Lot Essay
Das Thema der Maternité war für Albert Schmidt ein inspirierendes Sujet, besonders nach der Geburt seiner beiden Söhne, Claude 1910 und David 1912, spielte die Maternité eine wichtige Rolle in seinem Oeuvre. In symbolistischer Weise malt Schmidt die auf einem Tuch sitzende Mutter. Sie schützt mit ihren weit ausgebreiteten Armen das zwischen Blumen, hilflos am Boden liegende Kind vor dem im Hintergrund herannahenden Gewitter. Der nieder angeordnete Bildhorizont lässt die Mutter umso wichtiger erscheinen. Die Körper der beiden Figuren sind in der gleichen Farbe gehalten und werden, typisch für Albert Schmidt, mit einer markant andersfarbigen Linie umrandet. Diese Technik wendet Albert Schmidt besonders in den Jahren 1917/18 an, was uns eine Datierung unseres Werkes in diese Jahre erlaubt.
The topic of the motherhood was for Albert Schmidt an inspiring subject, particularly after the birth of his two sons, Claude and David, in 1910 and 1912, respectively. In a symbolist manner Schmidt paints the mother sitting on a cloth. With her arms spread wide, she protects a child lying helplessly between flowers on the ground against the tempest approaching in the background. With the picture horizon well below her, the mother appears all the more important. The bodies of the two figures are presented in the same colour and, typical for Albert Schmidt, bordered with a distinctively different colour. Schmidt used this technique particularly in the years 1917-18, which allows us to date our work into this time frame.
The topic of the motherhood was for Albert Schmidt an inspiring subject, particularly after the birth of his two sons, Claude and David, in 1910 and 1912, respectively. In a symbolist manner Schmidt paints the mother sitting on a cloth. With her arms spread wide, she protects a child lying helplessly between flowers on the ground against the tempest approaching in the background. With the picture horizon well below her, the mother appears all the more important. The bodies of the two figures are presented in the same colour and, typical for Albert Schmidt, bordered with a distinctively different colour. Schmidt used this technique particularly in the years 1917-18, which allows us to date our work into this time frame.