kirchner
Frau und nacktes Mädchen in Gebirgslandschaft, 1923.
Oil crayon
Estimate:
€ 10,000 / $ 11,500 Sold:
€ 31,720 / $ 36,478 (incl. surcharge)
47
Ernst Ludwig Kirchner
Frau und nacktes Mädchen in Gebirgslandschaft, 1923.
Oil crayon
Estimate:
€ 10,000 / $ 11,500 Sold:
€ 31,720 / $ 36,478 (incl. surcharge)
Frau und nacktes Mädchen in Gebirgslandschaft. 1923.
Color Oil crayondrawing.
With estate stamp of Kunstmuseum Basel (Lugt 1570b) and with registration number "FS Da/Bf 63". On light cardboard. 50 x 35,3 cm (19,6 x 13,8 in), the full sheet.
This work is documented in the Ernst Ludwig Kirchner Archive Wichtrach/Bern.
PROVENANCE: Galerie Henze & Ketterer, Wichtrach/Bern (with label on frame covering).
Private collection Baden-Württemberg.
In the 1920s Ernst Ludwig Kirchner again picked up drawing with color chalks, a technique he had already employed in his days in Dresden. Unlike conventional color drawings which employs color rather as an element of coloring, Kirchner worked the drawing out of the colors. A basic skeletal structure, for instance in pencil or black chalk, does not exist. Kirchner draws alla prima in colors. This required a great deal of concentration on the different shades. A certain painting component is added to this drawings, as it is also obvious in our sheet. Kirchner‘s characteristic figures are also to be seen in this drawing. Embedded in a diffuse landscape, the couples strides towards an imaginary aim. [KD].
Color Oil crayondrawing.
With estate stamp of Kunstmuseum Basel (Lugt 1570b) and with registration number "FS Da/Bf 63". On light cardboard. 50 x 35,3 cm (19,6 x 13,8 in), the full sheet.
This work is documented in the Ernst Ludwig Kirchner Archive Wichtrach/Bern.
PROVENANCE: Galerie Henze & Ketterer, Wichtrach/Bern (with label on frame covering).
Private collection Baden-Württemberg.
In the 1920s Ernst Ludwig Kirchner again picked up drawing with color chalks, a technique he had already employed in his days in Dresden. Unlike conventional color drawings which employs color rather as an element of coloring, Kirchner worked the drawing out of the colors. A basic skeletal structure, for instance in pencil or black chalk, does not exist. Kirchner draws alla prima in colors. This required a great deal of concentration on the different shades. A certain painting component is added to this drawings, as it is also obvious in our sheet. Kirchner‘s characteristic figures are also to be seen in this drawing. Embedded in a diffuse landscape, the couples strides towards an imaginary aim. [KD].
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