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拍品專文
Dieses Werk von E. L. Kirchner zeigt, dass er sein Frühwerk immer kritisch betrachtete. Er verwarf die sehr attraktive Ansicht der Fehmarnküste von 1913 und nutzte 1924 die umgedrehte Leinwand für ein zweites Bild, nun eine Ansicht seines neuen Wohnorts Davos Frauenkirch. 1919 hat Kirchner sein Atelier in Berlin aufgegeben, nachdem er 1917 nach Davos umgezogen war. Erna Schilling, seine Lebensgefährtin, versandte nach und nach alle sich noch im Berliner Atelier befindlichen Bilder, die Leinwände von den Keilrahmen abgespannt, in grossen Rollen nach Davos. Gewisse dieser frühen Bilder hat Kirchner überarbeitet, andere, wie das hier auf der Rückseite angebotene, wurde verworfen und die Leinwand umgedreht und neu bemalt. Es zeigt den Ausblick von seinem Haus auf dem Wildboden ins Sertigtal, mittig die Strasse nach Sertig und rechts dem Sertigbach, wie eine Fotografie von E.L. Kirchner (nach 1924) zeigt. Am Ende des Tales ist das Bergmassiv mit Mittaghorn, Plattenfluh und Hoch Ducan ersichtlich. Kirchner ist in den Oktobertagen des Jahres 1923 vom Haus in den Lärchen zum Eingang ins Sertigtal umgezogen. Im Werkkatalog wird das Entstehungsjahr des Werk mit 1924 angegeben, obwohl es 1923 datiert ist. Das ist auf die Tatsache zurückzuführen, dass es sich um eine Sommerlandschaft handelt und Kirchner den Sommer 1923 noch auf der anderen Talseite verbrachte. Vergleichbare Gemälde sind auch 1924 -1926 datiert, so das grosse Werk Sertigtal im Herbst, 1925/26, welches sich heute im Ernst Ludwig Kirchner Museum in Davos befindet. Das hier angebotene Gemälde ist in der charakteristischen, flächenbetonten Malweise und in seinen typisch für jene Zeit gemalten Farben, wie Blau, Rosa, Orange und Grün gehalten. Die Bäume, wie auch das Bergmassiv, hat Kirchner bewusst expressionistisch in die Höhe gezogen.
This painting by E. L. Kirchner shows that he was very critical of his early works. He scrapped this 1913 very attractive view of the coast of Fehmarn and, in 1924, used the reverse side of the canvas for a second image – a view of his new domicile, Davos Frauenkirch. Kirchner gave up his studio in Berlin in 1919, after having moved to Davos in 1917. Erna Schilling, his partner, forwarded the pieces that he had left behind in his Berlin studio, removing each canvas from its stretcher, and sending it rolled up to Davos. Kirchner reworked some of these early paintings, while others – like the one in question – were discarded in so far as the reverse side of the canvas was used for a new painting. The view here is from his house in Wildboden, looking into Sergital, with the road to Sertig in its centre, and the Sertigbach stream on its right, as it was in a photograph taken by E. L. Kirchner (after 1924). At the end of the valley is the massif that includes the Mittaghorn, Plattenfluh and Hoch Ducan, all of which are visible. In October, 1923, Kirchner moved house, from his Haus in den Lärchen (House amongst the Larch Trees) to the entry of Sertigtal. In his oeuvre catalogue, this work is listed as having been created in 1924, even though it bears the date 1923. This is because it is of a summer landscape and Kirchner spent the summer of 1923 on the other side of the valley. Similar paintings are dated from 1924 – 1926, as is, for example, the famous piece Sertigtal im Herbst (Sertigtal in Autumn) 1925/26, that is today in the Ernst Ludwig Kirchner Museum in Davos. The painting on offer here was done in the characteristic style of the period, using the typical colours of the time: blue, pink, orange and green. Kirchner consciously elongated both the trees and the massif to lend them further power of expression.
This painting by E. L. Kirchner shows that he was very critical of his early works. He scrapped this 1913 very attractive view of the coast of Fehmarn and, in 1924, used the reverse side of the canvas for a second image – a view of his new domicile, Davos Frauenkirch. Kirchner gave up his studio in Berlin in 1919, after having moved to Davos in 1917. Erna Schilling, his partner, forwarded the pieces that he had left behind in his Berlin studio, removing each canvas from its stretcher, and sending it rolled up to Davos. Kirchner reworked some of these early paintings, while others – like the one in question – were discarded in so far as the reverse side of the canvas was used for a new painting. The view here is from his house in Wildboden, looking into Sergital, with the road to Sertig in its centre, and the Sertigbach stream on its right, as it was in a photograph taken by E. L. Kirchner (after 1924). At the end of the valley is the massif that includes the Mittaghorn, Plattenfluh and Hoch Ducan, all of which are visible. In October, 1923, Kirchner moved house, from his Haus in den Lärchen (House amongst the Larch Trees) to the entry of Sertigtal. In his oeuvre catalogue, this work is listed as having been created in 1924, even though it bears the date 1923. This is because it is of a summer landscape and Kirchner spent the summer of 1923 on the other side of the valley. Similar paintings are dated from 1924 – 1926, as is, for example, the famous piece Sertigtal im Herbst (Sertigtal in Autumn) 1925/26, that is today in the Ernst Ludwig Kirchner Museum in Davos. The painting on offer here was done in the characteristic style of the period, using the typical colours of the time: blue, pink, orange and green. Kirchner consciously elongated both the trees and the massif to lend them further power of expression.