Rückseitig mit dem Nachlass-Stempel und der Bezeichnung “A Be/Bf 22” sowie mit den Nummern “K 3766” und “3393” in Bleistift und mit einem runden Zollstempel.



Literature: Henze, Wolfgang: Die Plastik Ernst Ludwig Kirchners. monography with Catalogue raisonné, Wichtrach/Bern, 2002, ill. p. 158, no. 140.



Exhibition: 1963, Ernst Ludwig Kirchner, Campione d’Italia, Galerie R.N. Ketterer, ill .p. 63, (col. ill.); 1964, E.L. Kirchner – Brücke, Campione d’Italia, Galerie Roman Norbert Ketterer (Herbst), cat. 78, ill. p. 91, (col. ill).



After the dissolution of the “Brücke” artists’ group in May 1913, Kirchner spent the summer for a second time on Fehmarn’s Staberhuk, again with his partner Erna Schilling, this time accompanied by his students Hans Gewecke and Werner Gothein. Otto Mueller and Maschka also came to visit. The children of the lighthouse keeper, with whom Kirchner lived, also joined the group of models. A hut covered with grass and reeds with a pointed arched “Gothic” entrance was built. The bather depicted here is standing in front of it, the right-hand arch visible above her. Behind her is a second nude in blue. This is the figure ” Rückschauende. Stehender Frauenakt mit abgewandtem Kopf” from the Museum Kunstpalast Düsseldorf, Henze 1913/06. Kirchner obtained the building material and wood for his sculptures from a stranded schooner, the “Marie”, which was still close to the coast.



As in his studio, carved and living figures appear side by side in his compositions. The living are seen as equally “wood-carved” and are given the incarnation of the carved and vice versa. The archetype of all form in Kirchner’s work is sculpture. Here on Fehmarn, this archetype could be realized in infinite variety. Fehmarn became an island in the South Seas, where its sculpture and that of Central Africa (canonized shortly afterwards by Carl Einstein’s publication “Negerplastik”) was expressively developed further. Illusion and reality were integrated.



(WH)