CONRAD FELIXMüLLER (Dresden 1897–1977 Berlin) Kornpuppen in trüber Landschaft (Klotzsche) (Corn dolls in a bleak landscape (Klotzsche)). 1925. Oil on canvas. Signed and dated lower right: felixmüller 25. Signed, dated and numbered on the reverse of the canvas: Cfelixmüller / 1925 / No 355. 75 × 60 cm. Provenance: - Private collection Germany, acquired directly from the artist in the mid-1970s. - Auction Lemperz, Cologne, 30.11.2018, lot 235. - Private collection Germany, acquired at the above auction. Exhibited: - Stuttgart 1925, Conrad Felixmüller - Sonderausstellung, Kunsthaus L. Schaller, no. 20. - Wiesbaden 1926, Conrad Felixmüller, Nassauischer Kunstverein, Neues Museum, no. 16. - Braunschweig 1927, Conrad Felixmüller, Haus der Gesellschaft der Freunde Junger Kunst, no. 17. - Essen 1927, Conrad Felixmüller - Sonderausstellung, Kunsthallen Hansa-Haus Essen, no. 7 (as "Dorf Klotzsche"). Literature: Heinz Spielmann: Conrad Felixmüller, Monographie und Werverzeichnis der Gem?lde, Cologne 1996, p. 252, no. 355 (with ill.). Created in 1925, ”Kornpuppen in trüber Landschaft (Klotzsche)" is one of Conrad Felixmüllers last expressionist works, as his painting moved towards a more realistic style influenced by the New Objectivity movement at the end of the 1920s. The tranquil village of Klotzsche, north of his hometown of Dresden, was both home and retreat for Felixmüller and his family from 1918 to 1931. During those 12 years, the focus of the former political revolutionary noticeably shifted to the subjects of his immediate surroundings. In the present work, Felixmüller’s roots in the circle of the Brücke artists are clearly revealed through its vivid palette, distinct colour contrasts and dynamic, expressive brushstrokes varying from diagonal (haystacks) to vertical (fields) and horizontal (sky). At the same time, the looming dark clouds of the sky exude an emotional drama that is echoed in the stacked sheaves of harvested grain. Felixmüller was particularly captivated by the characteristic sheaves of grain on the freshly harvested fields, which in their golden yellow appear to radiate from within and take on a nearly anthropomorphic character. Grainstacks, a motif already favoured by Claude Monet as a vehicle for experimenting with the effects of light at various times of day and under different weather conditions, is also delightfully explored by Conrad Felixmüller in the present painting. CONRAD FELIXMüLLER (Dresden 1897–1977 Berlin) Kornpuppen in trüber Landschaft (Klotzsche). 1925. ?l auf Leinwand. Unten rechts signiert und datiert: felixmüller 25. Verso auf der Leinwand signiert, datiert und nummeriert: Cfelixmüller / 1925 / No 355. 75 × 60 cm. Provenienz: - Privatbesitz Deutschland, Mitte der 1970er-Jahre direkt beim Künstler erworben. - Auktion Lemperz, K?ln, 30.11.2018, Los 235. - Privatsammlung Deutschland, an obiger Auktion erworben. Ausstellungen: - Stuttgart 1925, Conrad Felixmüller - Sonderausstellung, Kunsthaus L. Schaller, Nr. 20. - Wiesbaden 1926, Conrad Felixmüller, Nassauischer Kunstverein, Neues Museum, Nr. 16. - Braunschweig 1927, Conrad Felixmüller, Haus der Gesellschaft der Freunde Junger Kunst, Nr. 17. - Essen 1927, Conrad Felixmüller - Sonderausstellung, Kunsthallen Hansa-Haus Essen, Nr. 7 (als "Dorf Klotzsche"). Literatur: Heinz Spielmann: Conrad Felixmüller, Monographie und Werverzeichnis der Gem?lde, K?ln 1996, S. 252, Nr. 355 (mit Abb.). ?Kornpuppen in trüber Landschaft (Klotzsche)“ entsteht 1925 als eines von Conrad Felixmüllers letzten expressionistischen Werken, da Felixmüllers Malweise Ende der 1920er-Jahre in einen neusachlich gepr?gten Realismus übergeht. Der beschauliche Ort Klotzsche, n?rdlich seiner Heimatstadt Dresden, ist für Felixmüller und seine Familie von 1918 bis 1931 Wohnort und Rückzugsort zugleich. In diesen 12 Jahren verschiebt sich der Fokus des vormals politisch-revolution?ren Künstlers zusehends auf Themen seines unmittelbaren Umfeldes. In der lebendigen Farbigkeit, den klaren Farbkontrasten und dem dynamisch-expressiven, von diagonal (Heupuppen) zu vertikal (Felder) zu horizontal (Himmel) wechselnden Pinselstrich des hier angebotenen Gem?ldes treten seine Wurzeln im Umkreis der Brücke Künstler deutlich hervor. Gleichzeitig verstr?men**heraufziehenden, dunklen Wolken eine emotionale Dramatik,**in der zu Gruppen aufgeschichteten Kornernte ihren Widerhall findet. Einen besonderen Reiz üben auf Felixmüller**charakteristischen Kornpuppen auf den frisch abgeernteten Feldern aus,**in ihrem Goldgelb von innen zu leuchten scheinen und eine beinahe anthropomorphe Anmutung haben. **schon von Claude Monet favorisierte Motivik der Heuhaufen als Experimentierfeld der verschiedenen, durch Tageszeiten und Wetterverh?ltnisse bedingten Lichtspiele wird auch von Conrad Felixmüller im vorliegenden Gem?lde lustvoll erprobt. notes:*
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