Catalogue Raisonné by Eberle 1995 no. 1898/9
Kunsthalle Bern, »Albert Welti - Max Liebermann«, Bern 1937; Galerie Helbing,
»Sammlung Dr. J. Deutsch: Ölgemälde des IXX. und XX. Jahrhunderts«, Munich 1931
The artist's studio; Collection Dr. J. Deutsch, Munich (until 1931); Galerie Hugo Helbing,
Munich; Private Collection Basel (since 1937); Private Collection Geneva
Literature: Matthias Eberle, »Max Liebermann. Werkverzeichnis der Gemälde und
Ölstudien 1865-1899«, vol. I, Munich 1995, no. 1898/9; Kunsthalle Bern, »Albert Welti -
Max Liebermann«, exh.cat., Bern 1937, no. 154; Hugo Helbing, »Sammlung Dr. J.
Deutsch: Ölgemälde des IXX. und XX. Jahrhunderts«, exh.cat., Munich 1931, plate 31, ill.
84; Berliner Illustrirte Zeitung, Berlin 25.6.1899, p. 5
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