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Lot Essay
Eine folgenreiche Begegnung machte Ernst Ludwig Kirchner Anfang der 1920er Jahre in Davos mit Lise Gujer, einer Zürcher Weberin, die in Clavadel wohnte und mit der er gemeinsam ab 1921 seine Ideen für textile Arbeiten umsetzte. So entstand die vorliegende Arbeit, Der Hirte, nach einem Entwurf Kirchners auf dem alten Bündner Webstuhl von Lise Gujer nach 1952. Gleichzeitig spiegelt das Werk die Begeisterung des Künstlers für lokale Sujets im Medium der Textilkunst wider. Die für Kirchner typische, kräftige Farbgebung in den gefertigten Teppichen bringt Donald E. Gordon, Verfasser des Werkkatalogs des Berliner Künstlers, zu dem Ausdruck des „Teppichstils“, da er zwischen dem malerischen und textilen Werk eine starke stilistische Analogie feststellt. Auf diese Weise schafft Kirchner eine gattungsübergreifende Raumkunst, die er sowohl in seiner Wohnumgebung als auch in diversen Ausstellungen präsentiert.
Ernst Ludwig Kirchner’s encounter with Lise Gujer, a weaver from Zurich who lived in Clavadel in Davos in the 1920’s, had momentous consequences: from 1921 onwards, they together realized his ideas for works in textile. The work at hand, Der Hirte (The Shepherd) was created by Lise Gujer at her old loom from Grisons in 1952 from a design drafted by Kirchner. The work also reflects the artist’s enthusiasm for local subjects in the medium of textile art. Kirchner’s typical strong use of colour, reflected in the finished tapestries, prompted Donald E. Gordon, the author of the artist’s oeuvre catalogue, to refer to his ‘tapestry style’ because he determined a strong stylistic analogy between his painting and textile work. In this way, Kirchner was able to create an overlapping genre of art for interiors that he presented both within his own home environment, as well as at diverse exhibitions.
Ernst Ludwig Kirchner’s encounter with Lise Gujer, a weaver from Zurich who lived in Clavadel in Davos in the 1920’s, had momentous consequences: from 1921 onwards, they together realized his ideas for works in textile. The work at hand, Der Hirte (The Shepherd) was created by Lise Gujer at her old loom from Grisons in 1952 from a design drafted by Kirchner. The work also reflects the artist’s enthusiasm for local subjects in the medium of textile art. Kirchner’s typical strong use of colour, reflected in the finished tapestries, prompted Donald E. Gordon, the author of the artist’s oeuvre catalogue, to refer to his ‘tapestry style’ because he determined a strong stylistic analogy between his painting and textile work. In this way, Kirchner was able to create an overlapping genre of art for interiors that he presented both within his own home environment, as well as at diverse exhibitions.