Talk about a study in contrasts!
Lovis Corinth was a Prussian painter born Franz Heinrich Louis. The adoption of a more exotic name was of a piece with how he lived, especially in his youth. Throughout his service in the military and his travels through Europe, he was passionate about art and passionate about being passionate.
The painting on top is an excellent bit of self-salesmanship. The English translation of its title is "Self Portrait with His Wife and a Glass of Champagne." With one hand he caresses the breast of a pretty young woman, naked to the waist. Her name was Charlotte Berend, and yes he did marry her. She was an artist in her own right as well. In the other hand he hoists a glass of red wine (so technically, not champagne.) This is the artist's life as imagined by many of those who aspire to it. It's also the artist's life as imagined by those who want to keep artists out of their neighborhood.
The lower painting, for obvious reasons, is titled "Self-Portrait with a Skeleton." Corinth, in his studio, looks more of a paunchy businessman. It's an earlier painting, which of course means he's actually younger. He and the skeleton together regard and interrogate the viewer. It could be part of a harrowing team interview. ("What would ya say...ya do here?") One window is open, perhaps providing much-needed ventilation on a hot and stifling day. This depiction of the artist's life is more realistic on a day-to-day basis. It may still be fun, but in a quieter way.
2 comments:
I like your interpretation of these two paintings. It appears Lovis led an interesting life both before and after his major success as an artist. By the time both of these images were created he was already successful - the portrait of him with his young talented wife is lovely. A happy time for them both.
The other one, 'Self-Portrait with a Skeleton', depicts the artist with the skeleton as model - a not unusual example of a common consideration in art at that time or any time. Perhaps it was his version of the theme or maybe he was envisioning himself as he would appear in the future and in the more distant future. He does look a bit dumpier than he really looked in 1896.
He and Charlotte married in 1903 and lived together until his death in 1925 when he was old but not that old. Still, when the Nazis came to power in the 30s as a Jewess she decided to relocate to New York with their children. Meanwhile during the war Lovis' paintings were labeled 'Degenerate Art' and collections of his work were broken up. Some were destroyed, others sold, and some sold to private buyers.
https://www.smb.museum/en/exhibitions/detail/in-sight/
Are you familiar with the work of a Spanish contemporary, Joaquín Sorolla y Bastida? Known as the painter of light long before the imposter Kincaid.
https://www.artsy.net/artwork/joaquin-sorolla-y-bastida-sewing-the-sail
He was a versatile painter, doing his share of landscapes and still lifes. His Wikipedia page shows a couple of paintings that depict raw meat as well. Where that fits in his oeuvre I'm not sure but it makes sense that he made some surveys of the things--and people--he loved.
Dumpy, perhaps, but with a certain authority. It may have been a deliberate choice to add flesh to his own countenance for a greater contrast with the skeleton. Other artists were doing this kind of subject, but it strikes me as an original take to put himself and the skeleton in a bright studio that's almost all window, affording a broad view of the city.
Corinth's works are filled with melodramatic touches, languid sensuality, and Fourth Wall breaks. I don't think that he'd be happy to know that his country's government would later label works of art "degenerate", but if they were I think he'd take a certain pride in being put in that category. Of course he didn't live to see that. Charlotte and his children were outside of his protection by that time as well, so it's good that she was able to get to the US when the Nazis came to power.
I am a bit familiar with Joaquin Sorolla, yes. He also did some breathtaking work, and his reputation as a master of light was well earned. Thomas Kincaid feels airless to me. Was he secretly doing a postmodern sendup?
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