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Ernst Ludwig Kirchner, Kokotten bei Nacht
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Beschreibung
Ernst Ludwig Kirchner, Kokotten bei Nacht
Original-Radierung auf Kupferdruckpapier. 25,3/26 x 20,1 cm (48,9/49,4 x 31,8/32,5 cm). Unter Glas gerahmt. Signiert und von fremder Hand bezeichnet "184". Rückseitig mit dem Stempel "Unverkäuflich E L Kirchner" und mit dem violetten Nachlass-Stempel "NACHLASS E.L. KIRCHNER" (Lugt 1570b), dieser mit der handschriftlichen Nummer "R 184". Sehr rar, eines von nur 3 bislang bekannten Exemplaren. - Schöner, gratiger Druck. - Leichte Randmängel.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenienz
Nachlass des Künstlers; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Köln (mit rückseitigem Etikett); Privatsammlung Rheinland
Mit dem Themenkomplex der Berliner Straßenszenen aus den Jahren 1914/1915 erreichte Ernst Ludwig Kirchner den Höhepunkt seiner Ausdrucksfähigkeit, der in der berühmten Gemäldefolge seiner Großstadtszenen kulminierte. „Er abstrahiert das Getriebensein der Masse, die Hektik des Verkehrs und die sich anbietenden Kokotten zu einem sinnlichen Erlebnis und verwandelt alles in eine vibrierende Sprache von eigener Schönheit. In seinen ‚Straßenszenen‘ schlägt der Rhythmus der Großstadt Berlin.“ (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, S. 25 f.).
Zwischen dem Skizzieren des pulsierenden Nachtlebens und deren malerischer Ausführung steht vielfach die Druckgraphik, die den Künstler zur Klärung der Formen zwang. Die Zeichnungen, aber auch die Radierungen wie das äußerst rare Blatt „Kokotten bei Nacht“, sind gekennzeichnet durch Schnelligkeit und Spontaneität. Getrieben durch die eigene Nervosität und die ihn umgebende Geschwindigkeit fing Kirchner das für ihn Essentielle ein, die flüchtigen Sinneseindrücke der Menschenmengen, des Verkehrs und der Lichter. Kantige, nervöse, sich überlagernde Striche bestimmen den Bildeindruck.
Die Üppigkeit der großen Federhüte und Federkragen, mit denen die „Kokotten bei Nacht“ auf sich aufmerksam machen, steht im Kontrast zu der ansonsten von spitzen Winkeln bestimmten Szenerie. Die beiden Prostituierten, die als Dreiviertelfiguren im Vordergrund angelegt sind, werden voneinander separiert durch die Straßenecke, die sich als scharfkantiger Keil zwischen sie zu schieben scheint. Die Radierung besticht durch die formale Stringenz und die differenzierte Gratigkeit des Abzugs.
Original-Radierung auf Kupferdruckpapier. 25,3/26 x 20,1 cm (48,9/49,4 x 31,8/32,5 cm). Unter Glas gerahmt. Signiert und von fremder Hand bezeichnet "184". Rückseitig mit dem Stempel "Unverkäuflich E L Kirchner" und mit dem violetten Nachlass-Stempel "NACHLASS E.L. KIRCHNER" (Lugt 1570b), dieser mit der handschriftlichen Nummer "R 184". Sehr rar, eines von nur 3 bislang bekannten Exemplaren. - Schöner, gratiger Druck. - Leichte Randmängel.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenienz
Nachlass des Künstlers; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Köln (mit rückseitigem Etikett); Privatsammlung Rheinland
Mit dem Themenkomplex der Berliner Straßenszenen aus den Jahren 1914/1915 erreichte Ernst Ludwig Kirchner den Höhepunkt seiner Ausdrucksfähigkeit, der in der berühmten Gemäldefolge seiner Großstadtszenen kulminierte. „Er abstrahiert das Getriebensein der Masse, die Hektik des Verkehrs und die sich anbietenden Kokotten zu einem sinnlichen Erlebnis und verwandelt alles in eine vibrierende Sprache von eigener Schönheit. In seinen ‚Straßenszenen‘ schlägt der Rhythmus der Großstadt Berlin.“ (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, S. 25 f.).
Zwischen dem Skizzieren des pulsierenden Nachtlebens und deren malerischer Ausführung steht vielfach die Druckgraphik, die den Künstler zur Klärung der Formen zwang. Die Zeichnungen, aber auch die Radierungen wie das äußerst rare Blatt „Kokotten bei Nacht“, sind gekennzeichnet durch Schnelligkeit und Spontaneität. Getrieben durch die eigene Nervosität und die ihn umgebende Geschwindigkeit fing Kirchner das für ihn Essentielle ein, die flüchtigen Sinneseindrücke der Menschenmengen, des Verkehrs und der Lichter. Kantige, nervöse, sich überlagernde Striche bestimmen den Bildeindruck.
Die Üppigkeit der großen Federhüte und Federkragen, mit denen die „Kokotten bei Nacht“ auf sich aufmerksam machen, steht im Kontrast zu der ansonsten von spitzen Winkeln bestimmten Szenerie. Die beiden Prostituierten, die als Dreiviertelfiguren im Vordergrund angelegt sind, werden voneinander separiert durch die Straßenecke, die sich als scharfkantiger Keil zwischen sie zu schieben scheint. Die Radierung besticht durch die formale Stringenz und die differenzierte Gratigkeit des Abzugs.
Ernst Ludwig Kirchner, Kokotten bei Nacht
Etching on copperplate printing paper. 25.3/26 x 20.1 cm (48.9/49.4 x 31.8/32.5 cm). Framed under glass. Signed and inscribed "184" by an unknown hand. Verso with stamp "Unverkäuflich E L Kirchner" and violet estate stamp "NACHLASS E.L. KIRCHNER" (Lugt 1570b) with handwritten number "R 184" Very rare, one of only 3 proofs known so far. - Fine impression with strong burr. - Minor marginal defects.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenance
Artist's Estate; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Cologne (label verso); Private collection, Rhineland
With the thematic complex of the Berlin street scenes from 1914/1915, Ernst Ludwig Kirchner reaches the pinnacle of his expressive powers, culminating in his famous series of scenes from the metropolis. “He abstracts the compulsion of the masses, the hectic quality of the traffic and the coquettes proffering themselves into a sensory experience and transforms everything into a resonant language possessing its own distinctive beauty. The rhythm of the metropolis Berlin pulsates in his ‘Straßenszenen’” (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, pp. 25 f.).
Between his sketches of the pulsating nightlife and their realisation in the form of paintings, we often find the medium of printmaking, which forced the artist to clarify their forms. The drawings, but also the etchings – such as the extremely rare sheet “Kokotten bei Nacht” – are characterised by speed and spontaneity. Driven by his own nervous anxiety and the speed all round him, Kirchner captured what was, for him, essential: the fleeting sensory impressions of the crowds of people, the traffic and the lights. Angular, agitated, overlapping strokes define the impression conveyed by the picture.
The luxuriance of the big feathered hats and feather boas, with which the “coquettes at night” of the title draw attention to themselves, stand in contrast to a scene otherwise defined by sharp angles. The two prostitutes are depicted as three-quarter figures in the foreground and are separated from one another by the street corner, which seems to thrust itself between them in the form of a sharp-edged wedge. The etching captivates its viewers through its formal rigour and the nuances among the sharp-edged lines of the impression.
Etching on copperplate printing paper. 25.3/26 x 20.1 cm (48.9/49.4 x 31.8/32.5 cm). Framed under glass. Signed and inscribed "184" by an unknown hand. Verso with stamp "Unverkäuflich E L Kirchner" and violet estate stamp "NACHLASS E.L. KIRCHNER" (Lugt 1570b) with handwritten number "R 184" Very rare, one of only 3 proofs known so far. - Fine impression with strong burr. - Minor marginal defects.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenance
Artist's Estate; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Cologne (label verso); Private collection, Rhineland
With the thematic complex of the Berlin street scenes from 1914/1915, Ernst Ludwig Kirchner reaches the pinnacle of his expressive powers, culminating in his famous series of scenes from the metropolis. “He abstracts the compulsion of the masses, the hectic quality of the traffic and the coquettes proffering themselves into a sensory experience and transforms everything into a resonant language possessing its own distinctive beauty. The rhythm of the metropolis Berlin pulsates in his ‘Straßenszenen’” (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, pp. 25 f.).
Between his sketches of the pulsating nightlife and their realisation in the form of paintings, we often find the medium of printmaking, which forced the artist to clarify their forms. The drawings, but also the etchings – such as the extremely rare sheet “Kokotten bei Nacht” – are characterised by speed and spontaneity. Driven by his own nervous anxiety and the speed all round him, Kirchner captured what was, for him, essential: the fleeting sensory impressions of the crowds of people, the traffic and the lights. Angular, agitated, overlapping strokes define the impression conveyed by the picture.
The luxuriance of the big feathered hats and feather boas, with which the “coquettes at night” of the title draw attention to themselves, stand in contrast to a scene otherwise defined by sharp angles. The two prostitutes are depicted as three-quarter figures in the foreground and are separated from one another by the street corner, which seems to thrust itself between them in the form of a sharp-edged wedge. The etching captivates its viewers through its formal rigour and the nuances among the sharp-edged lines of the impression.
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Ernst Ludwig Kirchner, Kokotten bei Nacht
Original-Radierung auf Kupferdruckpapier. 25,3/26 x 20,1 cm (48,9/49,4 x 31,8/32,5 cm). Unter Glas gerahmt. Signiert und von fremder Hand bezeichnet "184". Rückseitig mit dem Stempel "Unverkäuflich E L Kirchner" und mit dem violetten Nachlass-Stempel "NACHLASS E.L. KIRCHNER" (Lugt 1570b), dieser mit der handschriftlichen Nummer "R 184". Sehr rar, eines von nur 3 bislang bekannten Exemplaren. - Schöner, gratiger Druck. - Leichte Randmängel.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenienz
Nachlass des Künstlers; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Köln (mit rückseitigem Etikett); Privatsammlung Rheinland
Mit dem Themenkomplex der Berliner Straßenszenen aus den Jahren 1914/1915 erreichte Ernst Ludwig Kirchner den Höhepunkt seiner Ausdrucksfähigkeit, der in der berühmten Gemäldefolge seiner Großstadtszenen kulminierte. „Er abstrahiert das Getriebensein der Masse, die Hektik des Verkehrs und die sich anbietenden Kokotten zu einem sinnlichen Erlebnis und verwandelt alles in eine vibrierende Sprache von eigener Schönheit. In seinen ‚Straßenszenen‘ schlägt der Rhythmus der Großstadt Berlin.“ (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, S. 25 f.).
Zwischen dem Skizzieren des pulsierenden Nachtlebens und deren malerischer Ausführung steht vielfach die Druckgraphik, die den Künstler zur Klärung der Formen zwang. Die Zeichnungen, aber auch die Radierungen wie das äußerst rare Blatt „Kokotten bei Nacht“, sind gekennzeichnet durch Schnelligkeit und Spontaneität. Getrieben durch die eigene Nervosität und die ihn umgebende Geschwindigkeit fing Kirchner das für ihn Essentielle ein, die flüchtigen Sinneseindrücke der Menschenmengen, des Verkehrs und der Lichter. Kantige, nervöse, sich überlagernde Striche bestimmen den Bildeindruck.
Die Üppigkeit der großen Federhüte und Federkragen, mit denen die „Kokotten bei Nacht“ auf sich aufmerksam machen, steht im Kontrast zu der ansonsten von spitzen Winkeln bestimmten Szenerie. Die beiden Prostituierten, die als Dreiviertelfiguren im Vordergrund angelegt sind, werden voneinander separiert durch die Straßenecke, die sich als scharfkantiger Keil zwischen sie zu schieben scheint. Die Radierung besticht durch die formale Stringenz und die differenzierte Gratigkeit des Abzugs.
Original-Radierung auf Kupferdruckpapier. 25,3/26 x 20,1 cm (48,9/49,4 x 31,8/32,5 cm). Unter Glas gerahmt. Signiert und von fremder Hand bezeichnet "184". Rückseitig mit dem Stempel "Unverkäuflich E L Kirchner" und mit dem violetten Nachlass-Stempel "NACHLASS E.L. KIRCHNER" (Lugt 1570b), dieser mit der handschriftlichen Nummer "R 184". Sehr rar, eines von nur 3 bislang bekannten Exemplaren. - Schöner, gratiger Druck. - Leichte Randmängel.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenienz
Nachlass des Künstlers; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Köln (mit rückseitigem Etikett); Privatsammlung Rheinland
Mit dem Themenkomplex der Berliner Straßenszenen aus den Jahren 1914/1915 erreichte Ernst Ludwig Kirchner den Höhepunkt seiner Ausdrucksfähigkeit, der in der berühmten Gemäldefolge seiner Großstadtszenen kulminierte. „Er abstrahiert das Getriebensein der Masse, die Hektik des Verkehrs und die sich anbietenden Kokotten zu einem sinnlichen Erlebnis und verwandelt alles in eine vibrierende Sprache von eigener Schönheit. In seinen ‚Straßenszenen‘ schlägt der Rhythmus der Großstadt Berlin.“ (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, S. 25 f.).
Zwischen dem Skizzieren des pulsierenden Nachtlebens und deren malerischer Ausführung steht vielfach die Druckgraphik, die den Künstler zur Klärung der Formen zwang. Die Zeichnungen, aber auch die Radierungen wie das äußerst rare Blatt „Kokotten bei Nacht“, sind gekennzeichnet durch Schnelligkeit und Spontaneität. Getrieben durch die eigene Nervosität und die ihn umgebende Geschwindigkeit fing Kirchner das für ihn Essentielle ein, die flüchtigen Sinneseindrücke der Menschenmengen, des Verkehrs und der Lichter. Kantige, nervöse, sich überlagernde Striche bestimmen den Bildeindruck.
Die Üppigkeit der großen Federhüte und Federkragen, mit denen die „Kokotten bei Nacht“ auf sich aufmerksam machen, steht im Kontrast zu der ansonsten von spitzen Winkeln bestimmten Szenerie. Die beiden Prostituierten, die als Dreiviertelfiguren im Vordergrund angelegt sind, werden voneinander separiert durch die Straßenecke, die sich als scharfkantiger Keil zwischen sie zu schieben scheint. Die Radierung besticht durch die formale Stringenz und die differenzierte Gratigkeit des Abzugs.
Ernst Ludwig Kirchner, Kokotten bei Nacht
Etching on copperplate printing paper. 25.3/26 x 20.1 cm (48.9/49.4 x 31.8/32.5 cm). Framed under glass. Signed and inscribed "184" by an unknown hand. Verso with stamp "Unverkäuflich E L Kirchner" and violet estate stamp "NACHLASS E.L. KIRCHNER" (Lugt 1570b) with handwritten number "R 184" Very rare, one of only 3 proofs known so far. - Fine impression with strong burr. - Minor marginal defects.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenance
Artist's Estate; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Cologne (label verso); Private collection, Rhineland
With the thematic complex of the Berlin street scenes from 1914/1915, Ernst Ludwig Kirchner reaches the pinnacle of his expressive powers, culminating in his famous series of scenes from the metropolis. “He abstracts the compulsion of the masses, the hectic quality of the traffic and the coquettes proffering themselves into a sensory experience and transforms everything into a resonant language possessing its own distinctive beauty. The rhythm of the metropolis Berlin pulsates in his ‘Straßenszenen’” (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, pp. 25 f.).
Between his sketches of the pulsating nightlife and their realisation in the form of paintings, we often find the medium of printmaking, which forced the artist to clarify their forms. The drawings, but also the etchings – such as the extremely rare sheet “Kokotten bei Nacht” – are characterised by speed and spontaneity. Driven by his own nervous anxiety and the speed all round him, Kirchner captured what was, for him, essential: the fleeting sensory impressions of the crowds of people, the traffic and the lights. Angular, agitated, overlapping strokes define the impression conveyed by the picture.
The luxuriance of the big feathered hats and feather boas, with which the “coquettes at night” of the title draw attention to themselves, stand in contrast to a scene otherwise defined by sharp angles. The two prostitutes are depicted as three-quarter figures in the foreground and are separated from one another by the street corner, which seems to thrust itself between them in the form of a sharp-edged wedge. The etching captivates its viewers through its formal rigour and the nuances among the sharp-edged lines of the impression.
Etching on copperplate printing paper. 25.3/26 x 20.1 cm (48.9/49.4 x 31.8/32.5 cm). Framed under glass. Signed and inscribed "184" by an unknown hand. Verso with stamp "Unverkäuflich E L Kirchner" and violet estate stamp "NACHLASS E.L. KIRCHNER" (Lugt 1570b) with handwritten number "R 184" Very rare, one of only 3 proofs known so far. - Fine impression with strong burr. - Minor marginal defects.
Gercken 659; Dube R. 187; Schiefler R. 184
Provenance
Artist's Estate; Galerie R. N. Ketterer, Campione d'Italia (1963); Galerie Theo Hill, Cologne (label verso); Private collection, Rhineland
With the thematic complex of the Berlin street scenes from 1914/1915, Ernst Ludwig Kirchner reaches the pinnacle of his expressive powers, culminating in his famous series of scenes from the metropolis. “He abstracts the compulsion of the masses, the hectic quality of the traffic and the coquettes proffering themselves into a sensory experience and transforms everything into a resonant language possessing its own distinctive beauty. The rhythm of the metropolis Berlin pulsates in his ‘Straßenszenen’” (Magdalena M. Moeller, Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, pp. 25 f.).
Between his sketches of the pulsating nightlife and their realisation in the form of paintings, we often find the medium of printmaking, which forced the artist to clarify their forms. The drawings, but also the etchings – such as the extremely rare sheet “Kokotten bei Nacht” – are characterised by speed and spontaneity. Driven by his own nervous anxiety and the speed all round him, Kirchner captured what was, for him, essential: the fleeting sensory impressions of the crowds of people, the traffic and the lights. Angular, agitated, overlapping strokes define the impression conveyed by the picture.
The luxuriance of the big feathered hats and feather boas, with which the “coquettes at night” of the title draw attention to themselves, stand in contrast to a scene otherwise defined by sharp angles. The two prostitutes are depicted as three-quarter figures in the foreground and are separated from one another by the street corner, which seems to thrust itself between them in the form of a sharp-edged wedge. The etching captivates its viewers through its formal rigour and the nuances among the sharp-edged lines of the impression.
Evening Sale - Moderne und Zeitgenössische Kunst
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Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
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