Christian Schad (1894-1982)
Christian Schad (1894-1982)

Liegender Akt

Christian Schad (1894-1982)
Liegender Akt
signed and dated 'SCHAD 20' (lower left)
oil on canvas
17 3/8 x 23 7/8 in. (44.2 x 60.8 cm.)
Painted in 1920
Galleria del Levante, Milan.
Galleria il Fante di Spade, Rome (1970).
Acquired by the family of the present owner, circa 1978.
C. Laszlo, Christian Schad, Basel, 1972, p. 129 (illustrated).
C. Schad, Christian Schad--Legenden 1914-1977, Keilberg, 1976.
A. Heesemann-Wilson, Christian Schad, Expressionist, Dadaist und Maler der Neuen Sachlichkeit, Leben und Werk bis 1945, thesis, Göttingen, 1978, pp. 94-95 and 264, no. 49.
E. Castellan, Christian Schad Pittore, thesis, Padua, 1984, p. 11 (illustrated).
S. Raymond, Christian Schad entre Modernité et Tradition (1913-1933), thesis, Paris, 1984, p. 90, no. 26.
B. Mirabile, Realismo e Visionarietà nell'Arte di Christian Schad, thesis, Rome, 1996, pp. 345-346, no. 60.
V. Dollenmaier, Die Erotik im Werk von Christian Schad, thesis, Berlin, 2005, pp. 106-107.
T. Ratzka, Christian Schad, Catalogue Raisonné, Paintings, Cologne, 2008, vol. I, p. 102, no. 51 (illustrated in color).
Frankfurt, Salon Goldschmidt and Münchner Kunstverein, Christian Schad, 1921-1922.
Milan, Galleria del Levante; Rome, Galleria il Fante di Spade and Galleria Mutina Modena, Christian Schad, Bilder 1920-1930, February-April 1970, no. 1 (illustrated).
Berlin, Staatliche Kunsthalle, Christian Schad, Retrospektive, June-August 1980, pp. 82-83, no. 63 (illustrated).
Ghent, Museum van Hedendaagse Kunst, Open Mind, April-June 1989.
Palermo, Palazzo Branciforte, Disidentico--Maschile Femminile, May-July 1998.
Venice, Spazio Culturale Svizzero, Dada a Zurigo--Cabaret Voltaire 1916-1920, April-June 2003.
Rome, Académie de France Villa Medici, September-November 2003, p. 277 (illustrated, pp. 104-105).
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David Kleiweg de Zwaan
David Kleiweg de Zwaan

Lot Essay

Discussing the sitter for this painting, Thomas Ratzka has noted, "Schad's model for this nude painting was a young Neopolitan woman from the Art Academy whose name he could not recall. The girl returns the viewer's gaze lasciviously, with wide eyes. According to the painter, she was an alcoholic, seldom sober" (op. cit., p. 102).

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