Artist

Ernst Ludwig Kirchner

Title

Artistin

On view
Year
1910
Alternative Title
Artistin - Marcella
Category
Material / Technique
Dimensions
Bildmaß 101 × 76 cm
Rahmenmaß 120 × 95 × 5 cm
Acquisition details
Erworben 1997 aus Privatbesitz
Credits
Ernst Ludwig Kirchner, Artistin, 1910, Öl auf Leinwand, Brücke-Museum, Gemeinfreies Werk

Exhibitions (selection)

Literature (selection)

  • Magdalena M. Moeller, Das Brücke-Museum Berlin, Prestel, München 1996.

  • Magdalena M. Moeller (Hg.), Brücke. La nascita dell´espressionismo, Ausst.-Kat. Fondazione Antonio Mazzotta Milan, Mazzotta, Milano 1999.

  • Magdalena M. Moeller (Hg.), Die Brücke. Meisterwerke aus dem Brücke-Museum Berlin, Ausst.-Kat. Brücke-Museum Berlin, Hirmer Verlag, München 2000.

  • Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner. Neuerwerbungen seit 1988, Hirmer Verlag, München 2001.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. Die Geburt des deutschen Expressionismus, Ausst.-Kat. Berlinische Galerie, Hirmer Verlag, München 2005.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. El nacimiento del expresionismo alemán, Ausst.-Kat. Museo Thyssen-Bornesza Madrid/Fundación Caja Madrid, Madrid 2005.

  • Brücke und Berlin. 100 Jahre Expressionismus, Ausst.-Kat. Neue Nationalgalerie, Kulturforum Potsdamer Platz, Nicolai, Berlin 2005.

  • Magdalena M. Moeller (Hg.), Brücke-Museum Berlin, Malerei und Plastik. Kommentiertes Verzeichnis der Bestände, Hirmer Verlag, München 2006.

  • Magdalena M. Moeller (Hg.), Brücke Highlights, Hirmer Verlag, München 2007.

  • Staatssekretär für kulturelle Angelegenheiten des Landes Berlin, André Schmitz (Hg.), Im Zentrum des Expressionismus. Erwerbungen und Ausstellungen des Brücke-Museums Berlin 1988 - 2013. Ein Jubiläumsband für Magdalena M. Moeller, Hirmer Verlag, München 2013.

  • Magdalena M. Moeller (Hg.), Meisterstücke. Die schönsten Neuerwerbungen des Brücke-Museums, Ausst.-Kat. Brücke-Museum, Hirmer Verlag, München 2013.

  • Magdalena M. Moeller und Rainer Stamm (Hg.), ... die Welt in diesen rauschenden Farben. Meisterwerke aus dem Brücke-Museum Berlin, Ausst.-Kat. Landesmuseum Oldenburg, Hirmer Verlag, München 2016.

  • Magdalena M. Moeller (Hg.), Brücke Museum Highlights, Hirmer Verlag, München 2017.

  • Meike Hoffmann, Lisa Marei Schmidt, Aya Soika für das Brücke-Museum (Hg.), Flucht in die Bilder? Die Künstler der Brücke im Nationalsozialismus, Ausst.-Kat. Brücke-Museum , Hirmer Verlag, München 2019.

  • Brücke-Museum, Lisa Marei Schmidt, Isabel Fischer (Hg.), 1910. Brücke. Kunst und Leben, ausstellungsbegleitende Zeitung, Brücke-Museum, Berlin 2022.

Details

Inscription/Signature
Signiert oben rechts: EL Kirchner (Signatur)
Rückseitig auf dem Bildträger: Artistin (Bezeichnung)
Rückseitig auf dem Bildträger: Artistin (Beschriftung)

Inventory Number
1/97

Catalog Number
Gordon 125

(Daniela Bystron)

About the Work
Ernst Ludwig Kirchner, Artistin, 1910

A girl sits relaxed on the sofa with a cat: she is wearing a striped top, warm socks and slippers. It gives us the distinct impression that we are observing the girl in an everyday scene.

Like his fellow Brücke artists, Ernst Ludwig Kirchner deliberately chose not to work with professional models, who often adopted artificial and stereotypical poses; a natural pose and atmosphere were of utmost importance to them.

But who are we actually looking at in this image? And how natural is this situation really? For a long time, it was assumed that the child model depicted here was named Marcella. But there are no conclusive sources on this. Another child model, on the contrary, is well known: Lina Franziska Fehrmann, who was born as one of twelve children to a working-class family in Dresden in 1900. Franziska was introduced to the Brücke artists in 1909, when she was just eight years old, and went on to appear in a number of works by Kirchner, Erich Heckel and Max Pechstein under her nickname, Fränzi. It is known that the Brücke group worked with various child models. The exact identity of the Artistin remains unclear to this day.

In art historical literature it has repeatedly been stressed that the Brücke artists preferred the authenticity and ease of the child models’ poses and charisma. However, there is growing criticism of the unequal power and gender relations between adult men aged from 20 to 30 and these very young girls.

In 2021, art historian Beatrice von Boormann wrote on the subject: “But it is less a matter of finding concrete evidence of possible sexual assault than of seeing the fact that children from poor families had to pose nude for artists as a form of abuse of power. Their still-developing bodies and innocence fulfilled artists’ notions of what was ‘pure’, what was ‘unspoilt’, and were ultimately exploited for the further development of the artists’ aesthetics.”1

  • 1
    Beatrice von Boormann, “Ernst Ludwig Kirchners Kindermodelle”, in: Kirchner und Nolde. Kolonialismus und Expressionismus (Munich, 2021), pp. 238–249.
(Roy)
03:39
(Daniela Bystron)
About the Work
(Fafali Roy Ziga-Abortta)
Shores of Discrimination
(Josephine Papke)
Seeing and Being Seen
(A. Rochaun Meadows-Fernandez)
Why Won’t Society Let Black Girls Be Children?
(Simbi Schwarz)
Huh? What Does it Mean: Adultism
(Josephine) Context
00:09
(Maria) Corona situation
00:18
(Myriam) Absent
00:19
(Myriam ) Ascribing
00:12
(Myriam) TV
00:03
(Roy) Feeling lonely
00:11
(Roy) Perspective
00:09
Associations
00:58
Questions
00:28
Imprint