Notes
Introduction
1. Hans-Jürgen Imiela, Max Slevogt (Karlsruhe: Braun, 1968), p. 107.
2. Lovis Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), p. 44.
3. Ibid., p. 45.
2. Lovis Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), p. 44.
3. Ibid., p. 45.
4. See the perceptive analysis of the early critical literature on Corinth by Carla Schulz-Hoffmann, "Corinth im Urteil der Kunstkritik bis 1945," in the exhibition catalogue Lovis Corinth, 1858-1925: Gemälde und Druckgraphik , ed. Armin Zweite (Munich: Städtische Galerie im Lenbachhaus, 1975), pp. 102-109.
5. Edward Jewell in the exhibition catalogue Lovis Corinth (1858-1925): Paintings, Drawings, Prints (New York: Galerie St. Etienne, 1947), p. 3.
6. Quoted from Anita Brenner's review in the Brooklyn Daily Eagle , in the exhibition catalogue Lovis Corinth: Paintings from 1913-1925 (New York: Westermann Gallery, 1939), not paginated.
7. Quoted from the catalogue Lovis Corinth, 1858-1925: Retrospective Exhibition 1950-51 , not paginated.
8. See the exhibition catalogue Lovis Corinth (New York: Gallery of Modern Art, 1964), p. 25.
9. Wolfgang Max Faust and Gerd de Vries, Hunger nach Bildern: Deutsche Malerei der Gegenwart (Cologne: DuMont, 1982).
10. See Georg Bussmann, Lovis Corinth: Carmencita. Malerei an der Kante (Frankfurt: Fischer Taschenbuch, 1985); Klaus Fussmann, "The Colors of Dirt," Art Forum (1986): 106-109; Lovis Corinth, 1858-1925 , exhibition catalogue, ed. Zdenek Felix (Cologne: DuMont, 1985); Christos M. Joachimides, Norman Rosenthal, and Wieland Schmied, eds., Deutsche Kunst im 20. Jahrhundert: Malerei und Plastik, 1905-1985 (Munich: Prestel, 1986).
One— Youth and Student Years
1. Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), p. 11.
2. Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 194.
3. Ibid., p. 190.
4. Ibid., p. 191.
5. Ibid., pp. 12-13.
6. Ibid., p. 181. break
2. Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 194.
3. Ibid., p. 190.
4. Ibid., p. 191.
5. Ibid., pp. 12-13.
6. Ibid., p. 181. break
2. Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 194.
3. Ibid., p. 190.
4. Ibid., p. 191.
5. Ibid., pp. 12-13.
6. Ibid., p. 181. break
2. Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 194.
3. Ibid., p. 190.
4. Ibid., p. 191.
5. Ibid., pp. 12-13.
6. Ibid., p. 181. break
2. Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 194.
3. Ibid., p. 190.
4. Ibid., p. 191.
5. Ibid., pp. 12-13.
6. Ibid., p. 181. break
7. Corinth's earliest notes for the first chapter of the Selbstbiographie go back to the year 1892. They are included, together with original drafts for parts of Legenden aus dem Künstlerleben (some of which were not used in the final text), in Thomas Corinth, ed., Lovis Corinth: Eine Dokumentation (Tübingen: Wasmuth, 1979), pp. 17, 20-31, 40.
8. Corinth, Gesammelte Schriften , p. 12.
9. These early drawings are still in the possession of the artist's family. For a reproduction of Rain Landscape , the caricature of Corinth's teacher in the schoolyard, see Lovis Corinth, Legenden aus dem Künstlerleben , 3d ed. (Berlin: Bruno Cassirer, 1918), p. 25.
10. The drawing is not dated but is most likely identical with the first self-portrait Corinth is said to have made in 1873; see Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 187. Alfred Rohde, Der junge Corinth (Berlin: Rembrandt, 1941), p. 11, fig. 1, dates the drawing 1876.
11. Berend-Corinth, Die Gemälde von Lovis Corinth , lists forty-two self-portraits. Not included in her oeuvre catalogue is the one Corinth painted in Paris in 1886; see Rohde, Der junge Corinth , frontispiece. The oeuvre catalogues of Corinth's prints, Karl Schwarz, Das graphische Werk von Lovis Corinth , 3d enl. ed. (San Francisco: Alan Wofsy Fine Arts, 1985), and Heinrich Müller, Die späte Graphik von Lovis Corinth (Hamburg: Lichtwarkstiftung, 1960), account for a total of seventy self-portraits. The number of self-portraits among Corinth's drawings and watercolors cannot be determined, but it most likely exceeds the combined total of the self-portraits among his paintings and prints.
12. Stadt-Museum, Königsberg, Die Gemälde des Königsberger Stadt-Museums (Kunstsammlungen Stadt Königsberg, 1884), pp. 16-22.
13. Nikolaus Pevsner, Academies of Art: Past and Present (Cambridge: Cambridge University Press, 1940), p. 167; Ulrich Baltzer, "Aus den Anfängen der Königsberger Kunstakademie," in Königsberger Beiträge (1929), pp. 10-18.
14. See Lovis Corinth, "Ein Brief des Künstlers an den Herausgeber," Deutsche Kunst und Dekoration 41 (1917-1918): 31; and Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 228.
15. Corinth, Selbstbiographie , p. 72.
16. Ibid., p. 69. The Mater dolorosa of Trossin's engraving is now considered an old copy of the head of the Virgin from Guido Reni's large Crucifixion Altarpiece of 1616-1617 (Pinacoteca Nationale, Bologna), painted for the Capuchin Church outside Bologna. See D. Stephen Pepper, Guido Reni (Oxford: Phaidon, 1984), no. 55, pp. 234-235.
15. Corinth, Selbstbiographie , p. 72.
16. Ibid., p. 69. The Mater dolorosa of Trossin's engraving is now considered an old copy of the head of the Virgin from Guido Reni's large Crucifixion Altarpiece of 1616-1617 (Pinacoteca Nationale, Bologna), painted for the Capuchin Church outside Bologna. See D. Stephen Pepper, Guido Reni (Oxford: Phaidon, 1984), no. 55, pp. 234-235.
17. Corinth, Selbstbiographie , p. 68.
18. Corinth, Legenden aus dem Künstlerleben , pp. 27-29.
19. Corinth, Selbstbiographie , p. 92.
20. Ibid., p. 94.
19. Corinth, Selbstbiographie , p. 92.
20. Ibid., p. 94.
21. Quoted in the exhibition catalogue München, 1869-1958: Aufbruch zur modernen Kunst (Munich: Haus der Kunst, 1958), p. 28.
22. Ibid., p. 24.
21. Quoted in the exhibition catalogue München, 1869-1958: Aufbruch zur modernen Kunst (Munich: Haus der Kunst, 1958), p. 28.
22. Ibid., p. 24.
23. Wolfgang Becker, Paris und die deutsche Malerei, 1750-1840 , Studien zur Kunstgeschichte des neunzehnten Jahrhunderts 10 (Munich: Prestel, [1971]), p. 16.
24. Corinth, Selbstbiographie , pp. 85-86.
25. U. W. Züricher, ed., Familienbriefe und Gedichte von Karl Stauffer-Bern (Leipzig: Insel, 1914), pp. 130-131.
26. Ibid., pp. 115-116.
27. Ibid.
25. U. W. Züricher, ed., Familienbriefe und Gedichte von Karl Stauffer-Bern (Leipzig: Insel, 1914), pp. 130-131.
26. Ibid., pp. 115-116.
27. Ibid.
25. U. W. Züricher, ed., Familienbriefe und Gedichte von Karl Stauffer-Bern (Leipzig: Insel, 1914), pp. 130-131.
26. Ibid., pp. 115-116.
27. Ibid.
28. See Horst Uhr, "Lovis Corinth's Formation in the Academic Tradition: Evidence of the Kiel Sketchbook and Related Student Drawings," Arts Magazine 53 (1978): 87-88, fig. 4. break
29. Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), p. 136.
30. Corinth, Gesammelte Schriften , p. 33.
31. Corinth, Legenden aus dem Künstlerleben , pp. 54-55, and Selbstbiographie , pp. 100-101.
32. See Erich Hancke, Max Liebermann: Sein Leben und seine Werke , 2d ed. (Berlin: Bruno Cassirer, 1923), pp. 79-80.
33. Corinth, Selbstbiographie , p. 102.
34. Ibid.
33. Corinth, Selbstbiographie , p. 102.
34. Ibid.
35. On the artists' association Als Ik Kan , see Jean F. Buyck, "Antwerp, Als Ik Kan , and the Problem of Provincialism," in the exhibition catalogue Belgian Art, 1800-1914 (Brooklyn, N.Y.: Brooklyn Museum, 1980), pp. 71-80.
36. Corinth, Legenden aus dem Künstlerleben , p. 55.
37. See Buyck, "Antwerp, Als Ik Kan , and Provincialism," pp. 73-74.
38. Georg Biermann, Lovis Corinth , 2d ed. (Bielefeld: Velhagen und Klasing, 1922), pp. 39-40; Rohde, Der junge Corinth , p. 96; Alfred Kuhn, Lovis Corinth (Berlin: Propyläen, 1925), p. 45; Gert von der Osten, Lovis Corinth , 2d rev. ed. (Munich: Bruckmann, 1959), p. 22.
39. Corinth, Gesammelte Schriften , p. 35.
40. According to Corinth, the rejected picture was entitled In Fear . And according to Wilhelmine Corinth Klopfer, the painting survives, although its present where-abouts is unknown (letter dated March 9, 1989, to the author). Corinth was evidently thinking of some other work, just as he mentioned quite incorrectly that the painting In Fear was the only picture he completed in Antwerp. See Corinth, "Ein Brief des Künstlers." A photograph of In Fear is reproduced in Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 438, fig. 17.
41. Corinth, Selbstbiographie , p. 102.
42. Lajos [Ludwig] Hevesi, Altkunst-Neukunst: Wien, 1894-1908 (Vienna: C. Konegen, 1909), pp. 581-582.
43. On the Académie Julian, see Lovis Corinth, "In der Akademie Julian," Kunst und Künstler 3 (1905): 18-24; Hevesi, Altkunst-Neukunst , pp. 579-588; Corinth, Legenden aus dem Künstlerleben , pp. 50-68; William Rothenstein, Men and Memories: Recollections of William Rothenstein, 1872-1900 (New York: Coward-McCann, 1931), 1: 36-50; Archibald Standish Hartrick, A Painter's Pilgrimage through Fifty Years (Cambridge: Cambridge University Press, 1939), pp. 13-27; Hermann Schlittgen, Erinnerungen (Hamburg-Begedorf: Stromverlag, 1947), pp. 121-130; John Rewald, Post-Impressionism from Van Gogh to Gauguin , 2d ed. (New York: Museum of Modern Art, 1962), pp. 272-274; John Milner, The Studios of Paris: The Capital of Art in the Late Nineteenth Century (New Haven, Conn.: Yale University Press, 1988), pp. 11-14; Catherine Fehrer, "New Light on the Académie Julian and Its Founder (Rodolphe Julian)," Gazette des Beaux-Arts 103 (1984): 207-216.
44. See Kunst und Künstler 3 (1905): 22.
45. It is unlikely that, as Beatrice Pages has suggested, the inscription was intended to refer to the title of the famous war memorial of 1882 by Antonin Mercié in the French town of Belfort. The similarity between the inscription "Quand même" at Julian's and the title of Mercié's patriotic monument, Quand même! ou L'Alsacienne des Tuileries , is simply a coincidence. See Beatrice Pages, trans., "Un étudiant Allemand à Paris à l'Académie Julian," Gazette des Beaux-Arts 97 (1981): 225, n. 8. (This is a French translation of Corinth's article "In der Akademie Julian.")
46. Cf. Corinth, Legenden aus dem Künstlerleben , p. 57. The portrait drawing of Calame, dated 1884, is preserved in the Kestner-Museum, Hannover; a gouache portrait of Blaas (1885; private collection) is reproduced in the exhibition catalogue Lovis Corinth. Das Porträt (Karlsruhe: Badischer Kunstverein, 1967), no. 92. break
47. Corinth, Selbstbiographie , p. 105.
48. Corinth, Gesammelte Schriften , p. 30.
49. Ibid., p. 108.
48. Corinth, Gesammelte Schriften , p. 30.
49. Ibid., p. 108.
50. Hancke, Max Liebermann , p. 78.
51. Corinth, Legenden aus dem Künstlerleben , p. 52.
52. Corinth, "In der Akademie Julian," 19; and Legenden aus dem Künstlerleben , pp. 52-53.
53. Corinth, Legenden aus dem Künstlerleben , pp. 65-66.
54. Corinth, Selbstbiographie , p. 104.
55. Schlittgen, Erinnerungen , p. 126.
56. Jean Crespelle, Les maîtres de la belle époque (Paris: Hachette, 1966), p. 89.
57. Corinth, Gesammelte Schriften , p. 15.
58. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 32; for the context, see the column by Beurmann in the Basler Nachrichten , July 29, 1925, reprinted on pp. 31-32.
59. See Corinth, Legenden aus dem Künstlerleben , p. 68.
60. Corinth, Selbstbiographie , p. 108.
61. Corinth, "In der Akademie Julian," 21; and Legenden aus dem Künstlerleben , pp. 60-61.
62. See Georg Biermann, Der Zeichner Lovis Corinth , Arnolds Graphische Bücher, vol. 2, series 5 (Dresden, 1924), p. 10; on this drawing see also Thomas Deecke, "Die Zeichnungen von Lovis Corinth: Studien zur Stilentwicklung" (Ph.D. diss., Freie Universität, Berlin, 1973), pp. 35-36, no. 17, and p. 189, n. 68.
63. Horst Uhr, "The Drawings of Lovis Corinth" (Ph.D. diss., Columbia University, New York, 1975), pp. 75-77, plates 33-37.
64. For a recollection of Corinth's summer in Panker, see the column by E. Schaumburg from an unidentified newspaper of 1926, reprinted in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 33-34.
65. Ibid., p. 33.
64. For a recollection of Corinth's summer in Panker, see the column by E. Schaumburg from an unidentified newspaper of 1926, reprinted in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 33-34.
65. Ibid., p. 33.
66. Uhr, "The Drawings of Lovis Corinth," p. 79, plates 39, 40.
67. Corinth, Selbstbiographie , p. 105.
68. Corinth, Das Erlernen der Malerei , pp. 58-59.
69. Cf. Aristide Michel Perrot, Manuel de dessinateur; ou, traité complet du dessin , ed. A. Vergnaud, 3d rev. and enl. ed. (Paris, 1832), p. 105.
70. Corinth, Das Erlernen der Malerei , p. 88.
71. Ibid., pp. 88-89.
70. Corinth, Das Erlernen der Malerei , p. 88.
71. Ibid., pp. 88-89.
72. Walter Leistikow, "Über das Erlernen der Malerei," Die Kunst für Alle 23 (1908): 351.
73. Margarethe Moll, "Erinnerungen an Lovis Corinth," Neue deutsche Hefte 2 (1955): 197.
Two— Indecision and Change
1. Lovis Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 105.
2. Ibid., pp. 105-106.
1. Lovis Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 105.
2. Ibid., pp. 105-106.
3. Werner Doede, Berlin: Kunst und Künstler seit 1870 (Recklinghausen: Bongers, 1961), p. 39.
4. Paul Ortwin Rave, Kunst in Berlin (Berlin: Staneck Verlag, [1965]), p. 162.
5. For the exhibition reviews by Friedrich Pecht, see Die Kunst für Alle 1, no. 18-2, no. 3 (1886). break
6. Pecht, in Die Kunst für Alle 1 (1886): 268.
7. See Georg Voss, "Die Berliner Kunstausstellung," Die Kunst für Alle 2 (1887): 356-359 and 369-371.
8. See Cornelius Gurlitt, Die deutsche Kunst seit 1800: Ihre Ziele und Taten , 4th ed. (Berlin: Georg Bondi, 1924), pp. 419-420.
9. Laforgue's essay, originally intended for translation and publication in a German newspaper, was subsequently published under the title "L'Impressionisme" in Jules Laforgue, Mélanges posthumes , vol. 3 of Oeuvres complètes , 4th ed. (Paris: Mercure, 1902-1903), 133-144. See also Barbara Ehrlich White, Impressionism in Perspective (Englewood Cliffs, N.J.: Prentice Hall, c. 1978), pp. 33-34.
10. Corinth, Selbstbiographie , p. 106.
11. Gert von der Osten, Lovis Corinth , 2d rev. ed. (Munich: Bruckmann, 1959), p. 188. Von der Osten also lists an artist by the name of Rehländer. Herrmann Katsch mentions several additional members: Nicolaus Geiger, Johann Mühlenbruch, and one Kurt Herrmann Zaak. Two architects, one called Eichhorn, the other Höniger, also attended the Abendakt . See Herrmann Katsch, "Meine Erinnerungen an Karl Stauffer-Bern," Die Kunst für Alle 25 (1909): 11-18 and 59-68.
12. Käthe Kollwitz studied with Stauffer-Bern for one year, from 1885 to 1886. Recognizing her innate talent as a graphic artist, Stauffer-Bern encouraged her to develop her drafting, although she herself was at the time still thinking of becoming a painter. Stauffer-Bern introduced Kollwitz to the prints of Max Klinger, whose cycle A Life (1883) made a deep impression on the young woman. Klinger's work was to remain for her a lifelong source of inspiration. See Käthe Kollwitz, Ich will wirken in dieser Zeit , introd. Friedrich Ahlers-Hestermann (Berlin: Mann, 1952), p. 31.
13. See Max Lehrs, Karl Stauffer-Bern , 1857-1891: Ein Verzeichnis seiner Radierungen und Stiche (Dresden: Ernst Arnold, 1907); and Hans Wolfgang Singer, Karl Stauffer-Bern: Die Radierungen und Stiche des Künstlers (Berlin: Amsler und Ruthardt, 1919).
14. Quoted in Georg Jacob Wolf, Karl Stauffer-Bern (Munich: D. und R. Bischoff, 1907), p. 17.
15. Conrad von Mandach, Stauffer-Bern: Handzeichnungen (Landschlacht/Bodensee: Verlag Dr. Carl Hoenn, [1924]), pp. 8-10.
16. Heinrich Weizsäcker, "Karl Stauffer-Bern," Die Kunst unserer Zeit 3 (1892): 55.
17. Lovis Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), p. 50.
18. Wolf, Karl Stauffer-Bern , p. 50.
19. See Herbert Eulenberg, Lovis Corinth: Ein Maler unserer Zeit (Munich: Delphin, 1917), p. 8; and Paul Eipper, Ateliergespräche mit Liebermann und Corinth , ed. Veronika Eipper (Munich: Piper, 1971), pp. 52-53.
20. The inscription "Paris 1885" on the drawing in Hamburg was added at a later date. The drawing is stylistically incompatible with Corinth's graphic output from the Paris years but entirely in keeping with the drawings he made at Der Nasse Lappen.
21. Corinth, Gesammelte Schriften , p. 15.
22. Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), p. 135.
23. For an excerpt from the review published in the Berliner National Zeitung in February 1888, see Thomas Corinth, ed., Lovis Corinth: Eine Dokumentation (Tübingen: Wasmuth, 1979), p. 36.
24. Charlotte Berend-Corinth, Lovis (Munich: Langen-Georg Müller Verlag, 1958), pp. 114-115.
25. Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 60.
26. Alfred Rohde, Der junge Corinth (Berlin: Rembrandt, 1941), p. 108. break
27. Corinth, Selbstbiographie , p. 108.
28. Besides the painting in Munich, which remained in Trübner's possession until 1910, the Christ in the Tomb is known in two additional, closely related, versions (Kunsthalle, Hamburg; Staatsgalerie, Stuttgart). Corinth, who became closely acquainted with Trübner only in 1892, may have seen the painting in Munich in the early 1880s. Writing in 1913, he praised the picture as Trübner's best work and went so far as to compare it favorably with works by Holbein and Grünewald. See Corinth, Gesammelte Schriften , p. 36.
29. Corinth, Selbstbiographie , p. 108.
30. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 78.
31. Peter Hahn, "Das literarische Figurenbild bei Lovis Corinth" (Ph.D. diss., Eberhard-Karls-Universität, Tübingen, 1970), p. 44.
32. See Rohde, Der junge Corinth , p. 120.
33. For references to the painting, see Berend-Corinth, Die Gemälde von Lovis Corinth , p. 64.
34. See Thomas Deecke, "Die Zeichnungen von Lovis Corinth: Studien zur Stilentwicklung" (Ph.D. diss., Freie Universität, Berlin, 1973), pp. 46-47.
35. Corinth, Selbstbiographie , p. 108.
36. August Endell, Um die Schönheit: Eine Paraphrase über Münchner Kunstausstellungen 1896 (Munich: Verlag Emil Franke, 1896), pp. 66-67.
37. Lovis Corinth, Legenden aus dem Künstlerleben , 3d ed. (Berlin: Bruno Cassirer, 1918), p. 86.
38. Gurlitt, Die deutsche Kunst seit 1800 , p. 407.
39. Kenworth Moffett, Meier-Graefe as Art Critic . Studien zur Kunst des neunzehnten Jahrhunderts 19 (Munich: Prestel, [1973]), p. 54.
40. Hans Rosenhagen, Würdigungen (Berlin: Hermann Nabel, 1902), p. 81.
41. Quoted in John Rewald, Post-Impressionism from Van Gogh to Gauguin , 2d ed. (New York: Museum of Modern Art, 1962), p. 149.
42. Hermann Bahr, Die Überwindung des Naturalismus (Dresden: E. Pierson, 1891), p. 152.
43. Gurlitt, Die deutsche Kunst seit 1800 , p. 402.
44. The critical events leading up to the founding of the Munich Secession took place between February and November 1892. For a detailed account, see Hermann Uhde-Bernays, Die Münchner Malerei im neunzehnten Jahrhundert, vol. 2, 1850-1900 (Munich: Bruckmann, 1927), pp. 233-241. For additional observations, see Corinth, Selbstbiographie , pp. 108-109; Hermann Schlittgen, Erinnerungen (Hamburg-Begedorf: Stromverlag, 1947), pp. 198-199; and Siegfried Wichmann, Secession: Europäische Kunst um die Jahrhundertwende (Munich: Haus der Kunst, 1964), pp. 6-9.
45. Cf. Corinth, Selbstbiographie , pp. 110-111, and Schlittgen, Erinnerungen , p. 109.
46. For Eckmann's letter to Trübner, see Hans-Jürgen Imiela, Max Slevogt (Karlsruhe: Braun, 1968), p. 352, n. 19.
47. Corinth, Selbstbiographie , p. 109.
48. See the excerpt from a review of January 29, 1892, in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 38-39.
49. Corinth, Gesammelte Schriften , p. 33.
50. This humorous skit, which was never performed because of Corinth's break with the Munich Artists' Association, is published in Alfred Kuhn, Lovis Corinth (Berlin: Propyläen, 1925), pp. 209-212. For a well-illustrated, concise history of Allotria, see Eugen Roth, ed., Ein halbes Jahrhundert Münchner Kulturgeschichte: Erlebt mit der Künstlergesellschaft Allotria (Munich: Thiemig, 1959). For Corinth's own memories of this beloved institution, see Legenden aus dem Künstlerleben , pp. 131-156. break
51. Berend-Corinth, Die Gemälde von Lovis Corinth , p. 65, no. 92.
52. On Arthur Langhammer, another member of Allotria, and his faithful dog Hipp, see Corinth, Legenden aus dem Künstlerleben , pp. 137-138.
53. Quoted from the exhibition catalogue Katalog der Ausstellung des Nachlasses Walter Leistikows in Berlin W . (Berlin: Salon Cassirer, 1908), p. 14.
54. See Kathryn Bloom Hisinger, ed., Art Nouveau in Munich: Masters of Jugendstil (Munich: Prestel, in association with the Philadelphia Museum of Art, 1988), pp. 49-55.
55. Friedrich Ahlers-Hestermann, Stilwende: Aufbruch der Jugend um 1900 (Berlin: Mann, 1941), p. 27.
56. Corinth, Legenden aus dem Künstlerleben , pp. 73-74; see also Hisinger, Art Nouveau in Munich , pp. 158-159.
57. Corinth, Gesammelte Schriften , p. 20.
58. Ibid., p. 15.
59. Ibid., p. 16.
57. Corinth, Gesammelte Schriften , p. 20.
58. Ibid., p. 15.
59. Ibid., p. 16.
57. Corinth, Gesammelte Schriften , p. 20.
58. Ibid., p. 15.
59. Ibid., p. 16.
60. Hahn, "Das literarische Figurenbild bei Lovis Corinth," pp. 58-64.
61. Max Klinger, Malerei und Zeichnung , 6th ed. (Leipzig: Thieme, 1913), p. 65.
62. Hans Wolfgang Singer, ed., Briefe von Max Klinger aus den Jahren 1874-1919 (Leipzig: Seemann, 1924), pp. 65-66.
63. Klinger, Malerei und Zeichnung , p. 44.
64. Ibid.
63. Klinger, Malerei und Zeichnung , p. 44.
64. Ibid.
65. See the excerpt from the review in Die Gegenwart , reproduced in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 44-45.
66. Corinth's admiration for Heine and Gulbransson is documented by his articles "Thomas Theodor Heine und Münchens Kunstleben am Ende des vorigen Jahrhunderts," Kunst und Künstler 4 (1906): 143-156, and "Olaf Gulbransson," Kunst und Künstler 6 (1907): 55-64; reprinted in Corinth, Legenden aus dem Künstlerleben , pp. 83-98 and 99-109, respectively.
67. Corinth's other illustrations for Jugend include A Secret (Jugend 1:57), Nude Girl by the Water ( Jugend 1:312), and Faust: The Garden Scene (Jugend 1:647). Sleep, Baby, Sleep , an illustration to Paul Cahr's short story of the same title, appeared in Simplizissimus 1, no. 21.
68. Joseph Ruederer, Tragikomödien (Berlin: Georg Bondi, 1897).
69. See p. 68.
70. Corinth, Gesammelte Schriften , p. 18.
71. See Hahn, "Das literarische Figurenbild bei Lovis Corinth," p. 71.
72. See Berend-Corinth, Lovis , p. 227.
73. See Corinth, Das Erlernen der Malerei , p. 163.
74. For an excerpt from the review, see Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 48.
75. For a reproduction of the caricature, see the exhibition catalogue Lovis Corinth , 1858-1925: Gemälde und Druckgraphik (Munich: Städtische Galerie im Lenbachhaus, 1975), p. 36.
76. See Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 45.
77. See Hahn, "Das literarische Figurenbild bei Lovis Corinth," pp. 122-124.
78. Friedrich Wolters, Stefan George und die Blätter für die Kunst: Deutsche Geistesgeschichte seit 1890 (Berlin: Georg Bondi, 1930), p. 81.
79. Peg Weiss, Kandinsky in Munich: The Formative Jugendstil Years (Princeton, N. J.: Princeton University Press, 1979), p. 192, n. 17.
80. Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst , 2d ed. (Stuttgart: J. Hoffmann, 1924), 2:710. break
81. See Andreas Haus, "Gesellschaft, Geselligkeit, Künstlerfest: Franz von Lenbach und die Münchner Allotria," in the exhibition catalogue Franz von Lenbach, 1836-1904 , ed. Rosel Gollek and Winfried Ranke (Munich: Städtische Galerie im Lenbachhaus, 1986), pp. 99-116.
82. Quoted from the anonymous article "Das Münchner Künstlerfest 1898," Die Kunst für Alle 13 (1898): 197-198.
83. Max Halbe, Gesammelte Werke (Munich: A. Langen, 1917), 1: 5:
Dir ist bestimmt zu wandern auf Erden.
Der andern ihr Glück soll deines nicht werden.
Sollst suchen und irren in unsteter Hast,
An reichster Tafel friedloser Gast.
Und wie du auch jagst von Westen nach Osten,
Den Jammer der Welt, du sollst ihn durchkosten,
Und wo du nur irrst in Nord oder Süd,
Dein Kräutlein, dein Kräutlein nirgendwo blüht.
Zu suchen bist du verdammt auf Erden.
Der andern ihr Glück soll deines nicht werden,
Der andern Ihr Frieden, dir leiht er nicht Ruh!
Ein flüchtiger Wandrer, ein Kämpfer bist du.
84. Max Halbe, Jahrhundertwende: Geschichte meines Lebens, 1893-1914 (Danzig: A. W. Kafemann, 1935), p. 329.
85. Friedrich Nietzsche, Gesammelte Werke (Leipzig: Kröner, 1910), 6: 67.
86. Halbe, Jahrhundertwende , p. 113.
87. For a detailed account of Nietzsche's expanding reputation in Germany in the 1890s, see R. A. Nicholls, "Beginning of the Nietzsche Vogue in Germany," Modern Philosophy 56 (1958-1959): 24-37.
88. See Corinth's letter of July 18, 1898, to Dr. Carl Graeser, in Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 53.
89. See Wolfgang Schlenck, 100 Jahre Evangelische Kirche Bad Tölz, 1880-1980 (Bad Tölz: Evangelisch-Lutherisches Pfarramt, 1980), no pagination; and Peter-Klaus Schuster, " München leuchtete": Karl Caspar und die Erneuerung christlicher Kunst in München um 1900 (Munich: Prestel, 1984), pp. 197-198.
90. See Corinth's letter of November 4, 1901, to Dr. Carl Graeser, in Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 67.
91. This relief is reproduced in Rohde, Der junge Corinth , p. 118, fig. 86; for a related discussion of similar themes by the young Max Beckmann, see Barbara C. Buenger, "Max Beckmann's Amazonenschlacht: Tackling 'die grosse Idee,'" Pantheon 42 (1984): 140-150.
92. Cf. Joseph Ruederer, Wallfahrer- Maler- und Mördergeschichten , 3d ed. (Munich: Süddeutsche Monatshefte, 1913), p. 88.
93. Halbe, Jahrhundertwende , p. 272.
94. In 1898 and 1900 Corinth painted individual portraits of two of the men included in the Munich group portrait (B.-C. 163, 204). In 1906 and 1919 he painted portraits of two other members of the lodge (B.C. 329, 779, 780). The Johannes Lodge originally possessed three of these portraits; it still owns the portrait of Conrad Müller (B.-C. 204), standing second from the left in the group portrait. break
95. For the identification of the individuals represented, see Hans-Jürgen Imiela, "Die Porträts Lovis Corinths" (Ph.D. diss., Johannes-Gutenberg-Universität, Mainz, 1955), p. 201, n. 162.
96. See ibid., p. 46.
95. For the identification of the individuals represented, see Hans-Jürgen Imiela, "Die Porträts Lovis Corinths" (Ph.D. diss., Johannes-Gutenberg-Universität, Mainz, 1955), p. 201, n. 162.
96. See ibid., p. 46.
97. See Leo Michelson, "Corinths letzte Tage in Amsterdam," Kunst und Künstler 26 (1926): 14.
98. See Imiela, "Die Porträts Lovis Corinths," pp. 45-46, 202, n. 164, for specific examples of paintings by Dirck Jacobsz.
99. See Doede, Berlin: Kunst und Künstler seit 1870, p. 55; and Lovis Corinth, Das Leben Walter Leistikows: Ein Stück Berliner Kulturgeschichte (Berlin: Paul Cassirer, 1910), pp. 29-50.
100. Das Leben Walter Leistikows , pp. 51-66; and Peter Paret, The Berlin Secession: Modernism and Its Enemies in Imperial Germany (Cambridge: Harvard University Press, Belknap Press, 1980), pp. 59-91.
101. Liebermann's introduction is reprinted in Max Liebermann, Gesammelte Schriften (Berlin: Bruno Cassirer, 1922), pp. 255-256.
102. See Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 57-58. For the portrait Corinth painted at this time of Max Liebermann, see Berend-Corinth, Die Gemälde von Lovis Corinth , B.-C. 180.
103. See the letter from Hans Rosenhagen to Charlotte Berend, in Berend-Corinth, Die Gemälde von Lovis Corinth , pp. 191-192.
104. See also Imiela, "Die Porträts Lovis Corinths," pp. 56-57.
105. Despite the date inscribed on the canvas, Charlotte Berend dates the picture 1899. See Berend-Corinth, Die Gemälde von Lovis Corinth , B.-C. 171.
106. See Hugo Daffner, Salome: Ihre Gestalt in Geschichte und Kunst. Dichtung—bildende Kunst—Musik (Munich: H. Schmidt, [c. 1912]); see also J. Adolf Schmoll gen. Eisenwerth, "Salome 1900," Du 8 (1981): 45-53; and in the same issue, 20-44, 54-59; for a more recent, feminist, account of the popularity of the Salome theme, see Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (New York: Oxford University Press, 1986), pp. 379-393.
107. Cf. Mario Praz, The Romantic Agony , 2d ed. (London: Oxford University Press, 1970), p. 315; Dijkstra, Idols of Perversity , pp. 395-396; Jules Laforgue, Six Moral Tales , ed. and trans. Frances Newman (New York: Horace Liveright, 1928).
108. In Berend-Corinth's catalogue this painting is incorrectly dated 1899. On the origin of the portrait, see the excerpt from the letter of January 29, 1959, from Bianca Israel to Thomas Corinth, in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 59-60.
109. Hans Rosenhagen, "Die zweite Ausstellung der Berliner Secession," Die Kunst 1 (1900): 462.
110. See the note on p. 307 of Alfred Lichtwark, Briefe an Max Liebermann , ed. Carl Schellenberg (Hamburg: J. Trautmann [im Auftrage der Lichtwarkstiftung], 1947).
111. Paul Fechter, Menschen und Zeiten: Begegnungen aus fünf Jahrzehnten (Gütersloh: C. Bertelsmann, [c. 1948]), p. 94.
112. See Corinth, Selbstbiographie , p. 119.
113. See the various letters mentioning the painting, in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 65-66.
114. The date on the canvas, somewhat illegible, is frequently read as 1900. The last numeral, however, can just as easily be read as a 1. Max Halbe, moreover, remembers the portrait as having been painted in 1901. See Halbe, Jahrhundertwende , p. 325.
115. As a result of subsequent renumbering, this house later had the number 48. break
Three— Maturity
1. For a useful reference, see Donald E. Gordon, Modern Art Exhibitions, 1900-1916 , Materialien zur Kunst des 19. Jahrhunderts, vol. 14, parts 1-2 (Munich: Prestel, 1974).
2. Quoted from Peter Paret, The Berlin Secession (Cambridge: Harvard University Press, Belknap Press, 1980), p. 65.
3. Quoted from Werner Doede, Berlin: Kunst und Künstler seit 1870 (Recklinghausen: Bongers, 1961), p. 82.
4. See Lovis Corinth, Das Leben Walter Leistikows: Ein Stück Berliner Kulturgeschichte (Berlin: Paul Cassirer, 1910), p. 29.
5. Paret, The Berlin Secession , p. 81; see also Marion F. Deshmukh, "Art and Politics in Turn-of-the-Century Berlin: The Berlin Secession and Kaiser Wilhelm II," in Turn of the Century: German Literature and Art, 1890-1915 , ed. Gerald Chapple and Hans H. Schulte, 463-475, McMaster Colloquium on German Literature 2 (Bonn: Bouvier, 1981).
6. Lovis Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 149.
7. For the memories of Wanda Schlepp, see Thomas Corinth, ed, Lovis Corinth: Eine Dokumentation (Tübingen: Wasmuth, 1979), pp. 107-108; for further brief references, see the letter of November 15, 1907, from August Macke to his wife and the letter of August 12, 1960, from Jakob Steinhardt to Thomas Corinth, excerpted in ibid., p. 116.
8. Corinth, Selbstbiographie , p. 120.
9. Ibid.
8. Corinth, Selbstbiographie , p. 120.
9. Ibid.
10. See Charlotte Berend-Corinth, Mein Leben mit Lovis Corinth (Munich: List, 1958), p. 86 (entry for March 15, 1926); and Charlotte Berend-Corinth, Lovis Corinth: Bildnisse der Frau des Künstlers , introd. Carl Georg Heise (Stuttgart: Reclam, 1958), pp. 18-19.
11. Berend-Corinth, Mein Leben mit Lovis Corinth , p. 18 (entry for September 26, 1925).
12. Ibid., pp. 117-120 (entry for April 30, 1927).
11. Berend-Corinth, Mein Leben mit Lovis Corinth , p. 18 (entry for September 26, 1925).
12. Ibid., pp. 117-120 (entry for April 30, 1927).
13. Both the drawing and the oil sketch were signed at a later date and incorrectly inscribed with the year 1903.
14. Berend-Corinth, Lovis Corinth: Bildnisse der Frau des Künstlers , p. 21.
15. See Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), pp. 10, 139.
16. Hans-Jürgen Imiela, "Die Porträts Lovis Corinths" (Ph.D. diss., Johannes-Gutenberg-Universität, Mainz, 1955), p. 82.
17. Charlotte Berend-Corinth, Lovis (Munich: Langen-Georg Müller Verlag, 1958), pp. 125-126.
18. Elvira Olschky, "Erinnerungen an Corinth," Die Kunst 27 (1926): 248.
19. Max Liebermann, Die Phantasie in der Malerei: Schriften und Reden , ed. and introd. Günter Busch (Frankfurt: S. Fischer, 1978), p. 49.
20. Gustav Pauli, "Lovis Corinth," Kunst und Künstler 16 (1918): 338.
21. Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst , 3d ed. (Munich: Piper, 1920), 2: 361-362.
22. Corinth, Selbstbiographie , pp. 120-121.
23. Barbara C. Buenger, "Max Beckmann's Amazonenschlacht: Tackling 'die grosse Idee,'" Pantheon 42 (1984): 140-150. For a later influence of Corinth on Beckmann, see Siegfried Gohr, "Max Beckmanns zwei Frauen von 1940—eine Antwort auf Corinth," Museen der Stadt Köln Bulletin 4 (1982): 44-45.
24. See Corinth, Das Erlernen der Malerei , opposite p. 48.
25. Ibid., p. 170. break
24. See Corinth, Das Erlernen der Malerei , opposite p. 48.
25. Ibid., p. 170. break
26. Berend-Corinth, Mein Leben mit Lovis Corinth , p. 94 (entry for May 18, 1926).
27. Corinth, Selbstbiographie , p. 165.
28. Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 88.
29. See Peter Hahn, "Das literarische Figurenbild bei Lovis Corinth" (Ph.D. diss., Eberhard-Karls-Universität, Tübingen, 1970), p. 91.
30. Ibid.
29. See Peter Hahn, "Das literarische Figurenbild bei Lovis Corinth" (Ph.D. diss., Eberhard-Karls-Universität, Tübingen, 1970), p. 91.
30. Ibid.
31. In a letter Liebermann wrote to Wilhelm Bode; quoted in Hermann Uhde-Bernays, ed., Künstlerbriefe über Kunst: Bekenntnisse von Malern, Architekten, und Bildhauern aus fünf Jahrhunderten (Dresden: W. Jess, [1926]), p. 649.
32. Cf. Peter Selz, "E. L. Kirchner's 'Chronik der Brücke,'" College Art Journal 10 (1950): 50.
33. Peter Selz, Max Beckmann , exhibition catalogue (New York: Museum of Modern Art, 1964), pp. 26-30.
34. See Horst Uhr, "The Drawings of Lovis Corinth" (Ph.D. diss., Columbia University, 1975), p. 177, plate 114; and Hahn, "Das literarische Figurenbild bei Lovis Corinth," p. 91.
35. Berend-Corinth, Die Gemälde von Lovis Corinth , p. 95.
36. Berend-Corinth, Mein Leben mit Lovis Corinth , p. 59 (entry for December 16, 1925).
37. Corinth, Das Erlernen der Malerei , p. 89.
38. Berend-Corinth, Lovis , p. 104. For other figure compositions in this context, see B.-C. 229, 231, 315, 323, 337, 348, 349, 351, 353, 387, 388, 390, 412, 415, 416, 418, 457, 459, 476.
39. Berend-Corinth, Die Gemälde von Lovis Corinth , p. 100.
40. Corinth, Das Erlernen der Malerei , pp. 88-89.
41. Ibid., p. 131.
40. Corinth, Das Erlernen der Malerei , pp. 88-89.
41. Ibid., p. 131.
42. For Corinth's comments on this painting, see his letters to Charlotte Berend in Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 76-81.
43. Georg Biermann, Lovis Corinth , 2d ed. (Bielefeld: Velhagen und Klasing, 1922), pp. 88-89.
44. See Trudis Goldsmith-Reber, "Max Reinhardt als Wegbereiter der modernen Bühnenkunst: Seine Zusammenarbeit mit Malern und Architekten von 1905-1915," in Chapple and Schulte, Turn of the Century: German Literature and Art, 1890-1915 , pp. 291-310.
45. Carl Niessen, Max Reinhardt und seine Bühnenbilder (Cologne: Wallraf-Richartz-Museum, 1958), p. 13.
46. See Oliver Martin Sayler, ed., Max Reinhardt and His Theatre (New York: Brentano's, [1924]), p. 134.
47. In 1911 Corinth also prepared two oil sketches for Das Rheingold (B.-C. 513, 514) as part of a projected new production of Wagner's Ring cycle at the Dresden Opera. See Thomas Corinth, Lovis Corinth: Eine Dokumentation , pp. 149, 151. As late as 1922 Victor Barnowsky commissioned Corinth to paint sixteen oil sketches (B.-C. 877-892) that were translated by professional scenery painters into sets for a performance of Goethe's Faust at the Lessingtheater, Berlin. For this production Corinth also prepared twenty color sketches for figurines of the major characters. See ibid., pp. 285, 287, 288.
48. Corinth, Das Erlernen der Malerei , p. 143.
49. Tilla Durieux, Eine Tür steht offen: Erinnerungen (Berlin-Grunewald: Herbig, [c. 1954]), pp. 26-27.
50. Franz Hadamowsky, ed., Max Reinhardt: Ausgewählte Briefe, Reden, Schriften, und Szenen aus Regiebüchern (Vienna: Prachner, 1963), p. 18. break
51. Ibid., p. 91.
50. Franz Hadamowsky, ed., Max Reinhardt: Ausgewählte Briefe, Reden, Schriften, und Szenen aus Regiebüchern (Vienna: Prachner, 1963), p. 18. break
51. Ibid., p. 91.
52. Durieux, Eine Tür steht offen , p. 39. For Corinth's role portraits, see also the chapter "Das Schauspieler-Rollenporträt," in Imiela, "Die Porträts Lovis Corinths," pp. 98-106.
53. Berend-Corinth, Lovis , p. 103.
54. Quoted from Hans Konrad Röthel, introduction to Berend-Corinth, Die Gemälde von Lovis Corinth , p. 42.
55. Gert von der Osten, Lovis Corinth , 2d rev. ed. (Munich: Bruckmann, 1959), p. 96.
56. Margarethe Moll, "Erinnerungen an Lovis Corinth," Neue deutsche Hefte 2 (1955): 196.
57. Corinth, Selbstbiographie , p. 89.
58. Ibid., p. 90.
57. Corinth, Selbstbiographie , p. 89.
58. Ibid., p. 90.
59. Berend-Corinth, Lovis , p. 82.
60. See Paret, The Berlin Secession , p. 201.
61. Karl Scheffler, "Berliner Secession," Kunst und Künstler 10 (1912): 434. For the controversies surrounding the Secession, see Paret, The Berlin Secession , pp. 200-217.
62. Carl Vinnen, ed., Ein Protest deutscher Künstler (Jena: E. Diederichs, 1911).
63. Reprinted in Lovis Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), pp. 59-62.
64. Subsequently reprinted as Alfred Walter Heymel, ed., Deutsche und Französische Kunst (Munich, 1911).
65. On Vinnen's Protest deutscher Künstler and the various responses, see Paret, The Berlin Secession , pp. 182-199.
66. See Corinth, Das Erlernen der Malerei , pp. 85-86.
Plates
67. See Emil Waldmann, "Edouard Manet in der Sammlung Pellerin," Kunst und Künstler 8 (1910): 387-398.
68. See Liebermann, Die Phantasie in der Malerei: Schriften und Reden , pp. 43-66.
69. Quoted in Hans-Jürgen Imiela, Max Slevogt (Karlsruhe: Braun, 1968), p. 122. On the problematic nature of "German Impressionism," see the chapter "Der sogenannte deutsche Impressionismus," pp. 107-125.
70. Alfred Lichtwark, Das Bildnis in Hamburg (Hamburg: Der Kunstverein zu Hamburg, 1899), 1: 7-9.
71. Alfred Hentzen, "Die Entstehung der Bildnisse des Historikers Eduard Meyer von Lovis Corinth in der Kunsthalle in Hamburg," Jahrbuch der Hamburger Kunstsammlungen 6 (1961): 117-142.
72. Ibid., 127-128.
71. Alfred Hentzen, "Die Entstehung der Bildnisse des Historikers Eduard Meyer von Lovis Corinth in der Kunsthalle in Hamburg," Jahrbuch der Hamburger Kunstsammlungen 6 (1961): 117-142.
72. Ibid., 127-128.
73. Lichtwark suggested that the pages might be the text of an address the dean was about to give. See ibid., 135.
74. See ibid., 142.
73. Lichtwark suggested that the pages might be the text of an address the dean was about to give. See ibid., 135.
74. See ibid., 142.
Four— Crisis
1. See Gert von der Osten, Lovis Corinth , 2d rev. ed. (Munich: Bruckmann, 1959), p. 113.
2. Lovis Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 123.
3. See Alfred Kuhn, "Erinnerungen an Lovis Corinth," Zeitschrift für bildende Kunst 59 (1925): 196.
4. Charlotte Berend-Corinth, Mein Leben mit Lovis Corinth (Munich: List, 1958), p. 103 (entry for November 3, 1926), and Lovis (Munich: Langen-Georg Müller Verlag, 1958), pp. 132-133. break
5. See also Thomas Corinth, ed., Lovis Corinth: Eine Dokumentation (Tübingen: Wasmuth, 1979), p. 156.
6. Berend-Corinth, Lovis , pp. 133-141.
7. See also Imiela, "Die Porträts Lovis Corinths" (Ph.D. diss., Johannes-Gutenberg-Universität, Mainz, 1955), p. 131.
8. Charlotte Berend-Corinth, Lovis Corinth: Bildnisse der Frau des Künstlers (Stuttgart: Reclam, 1958), pp. 17-18.
9. Berend-Corinth, Lovis , pp. 148-149.
10. Ibid., p. 140.
9. Berend-Corinth, Lovis , pp. 148-149.
10. Ibid., p. 140.
11. See Peter Selz, German Expressionist Painting (Berkeley: University of California Press, 1957), pp. 250-271. The Sonderbund exhibition, incidentally, also served as the model for the New York Armory Show in 1913.
12. Berend-Corinth, Lovis , p. 135.
13. Quoted in Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 166.
14. Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 95, no. 327.
15. Ibid., p. 121, no. 521.
14. Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 95, no. 327.
15. Ibid., p. 121, no. 521.
16. Quoted in Rudolf Pfefferkorn, Die Berliner Secession: Eine Epoche deutscher Kunstgeschichte (Berlin: Haude und Spener, 1972), p. 52.
17. See Peter Paret, The Berlin Secession (Cambridge: Harvard University Press, Belknap Press, 1980), pp. 219-232.
18. Lovis Corinth, "Mein Lebenswerk," in the exhibition catalogue Lovis Corinth: Ausstellung des Lebenswerks (Berlin: Berliner Secession, 1913), p. 8.
19. See Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 166.
20. Lovis Corinth, Gesammelte Schriften (Berlin: Fritz Gurlitt Verlag, 1920), pp. 97-112.
21. Lovis Corinth, Über deutsche Malerei: Ein Vortrag für die Freie Studentenschaft in Berlin (Leipzig: Hirzel, [c. 1914]).
22. Gesammelte Schriften , pp. 87-91.
23. Corinth, Selbstbiographie , pp. 128-131.
24. See the exhibition catalogue Lovis Corinth (New York: Gallery of Modern Art, 1964), p. 25.
25. See also Imiela, "Die Porträts Lovis Corinths," p. 181.
26. Lovis Corinth, "Ein Brief des Künstlers an den Herausgeber," Deutsche Kunst und Dekoration 41 (1917): 31.
27. For other such repetitions of much earlier paintings, see Bacchanale (1914; Schw. 150), after B.-C. 131 from 1896; In Hell (1914; Schw. 189), after B.-C. 209 from 1901; and Salome (1916; Schw. 234), after B.-C. 171 from 1900.
28. See Max Klinger, Malerei und Zeichnung , 6th ed. (Leipzig: Thieme, 1913), pp. 23, 33; and Peter Hahn, "Das literarische Figurenbild bei Lovis Corinth" (Ph.D. diss., Eberhard-Karls-Universität, Tübingen, 1970), p. 117.
29. See Imiela, "Die Porträts Lovis Corinths," p. 143.
30. Karl Schwarz was later the director of the Jewish Museum in Berlin; in 1933 he emigrated to Israel, where he became the director of the museum in Tel Aviv.
31. Herbert Eulenberg, Lovis Corinth: Ein Maler unserer Zeit (Munich: Delphin, 1917).
32. See also Imiela, "Die Porträts Lovis Corinths," pp. 149-150.
33. Corinth, Selbstbiographie , p. 127.
34. Ibid., p. 125.
35. Ibid., pp. 127-129.
33. Corinth, Selbstbiographie , p. 127.
34. Ibid., p. 125.
35. Ibid., pp. 127-129.
33. Corinth, Selbstbiographie , p. 127.
34. Ibid., p. 125.
35. Ibid., pp. 127-129.
36. See Peter Gay, Weimar Culture: The Outsider as Insider (New York: Harper and Row, 1968), p. 73. break
37. Richard Hamann and Jost Hermand, Stilkunst um 1900 , Epochen deutscher Kultur von 1870 bis zur Gegenwart 4 (Frankfurt: Fischer Taschenbuch, 1977); see the chapter "Idealismus statt Materialismus," pp. 77-101.
38. See Marion F. Deshmukh, "German Impressionist Painters and World War I," Art History 4 (1981): 66-79.
39. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 351; and letter dated February 9, 1989, from Wilhelmine Corinth Klopfer to the author.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
40. Corinth, Selbstbiographie , p. 137.
41. Ibid., p. 139.
42. Ibid.
43. Ibid., p. 138.
44. Ibid., p. 140.
45. Ibid., p. 157.
Five— Senex
1. Thomas Corinth, ed., Lovis Corinth: Eine Dokumentation (Tübingen: Wasmuth, 1979), p. 282; see the letters of September 8 and 16.
2. Lovis Corinth, Selbstbiographie (Leipzig: Hirzel, 1926), p. 177.
3. See Gerhard Femmel, ed., Corpus der Goethezeichnungen , vol. 2 (Leipzig: Seemann, 1960), no. 9.
4. Ludwig Steub, Das bayerische Hochland (Munich: J. G. Cotta, 1860), p. 467; Friedrich Wilhelm Walther, Topische Geographie von Bayern (Munich: Verlag der Litterarisch-artistischen Anstalt, 1844), p. 77; references from Werner Timm, ed., Lovis Corinth: Die Bilder vom Walchensee , exhibition catalogue (Regensburg: Ostdeutsche Galerie; Bremen: Kunsthalle, 1986), pp. 9-13.
5. Timm, Bilder vom Walchensee , pp. 23-24.
6. Charlotte Berend-Corinth, Lovis (Munich: Langen-Georg Müller Verlag, 1958), p. 201.
7. For the watercolor, see Timm, Bilder vom Walchensee , no. 79.
8. Ibid., p. 12.
7. For the watercolor, see Timm, Bilder vom Walchensee , no. 79.
8. Ibid., p. 12.
9. Berend-Corinth, Lovis , p. 201.
10. See Timm, Bilder vom Walchensee , no. 91; for the origin of the triptych, see Berend-Corinth, Lovis , p. 217. Charlotte Berend, too, contributed to the exterior decoration of the house by painting wildflowers on the window shutters.
11. Timm, Bilder vom Walchensee , p. 40; see also Charlotte Berend-Corinth, Mein Leben mit Lovis Corinth (Munich: List, 1958), pp. 99-200 (entry for July 26, 1926).
12. See also B.-C. 200, 596.
13. Cf. Timm, Bilder vom Walchensee , p. 63.
14. Ibid.
13. Cf. Timm, Bilder vom Walchensee , p. 63.
14. Ibid.
15. Corinth, Selbstbiographie , pp. 159, 161, 163, 171-173.
16. Bernard S. Myers, The German Expressionists: A Generation in Revolt (New York: Praeger, 1957), p. 22.
17. Karl Schwarz, "Lovis Corinth, Berlin," Deutsche Kunst und Dekoration 41 (1917): 3-17, "Corinth als Graphiker," Die Kunst 19 (1918): 362-372, and "Corinth als Zeichner und Graphiker," in the exhibition catalogue Lovis Corinth zum 60. Geburtstag (Berlin: Berlin Secession, 1918).
18. In 1920 Corinth also painted a portrait of Henny Porten in the role of Anne Boleyn; see B.-C. 789. break
19. See Lovis Corinths " Fridericus Rex ": Der Preussenkönig in Mythos und Geschichte , exhibition catalogue by Hans Gerhard Hannesen, (Berlin: Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, 1986).
20. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 122; see the letter from Corinth to Charlotte Berend.
21. Ibid.; see the annotation to Corinth's letter by Thomas Corinth and p. 357, entry for March 17, 1924.
20. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 122; see the letter from Corinth to Charlotte Berend.
21. Ibid.; see the annotation to Corinth's letter by Thomas Corinth and p. 357, entry for March 17, 1924.
22. From a letter to the critic and collector P. D. Ettlinger, quoted in The Memoirs of Leonid Pasternak , trans. Jennifer Bradshaw, introd. Josephine Pasternak (London: Quartet, 1982), p. 119.
23. Ibid., p. 120.
22. From a letter to the critic and collector P. D. Ettlinger, quoted in The Memoirs of Leonid Pasternak , trans. Jennifer Bradshaw, introd. Josephine Pasternak (London: Quartet, 1982), p. 119.
23. Ibid., p. 120.
24. For a reproduction of Pasternak's portrait of Corinth, painted in a mixture of gouache and pastel, see ibid., section of plates following p. 112.
25. Alfred Kuhn, "Erinnerungen an Lovis Corinth," Zeitschrift für bildende Kunst 59 (1925): 196.
26. Elvira Olschky, "Erinnerungen an Corinth," Die Kunst 27 (1926): 248.
27. Ibid.; see also Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 168; Grönvold died in Berlin on November 7, 1923.
28. Ibid., p. 173.
26. Elvira Olschky, "Erinnerungen an Corinth," Die Kunst 27 (1926): 248.
27. Ibid.; see also Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 168; Grönvold died in Berlin on November 7, 1923.
28. Ibid., p. 173.
26. Elvira Olschky, "Erinnerungen an Corinth," Die Kunst 27 (1926): 248.
27. Ibid.; see also Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth (Munich: Bruckmann, 1958), p. 168; Grönvold died in Berlin on November 7, 1923.
28. Ibid., p. 173.
29. Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), p. 11.
30. Ibid., p. 82.
31. Ibid., pp. 194-195.
29. Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), p. 11.
30. Ibid., p. 82.
31. Ibid., pp. 194-195.
29. Lovis Corinth, Das Erlernen der Malerei , 3d ed. (Berlin, 1920; Hildesheim: Gerstenberg, 1979), p. 11.
30. Ibid., p. 82.
31. Ibid., pp. 194-195.
32. Georg Bussmann, Lovis Corinth: Carmencita. Malerei an der Kante , (Frankfurt: Fischer Taschenbuch, 1985), p. 57.
33. Berend-Corinth, Mein Leben mit Lovis Corinth , pp. 41-42 (entry for November 9, 1925).
34. Hans-Jürgen Imiela, "Die Porträts Lovis Corinths" (Ph.D. diss., Johannes-Gutenberg-Universität, Mainz, 1955), p. 136.
35. Corinth, Das Erlernen der Malerei , p. 137.
36. Corinth, Selbstbiographie , p. 178.
37. Ibid., p. 183.
38. Ibid.
36. Corinth, Selbstbiographie , p. 178.
37. Ibid., p. 183.
38. Ibid.
36. Corinth, Selbstbiographie , p. 178.
37. Ibid., p. 183.
38. Ibid.
39. Paul Fechter, Menschen und Zeiten: Begegnungen aus fünf Jahrzehnten (Gütersloh: C. Bertelsmann, [c. 1948]), p. 226.
40. Wilhelm Hausenstein, "Lovis Corinth," Die Kunst und das schöne Heim 56 (1958): 364.
41. Cf. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 238.
42. Alfred Kuhn, Lovis Corinth (Berlin: Propyläen, 1925), p. 205.
43. Ibid.
42. Alfred Kuhn, Lovis Corinth (Berlin: Propyläen, 1925), p. 205.
43. Ibid.
44. See Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 239.
45. Rudolf Grossmann, "Besuch bei Corinth," Kunst und Künstler 23 (1925): 268-271.
46. Corinth, Selbstbiographie , pp. 168-171.
47. Berend-Corinth, Mein Leben mit Lovis Corinth , pp. 65-66 (entry for January 29, 1926).
48. Ibid., p. 66.
47. Berend-Corinth, Mein Leben mit Lovis Corinth , pp. 65-66 (entry for January 29, 1926).
48. Ibid., p. 66.
49. Berend-Corinth, Lovis , p. 259.
50. See also Leopold Reidemeister, "Lovis Corinths Walchenseepanorama," Wallraf-Richartz-Jahrbuch 15 (1953): 233-234. break
51. Peter Hahn, "Das literarische Figurenbild bei Lovis Corinth" (Ph.D. diss., Eberhard-Karls-Universität, Tübingen, 1970), p. 153; Gert von der Osten, Lovis Corinth , 2d rev. ed. (Munich: Bruckmann, 1959), pp. 180-181.
52. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 358.
53. Corinth, Selbstbiographie , pp. 184-185.
54. Ibid., p. 185.
53. Corinth, Selbstbiographie , pp. 184-185.
54. Ibid., p. 185.
55. Thomas Corinth, Lovis Corinth: Eine Dokumentation , p. 63; see Corinth's letter of October 1900 to Dr. Carl Graeser.
56. Corinth, Selbstbiographie , p. 186.
57. Ibid., p. 188.
58. Ibid.
56. Corinth, Selbstbiographie , p. 186.
57. Ibid., p. 188.
58. Ibid.
56. Corinth, Selbstbiographie , p. 186.
57. Ibid., p. 188.
58. Ibid.
59. Berend-Corinth, Die Gemälde von Lovis Corinth , p. 201, document no. 27.
60. Corinth, Selbstbiographie , p. 194.
61. Leo Michelson, "Mit Corinth in Holland: Die letzten Arbeiten des Meisters," Kunstwanderer , 1924-1925, nos. 1-2: 421. break