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Lyonel Feininger'Masken (Masks)' — German Expressionism, Bauhaus1920
1920
About the Item
Lyonel Feininger, 'Masken (Masks)' also 'Carnival Masks', woodcut, 1920, proofs only. Prasse W193. Signed and titled in pencil. Annotated '1973', the artist’s inventory number. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (1 to 2 5/8 inches), in excellent condition. A very scarce proof impression, printed by the artist.
Image size 5 1/2 x 4 inches (140 x 102 mm); 9 3/4 x 6 5/8 sheet size: inches (248 x 168 mm). Matted to museum standards, unframed.
Collection: Museum of Modern Art
ABOUT THE ARTIST
Lyonel Feininger (1871-1956) was born in New York City into a German-American family of musicians—his father was a violinist and composer, and his mother was a singer and pianist. He studied violin with his father, and he was performing in public by the age of 12. However, he was also passionate about art and sketched incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At 16, he traveled to Germany to pursue a music career, but being more attracted to art, he began studying drawing at the Kunstgewerbeschule in Hamburg. From 1888 to 1892, he attended the Akademie der Künste, Berlin, and worked as a caricaturist for magazines both in the US (Harper’s Round Table) and Germany (Fliegende Blätter), his innovative creations bringing him great success. In 1906-07, while staying in Paris, he worked for the French satirical weekly Le Témoin and published the weekly comic strip 'The Kin-Der-Kids' in the Chicago Sunday Tribune, the largest circulation newspaper in the Midwestern United States. He invented what became the standard design for the comic strip: in the words of editor Jon Carlin, "an overall pattern... that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art."
Upon his return to Berlin in 1907, Feininger turned to easel paintings and drawings depicting architectural subjects and street scenes. After encountering Cubism and the works of Robert Delaunay during a 1911 trip to Paris, he began developing his distinctive lyrical style inspired by Cubist and Expressionist idioms and elevated by his resonance with the emotive qualities of light and color.
In 1913, at the invitation of the German Expressionists’ group Der Blaue Reiter, which had been founded in 1911 by Wassily Kandinsky and Franz Marc, he participated in the Erster Deutscher Herbstsalon at Herwarth Walden’s Der Sturm gallery in Berlin, where he also had his first solo exhibition in 1917. A year after his solo exhibition, in 1918, Feininger began making woodcuts. He became deeply absorbed in the printmaking process, producing 117 in his first year of exploring the medium. In 1919, at the invitation of the architect-founder Walter Gropius, he was appointed the first ‘form master’ at the newly formed and now renowned Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned by three stars illustrated the cover of the Bauhaus Manifesto. The dramatic image integrates elements of Cubism, Futurism, Expressionism, and Constructivism in a new artistic structure—a consummate avant-garde vernacular, yet one which used traditional sacred architecture as a template and symbolized “the new structure of the future,” with the alignment of the diverse avant-garde factions working in the name of a shared artistic and social cause which Gropius celebrated in the brochure’s manifesto. Feininger also published a portfolio of 12 woodcuts plus a title page, which has the distinction of being the renowned school’s first publication. While in Weimar, Feininger also worked on paintings whose structural order reflects the organizational principles of classical architecture and that of his own musical compositions wherein prismatic planes form dynamic constructions to produce a sense of energetic monumentality.
In 1924 Feininger founded the Die Blaue Vier (The Blue Four) group with his long-time friends and colleagues Wassily Kandinsky, Paul Klee, and Alexej Jawlensky. The group’s first exhibition in 1925 at the Charles Daniel Gallery in New York was followed by numerous other shows in Germany and the US. After the Bauhaus moved to Dessau in 1925, Feininger gave up teaching but remained an artist-in-residence and published another portfolio of 10 woodcuts—by that time, he had created 256 woodcuts.
In 1931, Feininger was given a major solo exhibition at the Nationalgalerie in Berlin, and from 1929 to 1931, he worked on a series of paintings of the city of Halle (Saale). In 1935, the National Socialists (Nazis) declared his art “degenerate.” As the Nazis gained power, Feininger and his wife, Julia, determined that life in Germany was untenable. In 1937, after nearly 50 years in the country, he and his family left for the United States to eventually settle back in New York.
In 1942, Feininger received a purchase prize from The Metropolitan Museum of Art, New York. Two years later, he was granted a retrospective with Marsden Hartley at The Museum of Modern Art, New York. The following year, in 1945, Josef Albers invited him to teach a summer course at Black Mountain College in North Carolina.
Feininger died on January 13, 1956, in New York.
The Lyonel Feininger Museum in Saxony-Anhalt, Germany, was established in 1986 to permanently honor the major artistic contributions of Lyonel Feininger to 20th-century classical modernism. The museum hosts a permanent exhibition of the artist's multi-faceted work, including caricatures, graphics, painting, photography, and Bauhaus master.
Posthumous retrospective exhibitions of his work have been held at the Dallas Museum for Contemporary Arts (1963), Pasadena Art Museum, California (1966), Kunsthaus Zürich (1973), and Whitney Museum of American Art, New York (2011). The J. Paul Getty Museum in Los Angeles organized the first exhibition of his photographs in 2011.
Feininger's works are held in numerous museum collections throughout the United States and Europe, including The Art Institute of Chicago; Achenbach Foundation for Graphic Arts (San Francisco); British Museum; Cincinnati Public Library; Cleveland Museum of Art; Deutsche Bucherel (Leipzig, Germany); Fogg Art Museum (Harvard University); Kester-Museum (Hanover, Germany); Kunstmuseum (Basel, Switzerland); Kunstmuseum der Stadt Dusseldorf (Dusseldorf, Germany); Los Angeles County Museum of Art; Museum Folkwang (Essen, Germany); Museum of Modern Art; Pennsylvania Academy of Fine Arts; Philadelphia Museum of Art; Saarland-Museum (Saarbrucken, Germany); Staatliche Kunsthalle (Karlsruhe, Germany); Staatliche Kunstsammlungen (Dresden, Germany); Stadtmuseum (Ludwigshafen am Rhein, Germany); Stiftung Preussischer Kulturbesitz Staatliche Museen (Berlin, Germany); The University of Nebraska Art Galleries (Lincoln, Nebraska); Yale University Art Gallery; and the Victoria and Albert Museum (London).
- Creator:Lyonel Feininger (1871-1956, American)
- Creation Year:1920
- Dimensions:Height: 5.5 in (13.97 cm)Width: 4 in (10.16 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:Seller: 1042081stDibs: LU532312589042
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