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Ernst Ludwig KirchnerTanzende Akte
Beschreibung
Ernst Ludwig Kirchner
Tanzende Akte
Original-Lithographie auf gelbem Papier 59,4 x 51 cm (65,9/66,9 x 56,2 cm) Unten links mit Bleistift signiert 'EL Kirchner', rechts höchstwahrscheinlich von Erna Schilling bezeichnet "Handdruck". Eines von 7 Exemplaren in diesem Zustand (dieser Abzug im Werkverzeichnis erwähnt). - Vereinzelte kurze Randeinrisse; im Unterrand mit alter Knickspur. Das Papier im Passepartout-Ausschnitt minimal geblichen.
Gercken 680 II; Dube L. 252
Wir danken Günther Gercken, Lütjensee, für wissenschaftliche Beratung und ergänzende Auskunft.
Provenienz
Erich Heckel, Nachlass, Hemmenhofen
Literatur
Vgl. Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner in Berlin, Ausst. Kat. Brücke Museum Berlin, München 2008, insbesondere die Kapitel 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") und 13 ("Die Straßenszenen") sowie Kat. Nr. 55 mit Farbtafel ("Tanzende Akte", Exemplar Staatliche Museen zu Berlin, Kupferstichkabinett)
Kirchners faszinierende Lithographie „Tanzende Akte“ von 1914 liegt hier in einem Handabzug aus dem Besitz von Erich Heckel vor. Dieses Blatt zeichnet sich durch die relative Klarheit seiner großen Form, seiner Binnenzeichnung und durch die satten tonalen Kontraste aus. Individuelle Künstlerabzüge von Hand differieren häufig in Bezug auf die Verteilung und Dichte der Farbe, wie auch der Plattenton verschieden intensiv ausfallen kann. Es kommt nicht nur zu feinen Differenzen in diesen gewollten Zufallseffekten, sondern auch zu möglichen kleinen Verschiebungen in den Ausdruckswerten. Kirchner kombinierte in diesem schwarz auf farbigem Papier abgezogenen Steindruck verschieden starke Abschattierungen, sowohl in den beiden Figuren - besonders in den Köpfen - wie im Fond, der in diesem Motiventwurf unbestimmt und von eher malerischer Wirkung ist. Überaus expressiv korrespondieren die hinterlegten homogenen schwarzen Flächen zum synchronen Bewegungsmoment der beiden Tänzerinnen, die sich an den Händen halten und geschmeidig nach links und rechts leicht auseinanderbiegen. Die weiblichen Körper werden in ihrer Silhouette zusätzlich durch die dunkle Folie modelliert, ihre Erotik durch die Kontraste gesteigert. Durch die formale wie inhaltliche Konzentration entsteht ein spannungsvolles Moment, unterstrichen durch den gedrehten Wechsel der körperlichen Ansichten und die Intimität der ganz aufeinander bezogenen Blicke. Dies unterstreicht die isolierte Tanzbewegung, die sich in der schönen Gestik ganz zu verlieren scheint. Doch ist sie nicht Selbstzweck, sondern auch Vorwand und auf einen Betrachter gerichtet.
Die Lithographie lässt die wichtigen Themenkomplexe der Berliner Zeit anklingen: die Aktdarstellungen im Atelier, Gerda und Erna Schilling als die favorisierten neuen Modelle, das hingeworfene schnelle Skizzieren von Bewegung im Raum, das Erlebnis großstädtischen Nachtlebens. Die intensive künstlerische Übertragung von Erfahrungen kulminiert in dieser Zeit, um 1913/1914, in den berühmten „Berliner Straßenszenen“. Die auch hier betonte und zugespitzte Überlängung der Gestalten entspricht der neuen Stilisierung, wie auch kompositorisch die wirkungsmächtige Frontalität der Figuren verwandt erscheint. „Tanzende Akte“ von 1914 gewichten als lithographisches Meisterwerk die absolute Parallelität in den von Kirchner benutzten Ausdrucksmitteln.
Ernst Ludwig Kirchner
Tanzende Akte
Lithograph on yellow paper 59.4 x 51 cm (65.9/66.9 x 56.2 cm) Signed 'EL Kirchner' in pencil lower left, inscribed "Handdruck" lower right, most probably by Erna Schilling. One of 7 proofs in this state (this proof mentioned in the catalogue raisonné). - Occasional short marginal tears; lower margin with old fold trace. The paper minimally faded in mat opening.
Gercken 680 II; Dube L. 252
We would like to thank Günther Gercken, Lütjensee, for scientific advice and additional information.
Provenance
Erich Heckel, Estate, Hemmenhofen
Literature
Cf. Magdalena M. Moeller (ed.), Ernst Ludwig Kirchner in Berlin, exhib. cat. Brücke Museum Berlin, Munich 2008, especially chapters 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") and 13 ("Die Straßenszenen") as well as cat. no. 55 with colour plate ("Tanzende Akte", proof from Staatliche Museen zu Berlin, Kupferstichkabinett)
Kirchner's fascinating lithograph “Tanzende Akte”, of 1914, is found here in a handmade proof from the collection of Erich Heckel. This sheet is distinguished by the relative clarity of its large form, the drawing within the contours and the deep tonal contrasts. Individual, handmade artist's proofs often differ with regard to the distribution and density of their ink, and the tone of the plate can also turn out to vary in intensity. This leads not just to fine differences among these deliberately chance effects, but also to the possibility of small shifts in expressive values. In this lithograph printed in black on coloured paper, Kirchner has combined shades that vary in intensity - in the two figures, particularly in their heads, as well as the background, which is undefined in this sketch of the motif and displays a largely painterly effect. Thoroughly expressive, the underlying fields of homogenous black correspond to the synchronous momentum of the two dancers, who hold hands and sinuously bend slightly apart to the left and right. The silhouettes of the female figures are additionally modelled through this dark ground, their eroticism heightened through the contrasts. The formal and thematic concentration creates a charged aspect that is underscored through the rotated alternation of the figural views and the intimacy of the gazes directed entirely towards one another. This underlines the isolated dance movement, which seems to become entirely lost in the beautiful gesture. However, it is not just an end in itself but also a pretext and is directed towards the viewer.
The lithograph resonates with the important thematic complexes of the Berlin period: the studies of nudes in the studio, Gerda and Erna Schilling as the preferred new models, the quick sketching of movement in space thrown down on the page, the experience of urban nightlife. The intense artistic translation of experiences culminated in this period, around 1913/1914, in the famous “Berliner Straßenszenen”. The elongation of the figures, which is also emphasised and amplified here, is in keeping with the new stylisation, just as the striking frontality of the figures also appears compositionally related. As a lithographic masterpiece, “Tanzende Akte” of 1914 highlights the absolute parallelism in the means of expression utilised by Kirchner.
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Ernst Ludwig Kirchner
Tanzende Akte
Original-Lithographie auf gelbem Papier 59,4 x 51 cm (65,9/66,9 x 56,2 cm) Unten links mit Bleistift signiert 'EL Kirchner', rechts höchstwahrscheinlich von Erna Schilling bezeichnet "Handdruck". Eines von 7 Exemplaren in diesem Zustand (dieser Abzug im Werkverzeichnis erwähnt). - Vereinzelte kurze Randeinrisse; im Unterrand mit alter Knickspur. Das Papier im Passepartout-Ausschnitt minimal geblichen.
Gercken 680 II; Dube L. 252
Wir danken Günther Gercken, Lütjensee, für wissenschaftliche Beratung und ergänzende Auskunft.
Provenienz
Erich Heckel, Nachlass, Hemmenhofen
Literatur
Vgl. Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner in Berlin, Ausst. Kat. Brücke Museum Berlin, München 2008, insbesondere die Kapitel 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") und 13 ("Die Straßenszenen") sowie Kat. Nr. 55 mit Farbtafel ("Tanzende Akte", Exemplar Staatliche Museen zu Berlin, Kupferstichkabinett)
Kirchners faszinierende Lithographie „Tanzende Akte“ von 1914 liegt hier in einem Handabzug aus dem Besitz von Erich Heckel vor. Dieses Blatt zeichnet sich durch die relative Klarheit seiner großen Form, seiner Binnenzeichnung und durch die satten tonalen Kontraste aus. Individuelle Künstlerabzüge von Hand differieren häufig in Bezug auf die Verteilung und Dichte der Farbe, wie auch der Plattenton verschieden intensiv ausfallen kann. Es kommt nicht nur zu feinen Differenzen in diesen gewollten Zufallseffekten, sondern auch zu möglichen kleinen Verschiebungen in den Ausdruckswerten. Kirchner kombinierte in diesem schwarz auf farbigem Papier abgezogenen Steindruck verschieden starke Abschattierungen, sowohl in den beiden Figuren - besonders in den Köpfen - wie im Fond, der in diesem Motiventwurf unbestimmt und von eher malerischer Wirkung ist. Überaus expressiv korrespondieren die hinterlegten homogenen schwarzen Flächen zum synchronen Bewegungsmoment der beiden Tänzerinnen, die sich an den Händen halten und geschmeidig nach links und rechts leicht auseinanderbiegen. Die weiblichen Körper werden in ihrer Silhouette zusätzlich durch die dunkle Folie modelliert, ihre Erotik durch die Kontraste gesteigert. Durch die formale wie inhaltliche Konzentration entsteht ein spannungsvolles Moment, unterstrichen durch den gedrehten Wechsel der körperlichen Ansichten und die Intimität der ganz aufeinander bezogenen Blicke. Dies unterstreicht die isolierte Tanzbewegung, die sich in der schönen Gestik ganz zu verlieren scheint. Doch ist sie nicht Selbstzweck, sondern auch Vorwand und auf einen Betrachter gerichtet.
Die Lithographie lässt die wichtigen Themenkomplexe der Berliner Zeit anklingen: die Aktdarstellungen im Atelier, Gerda und Erna Schilling als die favorisierten neuen Modelle, das hingeworfene schnelle Skizzieren von Bewegung im Raum, das Erlebnis großstädtischen Nachtlebens. Die intensive künstlerische Übertragung von Erfahrungen kulminiert in dieser Zeit, um 1913/1914, in den berühmten „Berliner Straßenszenen“. Die auch hier betonte und zugespitzte Überlängung der Gestalten entspricht der neuen Stilisierung, wie auch kompositorisch die wirkungsmächtige Frontalität der Figuren verwandt erscheint. „Tanzende Akte“ von 1914 gewichten als lithographisches Meisterwerk die absolute Parallelität in den von Kirchner benutzten Ausdrucksmitteln.
Ernst Ludwig Kirchner
Tanzende Akte
Lithograph on yellow paper 59.4 x 51 cm (65.9/66.9 x 56.2 cm) Signed 'EL Kirchner' in pencil lower left, inscribed "Handdruck" lower right, most probably by Erna Schilling. One of 7 proofs in this state (this proof mentioned in the catalogue raisonné). - Occasional short marginal tears; lower margin with old fold trace. The paper minimally faded in mat opening.
Gercken 680 II; Dube L. 252
We would like to thank Günther Gercken, Lütjensee, for scientific advice and additional information.
Provenance
Erich Heckel, Estate, Hemmenhofen
Literature
Cf. Magdalena M. Moeller (ed.), Ernst Ludwig Kirchner in Berlin, exhib. cat. Brücke Museum Berlin, Munich 2008, especially chapters 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") and 13 ("Die Straßenszenen") as well as cat. no. 55 with colour plate ("Tanzende Akte", proof from Staatliche Museen zu Berlin, Kupferstichkabinett)
Kirchner's fascinating lithograph “Tanzende Akte”, of 1914, is found here in a handmade proof from the collection of Erich Heckel. This sheet is distinguished by the relative clarity of its large form, the drawing within the contours and the deep tonal contrasts. Individual, handmade artist's proofs often differ with regard to the distribution and density of their ink, and the tone of the plate can also turn out to vary in intensity. This leads not just to fine differences among these deliberately chance effects, but also to the possibility of small shifts in expressive values. In this lithograph printed in black on coloured paper, Kirchner has combined shades that vary in intensity - in the two figures, particularly in their heads, as well as the background, which is undefined in this sketch of the motif and displays a largely painterly effect. Thoroughly expressive, the underlying fields of homogenous black correspond to the synchronous momentum of the two dancers, who hold hands and sinuously bend slightly apart to the left and right. The silhouettes of the female figures are additionally modelled through this dark ground, their eroticism heightened through the contrasts. The formal and thematic concentration creates a charged aspect that is underscored through the rotated alternation of the figural views and the intimacy of the gazes directed entirely towards one another. This underlines the isolated dance movement, which seems to become entirely lost in the beautiful gesture. However, it is not just an end in itself but also a pretext and is directed towards the viewer.
The lithograph resonates with the important thematic complexes of the Berlin period: the studies of nudes in the studio, Gerda and Erna Schilling as the preferred new models, the quick sketching of movement in space thrown down on the page, the experience of urban nightlife. The intense artistic translation of experiences culminated in this period, around 1913/1914, in the famous “Berliner Straßenszenen”. The elongation of the figures, which is also emphasised and amplified here, is in keeping with the new stylisation, just as the striking frontality of the figures also appears compositionally related. As a lithographic masterpiece, “Tanzende Akte” of 1914 highlights the absolute parallelism in the means of expression utilised by Kirchner.
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