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拍品專文
Franz Radziwill started painting in 1919 when he returned to Bremen from the front at the age of twenty-four and was accepted by the Berliner Freie Sezession artists the following year as the youngest and last member of their group. In 1921, on his twenty-sixth birthday, Radziwill visited the German seaside resort of Dangast for the first time. It was here eleven years earlier that Karl Schmidt-Rottluff painted his celebrated expressionist landscapes with their explosive colours and dramatic brushstrokes and it was Schmidt-Rottluff that had encouraged the self-taught Radziwill to make this artistic pilgrimage. Radziwill's crucial formative years as a painter clearly owe, in their vivid and striking colours, a great debt to the Brücke artists and it was perhaps this legacy that first brought the young artist to Dr Niemeyer’s attention.
Elblandschaft was acquired directly from the artist by Niemeyer and has remained his family's collection ever since. Displaying a heightened sense of nature’s sublime power, it bears the influence of Caspar David Friedrich and 19th Century German Romanticism and with an acute level of surreal detail, Radziwill instils a sense of intimate proximity to the environment, like a film still within a crucial moment, full of suspense, awe and terror. In describing another of his paintings, Roland März describes: “Through this fantastic realism, nature haunts as a juggernaut who threatens to devour everything around him… Even in his early Nocturnes, Radziwill provides imponderable situations of anticipatory expectation. Franz Radziwill has found his way to really make the real unreal and the unreal real”. (Roland März, `Franz Radziwill – ein visionärer Realist’ in A. Firmenich & R.W. Schulze, Franz Radziwill, Monographie und Werkverzeichnis, Cologne, 1995, p. 19).