Lot Essay
FRäNZI AND HER OLDER SISTER MARZELLA WERE THE FAVOURED MODELS OF THE BRCKE ARTISTS DURING THE PERIOD 1910-11. THEY WERE, ACCORDING TO PECHSTEIN, THE DAUGHTERS OF AN ARTIST'S WIDOW, DISCOVERED THROUGH THE CARETAKER OF THE DRESDEN AKADEMIE. THE TWELVE YEAR OLD FRäNZI'S ANGULAR, PRE-PUBESCENT FORM AND AWKWARD POSE REPRESENT THE ANTITHESIS OF THE CONVENTIONAL POSE OF THE PROFESSIONAL MODEL.
THE SUBJECT WITH ITS SIMPLIFIED AND DISTORTED FORM, ROUGHLY HEWN INTO THE WOODBLOCK EMBODY KIRCHNER'S APPEAL (VOICED IN THE BRCKE MANIFESTO OF 1906) FOR '... ALL YOUTH TO UNITE' AND 'CREATE ... A PHYSICAL AND SPIRITUAL FREEDOM OPPOSED TO THE VALUES OF THE COMFORTABLY ESTABLISHED OLDER GENERATIONS.'
THE ARTIST EXECUTED A SECOND MAJOR WOODCUT PORTRAIT OF FRäNZI THE FOLLOWING EAR, THE STEHENDES KIND (FRäNZI STEHEND) WHICH WAS ISSUED IN THE VI JAHRESMAPPE DER KNSTLERGRUPPE BRCKE.
THE SUBJECT WITH ITS SIMPLIFIED AND DISTORTED FORM, ROUGHLY HEWN INTO THE WOODBLOCK EMBODY KIRCHNER'S APPEAL (VOICED IN THE BRCKE MANIFESTO OF 1906) FOR '... ALL YOUTH TO UNITE' AND 'CREATE ... A PHYSICAL AND SPIRITUAL FREEDOM OPPOSED TO THE VALUES OF THE COMFORTABLY ESTABLISHED OLDER GENERATIONS.'
THE ARTIST EXECUTED A SECOND MAJOR WOODCUT PORTRAIT OF FRäNZI THE FOLLOWING EAR, THE STEHENDES KIND (FRäNZI STEHEND) WHICH WAS ISSUED IN THE VI JAHRESMAPPE DER KNSTLERGRUPPE BRCKE.