The Heath near Fischerhude
Otto Modersohn (Soest 1865 - Fischerhude 1943)
Lot-No. 154
C. 1920, oil/Paper/cardboard, 50 x 67,5 cm, on the reverse confirmation of authenticity by Christian Modersohn with stamp of the Otto Modersohn museum Fischerhude as well as titled, min. rest. - Worpswede painter, studied at the Düsseldorf academy, in Munich a. Karlsruhe, co-founder of the Künstler-Vereins Worpswede, was awarded the Goethe medal, since 1908 in Fischerhude, since 1922 regular summer sojourns in the Allgäu. - Mus.: München (Neue Pinakothek), Bremen, Hannover, Oldenburg, Prag, Breslau, Danzig a. others. - Lit.: Thieme-Becker, Vollmer, Bénézit a. others. - The painting depicts a summerly heath landscape from Modersohns Fischerhude period. In a two-dimensional a. dematerialised depiction of nature, making visible the strokes of the brush, he realised his artistic ideal of that time: "Simplicity, simplification is the essence, not only in form, but still more in colour. The painting has to be a chord, a harmony. Within the chord richly nuanced." The work impresses by the contrast of the carefully composed middle a. back ground a. the sketchily foreground that quasi allows the beholder to understand the artist’s creative process.
Otto Modersohn: The Heath near Fischerhude
Otto Modersohn (Soest 1865 - Fischerhude 1943)
The Heath near Fischerhude
Lot-No. 154
C. 1920, oil/Paper/cardboard, 50 x 67,5 cm, on the reverse confirmation of authenticity by Christian Modersohn with stamp of the Otto Modersohn museum Fischerhude as well as titled, min. rest. - Worpswede painter, studied at the Düsseldorf academy, in Munich a. Karlsruhe, co-founder of the Künstler-Vereins Worpswede, was awarded the Goethe medal, since 1908 in Fischerhude, since 1922 regular summer sojourns in the Allgäu. - Mus.: München (Neue Pinakothek), Bremen, Hannover, Oldenburg, Prag, Breslau, Danzig a. others. - Lit.: Thieme-Becker, Vollmer, Bénézit a. others. - The painting depicts a summerly heath landscape from Modersohns Fischerhude period. In a two-dimensional a. dematerialised depiction of nature, making visible the strokes of the brush, he realised his artistic ideal of that time: "Simplicity, simplification is the essence, not only in form, but still more in colour. The painting has to be a chord, a harmony. Within the chord richly nuanced." The work impresses by the contrast of the carefully composed middle a. back ground a. the sketchily foreground that quasi allows the beholder to understand the artist’s creative process.