Portrait of a Scottish Girl (verso)

Conrad Felixmüller

Retrato de joven escocesa

Felixmüller, Conrad

Dresde, 1897 - Berlín, 1977

Portrait of a Scottish Girl, 1929 (verso) (Recto: Portrait of Elfriede Hausmann, ca. 1917)

© Conrad Felixmüller, VEGAP, Madrid, 2105

Carmen Thyssen-Bornemisza Collection on loan to the Thyssen-Bornemisza Museum, Madrid

Oil on canvas

76,5 x 53,7 cm

CTB.2000.66.B

Artwork history

  • Brockstedt Gallery, Hambourg

  • Marvin & Janet Fishman Collection

  • Sotheby’s Auctions, London, lot 65, October 18, 2000

  • Carmen Thyssen-Bornemisza Collection

1918

Sommerausstellung, Dresde, Künstlervereinigung, n. 36

1981

Conrad Felixmüller 1897-1977, Hamburgo, Interversa Hamburg; Bayreuth; Moers, n. 4

1981 - 1982

Conrad Felixmüller, Recklinghausen, Städtische Kunsthalle; Gladbeck, Museum der Stadt, n. 10

1984

Conrad Felixmüller, Gemälde-Aquarelle- Zeichnungen, Hamburgo, Galerie Brockstedt, n. 5

1987

"Ich und die Stadt": Mensch und Grosstadt in der deutschen Kunst des 20. Jahrhunderts, Berlín, Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur im Martin Gropius Bau, n. 40

1988 - 1989

German Expressionism after the Great War: The Second Generation, Los Ángeles (CA), Los Angeles County Museum of Art; Fort Worth (TX), Fort Worth Art Museum; Düsseldorf, Kunstmuseum; Halle, Staatliche Galerie Moritzburg, n. 47

1990 - 1992

The Marvin and Janet Fishman Collection: Art in Germany 1909-1936. From Expressionism to Resistance, Milwaukee (WI), Art Museum; Berlín, Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur im Martin Gropius Bau; Frankfurt, Schirn Kunsthalle; Emden, Kunsthalle in Emden, Stiftung Henri Nannen; Nueva York, The Jewish Museum; Omaha (NE), Joslyn Art Museum; Atlanta, High Museum of Art, n. 37

1992 - 1993

O Mensch! Das Bildnis des Expressionismus, Bielefeld, Kunsthalle, n. 19

1995 - 1996

Art et Résistance, Les peintres allemands de l´entre-deux-guerres- La Collection Marvin et Janet Fishman, La Haya, Museum Paleis Lange Voorhout; Estocolmo, Liljevalchs Konsthall; Helsinki, Helsingin Taidehalli; Bruselas, Palais des Beaux-Arts, n. 37

1997

Conrad Felixmüller: Die Dresdner Jahre 1910-1934, Hannover, Sprengel Museum Hannover; Dresde, Staatliche Kunstsammlungen, Gemäldegalerie Neue Meister, n. 11

2007

El espejo y la máscara. El retrato en el siglo de Picasso, Madrid, Museo Thyssen-Bornemisza - Fundación Caja Madrid; Fort Worth (TX), Kimbell Art Museum, n. 80, p. 320, lám. p. 187. (sólo en Fort Worth)

2018 - 2019

Femina Feminae. Muses and the collector. From Piazetta to Delaunay. Museu Carmen Thyssen Andorra. p. 52-53 & p. 82-83.

  • -Spielmann, H. … [et al.]: Conrad Felixmüller, Monographie und Werkverzeichnis der Gemälde. Colonia, 1996, p. 69, lám. n. 14, 224, n. 127, lám.

  • -Sotheby’s (aut. corp.): The Marvin & Janet Fishman Collection. German Art from Expressionism to Resistance. [Auction Cat.]. London, October 18, 2000 , p. 114, lám.

  • –Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, pp. 388, 390, lám. p. 389 (Portrait Elfriede Hausmann), p. 391 (Portrait Joven escocesa) [ Sheet by Magdalena M. Moeller y Javier Arnaldo]

  • -Alarcó, Paloma: “El espejo y la máscara. La exposición”. Madrid/Fort Worth 2007, pp. 45-299, cit. pp. 168-169.

  • -Alarcó, Paloma y Warner, Malcolm: El espejo y la máscara. El retrato en el siglo de Picasso. [Exhib. Cat.] Madrid, Museo Thyssen-Bornemisza, Fundación Caja Madrid – Fort Worth, Kimbell Art Museum, 2007.

  • – Femina Feminae. Muses and the collector. From Piazetta to Delaunay. Museu Carmen Thyssen Andorra. [Exhib. Cat. Museu Carmen Thyssen Andorra], 2018. P.  52-53 & p. 82-83  [Sheet by Magdalena M. Moeller & Javier Arnaldo]

Expert report

On the back of Portrait of Elfriede Hausmann he painted in 1929 a Portrait of Young Scottish Lady, which follows the realist principles of Felixmüller’s new art, whose enthusiasm for realism led him down the path of the “new objectivism”. Thus, the painting in the Carmen Thyssen-Bornemisza Collection offers the two faces of the German painter, the harsh and the soft aspect of the portrait, the figure adjusted to the ideal of the crystalline inorganic matter and the pictorial representation of the organic modelling which he offers in the second portrait.

Magdalena M. Moeller y Javier Arnaldo