German Painters
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Max Liebermann (1847-1935) and Lovis Corinth (1858-1925) were successful German painters, members of the original Berlin Secession, whose reputations outside Germany were minor, and faded considerably after 1940. They have, however, made a strong return in the last 25 years. Though they are frequently identified with particular schools of painting--Liebermann with Impressionism and Corinth with both Impressionism and Expressionism--neither painter fits well in the assigned groups. This lack of a strong affiliation, and their individuality, was one factor that led to their neglect. Another factor was a general disinclination for anything German in America and much of Europe. Despite considerable French influence, both men remained firmly associated with German artistic traditions, and Corinth had often called for a specifically Germanic art. The third factor was the success of those German painters and graphic artists who were less equivocally aligned with Expressionism--Beckmann, Dix, Grosz, Heckel, Kirchner, Marc and Nolde--and less in tune with the nineteenth century. In the postwar era, for many of those who sold, bought, studied and thought about twentieth-century art, the various Expressionist groups, especially because of their opposition to fascism, were German art. As a broader view of the subject began, inevitably, to open up, Liebermann and Corinth emerged as painters of great merit whose individual development was as interesting as that of the better-known
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s, Liebermann displays his grasp of the compositional lessons of Manet and of the Japanese prints which both painters collected. In Eva (1883), Liebermann chose to set aside his ordinary use of perspective, in favor of a different kind of pictorial space in which the figure, set at the picture plane, is backed by a rather intimate landscape that functions almost as "a kind of painted stage set." The broadly drawn figure, with clothing in only three deep tones (violet, brown and black) is set against a green scrim of trees and a lighter ground that merge, in the trees' shadows, and form a plane on which the girl's flattened form appears, as if pasted there. In this work, Liebermann demonstrates the manner in which his color was employed in the service of his line, which was "always his chief instrument."
Corinth's early work was characterized by his very open response to the flow of stylistic innovation in what he called the "swarming beehive" of Munich's artistic community. But, in need of greater focus, Corinth settled in Berlin around 1898. There, the "breathtaking painterly freedom of [his] middle and later styles" developed as Corinth flourished in a receptive atmosphere. The middle period refers to the years betw
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Approximate Word count = 3696
Approximate Pages = 15 (250 words per page)
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