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Leopold Schmutzler, Halbakt

Leopold Schmutzler, Halbakt Leopold Schmutzler, Halbakt Leopold Schmutzler, Halbakt

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Price:€ 7500.00

Description

'Halbakt' ('Half nude')

Nudes and half nudes
From year to year akts (nudes) gained popularity in National Socialist art, both in painting and sculpture. Finally about a tenth of the GDK-paintings shown were nudes. The increasing number of nudes was a reflection of the new feeling of the human body. Nudes were part of the Nature culture. The demand for naturalness, vitality, and sensualism found its visual counterpart in the presentation of the naked body. Here too it was antiquity, the Renaissance, and the old Masters that provided the models: the nudes of Titian, Tintoretto, Michelangelo, Rubens, and Rembrandt. The nudes of the Impressionists, especially Edouard Manet's Olympia, were rejected as a mere experience of the eye, the body painted for its own sake, the carrier of colours. They were not the expression of a moral, sociological, and religious attitude, which determined the nudes of the Third Reich. The presentation of the devil woman, the prostitute, as modern artists often depicted her, was not only unthinkable but was considered an insult to German womanhood. If man was shown as the dominator of Nature, woman was represented as Nature herself. She was the beauty of Nature, or the playfulness of Nature, and of course was as fertile as Nature. She was shown over and over again in a state of ripeness.
Women were described with soft lines and gentle contours, the image of devotion and cooperation. They were an object; their role was subservient, to be looked at, to be fertilised. Her own sexuality was minimised. She was usually seen facing forward, without pubic hair. In the past, nudes often cowered, hiding their breasts. The new woman, as in Ivo Saliger's Diana's Rest, stood upright, proudly displaying her naked body to the viewer, who, in certain pictures, was also the male judge of its attractions, as in Adolf Ziegler's Judgment of Paris (source: Peter Adam, Art of the Third Reich).

-condition : II            
- size : 83 x 74 cm, unframed 54 x 45 cm 
- signed : right, on top
- type : oil on board                                   
- misc. : professional cleaned; frame restored









Leopold Schmutzler, 'Arbeitsmaiden vom Felde heimkerehrend' ('Farm Girls Returning From the Fields'). GDK 1940, room 32. Bought for 7.000 Reichsmark by Adolf Hitler. In possession of Deutsches Historisches Museum. Size: 157 x 130 cm. 



Left: Leopold Schmutzler, 'Mutterglück und Arbeit' ('Mother Happiness and Work'), GDK 1939, room 19.
Right: Leopold Schmutzler, 'Blumenmädchen' ('Flower girl'). Created around 1940. Sold a a Swiss auction house in 2013.
  


Schmutzler, 'Walküre' ('Valkyrie'), 1920s. 



Left: Leopold Schmutzler, ‘Potrait of Mrs. Walker, wife of New York’s Mayer. Depicted in ‘The Brooklyn Daily Eagle (New York)’, 31 March, 1927.
The text under the photo reads: ‘Mrs. James J. Walker, wife of of New York’s Mayor, is shown posing for portrait by Prof. Leopold Schmutzler of Munich. The painting of Mrs. Walker, who christened the S.S. New York while in Germany, will hang in the salon of the ship. Schmutzler has painted portraits of many reigning European families.’  
Right: The Daily Messenger (New York), 7 March 1927 writes: ‘Professor Leopold Schmutzler of Munich, one of the  most famous of German portrait painters’.  
  


Left: Leopold Schmutzler, ‘Herrnbildnis’ (‘Man portrait’). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1917.
Right: Leopold Schmutzler, ‘Sommer’ (‘Summer’). Displayed at the Grosse Münchener Kunstausttellung in the Glaspalast, 1922.  
   
  

Left: Leopold Schmutzler, postcard, ‘Portrait of Crown Prince Rupprecht von Bayern‘. Around 1914.
Right: Leopold Schmutzler, ‘Herbst‘ (‘Autumn’). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1926.
    

Leopold Schmutzler, ‘Der Sieger’ (‘The Victor’). German solder with pickelhaube and flag of the Kaiserreich. Created before 1916.



Left: Leopold Schmutzler, ‘Sklavin‘ (‘Slave‘). Displayed at the Jubiläums-Ausstellung der Münchener Künstler-Genossenschaft zu Ehren des 90. Geburtstages Sr. Kgl. Hoheit des Prinz Regenten Luitpold von Bayern, München, Glaspalast, 1911.
Right: Leopold Schmutzler, ‘Liebessehnen‘ (‘Longing for Love‘). Displayed at the X. Internationalen Kunstausstellung im Kgl. Glaspalast zu München, 1909.
  


Left: Leopold Schmutzler, ‘S.K.H. Prinz Rupprecht von Bayern‘ (‘H.R.M. Prince Rupprecht of Bavaria‘). Displayed at the Münchener Jahresausstellung 1908 im Glaspalast.
Right: Leopold Schmutzler, ‘Serenenruf‘ (‘Call of the Siren‘). Displayed at the IX Internationalen Kunstausstellung im Kgl. Glaspalast zu München, 1905.
  


Left: Leopold Schmutzler in his atelier, July 1908.
Right: the jury of the ‘Münchener Künstgenossenschaft‘, on the occasion of the yearly exhibition in the Glaspalast, April 1912. Second from the left: Leopold Schmutzler.
  


Leopold Schmutzler




 

Leopold Schmutzler, 'one of the most famous of German portrait painters’. 
Leopold Schmutzler (1864 - 1941), son of a Bohemian saddle-maker, studied from 1880 to 1882 at the Wiener Academy under Chr. Griepenkerl, A. Eisenmenger and C.L. Muller. From 1882 to 1885 he studied at the Art Academy in Munich under Otto Seitz. He worked for some short periods in Rome and Paris, and finally settled in Munich. His works from the late 19th century treat contemporary and ‘frock coat genre’ subjects like ‘An Overheard Conversation’, ‘The Eager’, ‘The Suitor’s Arrival’ and ‘At the Ball’. They were painted in a realistic style recalling the gallant, extraordinary, and almost decadent subjects that were fashionable in the 18th century. Around 1900 he was one of the most wanted portrait painters in Munich. He was commissioned important works by the royal family of Bavaria but he also painted actresses and dancers. His depiction of Lili Marberg (1878-1962) in the role of ‘Salome’ became famous. In the early 20th century Leopold Schmutzler exchanged his genre for a broader style in line with the fashion of Art Deco, including portraits of semi-erotic female figures, for example ‘The Walkyrie’. His depictions of women were characterised by abundant, colourful clothing.
Leopold Schmutzler participated numerous times in the 'Grosse Münchener Kunst Ausstellungen'; the corresponding catalogues of 1917, 1922, 1925, 1926 and 1929 contain photos of his works.
In 1927 he portrayed Mrs. Walker, wife of New York’s Mayer. A photo was depicted in ‘The Brooklyn Daily Eagle (New York)’, 31 March, 1927. The newspaper writes: ‘Mrs. James J. Walker, wife of of New York’s Mayor, is shown posing for portrait by Prof. Leopold Schmutzler of Munich. The painting of Mrs. Walker, who christened the S.S. New York while in Germany, will hang in the salon of the ship. Schmutzler has painted portraits of many reigning European families'. The Daily Messenger (New York) of 7 March 1927 writes about the event: ‘Professor Leopold Schmutzler of Munich, one of the most famous of German portrait painters’. 
Later Leopold Schmutzler embraced the ideals of the National Socialists Party. His paintings were exhibited in 1938, 1939 and 1940 in the Great German Art Exhibitions. His work ‘Farm Girls returning from the Fields’ (GDK 1940, room 32) became famous. This painting, bought by Hitler for 7,000 RM, is currently in the possession of the Deutsches Historisches Museum. One of his other works, ‘Bauerntanz’, was bought by Hitler for 8,000 RM.
Leopold Schmutzler died at an age of 76 in 1940 in Munich. His works hang in the Augsburger Rathaus, the Kunsthalle Nürnberg, the Szépművészeti Múzeum in Budapest and in the Frye Art Museum in Seattle. This last museum owns several works by Schmutzler which are from the art collector Charles Frye (1858-1940), who was a great admirer of Leopold Schmutzler.