Signature: Signed and dated lower right: MLiebermann 1924
Museum Oskar Reinhart, Winterthur
"Max Liebermann und die Schweiz"
July 4th - Oct. 19th, 2014;
Kunsthalle Bremen, Bremen "Max Liebermann: Vom Freizeitvergnügen zum modernen Sport", Oct. 22nd 2016 - February 26th, 2017; traveling to Liebermann Villa am Wannesee, Berlin, March 13th - June 26th, 2017.
Eberle, Matthias, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien, München, 1996, Bd. II, No. 1924/39, p. 1122 (illustrated);
Museum Oskar Reinhart, Winterthur, Max Liebermann und die Schweiz: Meisterwerke aus Schweizer Sammlungen, pp. 216-217, no. 69 (illustrated);
Kunsthalle Bremen, Bremen "Max Liebermann: Vom Freizeitvergnügen zum modernen Sport", no. 115, p. 138 (illustrated).
Paul Cassierer, Berlin 1924
A. Tietz, Köln, 1925
Private Collection, Germany
Private Collection, Switerland
About Max Liebermann
A pioneering painter of common life, Max Liebermann is considered the foremost German impressionist and one of the most important figures of modern art. Liebermann’s early devotion to painting the everyday is exemplified by his first exhibited painting Women Plucking Geese (1872), which earned him the moniker the “disciple of the ugly” due to its stark contrast to the romanticized work that was popular in Germany at the time. Liebermann studied modern painting technique in France and the Netherlands, encountering both French impressionism and the work of The Hague School. These influences led to a departure from traditional modes and genres and inspired Liebermann to experiment with light and color, further detaching his art from concrete subject matter. The artist brought the concepts and techniques of impressionism to Germany, and his paintings on a wide range of subjects both commonplace and bourgeois occupy a lasting place in the artistic canon.
German, 1847-1935, Berlin, Germany