Fishermen on the Beach
Käte Lassen (Flensburg 1880 - Flensburg 1956)
Lot-No. 318
Starting Bid: 16.000 €
1920s. Oil/canvas. 140 x 115,5 cm. On the stretcher estate stamp. The expressive exaggeration of form and color with the exaggeratedly steep view of the scene evokes associations with the German Expressionists, but Käte Lassen has no sympathy for the sometimes almost cipher-like simplification of the human figures in Brücke artists. The anatomical 'correctness' of her people is emphasized in contrast to the abstract surroundings. These men are not staffage but, despite all their typification, real people, fishermen resting. The choice of framing, the compact, closed forms and the reduced palette remove the tranquil scene from the idyllic and lend it an existential force. - German painter and printmaker. After initial studies under E. Horst at the Hamburger Kunsgewerbeschule, L. studied at the Damenakademie in Munich under M. Dasio, A. Jank and in the studio of H. von Habermann. She found further artistic inspiration in the works of E. Munch and in works by artists of the artists' colony in Skagen. 1908/09 L. also travelled to Paris. She painted figure and landscape scenes of Schleswig-Holstein and Jütland, but later also turned to the creation of stained glass windows, especially for churches. L. participated in group exhibtions of the Kieler Kunsthalle, the Hamburger Künstlerverein and the Städtisches Museum Flensburg amongst others. Mus.: Flensburg, Husum, Föhr (Mus. der Westküste), Kiel Lit.: Thieme-Becker, Vollmer, Bénézit, Mahn: K.L. 1880-1956 - Grenzgängerin der Moderne, 2007 a. others.
Käte Lassen: Fishermen on the Beach
Käte Lassen (Flensburg 1880 - Flensburg 1956)
Fishermen on the Beach
Lot-No. 318
Starting Bid: 16.000 €
1920s. Oil/canvas. 140 x 115,5 cm. On the stretcher estate stamp. The expressive exaggeration of form and color with the exaggeratedly steep view of the scene evokes associations with the German Expressionists, but Käte Lassen has no sympathy for the sometimes almost cipher-like simplification of the human figures in Brücke artists. The anatomical 'correctness' of her people is emphasized in contrast to the abstract surroundings. These men are not staffage but, despite all their typification, real people, fishermen resting. The choice of framing, the compact, closed forms and the reduced palette remove the tranquil scene from the idyllic and lend it an existential force. - German painter and printmaker. After initial studies under E. Horst at the Hamburger Kunsgewerbeschule, L. studied at the Damenakademie in Munich under M. Dasio, A. Jank and in the studio of H. von Habermann. She found further artistic inspiration in the works of E. Munch and in works by artists of the artists' colony in Skagen. 1908/09 L. also travelled to Paris. She painted figure and landscape scenes of Schleswig-Holstein and Jütland, but later also turned to the creation of stained glass windows, especially for churches. L. participated in group exhibtions of the Kieler Kunsthalle, the Hamburger Künstlerverein and the Städtisches Museum Flensburg amongst others. Mus.: Flensburg, Husum, Föhr (Mus. der Westküste), Kiel Lit.: Thieme-Becker, Vollmer, Bénézit, Mahn: K.L. 1880-1956 - Grenzgängerin der Moderne, 2007 a. others.
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