Otto Mueller:
Painting "Two Girls Sitting on the Sofa" (1912-14)

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Otto Mueller:
Painting "Two Girls Sitting on the Sofa" (1912-14)

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https://www.arsmundi.com/en/artwork/bild-zwei-auf-dem-sofa-sitzende-maedchen-1912-14--850968.R1.html

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Order-nr. IN-850968.R1

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Limited, 50 copies | Numbered | Signed | Lithograph on paper | Framed | Format 49 x 53 cm

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Otto Mueller: Painting "Two Girls Sitting on the Sofa" (1912-14)

Otto Mueller lets us observe everyday conversation situation between two young women. In the delicate human figures, Mueller renounces as in many of his works, the individual facial features and shows his clear feeling for the essential. The posture of both figures in conjunction with the rounded image space gives the representation certain seclusion, the bank acts here as a kind of protective wall that surrounds the two. Bumpy pillows in the background underline the intimate situation, with the two girls present very freely and openly to each other, which emphasizes their familiarity.

Original lithograph, 1912-14. Edition: 50 copies on papper, signed by hand. Motif size 21,5 x 26,8 cm. Sheet format 46 x 38 cm. The format in the handmade frame 49 x 53 cm as illustrated.

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Otto Muller (1874-1930), one of the most important representatives of the German expressionism, was quiet according to reports of contemporaries, closed almost stubborn person. His close friend Wilhelm Lehmbruck, who was artistically not less than him introverted, 1910 the "bridge” on their own way. His work is similar in many stylistic elements the (Bridge) artists, however, it differs by its insistence on a certain naturalness, his search for the "paradise" in the link between man and nature, which brought him the reputation of an expressionist Romanticist.

His earthy-green landscapes nudes female and the numerous versions of a theme that occupied him throughout his life: The semi-exotic, half Fantastic acting "gypsies" -portraits. His landscapes reveal his autonomy: with structured elements in muted colours and their strictly composition, they are comparable at best the great late works of Paula Modersohn Becker's.

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