Empfehlung der Beratenden Kommission vom 21. August 2014 für die Rückgabe NS-verfolgungsbedingt entzogener Kulturgüter zum Bild „Drei Grazien“ von Lovis Corinth

Abstract A self-portrait is a common representation of an artist with different techniques by that artist and emerged since the 15th century. Albrecht Dürer was one of the first artists who performed various self-portraits during his life. The fascinating aspect from a gerontological point of view is that artists show themselves throughout the aging process as well as sometimes with manifest signs of diseases. The poster show self-portraits over the life course from Rembrandt van Rijn (1606-69), Vincent van Gogh (1853-90), Ferdinand Hodler (1853-1918), Lovis Corinth (1858-1925), Helene Schjerfbeck (1862-1946), Edvard Munch (1863-1944), Käthe Kollwitz (1867-1945), Pablo Picasso (1881-1973), and Max Beckmann (1884-1950).

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Lovis Corinth: Wenn das halbe Gesicht fehlt

CME ◽

10.1007/s11298-019-7167-x ◽

2019 ◽

Vol 16 (6) ◽

pp. 34-35

Author(s):

Thomas Meissner

Keyword(s):

Lovis Corinth

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Lovis Corinth: Eine Dokumentation

The Art Bulletin ◽

10.2307/3050261 ◽

1982 ◽

Vol 64 (3) ◽

pp. 520

Author(s):

Anne Mochon ◽

Thomas Corinth

Keyword(s):

Lovis Corinth

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II. Die bürgerliche Künstlerehe von Lovis Corinth und Charlotte Berend-Corinth

Aus den Dunkelkammern der Moderne ◽

10.7788/boehlau.9783412211219.203 ◽

2012 ◽

pp. 203-250

Keyword(s):

Lovis Corinth

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Malfatti, Anita (1889–1964)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem1611-1 ◽

2018 ◽

Author(s):

Vera Beatriz Siqueira

Keyword(s):

New York ◽

Modern Art ◽

Independent School ◽

Intellectual Style ◽

Mario De Andrade ◽

Rural Landscapes ◽

Leading Role ◽

Artistic Training ◽

Lovis Corinth

Anita Malfatti began her artistic training with her mother Bety, an American amateur artist. In 1910 she went to Berlin to study with Fritz Bürger, Lovis Corinth, and Ernst Bischoff-Culm. In late 1914 she traveled to New York to attend the Independent School of Art under the direction of Homer Boss. Following her return in 1916 to Brazil, Malfatti held a controversial solo exhibition in 1917, which was criticized harshly by the writer Monteiro Lobato but which received passionate appreciation from modernist intellectuals such as Oswald de Andrade and Marío de Andrade. In 1922 she participated in the Week of Modern Art as the chief representative of Brazilian modern painting. The following year she received a fellowship to study in Paris, where she stayed for five years. Influenced by the classical ideals of the École de Paris, during this time Malfatti transformed her vibrant and colorful technique into a more serene and intellectual style of painting that was not received with much enthusiasm upon her return to Brazil in 1928. She lost the leading role in Brazilian Modernism and decided to dedicate herself to depicting local figures and rural landscapes in a more traditional style. Anita Malfatti is considered a pioneer of Brazilian Modernism.

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