471
Kurt Schwitters
See - Sommer, 1930.
Oil on canvas
Estimate:
€ 7,000 / $ 8,190 Sold:
€ 7,686 / $ 8,992 (incl. surcharge)
471
Kurt Schwitters
See - Sommer, 1930.
Oil on canvas
Estimate:
€ 7,000 / $ 8,190 Sold:
€ 7,686 / $ 8,992 (incl. surcharge)
Oil on canvas.
With barely legible inscription "Kurt Schwitters 1930 See [..] Sommer 100 M" on stretcher. 70,5 x 83,5 cm (27,7 x 32,8 in).
This work will be included in the supplement of the catalogue raisonné, which is currently being prepared, and is registered in the Kurt Schwitter's archive of the Sprengel Museum Hanover under the no.1667a
PROVENANCE: Henny Beckemeyer, Hanover (present from the artist).
Martha and Georg Bauer, Hanover (until 1977).
Private collection North Germany.
After Schwitters had given major impulses to the development of abstract art in Germany in the 1920s, he turns again to figurative motifs at the end of the decade. Schwitters spends the summer months in Norway as of 1929 and is fascinated by nature's sublime and vastness. He often stays in a hotel on the mountain lake Djupvand, making the lake and the opposite rock face his favourite motif. Schwitters is well aware of the contradictions of his various picture languages when saying "I have nothing to hide, not even when I feel the pleasant adherence of sentimentality of replicating nature [..]" (quoted after Kurt Schwitters. Werke und Dokumente, published by Sprengel Museum Hanover, Hanover 1998, p. 174). The fact that Schwitters is most interested in nature's abstract forms is clearly shown by the color surfaces that move into the picture from left and right. [JS]
With barely legible inscription "Kurt Schwitters 1930 See [..] Sommer 100 M" on stretcher. 70,5 x 83,5 cm (27,7 x 32,8 in).
This work will be included in the supplement of the catalogue raisonné, which is currently being prepared, and is registered in the Kurt Schwitter's archive of the Sprengel Museum Hanover under the no.1667a
PROVENANCE: Henny Beckemeyer, Hanover (present from the artist).
Martha and Georg Bauer, Hanover (until 1977).
Private collection North Germany.
After Schwitters had given major impulses to the development of abstract art in Germany in the 1920s, he turns again to figurative motifs at the end of the decade. Schwitters spends the summer months in Norway as of 1929 and is fascinated by nature's sublime and vastness. He often stays in a hotel on the mountain lake Djupvand, making the lake and the opposite rock face his favourite motif. Schwitters is well aware of the contradictions of his various picture languages when saying "I have nothing to hide, not even when I feel the pleasant adherence of sentimentality of replicating nature [..]" (quoted after Kurt Schwitters. Werke und Dokumente, published by Sprengel Museum Hanover, Hanover 1998, p. 174). The fact that Schwitters is most interested in nature's abstract forms is clearly shown by the color surfaces that move into the picture from left and right. [JS]
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