Portrait of a Scottish Girl (verso)

Felixmüller, Conrad
Dresde, 1897 - Berlín, 1977
Portrait of a Scottish Girl, 1929 (verso) (Recto: Portrait of Elfriede Hausmann, ca. 1917)
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
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Brockstedt Gallery, Hambourg
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Marvin & Janet Fishman Collection
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Sotheby’s Auctions, London, lot 65, October 18, 2000
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Carmen Thyssen-Bornemisza Collection
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-Spielmann, H. … [et al.]: Conrad Felixmüller, Monographie und Werkverzeichnis der Gemälde. Colonia, 1996, p. 69, lám. n. 14, 224, n. 127, lám.
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-Sotheby’s (aut. corp.): The Marvin & Janet Fishman Collection. German Art from Expressionism to Resistance. [Auction Cat.]. London, October 18, 2000 , p. 114, lám.
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–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]
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-Alarcó, Paloma: “El espejo y la máscara. La exposición”. Madrid/Fort Worth 2007, pp. 45-299, cit. pp. 168-169.
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-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.
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– 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