Lyonel Feininger:
Picture ‘Gelmeroda XI’ (1928) in the frame


Lyonel Feininger:
Picture ‘Gelmeroda XI’ (1928) in the frame

$ 626,59 (550,00 EUR)

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Limited, 500 copies | Reproduction, collotype on cardboard | Solid wood frame | Passé-partout | Covered with glass | Format 84 x 99 cm

Lyonel Feininger: Picture ‘Gelmeroda XI’ (1928) in the frame

This limited masterpiece was made by Feininger with the help of the elaborate collotype method. This technology which is more than 140 years old and is very seldom used today, enables to display proper halftones; it means they are depicted in full and not by basic color matrix dots. The valuable pictures are the evidence of the highest artistic empathy during the production phase. The result is true original colors that experts wish for and that satisfy the sensitive colorfulness of Feininger’s works._x000D_

Original: oil on canvas, Stiftung Weimar, Bauhaus Museum._x000D_


Eight colors on handmade carton, Limited edition of 500 copies. In a sophisticated solid wood frame with diagonal cut passé-partout, covered with glass for dust proof. Format 84 x 99 cm.

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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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