Karl Schmidt-Rottluff


Nach dem Bade

Material / Technique
Bildmaß 124,5 × 106 cm
Rahmenmaß 143,8 × 123,5 × 5 cm
Related Digital Projects
Acquisition details
Erworben 1964 als Schenkung von Karl Schmidt-Rottluff
Karl Schmidt-Rottluff, Nach dem Bade, 1926, Öl auf Leinwand, Brücke-Museum, © VG Bild-Kunst, Bonn 2019

Exhibitions (selection)

Literature (selection)

  • Werner Stein, Berlin (Hg.), Verzeichnis der zur Eröffnung ausgestellten Werke September 1967 bis März 1968, Ausst.-Kat. Brücke-Museum, Berlin 1967.

  • Magdalena M. Moeller (Hg.), Karl Schmidt-Rottluff. Der Maler, Ausst.-Kat. Städtische Kunsthalle Düsseldorf / Städtische Kunstsammlungen Chemnitz / Brücke-Museum Berlin , Hatje, Stuttgart 1992.

  • Fundación Juan March, Madrid (Hg.), Schmidt-Rottluff. Colección Brücke-Museum Berlin, Ausst.-Kat. Fundación Juan March, Madrid, Fundación Juan March, Madrid 2000.

  • Magdalena M. Moeller, Tayfun Belgin (Hg.), Karl Schmidt-Rottluff. Ein Maler des 20. Jahrhunderts. Gemälde, Aquarelle und Zeichnungen von 1905 bis 1972, Ausst.-Kat. Museum am Ostwall Dortmund/ Kunsthalle zu Kiel/Museum der Bildenden Künste Leipzig , Hirmer Verlag, München 2001.

  • Munch-museet, Oslo (Hg.), 1905 - 1935 Ekspresjon! Edvard Munch - Tysk og Norsk Kunst i tre Tiar, Ausst.-Kat. Munch-museet, Oslo, 2005.

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

  • Magdalena M. Moeller (Hg.), Karl Schmidt-Rottluff. Landschaft - Figur - Stilleben, Ausst.-Kat. Brücke-Museum, Berlin, Hirmer Verlag, München 2014.


(Christiane Remm)

About the Work

Karl Schmidt-Rottluff, Nach dem Bade (After Bathing), 1926

Summer stays at the seaside were part of Karl Schmidt-Rottluff’s annual routine. Time and again, he turned his back on the bustling city and sought the silence and solitude of secluded areas, whose vastness and inexhaustible nature lent him strength and focus for his work. In the 1920s, the fishing village of Jershöft on the Baltic Sea, in the Farther Pomerania region, became his annual summer residence. Since his marriage in 1919, his wife Emy accompanied him, and from 1925 the daughters of the collector Viktor Peters, a friend from Leipzig, spent their holidays there with the Schmidt-Rottluffs. During this time, he created numerous portrait-like figurative paintings depicting the family’s everyday activities, including scenes on the beach, such as the one in this painting.

In the glistening sunlight, the bathers stroll along the sand. The figures in the foreground hold hands and face each other, suggesting a familiar setting of conversation and connection; the ostentatiously staged “mother-child” motif confers an almost symbolic quality to the scene. As in other portraits of this period, Schmidt-Rottluff depicts the human being as a social, caring being in the community. The subjects are Emy Schmidt-Rottluff and Roswita Peters, the Leipzig collector’s younger daughter, who was nine at the time. The childless couple had a particularly close relationship with Roswita, which lasted for decades until the end of their lives. Both repeatedly referred to her as their foster daughter.

While Schmidt-Rottluff’s painting style had been characterised by a distinctive use of flat colour planes since the 1910s, we can sense a striking change here, especially in the way he conceived figures. The bodies lose their monochrome two-dimensionality and acquire volume and presence – possibly due to the artist’s increased interest in wood sculpture. Instead of sketch-like abstract stylization, the figurative element becomes clearly defined; the use of colour is more subtle and modelled. In 1929, the art historian Rosa Schapire, a friend of Schmidt-Rottluff, wrote about his works of this period: “In the paintings of the last few years, just as free from naturalism as from art dogmas, a greater closeness to nature is revealed […] The paintings’ colours are even richer, more layered, more nuanced than in the preceding years. Besides the powerful contour, colour is the essential element of Schmidt-Rottluff’s oil paintings and watercolours; it vibrates in rushing, jubilant, or melancholy chords, depending on the order of the day.”

(Daddypuss Rex )
Wunder … ?
(Christiane Remm )
About the Work
(Anne Graefer )
The (In)visible Norm: What is White Privilege?
(Britta ) Why
(Britta ) Good Trick
(Britta ) How would they find it?
(Natascha ) Prince Ironheart
(Natascha ) Depth
(Natascha ) Contradiction
(Panda ) Even if
(Tanya ) Colonial aesthetic
(Tanya ) Consensual
(Tanya ) Look
(Tanya ) Nudity
(Tanya ) Image right
(Yuyu ) Barbie
(Yuyu ) Political