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Paul Cassirer, Berlin, 1923
Lion collection, New York, 1954
Stuttgarter Kunstkabinett, Stuttgart, 25th May 1955
Hauswedell & Nolte, Hamburg, 5th June 1970
Private collection, London
Zurich, Kunsthaus, Max Liebermann, 1923, no. 99
H. P. Richardson, Landscape in the Work of Max Liebermann, Ann Arbor/MI, 1991, no. 646
M. Eberle, Max Liebermann: Werkverzeichnis der Gemälde und Ölstudien, vol. II, Munich, 1996, no. 1923/22, p. 1086 (illustrated)
This idyllic painting entitled Enkelin und Kinderfrau im Nutzgarten was completed during the artist’s mature period in 1923 and can be attributed to his Lake Wannsee paintings. The picturesque summerhouse near Berlin was built by the artist in 1909 and boasted an extensive garden which he filled with motifs. Observed from the viewpoint of the kitchen garden, the artist depicts his six-year-old granddaughter Maria with her nanny in white, strolling on a brightly lit path set against an abundance of flowering bushes bearing red and blue flowers. In his old age, Liebermann’s granddaughter became an important subject for him, and these sentimental works are reminiscent of his paintings of his daughter, Käthe. The work was held by the famous art dealer Paul Cassirer in 1923 who played a significant role in the promotion of the Berlin Secessionists as well as many now-famous Impressionist and Post-Impressionist artists.
Max Liebermann was a German-Jewish painter and printmaker, and one of the leading proponents of Impressionism in Germany. He is known for his naturalistic studies of the life and labour of the poor.
After studying under the painter Carl Steffeck from 1866 to 1868, Liebermann attended the Weimar Art School from 1868 to 1872. The straightforward realism and direct simplicity of his first exhibited picture, Women Plucking Geese (1872), presented a striking contrast to the romantically idealized art then in vogue. This picture earned him the epithet “disciple of the ugly.” Liebermann spent the summer of 1873 at the village of Barbizon, near Paris, where the landscape painters known as the Barbizon school had been working since the 1830s. There he became acquainted with one of the leaders of the Barbizon school, Jean-François Millet, and studied the works of Camille Corot, Constant Troyon, and Charles-François Daubigny.
In 1878, Liebermann returned to Germany, living at first in Munich and finally settling in Berlin in 1884. From 1875 to 1913, he spent summers painting in the Netherlands. During this period, he found his painting subjects in the orphanages and asylums for the elderly in Amsterdam and among the peasants and urban labourers of Germany and the Netherlands. In works such as The Flax Spinners (1887), Liebermann did for German painting what Millet had done for French art, portraying scenes of rural labour in a melancholy, yet unsentimental, manner.
After 1890, Liebermann’s style was influenced by the French Impressionist painters Édouard Manet and Edgar Degas. As Liebermann focused on Impressionist concerns of light and colour, subject matter became less important for him. However, he maintained a connection to the narrative tradition of German art, and thus, unlike the French Impressionists, he never became completely detached from subject matter. In 1899, Liebermann founded the Berliner Sezession, a group of artists who supported the academically unpopular styles of Impressionism and Art Nouveau. Despite his association with the anti-establishment Sezession, he became a member of the Berlin Academy, and in 1920 he was elected its president. In 1932, the Nazis forced him to resign from his position.
Liebermann died 8 February 1935 in Berlin.
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