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拍品专文
In the autumn of 1911 Heckel moved to Berlin, where he took over Otto Mller's studio. As W. D. Dube wrote, 'This change represents no break in his artistic aims. He was not concerned, as was Kirchner, with the dynamism of the city; from now on he was interested in trends which were not subject to the moment. He directed his attention toward the variety in landscape and the passing of the seasons, and also the
behaviour of men in their longings, joys and sufferings. His paintings originated in human compassion' (German Expressionism: Art and
Society, Venice, Palazzo Grassi, 1997, p. 347).
If Die Geigerin is iconographically distant from Kirchner's contemporary compositions, on the stylistic level the two artists are
strikingly close. Heckel's painting shared many of the compositional
concerns which fascinated Kirchner at this time. In Die Geigerin, Heckel distorts natural perspective by making the figure seated behind the violinist larger that the violinist herself; he elongates the left corner of the carpet on which the violinist is standing; he has turned the seat of the chair on which the spectator is sitting, and he has given a foreground prominence to objects which naturally belong to the background of pictures. He thus creates an unnatural world of angles, bold lines and explosive colours.
W. D. Dube has commented on the artist's radical compositions of the teens: 'By 1910 the typical flat style of the Brcke had become perfected by Heckel as well. Areas of color, delineated with jagged, angular contours are intertwined to form a completely compact and immutable composition. Yet Heckel's intensity remained austere, barren and curiously harsh' (ibidem, p. 347).
At the core of Heckel's preoccupations in the these years was the depiction of his companion, Siddi (see fig. 1). Hans Geissler has thus identified Siddi as the figure at the right of the composition, while suggesting that the violinist might portray a young neighbour of the couple in Berlin. The two women have the meditative and melancholic expressions which frequently characterised German Expressionist portraits, particularly in the years before the war, where the sitters, trapped in violently lit interiors, seem to reflect on deep issues or appear to be troubled by inner emotions.
For the past sixty years, Die Geigerin has not been seen in public. The present owner bought the painting directly from Charlotte Weidler, the Bauhaus figure and friend of Gropius, Heckel and Otto Mueller (among others) who, in the 1930s, was the curator largely responsible for the selection of works included in the Pittsburgh International Art Shows at the Carnegie Institute.
behaviour of men in their longings, joys and sufferings. His paintings originated in human compassion' (German Expressionism: Art and
Society, Venice, Palazzo Grassi, 1997, p. 347).
If Die Geigerin is iconographically distant from Kirchner's contemporary compositions, on the stylistic level the two artists are
strikingly close. Heckel's painting shared many of the compositional
concerns which fascinated Kirchner at this time. In Die Geigerin, Heckel distorts natural perspective by making the figure seated behind the violinist larger that the violinist herself; he elongates the left corner of the carpet on which the violinist is standing; he has turned the seat of the chair on which the spectator is sitting, and he has given a foreground prominence to objects which naturally belong to the background of pictures. He thus creates an unnatural world of angles, bold lines and explosive colours.
W. D. Dube has commented on the artist's radical compositions of the teens: 'By 1910 the typical flat style of the Brcke had become perfected by Heckel as well. Areas of color, delineated with jagged, angular contours are intertwined to form a completely compact and immutable composition. Yet Heckel's intensity remained austere, barren and curiously harsh' (ibidem, p. 347).
At the core of Heckel's preoccupations in the these years was the depiction of his companion, Siddi (see fig. 1). Hans Geissler has thus identified Siddi as the figure at the right of the composition, while suggesting that the violinist might portray a young neighbour of the couple in Berlin. The two women have the meditative and melancholic expressions which frequently characterised German Expressionist portraits, particularly in the years before the war, where the sitters, trapped in violently lit interiors, seem to reflect on deep issues or appear to be troubled by inner emotions.
For the past sixty years, Die Geigerin has not been seen in public. The present owner bought the painting directly from Charlotte Weidler, the Bauhaus figure and friend of Gropius, Heckel and Otto Mueller (among others) who, in the 1930s, was the curator largely responsible for the selection of works included in the Pittsburgh International Art Shows at the Carnegie Institute.