Lot Essay
In October 1861, Menzel was commissioned to paint the Coronation of William I at Königsberg (now in Potsdam) for which he executed many portrait sketches of those present.
Menzel was fascinated by physiognomy; older people and those touched by fate were among his favourite subjects. He often executed half figures or heads to lay an emphasis on the psychological aspect, the realistic features and expressions; often bearing photographic resemblances. Köpf eines kahlköpfigen Juden mit Vollbart is one of a number of Jewish subjects for which he found his inspiration in the Mühlendam area in Berlin.
Other examples being Der Rabbi von Bagdad (offered in these Rooms, 13 Oct. 1994, lot 16), The Interior of the Synagogue (Wallraf-Richartz Museum, Cologne) and a number of portraits of bearded men, traditionally described as Jews.
The present portrait recalls the studies of Jewish men for Christ among the Scholars in the Temple, painted circa 1850, now believed lost but known from a mezzotint. Although Menzel did not use photography for his compositions, he was certainly influenced by the new technique.
The artist's sister, Emilie Krigar-Menzel, decided to keep this portrait by her brother when she sold most of her collection of his works to the Nationalgalerie.
Menzel was fascinated by physiognomy; older people and those touched by fate were among his favourite subjects. He often executed half figures or heads to lay an emphasis on the psychological aspect, the realistic features and expressions; often bearing photographic resemblances. Köpf eines kahlköpfigen Juden mit Vollbart is one of a number of Jewish subjects for which he found his inspiration in the Mühlendam area in Berlin.
Other examples being Der Rabbi von Bagdad (offered in these Rooms, 13 Oct. 1994, lot 16), The Interior of the Synagogue (Wallraf-Richartz Museum, Cologne) and a number of portraits of bearded men, traditionally described as Jews.
The present portrait recalls the studies of Jewish men for Christ among the Scholars in the Temple, painted circa 1850, now believed lost but known from a mezzotint. Although Menzel did not use photography for his compositions, he was certainly influenced by the new technique.
The artist's sister, Emilie Krigar-Menzel, decided to keep this portrait by her brother when she sold most of her collection of his works to the Nationalgalerie.