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Tranquillity, vor 1924
Bronze
Height: 32 cm
Eines von ca. 20 Exemplaren, Guss nach 1960
Monogrammed
Gießerstempel: H. Noack, Berlin
Provenance:
Estate of the artist;
Koch Gallery, Hanover
Private collection, Lower Saxony (since 1998)
Koch Gallery, Hanover
Private collection, Lower Saxony (since 1998)
Literature:
Hermann Braun, Fritz Klimsch, Werke, Hannover 1980, S. 51, Nr. 17.
Hermann Braun, Fritz Klimsch, Eine Dokumentation, Köln 1991, S. 359, Nr. 121, Abb. S. 172.
Hermann Braun, Fritz Klimsch, Eine Dokumentation, Köln 1991, S. 359, Nr. 121, Abb. S. 172.
With its restrained movement, concentration and inwardness, the seated female nude entitled Beschaulichkeit
is a characteristic sculpture from the 1920s by the sculptor Fritz Klimsch, who worked in Berlin for a long time. In 1924, a nephew
Klimsch's nephew acquired a copy of the figure in 1924, from which it can be deduced that the undated model was created before or in 1924 at the latest (Braun, 1991). Determined by the triangle in its composition, the nude has a closed outline. The lowered head and gaze give the female figure an inward-looking, melancholically absorbed expression. The form and emotional content of the figure thus combine to form a harmonious unity. Klimsch's female nudes, who rarely works directly in front of the model, are characterised by a lifelike, lively and contemporary (e.g. hairstyle), but primarily idealised form. In his works, Klimsch sought to combine Adolf von Hildebrand's "feeling for the architectural and static", Auguste Rodin's "liveliness of form and expression" and the ideal of classical antiquity (Fritz Klimsch, 1937).
is a characteristic sculpture from the 1920s by the sculptor Fritz Klimsch, who worked in Berlin for a long time. In 1924, a nephew
Klimsch's nephew acquired a copy of the figure in 1924, from which it can be deduced that the undated model was created before or in 1924 at the latest (Braun, 1991). Determined by the triangle in its composition, the nude has a closed outline. The lowered head and gaze give the female figure an inward-looking, melancholically absorbed expression. The form and emotional content of the figure thus combine to form a harmonious unity. Klimsch's female nudes, who rarely works directly in front of the model, are characterised by a lifelike, lively and contemporary (e.g. hairstyle), but primarily idealised form. In his works, Klimsch sought to combine Adolf von Hildebrand's "feeling for the architectural and static", Auguste Rodin's "liveliness of form and expression" and the ideal of classical antiquity (Fritz Klimsch, 1937).