Alexander Kanoldt
Still Life V
Artista
Alexander Kanoldt
1881 Karlsruhe - Berlin 1939
Ulteriori informazioni
Verso auf dem Keilrahmen bezeichnet "A.K. 1101" und "Frowein".
Koch 21.13.
Koch 21.13.
Letteratura
Heide, Kristina, Form and Iconography of the Still Life in New Objectivity Painting, Weimar 1998, fig. 310;
Fegert, Elke, Alexander Kanoldt and the Still Life of New Objectivity, Hamburg 2008, pp. 166, 292ff., Fig. 41.
Fegert, Elke, Alexander Kanoldt and the Still Life of New Objectivity, Hamburg 2008, pp. 166, 292ff., Fig. 41.
Provenienza
Frowein Collection, Barmen/South Africa/Canada;
Private collection, Ontario/Canada;
Private collection, Rhineland.
Private collection, Ontario/Canada;
Private collection, Rhineland.
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Descrizione
• Still lifes occupy a prominent position, both in terms of quality and quantity, within Kanoldt’s complete body of work
• His works in the New Objectivity style are particularly popular
• This work is from a series of plant and book still lifes
Alexander Kanoldt is one of the best-known representatives of New Objectivity. Together with Georg Schrimpt, he represents its magical-realist variant; in 1925, he participated in the seminal New Objectivity exhibition in Mannheim with numerous works. His oeuvre includes a multitude of still lifes, which he populates with plants or books. Here, in Still Life V, he depicts three clearly well-thumbed books, loosely stacked, hastily placed on the edge of a table. On top of them, two pipes are not draped but simply left there as if in passing. A vertical red tin completes the ensemble, which is not really one at all. Here, Kanoldt does not present a deliberate composition, but a chance, everyday gathering of various everyday objects. Nevertheless, it is precisely this casualness that is carefully composed, with verticals and horizontals balanced and colours harmonised.
• His works in the New Objectivity style are particularly popular
• This work is from a series of plant and book still lifes
Alexander Kanoldt is one of the best-known representatives of New Objectivity. Together with Georg Schrimpt, he represents its magical-realist variant; in 1925, he participated in the seminal New Objectivity exhibition in Mannheim with numerous works. His oeuvre includes a multitude of still lifes, which he populates with plants or books. Here, in Still Life V, he depicts three clearly well-thumbed books, loosely stacked, hastily placed on the edge of a table. On top of them, two pipes are not draped but simply left there as if in passing. A vertical red tin completes the ensemble, which is not really one at all. Here, Kanoldt does not present a deliberate composition, but a chance, everyday gathering of various everyday objects. Nevertheless, it is precisely this casualness that is carefully composed, with verticals and horizontals balanced and colours harmonised.