Max Liebermann, ‘Brabanter Spitzenklöpplerin nach links - Studie’, 1881, Ludorff

Catalogue Raisonné by Eberle 1995 no. 1881/26
Certificate of Authenticity by Prof. Dr. Matthias Eberle, Berlin

Signature: Signed and dated »82«

Matthias Eberle, »Max Liebermann. Werkverzeichnis der Gemälde und Ölstudien 1865-1899«, vol. I, Munich 1995, no. 1881/26; Katrin Boskamp, »Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889«, Hildesheim 1994, n. pag.; Günter Busch, »Max Liebermann. Maler, Zeichner, Graphiker«, Frankfurt/Main 1986, no. 164

Collection Friedrich Mellinger (1919); Galerie Paul Cassirer, Berlin (1919-20); Collection Oskar Hermes, Munich (1920 acquired at Cassirer); Collection N. Peter Jensen, Seattle (since 1936), Collection Jensen, Denmark

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

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