Lovis Corinth, one of the major German artists of the 20th century, was born an entire generation earlier than many artists who are now considered his contemporaries. He is often labeled as a German Impressionist but he never considered himself one nor did he consider himself an Expressionist. He was especially influenced by Rembrandt and Rubens.
Self Portrait with Model
Corinth showed an early talent for drawing and attended the Munich Academy in 1880 which rivaled Paris as the avant-garde art center in Europe at the time. There he was influenced by Courbet and the Barbizon school as they were interpreted by Munich artists, Wilhelm Leibl and Otto Trubner. He then traveled to Paris where he studied under William-Adolphe Bouguereau at the Academie Julian. In 1891, Corinth returned to Munich but in 1892, he abandoned the Munich Academy and joined the very first Secession. In 1894, he joined the Free Association and in 1899, he exhibited in an exhibition organized by the Berlin Secession. These nine Munich years were not his most productive and he was perhaps better known for his ability to drink large amounts of red wine and champagne.
In 1900, he moved to Berlin where he had a one-man exhibition at the famous gallery owned by Paul Cassirer. In 1902 at the age of 43, he opened a School of Painting for Women and married his first student, Charlotte Berend, some 20 years his junior. Charlotte was his youthful muse, spiritual partner and mother of his two children. She had a profound influence on him and family life became a major theme in his art during this time.
In 1911, he suffered a stroke and was partially paralyzed on his left side. With the help of his wife, a year later he was back to work with his right hand. It was during this time that landscapes became a significant part of his oeuvre. From 1915-1925, he was elected President of the Berlin Secession. In 1925, he traveled to Holland to look at his favorite Dutch masters and while there, caught pneumonia and died in Zanvoort.
Corinth explored every print technique except aquatint but drypoint and lithography were his favorites. His created his first etching in 1891 and his first lithograph in 1894. In 1919, he experimented with the woodcut medium but only made 11. Like Picasso, Corinth was quite prolific and in the last fifteen years of his life. He produced more than 900 graphic works including 60 self-portraits. The landscapes he created between 1919-1925 are perhaps the most desirable images of his entire graphic oeuvre.
When Hitler rose to power in 1933, Corinth's early works were left undisturbed but those works executed after his stroke were considered "Degenerate."
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by Klaus Albrecht – Hardcover: 226 pages; Te Neues Pub Group (Sep 1, 1992)
Lovis Corinth: A Feast of Painting
by Agnes Husslein-Arco, Stephan Koja – Paperback: 143 pages; Prestel (Mar 1, 2010)
The creator of an impressive and vibrant body of work, Lovis Corinth was one of the most renowned German artists of his time. He was prolific, creating more than 1,000 paintings in many genres including allegorical scenes, mythological and religious themes, still lifes, interiors, landscapes, self-portraits and portraits, dozens of which featured his beloved wife. A sensualist in his life and work, Corinth's paintings seem to embody an unbridled attack on the canvas.
Corinth suffered a debilitating stroke in middle-age believed to have been brought on in part by his libertine lifestyle, but the ensuing paralysis did nothing to curtail his impressive output and instead only served to strengthen the vitality of his work.
This book discusses the most significant events and works in Corinth's career and reproduces a representative sample of his art. An essay by neurologist Hansjorg Bazner explores the effects of Corinth's stroke on the artist's visual perception and the resulting consequences for his art.
Including a chapter on the key works in the collection of the Belvedere Museum in Vienna, an essay discussing Corinth's technique and a brief biographical overview, this volume is an exciting contribution to the study of this important artist.
Lovis Corinth: Die Gemalde
(Catalogue Raisonné) by Charlotte Berend-Corinth Hardcover: Cloth. 960 pages; Alan Wofsy Fine Arts (Jun 1992) Text in German
(California Studies in the History of Art, No 27) by Horst Uhr Volume 27, Hardcover: 347 pages; University of California Press, 1990
by Peter-Klaus et al. (Hg). Schuster – Hardcover; Prestel (1996); Language: German
An in-depth look at Lovis Corinth paintings.
Lovis Corinth: Die Gemälde (The Complete Paintings)
by Charlotte Berend-Corinth, Béatrice Hernad, Lovis Corinth (Illustrator) – Hardcover: 960 pages; Alan Wofsy Fine Arts; 2nd edition (Jun 1, 1992)
Catalogue raisonné of the paintings by German artist Lovis Corinth. 1858-1925.
by Lovis Corinth – Paperback: 140 pages; CreateSpace Independent Publishing Platform (Nov 23, 2013); Language: German
by Lovis Corinth, Christoph Vitali (Editor), Barbara Butts Hardcover: Prestel-Verlag, Oct 1996
Lovis Corinth was one of the most exciting artists to emerge from turn-of-the-century Germany. Together with Max Beckmann and Oskar Kokoschka, he became one of the greatest figurative painters of the early twentieth century. An outsider of astonishing individuality, he has resisted categorization by art historians in terms of Impressionism, Expressionism, and other movements.
Corinth began his career in the realist tradition in the 1880's, but he was soon at the vanguard of change. Following a period in Munich when his religious and mythological paintings brought him his first taste of fame, Corinth moved to Berlin in 1901, where he spearheaded the protest against Kaiser Wilhelm II's official policy on art. Towards the latter part of his career, Corinth's work clearly reflects his reactions to his own illness and to World War I. Objects are caught up in a play of broad, energetic brush strokes, the paste-like layers of paint applied in sweeping, parallel movements to produce the characteristic hatching that became his hallmark.
These later worksmainly landscapes, portraits and self-portraitscontinued to be an inspiration to representatives of later movements. Lovis Corinth provides a comprehensive analysis of the artist still little known outside Europe. The Munich and Berlin years, his sources and inspiration, his subject matter, his painting and drawing are examined by authors from America, Britain, and Germany. The book is beautifully illustrated with numerous colour reproductions of his oil paintings, watercolours, drawings, and graphic works, providing the definitive illustrated reference on the artist.