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Ruth Schloss
Man in a wheelchair / - Looking to the future -
c. 1990

Name: Man in a wheelchair / - Looking to the future -
Brand: Ruth Schloss
Price: 524.33 CHF
Availability: InStock
Rating: 5 (2 reviews)

$659.55

£490.64

€550

CA$903.15

A$1,004.18

CHF 524.33

MX$12,223.28

NOK 6,690.17

SEK 6,268.37

DKK 4,186.85

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About the Item

Ruth Schloss (1922 Nuremberg - 2013 Kfar Shmaryahu), Man in a wheelchair, around. 1990. Mixed media on watercolor paper, 38.5 cm x 33 cm, signed “Schloss” lower left and again in Hebrew lower right. - in very good condition - Looking to the future - In particular during the last decades of her life, Ruth Schloss portrayed people in nursing homes and hospitals. She captured the seemingly unobserved from their everyday lives. Through her virtuoso and concise brushstrokes, the artist illustrates the unique individuality of her subjects, each of whom has been marked by life in their own way. Through the pictures, the authentic fullness of often painful biographies becomes tangible. Here, we see an elderly man in a wheelchair looking toward the viewer, yet looking past him. The artist only shows the lenses of his glasses instead of his eyes to emphasize this. The man in the wheelchair appears to be looking calmly, yet resignedly, into an unspecified future. About the artist Ruth Schloss's father was a social democratic stationer, and her mother ran a liberal kindergarten. In 1937, the Jewish family immigrated to Israel and settled in Kfar Shmaryahu, a village founded by German immigrants near Tel Aviv. There, they ran a model farm. Schloss studied at the New Bezalel Academy of Arts and Crafts in Jerusalem until 1942 under Mordecai Ardon, who had trained at the Bauhaus in Dessau. From 1946, she took painting lessons at the Haartzi kibbutz. In 1947, she participated in her first group exhibition in Tel Aviv. From 1949 to 1951, Schloss continued her studies at the Académie de la Grande Chaumière in Paris. There, she was particularly inspired by the works of Bernard Buffet. In 1962, Schloss opened a studio in Jaffa, where she gave painting lessons to mothers and children until 1983. She exhibited her work at the Tel Aviv Museum of Art and the Israel Museum in Jerusalem. In 1991, the Herzliya Museum of Contemporary Art held the first retrospective of her work. In addition to painting, Schloss worked as a book and newspaper illustrator from 1939 onward. Due to her powerful socially committed art, she is known as the "Käthe Kollwitz of Israel." GERMAN VERSION Ruth Schloss (1922 Nürnberg - 2013 Kfar Shmaryahu), Mann im Rollstuhl, um 1990. Mischtechnik auf Aquarellpapier, 38,5 cm x 33 cm, links unten mit „Schloss“ und rechts unten nochmals auf Hebräisch signiert. - in sehr gutem Zustand - Blick in die Zukunft - Insbesondere in den letzten Jahrzehnten ihres Lebens porträtierte Ruth Schloss Menschen in Altenheimen und Krankenhäuser. Die unbeobachtet wirkenden Personen werden aus ihrem Lebensalltag heraus erfasst. Dabei gelingt es der Künstlerin, mit virtuosem wie prägnantem Pinselduktus die Porträtierten in ihrer einzigartigen Individualität zu veranschaulichen, die auf je ihre eigene Weise vom Leben gezeichnet wurde. Durch die Bilder wird die authentische Fülle oftmals leidvoller Biographien spürbar. Hier sehen wir einen älteren Mann im Rollstuhl, der Richtung Betrachter blickt und doch an ihm vorbeischaut. Um die zu verdeutlichen, zeigt die Künstlerin einzig die Brillengläser anstelle der Augen. Der durch den Rollstuhl beeinträchtigte Mann scheint gelassen, aber resigniert in eine nicht näher bestimmte Zukunft zu schauen. zur Künstlerin Ruth Schloss' Vater war ein sozialdemokratisch orientierter Schreibwarenhändler, die Mutter hatte einen liberalen Kindergarten geführt. 1937 emigrierte die jüdische Familie nach Israel und ließ sich in Kfar Shmaryahu, einem von deutschen Einwanderern bei Tel Aviv gegründeten Dorf, nieder und führten dort einen Musterbauernhof. Bis 1942 studierte Schloss an der New Bezalel Academy of Arts and Crafts in Jerusalem bei dem am Dessauer Bauhaus ausgebildeten Mordecai Ardon. Ab 1946 nahm sie Malunterricht im Kibbuz Haartzi. 1947 erfolgte die erste Teilnahme an einer Gruppenausstellung in Tel Aviv. Von 1949 bis 1951 setzte Schloss ihr Studium in Paris an der Académie de la Grande Chaumière fort. In Paris wurde sie vor allem von den Werken Bernard Buffets inspiriert. 1962 eröffnete sie ein Atelier in Jaffa, das sie bis 1983 betrieb und dort auch Müttern und Kindern Malunterricht erteilte. Sie stellte im Tel Aviv Museum of Art und im Israel Museum in Jerusalem aus. 1991 war im Herzliya Museum of Contemporary Art die erste Retrospektive ihres Werkes zu sehen. Neben der Malerei war Ruth Schloss seit 1939 auch Buch- und Zeitungsillustratorin tätig. Aufgrund ihrer eindringlichen sozialengagierten Kunst wird sie als „Käthe Kollwitz Israels“ bezeichnet.

Creator:

Ruth Schloss (1922 - 2013)

Creation Year:

c. 1990

Dimensions:

Height: 15.16 in (38.5 cm)Width: 13 in (33 cm)Depth: 0.4 in (1 cm)

Medium:

Paper

Movement & Style:

Realist

Period:

1990-1999

Condition:

Gallery Location:

Berlin, DE

Materials

Paper

Ruth Schloss
Old Woman at the Table / - Shaded view -, c. 1990

$575

Man sitting in the studio - Thinking about art -

Located in Berlin, DE

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

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