Pesquisando por: "Corn lily, 18th century" - Fotoarena - Agência de fotojornalismo

akg8200374 Purrmann, Hans1880 Speyer- 1966 BaselStill Life of Flowers in the Artist's Studio. Ca. 1908. Oil on canvas. 80.5 x 64cm. Signed lower right: Purrmann. Craftman's frame.For this work a certificate of authenticity, of May 18th 2018 in German and of July 20th 2018 in English, by Dr. Felix Billeter, Hans Purrmann Archive, Munich, is available. It is listed in the archive under no. 1407. Provenance:- Ernst Moser, Berlin- Private collection- private collection LondonAmong the painters of classic modernism in Germany, Hans Purrmann is an individualist who deliberately chose to stay true to the figurative rather than seek to enhance expression through simplification, distortion, or abstraction. Working with a motif, he strove for an artistic harmony that reflected nature. After completion of his art studies in Munich under the tutelage of among others Franz von Stuck, he moved to Paris at the end of 1905. He soon connected with the international avant-garde and became a member of the German-speaking art circle that met in the Café du Dome. The works of Paul Cézanne and Henri Matisse, in particular, were to become a lasting source of inspiration and he developed a strong friendship with the latter. Together they founded the ""Académie Matisse"" in 1907 where Purrmann taught until 1914 when the onset of the First World War forced him to return to Germany. During his first years in Paris, Purrmann painted Blumenstillleben im Atelier des Künstlers [Still Life with Flowers in the Studio of the Artist] in the small and narrow studio he occupied at 17, Rue Campagne Premiére. Close-up, he recorded the observed scene with rapid, short, and largely pastose brush strokes: The bouquet of large white calla lilies standing in a blue clay jug on a small three-legged table; to the right seating or sleeping accommodation with pillows and a covering; to the left hangs a black coat; in the background picture frames and a projecting wall painted blue. All of this is represented closely grouped together in an undefined space - do the vanishing points of the compositional lines of perspective refer here to a corner of the room? The surrounding areas are depicted in strong pastel shades; as far as possible Purrmann has avoided any representation of three-dimensionality, suggesting it only with darker shades in the two large leaves, the form of the table, and the folds of the drapery. By means of the dynamic ductus and the color contrasts of red and green tones, the artist has achieved an impressive vitality that has nothing in common with a ""stillness of life"". The blossoms of the calla seem to stretch towards the light and thus towards life. Perhaps they are representative of the painter himself who in the French art metropolis of the early twentieth century found the fertile ground he had needed for the growth of his artistic formulations. The artist created this oil painting of exceptional quality at approximately the same time as a similar work Flower Still Life from 1908 with a similar motif (cf. catalogue raisonné Lenz/Billeter, No. 1908/1). As with that painting, our work is a true museum piece.(Literature: Cf. Lenz, Christian/Billeter, Felix: Hans Purrmann - Die Gemälde I, 1895-1934, catalogue raisonné, Munich 2004, cat. rais. no. 1908/1). Art trade, Van Ham. Copyright: © Hans Purrmann. This artwork is not in the public domain. Additional copyright clearance may be required before use of this image.