GERMAN

Lovis Corinth

The change from the 19th to the 20th century brought forth another master
who was as passionate about painting as Lovis Corinth.  Together with Max
Liebermann, eleven years his senior, and the ten years younger Max Slevogt
they are the most important representatives of German Impressionism (Corinth
being the boldest and most original of the three).

As Munich's glamour and fame around 1900 surpassed the one of Berlin Corinth
settled in 1902 in Berlin where he with Liebermann and Slevogt supported the
renouncing of education. Corinth, then on the height of his activity,
married in 1903 his pupil Charlotte Behrend, 22 years his junior.

Corinth received numerous awards:  In 1915 he became President of the Berlin
Secession and in 1918, on the occasion of his 60th birthday, he became a
professor. In 1921 the Königsberger University bestowed him with an honorary
doctor title, and in 1925 he was made an honorary member of the Berlin
Academy.

Corinth began working with graphic techniques, initiated by his friend Otto
Eckmann, since 1891. In 1894 the etching cycle "Tragi-Comedies" was created.
Etchings
and lithographs are his preferred techniques in his since then created
numerous drawing cycles.

In 1911 he created original lithographs illustrating the books of the Bible,
speeches of Martin Luther, "The High Carol" printed from the Pan Press,
Berlin (edition 250 copies).  Original lithographs from this cycle can be
seen in this exhibition.

This unfortunately named art-concept of "Impressionism" can only carry
limited clarity; because Corinths picture-language mocks self confidence of
such a categorisation, which cannot do anything more than describe part of
his work. One could just as well call him an expressionist, who apart from
that also mastered the technique of the "Tachismus", in which primarily
after the Second World War a certain modern direction was expressed.
Painting was Corinths vocation in life; there he found for the opposing
parts of his being - which can be described as an frivolous sensuality
coupled with extreme sensibility and he also suffered from repeatedly
occurring attacks of paralysing melancholia and a suppressed exuberant joy
of life - the combining unit fulfil itself. His pictures were developed
predominantly from the attraction of colour, while he seemed little
concerned about problems on form and composition, his pictures were
initially heavy and dark in the tone; they brightened up with increasing
maturity of the artist until they represented striking brightness.

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