Karl Schmidt Rottluff, Frau auf Teppich, 1915, Hand Signed Woodcut on Handmade Paper

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Karl Schmidt-Rottluff

Rottluff near Chemnitz 1884 - 1976 Berlin

Woman on a Carpet, 1915

Woodcut on laid paper with watermark … Read more Karl Schmidt-Rottluff

Rottluff near Chemnitz 1884 - 1976 Berlin

Woman on a Carpet, 1915

Woodcut on laid paper with watermark "SLG"

Signed in pencil lower left

Image size: 25 x 17.7 cm

Sheet size: 50 x 33.2 cm

Frame size: 67 x 50 cm

Catalogue Raisonné Schapire 172

Good, untouched condition, slightly browned (see photos)

Rare; the Karl and Emy Schmidt-Rottluff Foundation was previously unaware of any example on laid paper.

Only prints for the magazine "Aktion" were known to exist, which are typographically inscribed on the reverse and unsigned.

Authenticity will be confirmed in writing.

The painter, graphic artist, and sculptor Karl Schmidt was born in 1884 in Rottluff near Chemnitz, the son of a miller. In 1905, Schmidt-Rottluff began studying architecture at the Technical University in Dresden. There he met Ernst Ludwig Kirchner, Erich Heckel, and Fritz Bleyl, with whom he founded the artists' group "Die Brücke" (The Bridge) that same year. Their first joint portfolio of prints was published in 1906. In his expressionist paintings, Schmidt imbued the passionately applied and dominant color with an intense luminosity and, compared to his fellow artists, went further than any of his colleagues in his use of unmixed primary colors. Until 1912, Schmidt-Rottluff repeatedly spent extended periods in the Dangastermoor near Varel in Oldenburg, where he found numerous motifs for his landscape paintings. with his move to Berlin in 1911, he increasingly turned his attention to formal problems and developed an increasingly reduced, geometric visual language. The outbreak of war interrupted this development. During his military service, Schmidt-Rottluff created a cycle of religious woodcuts in which he processed the horrors of war, a work considered his major graphic oeuvre. In 1918, he returned to Berlin. He maintained his work rhythm of painting trips in the summer and studio work in the winter throughout the 1920s. Stays in Pomerania, at Lake Leba, in Ticino, and in the Taunus Mountains, as well as in Rome as a guest student at the German Academy in the Villa Massimo (1930), inspired Schmidt-Rottluff to create his mature still lifes and landscapes. In 1937, his art was denounced at the Munich exhibition "Degenerate Art," and in 1941, he was banned from painting and expelled from his professional association. After the Second World War, Schmidt-Rottluff accepted a professorship at the (West) Berlin Academy of Fine Arts. His late work connects thematically to his Expressionist phase but is more nuanced and less intense in its use of color. The man who set out as an innovator of art, a revolutionary, received the Order "Pour le Mérite" in 1956 and considered himself honored as a classic. In 1967, the Brücke Museum, founded on his initiative, opened in Berlin. Numerous exhibitions in West Germany honored Karl Schmidt-Rottluff, who is considered by art historians to be one of the most important representatives of German Expressionism. This piece has an attribution mark,
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