7
Paul Adolf Seehaus, Blick in Ebene
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Aquarell und Gouache auf Zeichenkarton. 24,2 x 39,2 cm. Unter Glas gerahmt. Unten links mit Tusche signiert und datiert 'Seehaus 18'. - In farbfrischer Erhaltung, mit minimalem Farbabrieb.
Rave II, 35; Dering A 66
Provenienz
Marie Louise Stadler, geb. Lehmann, verw. Koppel (1887-1973), Köln; Galerie Alex Vömel, Düsseldorf (bis 1951); 1951 Ankauf durch das Städtische Kunstmuseum Bonn (Inv. Nr. 207); 2023 an die Erben nach Marie Louise Stadler restituiert
Ausstellungen
Bonn 1952 (Städtisches Kunstmuseum), Bonn und der Rheinische Expressionismus, Kat. Nr. 80; Bonn 1961 (Haus der Städtischen Kunstsammlungen), Handzeichnungen, Aquarelle und Druckgraphik. Neuerwerbungen seit 1949, Kat. Nr. 51; Hannover 1978/1979 (Kestner Gesellschaft), August Macke und die rheinischen Expressionisten aus dem Städtischen Kunstmuseum Bonn, Kat. Nr. 214; Bonn/Krefeld/Wuppertal 1979 (Städtisches Kunstmuseum/Kaiser Wilhelm Museum/Von der Heydt-Museum), Die Rheinischen Expressionisten - August Macke und seine Malerfreunde, Kat. Nr. 475; Bonn 1982 (Städtisches Kunstmuseum Bonn im Haus an der Redoute, Bonn-Bad Godesberg), Paul Adolf Seehaus 1891-1919, Kat. Nr. 39; Bonn 2004 (August Macke-Haus), Paul Adolf Seehaus 1891-1919. Leben und Werk, mit Farbabb. S. 106
Literatur
Paul Erich Küppers, Der Kubismus. Ein künstlerisches Formproblem unserer Zeit, Leipzig 1920, o. S.; Paul Westheim (Hg.), Künstlerbekenntnisse, Berlin 1924, Abb. 168; Karl Ertel, Paul Adolf Seehaus, Recklinghausen 1968, S. 50
In einem leuchtenden Farbklang aus Grün-, Blau-, Rot- und Orangewerten entwickelte Seehaus für das Bild „Blick in Ebene“ eine kubistisch aufgefasste und weit abstrahierte Landschaft. Dargestellt sind zwei hoch aufragende Laubbäume, ein schmaler Kirchturm und eine sich nach rechts hin öffnende, weite Ebene mit dem ruhigen Fluss des Rheins. Die späte Gouache gehört zu den bildmäßig angelegten, bedeutenden Arbeiten von Seehaus, in denen er die Möglichkeiten einer reichen Farbpalette mit den kubistisch aufgesplitterten Formen kombinierte und zu einer stark rhythmisierten Landschaft gelangte. Zu der Vielzahl leuchtender Farbfelder gehören auch silbrige und goldene Elemente, die die Oberfläche schimmern lassen. Die Komposition „Blick in Ebene“ ist durch horizontale Farbbahnen gegliedert und erzeugt so eine bemerkenswerte Tiefenwirkung, die den Blick bis weit an den Horizont zieht.
Seehaus gehörte zum engeren Zirkel der „Rheinischen Expressionisten“ um August Macke, dem er seit 1910 freundschaftlich und künstlerisch eng verbunden war. Macke hatte den angehenden Kunsthistoriker 1913 in die gleichnamige Ausstellung im Bonner Kunstsalon Cohen geholt und ihm auch den Zugang zum Ersten Deutschen Herbstsalon in Berlin verschafft. Zum einschneidenden Erlebnis für Seehaus wurde 1912 die Sonderbundausstellung in Köln, die ihm die damals künstlerische Avantgarde, vor allem den Kubismus mit Werken von Picasso und Braque, näherbrachte.
Watercolour and gouache on drawing card. 24.2 x 39.2 cm. Framed under glass. Signed and dated 'Seehaus 18' lower left in India ink. - In fine condition with fresh colours, with minimal paint abrasion.
Rave II, 35; Dering A 66
Provenance
Marie Louise Stadler, née Lehmann, widowed Koppel (1887-1973), Cologne; Galerie Alex Vömel, Düsseldorf (until 1951); acquired by the Städtisches Kunstmuseum Bonn in 1951 (inv. no. 207); restituted to the heirs of Marie Louise Stadler in 2023
Exhibitions
Bonn 1952 (Städtisches Kunstmuseum), Bonn und der Rheinische Expressionismus, cat. no. 80; Bonn 1961 (Haus der Städtischen Kunstsammlungen), Handzeichnungen, Aquarelle und Druckgraphik. Neuerwerbungen seit 1949, cat. no. 51; Hannover 1978/1979 (Kestner Gesellschaft), August Macke und die rheinischen Expressionisten aus dem Städtischen Kunstmuseum Bonn, cat. no. 214; Bonn/Krefeld/Wuppertal 1979 (Städtisches Kunstmuseum/Kaiser Wilhelm Museum/Von der Heydt-Museum), Die Rheinischen Expressionisten - August Macke und seine Malerfreunde, cat. no. 475; Bonn 1982 (Städtisches Kunstmuseum Bonn im Haus an der Redoute, Bonn-Bad Godesberg), Paul Adolf Seehaus 1891-1919, cat. no. 39; Bonn 2004 (August Macke-Haus), Paul Adolf Seehaus 1891-1919. Leben und Werk, with col.ill. p. 106
Literature
Paul Erich Küppers, Der Kubismus. Ein künstlerisches Formproblem unserer Zeit, Leipzig 1920, n.p.; Paul Westheim (ed.), Künstlerbekenntnisse, Berlin 1924, ill. 168; Karl Ertel, Paul Adolf Seehaus, Recklinghausen 1968, p. 50
In the luminous harmony of greens, blues, reds and oranges in his picture 'Blick in Ebene', Seehaus has developed a landscape that is cubist in conception and thoroughly abstracted. It depicts two soaring broad-leaved trees, a slender church tower and a wide plain that opens up to the right, where it contains the calmly flowing Rhine river. This late gouache is among those important works by Seehaus which are painting-like in conception and combine the possibilities of a rich palette of colours with a cubist fragmentation of forms to arrive at a highly rhythmic landscape. The numerous fields of luminous colours also include silver and golden elements that cause the surface to shimmer. Horizontal bands of colour structure the composition of 'Blick in Ebene', generating a remarkable sense of depth that draws the gaze of its viewers all the way back towards the horizon.
Seehaus belonged to the inner circle of the 'Rhineland Expressionists' gathered around August Macke, with whom he shared a close friendly and artistic bond from 1910. Macke had brought the art history student’s work into the exhibition shown under this name at the Kunstsalon Cohen in Bonn in 1913, and he also provided him with access to the Erster Deutscher Herbstsalon in Berlin. The Sonderbund exhibition in Cologne in 1912 became a decisive experience for Seehaus: it familiarised him with the artistic avant-garde of his time, particularly cubism, as it featured works by Picasso and Braque.
Aquarell und Gouache auf Zeichenkarton. 24,2 x 39,2 cm. Unter Glas gerahmt. Unten links mit Tusche signiert und datiert 'Seehaus 18'. - In farbfrischer Erhaltung, mit minimalem Farbabrieb.
Rave II, 35; Dering A 66
Provenienz
Marie Louise Stadler, geb. Lehmann, verw. Koppel (1887-1973), Köln; Galerie Alex Vömel, Düsseldorf (bis 1951); 1951 Ankauf durch das Städtische Kunstmuseum Bonn (Inv. Nr. 207); 2023 an die Erben nach Marie Louise Stadler restituiert
Ausstellungen
Bonn 1952 (Städtisches Kunstmuseum), Bonn und der Rheinische Expressionismus, Kat. Nr. 80; Bonn 1961 (Haus der Städtischen Kunstsammlungen), Handzeichnungen, Aquarelle und Druckgraphik. Neuerwerbungen seit 1949, Kat. Nr. 51; Hannover 1978/1979 (Kestner Gesellschaft), August Macke und die rheinischen Expressionisten aus dem Städtischen Kunstmuseum Bonn, Kat. Nr. 214; Bonn/Krefeld/Wuppertal 1979 (Städtisches Kunstmuseum/Kaiser Wilhelm Museum/Von der Heydt-Museum), Die Rheinischen Expressionisten - August Macke und seine Malerfreunde, Kat. Nr. 475; Bonn 1982 (Städtisches Kunstmuseum Bonn im Haus an der Redoute, Bonn-Bad Godesberg), Paul Adolf Seehaus 1891-1919, Kat. Nr. 39; Bonn 2004 (August Macke-Haus), Paul Adolf Seehaus 1891-1919. Leben und Werk, mit Farbabb. S. 106
Literatur
Paul Erich Küppers, Der Kubismus. Ein künstlerisches Formproblem unserer Zeit, Leipzig 1920, o. S.; Paul Westheim (Hg.), Künstlerbekenntnisse, Berlin 1924, Abb. 168; Karl Ertel, Paul Adolf Seehaus, Recklinghausen 1968, S. 50
In einem leuchtenden Farbklang aus Grün-, Blau-, Rot- und Orangewerten entwickelte Seehaus für das Bild „Blick in Ebene“ eine kubistisch aufgefasste und weit abstrahierte Landschaft. Dargestellt sind zwei hoch aufragende Laubbäume, ein schmaler Kirchturm und eine sich nach rechts hin öffnende, weite Ebene mit dem ruhigen Fluss des Rheins. Die späte Gouache gehört zu den bildmäßig angelegten, bedeutenden Arbeiten von Seehaus, in denen er die Möglichkeiten einer reichen Farbpalette mit den kubistisch aufgesplitterten Formen kombinierte und zu einer stark rhythmisierten Landschaft gelangte. Zu der Vielzahl leuchtender Farbfelder gehören auch silbrige und goldene Elemente, die die Oberfläche schimmern lassen. Die Komposition „Blick in Ebene“ ist durch horizontale Farbbahnen gegliedert und erzeugt so eine bemerkenswerte Tiefenwirkung, die den Blick bis weit an den Horizont zieht.
Seehaus gehörte zum engeren Zirkel der „Rheinischen Expressionisten“ um August Macke, dem er seit 1910 freundschaftlich und künstlerisch eng verbunden war. Macke hatte den angehenden Kunsthistoriker 1913 in die gleichnamige Ausstellung im Bonner Kunstsalon Cohen geholt und ihm auch den Zugang zum Ersten Deutschen Herbstsalon in Berlin verschafft. Zum einschneidenden Erlebnis für Seehaus wurde 1912 die Sonderbundausstellung in Köln, die ihm die damals künstlerische Avantgarde, vor allem den Kubismus mit Werken von Picasso und Braque, näherbrachte.
Watercolour and gouache on drawing card. 24.2 x 39.2 cm. Framed under glass. Signed and dated 'Seehaus 18' lower left in India ink. - In fine condition with fresh colours, with minimal paint abrasion.
Rave II, 35; Dering A 66
Provenance
Marie Louise Stadler, née Lehmann, widowed Koppel (1887-1973), Cologne; Galerie Alex Vömel, Düsseldorf (until 1951); acquired by the Städtisches Kunstmuseum Bonn in 1951 (inv. no. 207); restituted to the heirs of Marie Louise Stadler in 2023
Exhibitions
Bonn 1952 (Städtisches Kunstmuseum), Bonn und der Rheinische Expressionismus, cat. no. 80; Bonn 1961 (Haus der Städtischen Kunstsammlungen), Handzeichnungen, Aquarelle und Druckgraphik. Neuerwerbungen seit 1949, cat. no. 51; Hannover 1978/1979 (Kestner Gesellschaft), August Macke und die rheinischen Expressionisten aus dem Städtischen Kunstmuseum Bonn, cat. no. 214; Bonn/Krefeld/Wuppertal 1979 (Städtisches Kunstmuseum/Kaiser Wilhelm Museum/Von der Heydt-Museum), Die Rheinischen Expressionisten - August Macke und seine Malerfreunde, cat. no. 475; Bonn 1982 (Städtisches Kunstmuseum Bonn im Haus an der Redoute, Bonn-Bad Godesberg), Paul Adolf Seehaus 1891-1919, cat. no. 39; Bonn 2004 (August Macke-Haus), Paul Adolf Seehaus 1891-1919. Leben und Werk, with col.ill. p. 106
Literature
Paul Erich Küppers, Der Kubismus. Ein künstlerisches Formproblem unserer Zeit, Leipzig 1920, n.p.; Paul Westheim (ed.), Künstlerbekenntnisse, Berlin 1924, ill. 168; Karl Ertel, Paul Adolf Seehaus, Recklinghausen 1968, p. 50
In the luminous harmony of greens, blues, reds and oranges in his picture 'Blick in Ebene', Seehaus has developed a landscape that is cubist in conception and thoroughly abstracted. It depicts two soaring broad-leaved trees, a slender church tower and a wide plain that opens up to the right, where it contains the calmly flowing Rhine river. This late gouache is among those important works by Seehaus which are painting-like in conception and combine the possibilities of a rich palette of colours with a cubist fragmentation of forms to arrive at a highly rhythmic landscape. The numerous fields of luminous colours also include silver and golden elements that cause the surface to shimmer. Horizontal bands of colour structure the composition of 'Blick in Ebene', generating a remarkable sense of depth that draws the gaze of its viewers all the way back towards the horizon.
Seehaus belonged to the inner circle of the 'Rhineland Expressionists' gathered around August Macke, with whom he shared a close friendly and artistic bond from 1910. Macke had brought the art history student’s work into the exhibition shown under this name at the Kunstsalon Cohen in Bonn in 1913, and he also provided him with access to the Erster Deutscher Herbstsalon in Berlin. The Sonderbund exhibition in Cologne in 1912 became a decisive experience for Seehaus: it familiarised him with the artistic avant-garde of his time, particularly cubism, as it featured works by Picasso and Braque.
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