WHEREABOUTS UNKNOWN
Right: Erich Heckel "Bildnis der Schwester," 1928, acrylic and pencil on paper, 2001.
Far Right: Karl Hofer "Esther und Ruth, 1923, acrylic, pencil and collage on paper, 2001. |
Karl Hofer, once a widely admired artist, has over the decades lost much of his luster. Although he produced some radical work in his youth, he moved increasingly toward a conservative, mildly attenuated realism, shunning the extreme body distortions and heightened color of his peers. Nonetheless, he produced solid, compelling work as evidenced by the lost painting Esther und Ruth.
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Two variations on Lovis Corinth's lost painting Death and the Maiden, 1913, a work that, best we can tell, exemplified his brooding cross between dark subject matter and a weighty, dense kind of impressionistic brushwork of his own making. Left: Lovis Corinth, "Tod und Madchen," Pencil on prepared paper, 2008. In this one I sought a cartoonish flippancy in what was a conscious attempt to introduce a touch of absurd comedy into Corinth's deathly scene. Right: Lovis Corinth, "Tod und Madchen," Acrylic, wash, pencil and ink on paper, 2008. |
Henri Matisse, "Woman Seated In Armchair," 1920, ink over digital print, 1999.
This must have been a beautifully delicate drawing. One wonders what even the Nazis could find that was offensive. Perhaps the Matisse name alone was sufficient to condemn this lovely drawing. My interpretation purposefully stiffens up the handling, the word "lost" framing out the the wonderful decorative work of the patterns and turning Matisse's ebullient line into a plotted scheme
