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拍品专文
In July 1911 Schmidt-Rottluff accepted the invitation of Bertha Rohlsen -the wife of Gustav Rohlsen, a businessman from Hamburg- and travelled to Norway, where he spent a month in their villa in Lofthus on the Hardangenfjord.
In the catalogue of the exhibition Karl Schmidt-Rottluff. Der Maler (Stuttgart, 1992, p. 98), Werner-Schmidt celebrates these unique Scandinavian works: 'Vom 8.Juli bis zum 10. August 1911 hält sich Schmidt-Rottluff in Norwegen am Hardanger Fjord auf. In der einzigartien Landschaft, inspiriert durch die Weite des Raums, gelingen ihm Bilder, in denen er seinen Flächenstil zur meisterhaften, vollkommenen Ausprägung steigert. Die flächige Bildordnung resultiert aus der Ruhe der leuchtenden Farbzonen und der Sprache der Linien. Ruhe und Spannung stehen sich gegenber, grosse und kleinteilige Formelemente. Das Ausbalancieren der Bildformen und das Verteilen der Farbwerte erscheinen wichtiger als das Erfassen der Realität. Schmidt-Rottluff nähert sich einem Gestalten aus der Abstraktion heraus'.
Schmidt-Rottluff's depictions of the Norwegian fjord are very rare: this superb watercolour shares with its contemporaries Oppendal (Staatsgalerie, Stuttgart, fig.1), Lofthus (Kunsthalle, Hamburg) and Skrygedal (Collection of L.G.Buchheim), the intense lyricism and chromatic harmony of the artist's most inspired colourist compositions. It is a truly Expressionist watercolour in every sense, combining colour, aerial perspective and a broad disregard for detail in favour of explosive flat sweeps of the brush. Deeply tied to figuration, yet seduced by the perfection of pure form, Schmidt-Rottluff is at his most dynamic in these Scandinavian pictures. As Peter Selz points out, 'The agitated, staccato effect of the earlier painting has given way to a slower movement, a more sonorous harmony. Instead of the violent interaction of Fauve colors, Schmidt-Rottluff now uses broad planes of saturated color, delineated by black-and-red lines' (German Expressionist Painting, University of California Press, Berkeley and Los Angeles, 1957, p. 135). In Landschäft, the flat planes of colour are severely ordered, in line with the artist's earlier training as an architect. The landscape is built up with pure yellow and orange, acid green and unmixed, aniline blue, generating a unique chromatic feast, which contrasts with the more sober rendition of Oppendal and Lofthus, where the immovable order of the lines and volumes is closer to the style of the contemporary Cubists in Paris.
In the catalogue of the exhibition Karl Schmidt-Rottluff. Der Maler (Stuttgart, 1992, p. 98), Werner-Schmidt celebrates these unique Scandinavian works: 'Vom 8.Juli bis zum 10. August 1911 hält sich Schmidt-Rottluff in Norwegen am Hardanger Fjord auf. In der einzigartien Landschaft, inspiriert durch die Weite des Raums, gelingen ihm Bilder, in denen er seinen Flächenstil zur meisterhaften, vollkommenen Ausprägung steigert. Die flächige Bildordnung resultiert aus der Ruhe der leuchtenden Farbzonen und der Sprache der Linien. Ruhe und Spannung stehen sich gegenber, grosse und kleinteilige Formelemente. Das Ausbalancieren der Bildformen und das Verteilen der Farbwerte erscheinen wichtiger als das Erfassen der Realität. Schmidt-Rottluff nähert sich einem Gestalten aus der Abstraktion heraus'.
Schmidt-Rottluff's depictions of the Norwegian fjord are very rare: this superb watercolour shares with its contemporaries Oppendal (Staatsgalerie, Stuttgart, fig.1), Lofthus (Kunsthalle, Hamburg) and Skrygedal (Collection of L.G.Buchheim), the intense lyricism and chromatic harmony of the artist's most inspired colourist compositions. It is a truly Expressionist watercolour in every sense, combining colour, aerial perspective and a broad disregard for detail in favour of explosive flat sweeps of the brush. Deeply tied to figuration, yet seduced by the perfection of pure form, Schmidt-Rottluff is at his most dynamic in these Scandinavian pictures. As Peter Selz points out, 'The agitated, staccato effect of the earlier painting has given way to a slower movement, a more sonorous harmony. Instead of the violent interaction of Fauve colors, Schmidt-Rottluff now uses broad planes of saturated color, delineated by black-and-red lines' (German Expressionist Painting, University of California Press, Berkeley and Los Angeles, 1957, p. 135). In Landschäft, the flat planes of colour are severely ordered, in line with the artist's earlier training as an architect. The landscape is built up with pure yellow and orange, acid green and unmixed, aniline blue, generating a unique chromatic feast, which contrasts with the more sober rendition of Oppendal and Lofthus, where the immovable order of the lines and volumes is closer to the style of the contemporary Cubists in Paris.