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Max Liebermann: Painting "The Terrace at the Restaurant Jacob in Nienstedten on the Elbe" (1902-03) in the Frame

Max Liebermann:
Painting "The Terrace at the Restaurant Jacob in Nienstedten on the Elbe" (1902-03) in the Frame

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ars mundi Exclusive Edition | Limited, 499 Copies | Numbered Certificate | Reproduction, Giclée on Canvas | Stretcher Frame | Solid Wood Frame | Format 92 x 66 cm

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Max Liebermann: Painting "The Terrace at the Restaurant Jacob in Nienstedten on the Elbe" (1902-03) in the Frame

Liebermann spent July 1902 in Hamburg at the invitation of Alfred Lichtwarks, the first director of the Kunsthalle. By order of Kunsthalle he had to seek and implement motives in the Hanseatic city. Here is the one that he found, to a certain extent, right before the front door: Liebermann was staying at the Jacob hotel on the Elbchausse.
Original: Oil on canvas. Kunsthalle Hamburg.

Fine art giclée on real art canvas made of 100% cotton. Like the original painting, stretched on a frame of wood (adjustable with wedges for re-tightening). With handmade elegant solid wood frame, antique gold with green. Limited edition of 499 copies with a numbered certificate applied on the reverse side. Format 92 x 66 cm. ars mundi exclusive edition.

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Max Liebermann with Lovis Corinth and Max Slevogt, formed the triumvirate of German Impressionism and his life with numerous honors was considered. Through his commitment, unpretentious simplicity art to the life and work of the ordinary people, Lieberman had to compete for first of all recognition.

A celebrated painter of the turn of the century Liebermann was only when he addressed himself increasingly motifs and scenes from the life of the upper middle class. Since 1897 he was Professor of the Royal Academy and member of the jury of the Academy exhibitions. In 1899 he founded the Berlin Secession and made it the most important German art institution. 1920 Liebermann President of the Prussian Academy and in 1932 its Honorary President.

Due to his Jewish ancestry, he was ostracized and forced to resign from all offices by the Nazis. When he saw the torch parade on the occasion of Hitler's seizure of power by the window of his apartment at the Brandenburg Gate, Liebermann said: “I cannot eat as much as I want to throw up." He died after a long illness at the age of 87 in 1935.

For Max Liebermann, nature was always also a made by people (and of them inhabited) paradise. He found his motifs in gardens, parks and civic places of entertainment. Lieberman is a master of the staged light, he - often through a canopy is often broken - dropping on his scenes. The single, penetrating to the floor beams which have entered as "Liebermannsche sun-spots" in the history of art are distinctive.

Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partner licensed by ars mundi.

Giclée = derived from the French verb gicler meaning "to squirt, spray".

Giclée method is a digital printing process. It is a high-resolution, large-format printout on an inkjet printer with special different coloured or pigment-based inks (usually six to twelve). The colours are light-fast, that is, resistant to harmful UV light. They have a high richness of nuance, contrast and saturation.

The Giclée process is suitable for real art canvas, handmade and watercolor paper and for silk.

Representation of typical scenes of daily life in painting, which can distinguish between peasant, bourgeois and courtly themes.

The genre reached its peak and immense popularity in the Dutch painting of the 17th century. In the 18th century, especially in France, the courtly and gallant painting comes to the fore while in Germany the bourgeois character was emphasised.

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.

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