COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000623
image_record_id
aahi0000623
Image Record ID
false
Work Title (display):
Torso of a Girl
Image Title:
3/4 view
Work Dates (display):
1913-1914
Work Dates type:
creation
Work Creator (display):
Wilhelm Lehmbruck (German, 1881-1919)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
(b Duisburg, 4 Jan 1881; d Berlin, 25 March 1919). German sculptor, painter and printmaker. He studied in Düsseldorf at the Kunstgewerbeschule from 1895 to 1901 and under Karl Janssen at the Kunstakademie from 1901 to 1906. His work was representative of established academic art. As well as making drawings of nudes and anatomical studies, he modelled works of typical contemporary subjects such as Siegfried and Shotputter (both clay, 1902; destr.); Woman Bathing (bronze, 1902; Duisburg, Lehmbruck-Mus.), however, displayed a new freedom and simplicity and one cast of it was bought by the Kunstakademie in Düsseldorf in 1904. Lehmbruck was inspired by works that he saw at the Deutsch-nationale Kunstausstellung (1902) and by the Internationale Kunstausstellung (1904), both held in Düsseldorf, particularly those by Jules Dalou, Constantin Meunier and Auguste Rodin. In September 1904 he travelled to the Netherlands and to Bournemouth and the south coast of England. After travelling in Italy (1905) he was heavily influenced by Michelangelo's work, and in particular the tombs of the Medici chapels in Florence. On leaving the academy Lehmbruck worked as an independent artist in Düsseldorf. He exhibited for the first time at the Deutsche Kunstausstellung, in Cologne in 1906. During a trip to Paris in 1907 he saw the sculpture of Aristide Maillol. While there he joined the Société Nationale des Beaux-Arts, and in Germany the Vereinigung Düsseldorfer Künstler. At this time his work was still conventional, for example the plaster model for a Monument to Work (c. 1906; Duisburg, Lehmbruck-Mus.). At the Ausstellung für Christliche Kunst in Düsseldorf (1909) he and Wilhelm Kreis exhibited work as part of a design for a cemetery. In the model for the Heine memorial (c. 1906), the drawings for reliefs of 190810 and the small bronze Standing Female Nude (375×95×75 mm, 1908; Duisburg, Lehmbruck-Mus.), however, an individual style of solid plasticity began to emerge, revealing a move away from the influences of Rodin and Meunier, and a new affinity with the sensual, rounded figures of Maillol. Lehmbruck decided to live in Paris after visiting and exhibiting there, especially because he recognized that he had made great strides in his recent work. In 1910 he moved into the Rue de Vaugirard, Montparnasse, where he met Bernhard Hoetger; he also made contact with André Derain, Constantin Brancusi and Alexander Archipenko. In Standing Female Figure (bronze, 1965×540×400 mm, 1910; artist's estate, see 1979 exh. cat., no. 5) he combined the statuesque qualities of Hans von Marées's work and the plasticity of Maillol's; he also produced his first etchings and oil sketches at this time. Lehmbruck exhibited Standing Female Figure at the Salon d'Automne in Paris in 1910 with Man (plaster, 1909; Duisburg, Lehmbruck-Mus.), a sculpture in which the influence of Rodin was still marked. A radical change of style took place in 1911, however, embodied in the expressionistic Woman Kneeling (torso, stone cast, 1911; Berlin, Alte N.G.) in which clarity of form was balanced with an expressive, almost Gothic spirit. While the tectonics learnt from Marées and the mythical elements remained, the sensual curves of Maillol began to disappear; Theodor Däubler called the new work 'the preface to Expressionism in sculpture' (1916 exh. cat., intro.). Lehmbruck developed this tendency further in Ascending Youth (cast stone, 1913), a figure inspired by Nietzsche's Also Sprach Zarathustra. In Paris Lehmbruck also came into contact with the avant-garde sculpture of Matisse, Modigliani, Derain and Archipenko. By this stage his own work was closer to that of Brancusi, although without the latter's subjective simplication of form and later geometric abstraction. In 1912 he exhibited in the Folkwang-Museum in Hagen, with Egon Schiele; Lehmbruck's existential figures shared great similarities with those of Schiele, while in their elongation, their tectonization and their clarity of form they were precursors of Max Beckmann's sculptural style of 191618. In contrast to the formal explorations by the avant-garde of Paris, the works of Schiele, Lehmbruck and Beckmann are characterized by their psychological depth and their Expressionism. In 1914 Lehmbruck had his first major one-man exhibition in the Galerie Levesque, Paris. With Ernst Barlach and Beckmann he became a director of the Berlin Free Secession. Lehmbruck was forced to leave Paris at the outbreak of World War I, moving to Berlin, where he sought to avoid conscription as a soldier, and where he was assigned to the Hospital Corps. During the war years Lehmbruck received financial support from the manufacturer Sally Falk in Mannheim. Lehmbruck's work was included in the first German Kollektivausstellung, held in the Kunsthalle, Mannheim, in 1916. In the same year he exhibited a major example of Expressionist sculpture at the Berlin Secession, Fallen Man (1916; Berlin, Neue N.G.), portraying in the gesture of the fallen soldier reaching for the hilt of a sword the tragedy of the victims of war. At the end of 1916 Lehmbruck emigrated to Switzerland. In Zurich he made contact with the Socialist L. Rubiner who collaborated on Franz Pfemfert's Aktion. He made portraits of friends such as Theodor Däubler (bust; destr.) and Rubiner. His second major work of the war years was Seated Youth (artificial stone cast, 1917; Frankfurt am Main, Städel. Kstinst.), also called The Friend, representing a naked youth mourning the victims of war. He planned further major works, including a Pietà for a war memorial and a kneeling youth, but he made only fragmentary sculptures, torsos such as Daphne (1918) and the metaphorical self-portrait Head of a Thinker (1918; Duisburg, Lehmbruck-Mus.). Lehmbruck met a young actress, Elisabeth Bergner, and made models and drawings of her head. Among Lehmbruck's etchings (dating from 1910) are the later studies of the Crucifixion and of a kneeling youth (Despair), the prints and sketches for Macbeth and for a planned Pietà. In 1919 he was elected into the Prussian Kunstakademie, but shortly afterwards he committed suicide. (Grove Art Online accessed 2007-10-23)
Work Style Period:
Modernist
work_styleperiod
Modernist
Work Style Period
false
Work Style Period:
Expressionist
work_styleperiod
Expressionist
Work Style Period
false
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
torsos (animal components)
subject
torsos (animal components)
Work Subject
false
Work Subject:
nudes (representations)
subject
nudes (representations)
Work Subject
false
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Work Material and Technique (display):
concrete
Work Measurements (display):
95 cm high
Work Location (Repository or Site) name:
Museum Ludwig
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
ML 76/SK61
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Cologne, Germany
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.