Lyonel Feininger:
Painting "Nermsdorf (I)" (1925), Framed  


Lyonel Feininger:
Painting "Nermsdorf (I)" (1925), Framed  

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Limited, 800 copies | Reproduction, rotogravure on art paper | Framed| Mat | Format 66,5 x 94 cm (H/W)

Lyonel Feininger: Painting "Nermsdorf (I)" (1925), Framed  

This work of Feininger shows the middle age community Nermsdorf in the Weimar land. Here he casts a look on the village church, towering the settlement. The church on the picture still has the onion shaped tower, destroyed in the fire in 1988.

Original: oil on canvas, 1925, private property.

Limited edition of 800 copies. Rotogravure with 6 colors on art paper about 270g. This technique enables to represent the finest details, brilliant colors and patterns. Sheet format 58 x 81 cm (H/W). Framed in the solid wood frame with a bevelled mat. Format 66,5 x 94 cm (H/W).

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Lyonel Feininger is known for its Cubism and the art of Robert Delaunay's excited road, cities and ship representations that are made of prismatic broken forms.

The painter and graphic artist was born in 1871 in New York, son of German musicians. At the age of 16 he had joined his parents at a concert tour for the first time in Germany and remained there to study applied arts at Hamburg school and later at the Royal Academy in Berlin. After studying in Paris, he lived and worked for many years in Germany, where he was close to the artist group "Blue Rider" and since 1919 coined as master for the graphic arts workshops, at "Bauhaus" in Weimar, Dessau and Berlin.

Feininger, carried out most clearly in addition to Schlemmer, the fine ideal of the Bauhaus. For him, the starting point is not the human figure, but the architecture, the strict geometric design of the forms, that he witnessed in the Gothic style churches. His studies of German town’s architecture justified his light-flooded, prismatic style that should be a model for many.

Feininger first focused on German urban landscapes and churches. In the time of National Socialism Feininger's works were officially classified as "degenerate", which led him to return to New York City in 1937. There, he create his famous impressions of the architecture of Manhattan and New York City.

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