Männliches Porträt

细节

Heinrich Maria Davringhausen (1894-1970)
Männliches Porträt
signed 'H.Davring.' (lower right)
oil on canvas
38 3/8 x 35 5/8 in. (97.5 x 90.5 cm.)
Painted in 1912-1913

来源

The artist, until 1970.
The artist's estate.
Private collection, Berlin.

出版

J. Heusinger von Waldegg, H.M. Davringhausen 1894-1970, Monographie mit Werkkatalog, Bonn, 1977, no. 18 (illustrated).
E. Cremer, 'Heinrich Maria Davringhausen', in Bad Aachen, October 1994, pp. 9-10 (illustrated).
D. Eimert, Heinrich Maria Davringhausen, Monographie und Werkverzeichnis, Cologne, 1995, no. 45 (illustrated p. 227).

展览

Düren, Leopold-Hoesch-Museum, Heinrich Maria Davringhausen, Retrospektive, November 1995 - February 1996 (illustrated in the catalogue p. 117).
Gera, Orangerie und Otto Dix Haus, Heinrich Maria Davringhausen, February - April 1996.
Bonn, August Macke Haus, Augenblicke, Bonner Begegnungen mit Porträts des Rheinischen Expressionismus, January - April 2007 (illustrated p. 61).
Berlin, Galerie Dieter Reitz, September - November 2007.

注意事项

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品专文

Painted in 1912-1913, Männliches Porträt is a rare and important early work executed when Davringhausen was only eighteen years old. Mostly self-taught as a painter, Davringhausen initially began his career as a sculptor, studying for a short period at the Düsseldorf Academy of Arts where he met Carlo Mense, with whom he travelled to Ascona in 1914, the year he showed his work in a group exhibition at Flechtheim's gallery. Davringhausen's palette and composition was greatly influenced at this early stage of his career by Expressionism, with its leanings towards Fauvism, Cubism and Futurism, and particularly by August Macke. Davringhausen was also to meet Georg Schrimpf at the Monte Verità artists' colony near Ascona and later took part in the Neue Sachlichkeit (New Objectivity) exhibition in Mannheim with Grosz, Dix, Beckmann and Alexander Kanoldt, before finding abstraction in the early 1930s.

Männliches Porträt is a bold and daring portrait of an as yet unidentified sitter. Staring out defiantly at the viewer, with his hands challengingly planted on his hips, the young man is set starkly against a richly patterned, vibrant backdrop. This most striking aspect of the canvas prefigures in a way the coming fragmentation of the background in his portraits of 1915 and 1916, which find their natural progression in the magnificent Kathedrale in Lourdes, 1916 (Eimert 88; Suermondt-Ludwig-Museum, Aachen). The rich decoration and vibrant brushstroke of Männliches Porträt also looks forward to the powerful expressionist vision of his 'magic realist' phase of the latter part of that decade, epitomised in such masterworks as Der Irre, 1916 (E.100; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster) and der Dichter Däubler, 1917 (E.101; private collection).