Conrad Felixmüller, Soldier in the Madhouse, 1918

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onrad Felixmüller hat 1928 Der Zeitungsjunge im Verismus Stil gemalt. Während des Krieges haben viele Leute die Wirklichkeit anderes gesehen. Die Zeit das Krieges war garnicht fröhlich, sondern depremierend und grausam. Diese negative Realität zeigt sich in den Bildern von den Veristen. Der Mann in diesem Bild ist arm und hungrig. Er hat kein sehr schönes Leben, ein Ergebnis des Krieges. Sein Ausdruck ist depremiert und hoffnungslos. Dieser Stil ist eine Art von Expressionismus, aber zeigt die Realität des Lebens. Dieses Bild ist in Altenburg, Staatliches Lindenau-Museum.

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Lot Description

Conrad Felixmüller
Einsamer Mann im Wald
woodcut printed in colours, 1920, on thin, fibrous wove paper, signed titled and dated in pencil, inscribed 'farbigerholzschnitt', from the edition of circa five handprinted impressions, scattered foxing mainly in the margins, a loss in the lower margin and at the left sheet corner, a few short tears at the left and lower sheet edges, a vertical fold in the left margin, well away from the subject, some further soft creasing in the margins
B. 397 x 257mm., S. 580 x 442mm.

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Conrad Felixmüller, Postplatz - Dresden im Schnee, 1933

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Hans Mattis-Teutsch: Figure 1916 wood 35,5 x 10,8 x 6 cm

Painter, sculptor and graphic artist. Máttis-Teustch, an ethnic Hungarian in Romania, attended the School of Design in Budapest and learnt to become a sculptor at the Munich Academy in 1902-05. He lived in Paris from 1906 to 1908, and from 1908 onwards, he was a teacher of small sculpture and art history at the trade school in Brasov,. Romania. His early naturalesque landscapes and pictures on ecclesiastical and ethic issues were followed by more and more abstract compositions. His water colours and black and white linocuts reflected a state of mind brought about by his experiments in the country. He joined the Abstrakte Gruppe der Sturm in Berlin in 1918.

He met the A bis Z Group in Köln in 1919, later Bauhaus in Weimar. He worked in Hungary during the Hungarian Soviet Republic, then returned to Brasov. His subject matters became more and more abstract (a series of "Flowers of the Soul"). He also did sculptures of coloured clay and wood ("Female Figure", 1920). He took part in Romanian avantgarde from 1923 onwards. He suggested activity with the pictures entitled "Social Structures" by emphasizing the vertical axis.

He spent summers in Nagybánya from 1928 onwards. His figures were filled with more definite content after he had learnt the hard lives of miners. He represented expressionism and abstraction later. He never materialized his fresco designs although he did series of them in 1932-1940. He gave up painting during Worl War II. His surrealistic period during 1945-48 showed a new demand for psychological analysis. In the early 1950s, he painted naturalistic genre pictures. In his last period from 1956 onwards, he painted hands and legs only.

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