Max Liebermann, ‘Strickendes Mädchen, im Profil nach links’, ca. 1882, Ludorff

Catalogue raisonné by Eberle 1995 no. 1882/22

Signature: Signed

Galerie Dr. Phil. Hans Rudolph, „2. Kunstversteigerung“, Hotel Atlantic Hamburg 1951;
Galerie Ludorff, „Herbst 1985“, Dusseldorf 1985

Matthias Eberle, „Max Liebermann. Werkverzeichnis der Gemälde und Ölstudien 1865-1899“, vol. I, Munich 1995, no. 1882/22; Katrin Boskamp, „Studien zum Frühwerk von
Max Liebermann mit einem Katalog der Gemälde und Ölstudien von 1866 - 1889“,
Hildesheim 1994, n.p.; Bernd Küster, „Max Liebermann. Ein Malerleben“, Hamburg 1988,ill. p. 61; Galerie Ludorff, „Herbst 1985“, cat. 42, Dusseldorf 1985, p. 69; Ferdinand Stuttmann, „Max Liebermann“, Hannover 1961, ill. 12

Galerie Hans Rudolph, Hamburg (until 1951); Galerie Ludorff, Dusseldorf (1985); Private
Collection Rhineland (until 2014)

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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