Lovis Corinth, ‘Adam and Eve (Der Sündenfall)’, 1919, National Gallery of Art, Washington, D.C.
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Lovis Corinth

Adam and Eve (Der Sündenfall), 1919

Woodcut
9 13/16 × 9 3/16 in
24.9 × 23.3 cm
Permanent collection
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About the work
National Gallery of Art, Washington, D.C.
Washington

Image: 25 x 23.3 cm (9 13/16 x 9 3/16 in.) sheet: 48.1 x 38.1 cm (18 15/16 x 15 in.)

Medium
Image rights
Courtesy National Gallery of Art, Washington
Lovis Corinth
German, 1858–1925
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A leading figure of the Berlin Secession, Lovis Corinth worked as a painter, printmaker, and draftsman, bridging the stylistic gap between impressionism and German expressionism with naturalism as a common thread. Best known for his portraits and landscape paintings, Corinth favored themes of love, sexuality, and death. While Corinth sought to capture the body’s fleshy nature and exaggerated gestures in his portraits, his landscapes are more traditional and emphasize overall compositional balance. After a stroke left him partially paralyzed in 1911, Corinth’s brushstrokes grew vigorously uninhibited, echoing the work of Dutch painters Frans Hals and Rembrandt. Corinth’s self-portraits, created as a means of stylistic and allegorical exploration, also grew more cerebral in his later years.

Lovis Corinth, ‘Adam and Eve (Der Sündenfall)’, 1919, National Gallery of Art, Washington, D.C.
Save
Save
View
View in room
Share
Share
About the work
National Gallery of Art, Washington, D.C.
Washington

Image: 25 x 23.3 cm (9 13/16 x 9 3/16 in.) sheet: 48.1 x 38.1 cm (18 15/16 x 15 in.)

Medium
Image rights
Courtesy National Gallery of Art, Washington
Lovis Corinth
German, 1858–1925
Follow

A leading figure of the Berlin Secession, Lovis Corinth worked as a painter, printmaker, and draftsman, bridging the stylistic gap between impressionism and German expressionism with naturalism as a common thread. Best known for his portraits and landscape paintings, Corinth favored themes of love, sexuality, and death. While Corinth sought to capture the body’s fleshy nature and exaggerated gestures in his portraits, his landscapes are more traditional and emphasize overall compositional balance. After a stroke left him partially paralyzed in 1911, Corinth’s brushstrokes grew vigorously uninhibited, echoing the work of Dutch painters Frans Hals and Rembrandt. Corinth’s self-portraits, created as a means of stylistic and allegorical exploration, also grew more cerebral in his later years.

Lovis Corinth

Adam and Eve (Der Sündenfall), 1919

Woodcut
9 13/16 × 9 3/16 in
24.9 × 23.3 cm
Permanent collection
Want to sell a work by this artist? Consign with Artsy.
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