74
Gerhard Marcks, Mädchen mit großem Tuch
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Bronze. Height 102 cm. Artist's signum on the plinth verso right. Numbered on the plinth verso and with foundry stamp "RICH. BARTH BERLIN". Cast III. Plaster model reworked by the artist in 1969. - Light brown patina.
Rudloff 327; Gerhard Marcks works diary plaster/bronze 170
Provenance
Galerie Ludwig Lange, Berlin; private ownership, Berlin
Exhibitions
Cf. Berlin 1937 (Galerie Buchholz), Gerhard Marcks, cat. no. 9; Bielefeld 1937 (Kunstsalon Fischer), Gerhard Marcks; Berlin (Ost) 1958 (National-Galerie), Gerhard Marcks, cat. no. 20 (Gips); Düsseldorf 1971 (Galerie Vömel), Gerhard Marcks, cat. no. 6 with ill.; Berlin 1974 (Galerie Nierendorf), Gerhard Marcks, cat. no. 30 with ill.; Berlin/Oldenburg/Heilbronn 1982/1983 (Berlin Museum/Landesmuseum/Städtische Museen), Berliner Kunst von 1770-1930, cat. no. 124, with ill. (Plaster)
The bronze sculpture “Mädchen mit großem Tuch” belongs to the series of images of girls that Gerhard Marcks began creating in the mid-1920s: the important sculptor either based these works on models from classical antiquity or had one of his daughters pose for him. Although Marcks’s work journal for “Gips & Bronze 1935–1969” (No. 170, Archiv Gerhard Marcks-Stiftung, Bremen) identifies his daughter Ute as the model for “Mädchen mit großem Tuch”, the girlish features suggest that his youngest daughter Gottliebe (1923–2016) posed for the head.
Featuring a balanced ratio of engaged and relaxed elements, Marcks has conceived a young, tall figure of a girl; both her hands hold a piece of drapery, which is laid round her shoulders, and she enters into a fascinating relationship with it. The cloth, whose outward purpose is to dry, conceal or clothe, takes on a protective and framing function in Marcks’s work. Particularly on the right, it additionally serves as a stabilising element, the way that a long staff or dog positioned at the figure’s side can be used in classical sculptures. After having depicted this motif for the first time in his “Schreitende Frau mit Tuch” from 1926, Marcks has used the accentuated motif of the stepping figure to successfully create a more dynamic interpretation of the theme in “Mädchen mit großem Tuch”, in which the legs and arms suggest a more pronounced movement. The sculpture coming up for auction is a version that was revised by the artist in 1969 and produced by the foundry Barth in Berlin.
Bronze. Höhe 102 cm. Auf der Plinthe hinten rechts mit dem Künstlersignum. Rückseitig an der Plinthe nummeriert und mit dem Gießerstempel "RICH. BARTH BERLIN" versehen. Exemplar III. Gipsmodell 1969 vom Künstler überarbeitet. - Mit hellbrauner Patina.
Rudloff 327; Gerhard Marcks Werktagebuch Gips/Bronze 170
Provenienz
Galerie Ludwig Lange, Berlin; Privatbesitz Berlin
Ausstellungen
Vgl. Berlin 1937 (Galerie Buchholz), Gerhard Marcks, Kat. Nr. 9; Bielefeld 1937 (Kunstsalon Fischer), Gerhard Marcks; Berlin (Ost) 1958 (National-Galerie), Gerhard Marcks, Kat. Nr. 20 (Gips); Düsseldorf 1971 (Galerie Vömel), Gerhard Marcks, Kat. Nr. 6 mit Abb.; Berlin 1974 (Galerie Nierendorf), Gerhard Marcks, Kat. Nr. 30 mit Abb.; Berlin/Oldenburg/Heilbronn 1982/1983 (Berlin Museum/Landesmuseum/Städtische Museen), Berliner Kunst von 1770-1930, Kat. Nr. 124, mit Abb. (Gips)
Die Bronzeplastik „Mädchen mit großem Tuch“ von Gerhard Marcks gehört in die Reihe der ab Mitte der 1920er Jahre entstandenen Mädchenbilder, die der bedeutende Bildhauer entweder in Orientierung an klassisch-antiken Vorbildern schuf, oder für die ihm eine seiner Töchter Modell standen. Obwohl in Marcks Werktagebuch für „Gips & Bronze 1935-1969“ (Nr. 170, Archiv Gerhard Marcks-Stiftung, Bremen) als Modell für das „Mädchen mit großem Tuch“ seine Tochter Ute genannt wird, lassen die mädchenhaften Züge der Dargestellten vermuten, dass ihm seine jüngste Tochter Gottliebe (1923-2016) für den Kopf Modell stand.
In einem ausgewogenen Verhältnis von angespannten und ruhenden Elementen konzipierte Marcks eine junge, hochgewachsene Mädchenfigur, die mit beiden Händen ein um die Schultern gelegtes Tuch hält und mit diesem eine reizvolle Verbindung bildet. Das vordergründig zum Abtrocknen, Verhüllen oder Bekleiden dienende Tuch gewinnt bei Marcks eine schützende und die Figur einrahmende Funktion. Vor allem rechts dient es zudem als stabilisierendes Element, wie es bei klassischen Skulpturen ein langer Stab oder ein seitlich postierter Hund sein können. Nachdem Marcks dieses Motiv erstmals 1926 bei der „Schreitenden Frau mit Tuch“ dargestellt hatte, gelang ihm beim „Mädchen mit großem Tuch“ durch das akzentuierte Schrittmotiv eine dynamischere Interpretation des Themas, bei dem die Beine und Arme eine stärkere Bewegung suggerieren. Unsere Plastik ist eine vom Künstler 1969 überarbeitete Fassung, die von der Gießerei Barth, Berlin, angefertigt wurde.
Bronze. Height 102 cm. Artist's signum on the plinth verso right. Numbered on the plinth verso and with foundry stamp "RICH. BARTH BERLIN". Cast III. Plaster model reworked by the artist in 1969. - Light brown patina.
Rudloff 327; Gerhard Marcks works diary plaster/bronze 170
Provenance
Galerie Ludwig Lange, Berlin; private ownership, Berlin
Exhibitions
Cf. Berlin 1937 (Galerie Buchholz), Gerhard Marcks, cat. no. 9; Bielefeld 1937 (Kunstsalon Fischer), Gerhard Marcks; Berlin (Ost) 1958 (National-Galerie), Gerhard Marcks, cat. no. 20 (Gips); Düsseldorf 1971 (Galerie Vömel), Gerhard Marcks, cat. no. 6 with ill.; Berlin 1974 (Galerie Nierendorf), Gerhard Marcks, cat. no. 30 with ill.; Berlin/Oldenburg/Heilbronn 1982/1983 (Berlin Museum/Landesmuseum/Städtische Museen), Berliner Kunst von 1770-1930, cat. no. 124, with ill. (Plaster)
The bronze sculpture “Mädchen mit großem Tuch” belongs to the series of images of girls that Gerhard Marcks began creating in the mid-1920s: the important sculptor either based these works on models from classical antiquity or had one of his daughters pose for him. Although Marcks’s work journal for “Gips & Bronze 1935–1969” (No. 170, Archiv Gerhard Marcks-Stiftung, Bremen) identifies his daughter Ute as the model for “Mädchen mit großem Tuch”, the girlish features suggest that his youngest daughter Gottliebe (1923–2016) posed for the head.
Featuring a balanced ratio of engaged and relaxed elements, Marcks has conceived a young, tall figure of a girl; both her hands hold a piece of drapery, which is laid round her shoulders, and she enters into a fascinating relationship with it. The cloth, whose outward purpose is to dry, conceal or clothe, takes on a protective and framing function in Marcks’s work. Particularly on the right, it additionally serves as a stabilising element, the way that a long staff or dog positioned at the figure’s side can be used in classical sculptures. After having depicted this motif for the first time in his “Schreitende Frau mit Tuch” from 1926, Marcks has used the accentuated motif of the stepping figure to successfully create a more dynamic interpretation of the theme in “Mädchen mit großem Tuch”, in which the legs and arms suggest a more pronounced movement. The sculpture coming up for auction is a version that was revised by the artist in 1969 and produced by the foundry Barth in Berlin.
Bronze. Höhe 102 cm. Auf der Plinthe hinten rechts mit dem Künstlersignum. Rückseitig an der Plinthe nummeriert und mit dem Gießerstempel "RICH. BARTH BERLIN" versehen. Exemplar III. Gipsmodell 1969 vom Künstler überarbeitet. - Mit hellbrauner Patina.
Rudloff 327; Gerhard Marcks Werktagebuch Gips/Bronze 170
Provenienz
Galerie Ludwig Lange, Berlin; Privatbesitz Berlin
Ausstellungen
Vgl. Berlin 1937 (Galerie Buchholz), Gerhard Marcks, Kat. Nr. 9; Bielefeld 1937 (Kunstsalon Fischer), Gerhard Marcks; Berlin (Ost) 1958 (National-Galerie), Gerhard Marcks, Kat. Nr. 20 (Gips); Düsseldorf 1971 (Galerie Vömel), Gerhard Marcks, Kat. Nr. 6 mit Abb.; Berlin 1974 (Galerie Nierendorf), Gerhard Marcks, Kat. Nr. 30 mit Abb.; Berlin/Oldenburg/Heilbronn 1982/1983 (Berlin Museum/Landesmuseum/Städtische Museen), Berliner Kunst von 1770-1930, Kat. Nr. 124, mit Abb. (Gips)
Die Bronzeplastik „Mädchen mit großem Tuch“ von Gerhard Marcks gehört in die Reihe der ab Mitte der 1920er Jahre entstandenen Mädchenbilder, die der bedeutende Bildhauer entweder in Orientierung an klassisch-antiken Vorbildern schuf, oder für die ihm eine seiner Töchter Modell standen. Obwohl in Marcks Werktagebuch für „Gips & Bronze 1935-1969“ (Nr. 170, Archiv Gerhard Marcks-Stiftung, Bremen) als Modell für das „Mädchen mit großem Tuch“ seine Tochter Ute genannt wird, lassen die mädchenhaften Züge der Dargestellten vermuten, dass ihm seine jüngste Tochter Gottliebe (1923-2016) für den Kopf Modell stand.
In einem ausgewogenen Verhältnis von angespannten und ruhenden Elementen konzipierte Marcks eine junge, hochgewachsene Mädchenfigur, die mit beiden Händen ein um die Schultern gelegtes Tuch hält und mit diesem eine reizvolle Verbindung bildet. Das vordergründig zum Abtrocknen, Verhüllen oder Bekleiden dienende Tuch gewinnt bei Marcks eine schützende und die Figur einrahmende Funktion. Vor allem rechts dient es zudem als stabilisierendes Element, wie es bei klassischen Skulpturen ein langer Stab oder ein seitlich postierter Hund sein können. Nachdem Marcks dieses Motiv erstmals 1926 bei der „Schreitenden Frau mit Tuch“ dargestellt hatte, gelang ihm beim „Mädchen mit großem Tuch“ durch das akzentuierte Schrittmotiv eine dynamischere Interpretation des Themas, bei dem die Beine und Arme eine stärkere Bewegung suggerieren. Unsere Plastik ist eine vom Künstler 1969 überarbeitete Fassung, die von der Gießerei Barth, Berlin, angefertigt wurde.
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