Otto Mueller, ‘Russisches Mädchenpaar / Schwestern / Zwei Schwestern / Geschwister’, 1919, Ludorff

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Signature: Signed with the initials "O.M."

Richard Kaselowsky-Haus, Kunsthalle der Stadt Bielefeld/Wallraf-Richartz-
Museum/Museum Folkwang (et al.), "Deutsche Expressionisten aus der Sammlung
Morton D. May, St. Louis, USA", Bielefeld/Cologne/Essen (et al.) 1968-69; Pius XII
Memorial Library, "Paintings from the collection of Mr. and Mrs. Morton D. May", St. Louis
University, St. Louis/Missouri 1960; The Denver Art Museum (et al.), "German
Expressionist Paintings from the Collection of Mr. & Mrs. Morton D. May", Denver (et al.) 1960-62; Saint Louis Art Museum, "St. Louis Collects", St. Louis/Missouri 1952; The Arts Club of Chicago, "German Expressionists and Max Beckmann from the Collection of Mr. and Mrs. Morton D. May", Chicago 1951; Schlesisches Museum der bildenden Künste, "Gedächtnisausstellung. Otto Mueller 1974-1930", Breslau 1931; Paul Cassirer, "Otto Mueller", exh.cat., Berlin 1919

Gabriele Werthmann (ed.), Otto Mueller. Zwei weibliche Halbakte", Berlin 2001 (=
Patrimonia. Kulturstiftung der Länder, no. 191), p. 13; Dietmar Elger, "Expressionismus.
Eine deutsche Kunstrevolution", Cologne 1991, p. 92; Horst Jähner, "Otto Mueller. Maler
und Werk", Dresden 1974, no. 5; Georg Syamken, "Deutsche Expressionisten aus der Sammlung Morton D. May, St. Louis, USA", exh.cat. Richard Kaselowsky-Haus, Kunsthalle
der Stadt Bielefeld, Bielefeld 1968, no. 64; Lothar-Günther Buchheim, "Otto Mueller",
Feldafing 1968, cover (detail); Lothar-Günther Buchheim, "Otto Mueller. Leben und
Werk", Feldafing 1963, p. 239; Ralph Colin/Will Grohmann, "Artist and Maecenas. A
Tribute to Curt Valentin", exh.cat. Marlborough-Gerson Gallery, New York 1963, no. 267;
Maurice B. McNamee,"Paintings from the collection of Mr. and Mrs. Morton D. May",
exh.cat. St. Louis University Libraries, St. Louis/Missouri 1960, no. 10/11; Otto Karl
Bach, "German Expressionist Paintings from the Collection of Mr. & Mrs. Morton D. May",
exh.cat. Denver Art Museum, Denver/Colorado 1960, no. 12; Milwaukee Art Institute
(ed.), "German Expressionism", exh.cat., Milwaukee/Wisconsin 1954, no. 33; Saint Louis
Art Museum (ed.), "St. Louis Collects", exh.cat., St. Louis/Missouri 1952, no. 68; Curt
Valentin Gallery (ed.), "Lehmbruck and his Contemporaries", exh.cat., New York 1951,
no. 39; The Arts Club of Chicago (ed.), "German Expressionists and Max Beckmann from
the Collection of Mr. and Mrs. Morton D. May", exh.cat., Chicago 1951, no. 18;
Schlesisches Museum der bildenden Künste (ed.), "Gedächtnisausstellung. Otto Mueller
1974-1930", exh.cat., Breslau 1931, no. 24; B. A. Aust, "Otto Mueller. Eine Monographie
in Bildern", vol. I, Breslau 1925 (unveröffentlicht), p. 18; Karl Scheffler, "Otto Mueller",
in: Kunst und Künstler. Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe 17.9 (1919), p. 349-356, ill. p. 355 , no. 25

Städtisches Museum, Stettin, 1928; 1937 confiscated as "degenerate", Nazi-no. 7581; Buchholz Gallery, Curt Valentin, New York; Morton D. May Collection (acquired 1951)

About Otto Mueller

Otto Mueller’s Expressionist paintings and prints developed from an earlier style deeply rooted in Post-Impressionism, Symbolism, and Jugendstil (Art Nouveau), maintaining the latter’s emphasis on graceful silhouettes. Mueller distinguished himself from his Die Brücke peers by focusing more on harmonious simplification of color than expressing raw emotion, as exemplified by Reclining Nude in the Dunes (1923). Representative of the classically elegant female nudes in landscapes for which he is most celebrated, the tempera painting depicts a woman lying face down in the sand—the strong contours of her body echo the desert topography and evoke the communion of humans and nature, rather than intense emotion more typical of Expressionism. The pinnacle of his graphic art is “Gypsy-Portfolio” (1927), a series of nine boldly colored lithographs.

German, 1874-1930, Libawka, Poland