CORINTH, Lovis - b. 1858 Tapiau, d. 1925 Zandvoort - WGA

CORINTH, Lovis

(b. 1858 Tapiau, d. 1925 Zandvoort)

German painter and writer. He grew up on his family’s farm and tannery. As a child he showed interest in art, taking informal lessons in drawing from a local carpenter and caricaturing his primary school teachers. Corinth’s father sent him to secondary school in the nearby city of Königsberg (now Kaliningrad), where he lived with his widowed aunt. A superstitious woman fond of story-telling, she possessed what Corinth later described as a coarse temperament and an unrestrained, ‘demonic’ humour. These qualities and his aunt’s bohemian acquaintances, including fortune-tellers and soothsayers, fascinated the young Corinth, accustomed to his more reserved parents. In this environment Corinth began to develop the rich imagination and love of anecdote that came to play such an important role in the evolution of his art.

His artistic education began at the Königsberg art academy under Professor Otto Günther (1838-1884). Corinth accompanied Otto Günther on several journeys. In 1880 he went to Munich, where he continued his studies under Franz von Defregger (1835-1921) and later under Ludwig von Löfftz (1845-1910). His works of that period were influenced by the naturalist paintings of the Munich “Leibl-Kreis”. After a short stay in Antwerp, Corinth moved to Paris.

In Paris Corinth attended the well-known Académie Julian, where he was taught by Bouguereau and Robert-Fleury. In 1891 Corinth returned to Munich, where he became a founding member of the Munich “Sezession”. Soon, however, the group started to crumble. Some artists split with the main group to form the “Freie Vereinigung”. Due to a lack of work the artist went to Berlin in 1901, where he opened a painting school for women. One of his first female students was his future wife Charlotte Berend (1880-1967). Lovis Corinth became an official member of the Berlin Secession. When Liebermann was forced to step down as president, Corinth took over his position.

In 1911 Corinth suffered a stroke and was temporarily paralysed on his left side. During Corinth’s illness, Paul Cassirer became chairman of the Berlin Secession and in 1913 organized a retrospective, exhibiting 228 oil paintings. In 1917 the Akademie der Künste in Berlin awarded him the title of Professor.

After a summer holiday at Urfeld on Lake Walchensee, Corinth acquired a property there in 1918 and began to build his own house in 1919. Until 1924 the artist repeatedly spent several months at “Haus Petermann” in Urfeld. In his art this is reflected by a series of Walchensee landscapes. Accompanied by a former student, Lovis Corinth travelled to Amsterdam in 1925 to see works by Rembrandt and Frans Hals.

During this trip to Holland Corinth died of pneumonia. Corinth’s oeuvre includes more than 100 paintings and several books and essays on painting. Today Corinth is regarded as one of the “Classics of Modern Art” and his works are exhibited in the most important museums and galleries of the German-speaking world.

Easter at Lake Walchen
Easter at Lake Walchen by

Easter at Lake Walchen

In 1918 Corinth paid his first visit to the Walchensee, a lake in Upper Bavaria. In a manner comparable with Monet’s waterlilies, Corinth painted a series of compositions over the next few years, in which the representation of what he actually saw became less and less important, and the autonomy of the painting itself became the true subject.

Emperor's Day in Hamburg
Emperor's Day in Hamburg by

Emperor's Day in Hamburg

Flowers
Flowers by
In Max Halbe's Garden
In Max Halbe's Garden by

In Max Halbe's Garden

Othello, the Negro
Othello, the Negro by

Othello, the Negro

This portrait was painted in Antwerp in 1884. In this picture, Corinth was free of narrative or anecdotal ballast. The model is seen not only for painterly qualities but also with considerable empathy.

Portrait of Julius Meier-Graefe
Portrait of Julius Meier-Graefe by

Portrait of Julius Meier-Graefe

In December 1911 Corinth had a stroke which threatened to limit his ability to paint. He was able to control the shaking of his hands, but his struggle to paint did cost him a certain lightness. It is all the more admirable that in his Portrait of Julius Meier-Graefe he harmonized colour and form without any sense of untruthfulness to the sitter.

Portrait of Otto Eckmann
Portrait of Otto Eckmann by

Portrait of Otto Eckmann

Otto Eckmann (1865-1902) was a German painter and graphic artist. He was a prominent member of the “floral” branch of Jugendstil. He created the Eckmann typeface, which was based on Japanese calligraphy.

Reclining Nude
Reclining Nude by

Reclining Nude

Corinth’s Reclining Nude demonstrated a thoroughly natural use of Impressionist style for figure painting. German Impressionism’s major works tended to be painted not in the landscape area (as with the French) but rather in nudes and portraits.

Samson Blinded
Samson Blinded by

Samson Blinded

Lovis Corinth’s art, with that of Max Slevogt, proved central to building the foundations of German Expressionism. The subject of Samson Blinded is ideally suited to Corinth’s profound pictorial involvement with passion and its price. Samson, the Old Testament strongman was popular in Northern European art, abounding in the worlds of Cranach and Rembrandt. Corinth’s canvas shows how Samson, too long blind to Delilah’s evil nature, is now literally blinded by her Philistine henchmen.

Self-Portrait in Straw Hat
Self-Portrait in Straw Hat by

Self-Portrait in Straw Hat

Self-Portrait in a Straw Hat
Self-Portrait in a Straw Hat by

Self-Portrait in a Straw Hat

Self-Portrait with His Wife and a Glass of Champage
Self-Portrait with His Wife and a Glass of Champage by

Self-Portrait with His Wife and a Glass of Champage

Self-Portrait with Skeleton
Self-Portrait with Skeleton by

Self-Portrait with Skeleton

This self-portrait is a variation on B�cklin’s approach to the traditional memento mori theme. The two pictures, referring to a long lineage in portrayals of life’s vanity, are thematically comparable, but the differences in approach are striking: where B�cklin uses colour nuances, and the proximity, facial expressions and gestures of the protagonists, seen against an undefinable background, to create a mysterious atmosphere, Corinth deliberately avoids all unclarity whatsoever. The skeleton on its hook is plainly an anatomical model. The painter is beside it, but no relation is established between him and the skeleton.

The Artist's Wife at the Dressing Table
The Artist's Wife at the Dressing Table by

The Artist's Wife at the Dressing Table

The Walchensee in Winter
The Walchensee in Winter by

The Walchensee in Winter

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