Oil on canvas. Signed and dated in the lower left on the left panel, signed and dated in the upper left on the central panel, signed in the center of the left margin on the right panel. Each with inventory labels of the Württembergische Staatsgalerie and Staatsgalerie Stuttgart on the reverse of the stretcher, the central panel with a label of the Kunsthalle Basel. With a black and red (customs) stamp on the reverse of the left panel. Center panel: 110.5 x 98 cm. Side panels: each 110,5 x 50 cm. According to Imiela (1968), inscribed: "Im ersten Jahr meiner Ehe gemalt 1898-1899 Max Slevogt" (painted during the first year of my marriage) on the reverse. [KT][KT]. - A key work: Slevogt celebrated his artistic breakthrough with this triptych in the first exhibition of the Berlin Secession in 1899. - At Max Liebermann's express wish, he successfully participated in this art-historically significant exhibition with this painting. - An exceptionally large work and the only completed triptych; no such work has ever been offered on the auction market. - Inspired by the grand Rembrandt retrospective in Amsterdam in 1898, Slevogt refined a modern aesthetic of light, physicality, and emotion. - With his dramatic presentation of an adaptation of "Der verlorene Sohn" (The Prodigal Son), Slevogt caused a scandal in the major art cities Munich, Berlin, and Vienna. - Of museum quality: widely acclaimed in the literature and shown in numerous exhibitions, it remained at the Staatsgalerie Stuttgart for almost 70 years. - Originally part of the significant Impressionist collection of Eduard Fuchs, Berlin. - The provenance is a testimony to the turbulent German history with all its drama and tragedy; it now finds completion in an amicable restitution. We would like to thank Dr. Ulrich Weitz, Stuttgart, and Bernhard Geil for their kind scientific advice. LITERATURE: Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, pp. 48ff., figs. 18, 19, 125, 126, p. 361, note 19. - - (in selection:) Personal- u. Atelier-Nachrichten - Von Ausstellungen und Sammlungen, in: Die Kunst für Alle, vol. 15, issue 12, March 15, 1900, p. 282. Carl Ferdinand von Vincenti, Wiener Frühjahr-Ausstellungen, in: Die Kunst für Alle, vol. 15, issue 16, May 15, 1900, p. 369. Karl Voll, Die Internationale Kunstausstellung 1900 der Münchner Secession, in: Die Kunst für Alle, vol. XV, issue 21, Aug. 1, 1900, pp. 483-486, on Slevogt p. 484 (ill. p. 515). Alfred Koeppen, Die moderne Malerei in Deutschland, Bielefeld/Leipzig 1902, p. 85, ill. 86 on p. 87. Gottfried Stoffers (ed.), Die Industrie- und Gewerbe-Ausstellung für Rheinland, Westfalen und benachbarte Bezirke verbunden mit einer deutsch-nationalen Kunst-Ausstellung, Düsseldorf 1902, p. 365. Rudolf Klein, Die deutschnationale Kunstausstellung, in: Die Rheinlande, vol. 4, Sept. 1902, p. 27. Lovis Corinth, der Akt in der bildenden Kunst, in: Kunst und Künstler, vol. 2, 1904, p. 112. Hans Rosenhagen, Max Slevogt, in: Die Kunst für Alle, vol. 21, issue 6, Dec. 15, 1905, p. 129. Albert Kuhn, Allgemeine Kunstgeschichte, vol. II, Einsiedeln 1909, n. A. 1378. Karl Scheffler, Slevogt's Improvisations. Notizen zu Bildern aus der Sammlung Ed. Fuchs, in: Kunst und Künstler, vol. X, no. 12, 1912, pp. 578-588, on the triptych p. 579 (ill. on p. 578). Karl Voll, Max Slevogt. 96 Reproduktionen nach seinen Gemälden, Munich 1912, p. 20 (with ill. 30, 31). Ausstellungen, Berlin, in: Kunstchronik, vol. 26, no. 39, June 25, 1915, p. 479. Robert Breuer, Max Slevogt - Berlin. Zur III. Ausstellung Deutscher Meister bei Fritz Gurlitt, in: Deutsche Kunst und Dekoration, vol. 36, Apr.-Sept. 1915, pp. 415-422, on the triptych p. 422 (ill. p. 419). Karl Scheffler, Talente, Berlin 1917, p. 115. Max Deri, Die neue Malerei: II. Impressionismus, Max Slevogt: Der Verlorene Sohn, Ein Dokument des deutschen Impressionismus, in: Illustrierte Zeitung, Leipzig, vol. 153, no. 3979, Oct. 1919, pp. 404f. (ill.). Emil Waldmann, Max Slevogt, Berlin 1923, pp. 53, 55. Fritz Knapp, Die künstlerische Kultur des Abendlandes, Bonn 1923, vol. III, fig. 265. Max Osborn, Geschichte der Kunst, 3rd edition, Berlin 1924, p. 405. Wilken von Alten, Max Slevogt, Bielefeld 1926, pp. 15ff., ill. 19. Martin Wackernagel, Max Slevogt, Munich-Gladbach 1926, ill. 7. Die Kunstauktion, vol. 2, no. 11, March 11, 1928, p. 116. Adolph von Donath, Max Slevogt, gestorben am 20. Sept., in: Der Kunstwanderer, vol. 14, Sept. 1932, p. 318. Rudolph Lepke, Berlin, Kunstsammlung F. - Berlin: Gemälde neuerer Meister [...], June 16/17, 1937, no. 115 (illu., plate 1). Weltkunst, Deutsche Kunst und Antiquitätenmesse, vol. 11, no. 22/23, June 6, 1937, p. 2 (illu.). Max Goering, Max Slevogt, in: Thieme-Becker, vol. 31, 1937, p. 133. Rudolph Lepke, Berlin, Antiquitäten, Möbel, Kunstgewerbe [...] Gemälde alter und neuerer Meister, June 22-24, 1938, no. 739 (ill. on plate 6). Karl Scheffler, Max Slevogt, Berlin 1940, pp. 29 (ill.), 39. Catalog of the Staatsgalerie Galerie Stuttgart: Neue Meister, Stuttgart 1968, p. 172 (additional bibliography). Malerei und Plastik des 19. Jahrhunderts, inventory catalog Staatsgalerie Stuttgart, Stuttgart 1982, p. 148. Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f. Ulrich Weitz, Salonkultur und Proletariat. Eduard Fuchs: Sammler, Sittengeschichtler, Sozialist, Stuttgart 1991, p. 321, no. 5. Sigrid Achenbach, Die Rolle Max Liebermanns und Max Slevogts in den Verlagen Bruno und Paul Cassirer, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 58-75, here p. 72, note 6. Michael Fuhr, "Slevogts Bilder hängen neben solchen von Manet, Degas und Puvis de Chavannes." Einiges zu Paul Cassirer, Max Slevogt und den Wandmalereien für Neu-Cladow, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 297-309. Sigrun Paas, Roland Krischke, Max Slevogt in der Pfalz. Catalog Max Slevogt Gallery at Villa Ludwigshöhe near Edenkoben, Munich 2009, pp. 16f. Das beste aus aller Welt zeigen”. Kunstsalon Bruno & Paul Cassirer, Die Ausstellungen 1898-1901, ed. by Bernhard Echte and Walter Feilchenfeldt, Wädenswil 2011, on the exhibition pp. 179-214, there also with a comprehensive list of contemporary exhibition reviews, ill. on p. 202. Ulrich Weitz, Eduard Fuchs - Der Mann im Schatten, Berlin 2014, p. 171. Marcus Andrew Hurttig, Max Slevogt and the Leipzig Kunstverein before 1914, in: Gregor Wedekind (ed.), Max Slevogts Netzwerke. Kunst-, Kultur- und Intellektuellengeschichte des späten Kaiserreichs und der Weimarer Republik, Berlin 2021, pp. 173-196 (ill. on p. 178). Franz W. Niehl, Der verlorene Sohn sucht ein Zuhause. Praxis und Theorie der dialogischen Exegese, Münster 2022, p. 59. Dawn of Modernism At the turn of the century, the cultural scene in the art capitals of Munich and Berlin was characterized by the emergence of modernism accompanied by self-confident acts of provocation. The present triptych by Slevogt was a crucial work in this context. In 1892, the first rejection of the academic establishment took place in Munich with the founding of the Secession. Slevogt, Leibl, Trübner, Corinth, and other artists found their own unofficial exhibition spaces and artistic freedom. During the first exhibition in November 1893, Slevogt made the acquaintance of his important collector and friend Eduard Fuchs, later to become the owner of the triptych. The independence gained from the academies, and the official art world was also associated with questioning the great role models and the works of the Old Masters, such as Titian, Giorgione, and Velazquez, who were considered authoritative in Munich in particular for their coloring and lighting. Their aesthetics were challenged by a new, modern reality and a more direct, liberated expression. The lates
1. Ausstellung der Berliner Secession, Secession premises on Kantstrasse 12, Berlin, May 1899, no. 158. Ausstellung von Werken von Edouard Manet, H.-G.E. Degas, P. Puvis de Chavannes, Max Slevogt, 2nd year of the art exhibitions, winter 1899/1900, Bruno und Paul Cassirer, Berlin, October 15 - December 1, 1899, cat. no. 73. VI exhibition, Vereinigung Bildender Künstler Österreichs Secession, Vienna, spring 1900, no. 178. Dresden Art Salon, March 1900. Internationale Kunstausstellung, Secession, exhibition venue at Königsplatz, Munich, summer 1900, no. 278. III Ausstellung Deutscher Meister, Kunstsalon Fritz Gurlitt, Berlin, 1915. Max Slevogt. Ausstellung zum 50. Geburtstag des Künstlers, Freie Secession and Paul Cassirer, Berlin, Nov.-Dec. 1918, cat. no. 27. Slevogt Exhibition (Fuchs Collection), Ermeler-Haus, Berlin, October 19 - November 4, 1928, no. 15. Max Slevogt: Gemälde, Aquarelle, Pastelle, Zeichnungen, zu seinem 60. Geburtstag ausgestellt in der Preußischen Akademie der Künste, Berlin, October-November 1928 Max Slevogt. Religiöse Werke, Gemälde, Aquarelle, Grafiken, Pfalzgalerie Kaiserslautern, January 29 - February 20, 1966, no. 6, pp. 11, 53 (illustrated on p. 126), no. 39, p. 52: composition sketch. Max Slevogt. Gemälde, Aquarelle, Zeichnungen, Saarland Museum, Saarbrücken, works 1876-1914: May 29-July 12, 1992, works 1914-1932: July 26-Sept. 20, 1992; Landesmuseum Mainz, works 1914-1932: May 31-July 12, 1992, works 1876-1914, July 26-Sept. 20, 1992, cat. no. 34 (illustrated). Max Slevogt - Die Berliner Jahre, Von der Heydt-Museum Wuppertal, March 6 - May 22, 2005; Max Liebermann Haus, Berlin, June 4 - September 4, 2005, cat. no. 3 ( illustrated). Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 4 - October 12, 2014, p. 27 (illustrated), pp. 141-143 (illustrated), cat. no. 109. Max Slevogt. Eine Retrospektive zum 150. Geburtstag, Niedersächsische Landesmuseum, Hanover, September 28, 2018 - February 24, 2019, cat. no. 29 (illustrated)
Kunstsalon Paul Cassirer (acquired from the artist in 1899). Eduard Fuchs (1870-1940), Berlin (acquired from the above in 1911). Rudolph Lepke's Kunst-Auctions-Haus, Berlin ( June 16/17, 1937, on commission for Gertraud Fuchs, until June 22-24, 1938). Otto Staebler Collection, Tuttlingen (1949-1955 at the latest, subsequently in family ownership). Staatsgalerie Stuttgart (received in 1956 as a bequest from the aforementioned). Returned to the heirs of Eduard Fuchs (2024)
1898 - Kunstsalon Cassirer, Berlin Shortly before completing the triptych, Paul Cassirer opened a gallery in Berlin with his cousin Bruno, the secretary of the newly founded Secession. He recruited young, up-and-coming artists from Germany and, at the same time, promoted Impressionism from France. As early as March 1899, Walter Leistikow contacted Slevogt about including the triptych, which had previously impressed Liebermann so much in Slevogt's studio, as part of the first Berlin Secession exhibition in May. The work was both a success and a scandal in Berlin, even before it was exhibited in Vienna and Munich. In July, the business-minded Cassirer met Slevogt in Munich to take on some of his works, including the triptych and the "Danaë." He was so convinced by Slevogt that he proposed signing an exclusive contract with him in September, “on the condition that we have your representation for this period, i.e., you undertake to sell only through us during this time - except for portraits - and we undertake to buy paintings from you for at least four thousand marks a year” (Paul Cassirer to Slevogt, cited from Imiela 1968, p. 52). With the contract, Slevogt received a ticket to Paris with recommendations to the art dealers Durand-Ruel and Bernheim-Jeune and the collectors Viau and Faure. Along with Edouard Manet (17 works), Edgar Degas (17 works), and Puvis de Chavannes (13 works), Cassirer presented Slevogt with some 35 paintings. Manet's works included the scandalous painting “The Luncheon on the Grass” from 1863, still lifes and landscapes, and portraits of Zacharie Astruc and Jeanne Duval. Slevogt impressed with a survey of all genres, showing such ambitious works as the present triptych and "Danaë," as well as floral still lifes, landscapes, portraits, and nudes. The critical response supported Cassirer's sense of Slevogt's potential, who stood his ground against the French luminaries. The gallerist increasingly urged him to leave Munich for Berlin. Still hesitant, Slevogt first traveled to Paris in 1900 to attend the World Expo, where his picture “Scheherazade” was shown at the German Pavilion. After a brief detour via Frankfurt, he finally settled in Berlin for good in November 1901, although he was offered the title of professor in Munich - presumably in an attempt to persuade him to stay.
Condition report on request katalogisierung@kettererkunst.de
Lot Details
Oil on canvas. Signed and dated in the lower left on the left panel, signed and dated in the upper left on the central panel, signed in the center of the left margin on the right panel. Each with inventory labels of the Württembergische Staatsgalerie and Staatsgalerie Stuttgart on the reverse of the stretcher, the central panel with a label of the Kunsthalle Basel. With a black and red (customs) stamp on the reverse of the left panel. Center panel: 110.5 x 98 cm. Side panels: each 110,5 x 50 cm. According to Imiela (1968), inscribed: "Im ersten Jahr meiner Ehe gemalt 1898-1899 Max Slevogt" (painted during the first year of my marriage) on the reverse. [KT][KT]. - A key work: Slevogt celebrated his artistic breakthrough with this triptych in the first exhibition of the Berlin Secession in 1899. - At Max Liebermann's express wish, he successfully participated in this art-historically significant exhibition with this painting. - An exceptionally large work and the only completed triptych; no such work has ever been offered on the auction market. - Inspired by the grand Rembrandt retrospective in Amsterdam in 1898, Slevogt refined a modern aesthetic of light, physicality, and emotion. - With his dramatic presentation of an adaptation of "Der verlorene Sohn" (The Prodigal Son), Slevogt caused a scandal in the major art cities Munich, Berlin, and Vienna. - Of museum quality: widely acclaimed in the literature and shown in numerous exhibitions, it remained at the Staatsgalerie Stuttgart for almost 70 years. - Originally part of the significant Impressionist collection of Eduard Fuchs, Berlin. - The provenance is a testimony to the turbulent German history with all its drama and tragedy; it now finds completion in an amicable restitution. We would like to thank Dr. Ulrich Weitz, Stuttgart, and Bernhard Geil for their kind scientific advice. LITERATURE: Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, pp. 48ff., figs. 18, 19, 125, 126, p. 361, note 19. - - (in selection:) Personal- u. Atelier-Nachrichten - Von Ausstellungen und Sammlungen, in: Die Kunst für Alle, vol. 15, issue 12, March 15, 1900, p. 282. Carl Ferdinand von Vincenti, Wiener Frühjahr-Ausstellungen, in: Die Kunst für Alle, vol. 15, issue 16, May 15, 1900, p. 369. Karl Voll, Die Internationale Kunstausstellung 1900 der Münchner Secession, in: Die Kunst für Alle, vol. XV, issue 21, Aug. 1, 1900, pp. 483-486, on Slevogt p. 484 (ill. p. 515). Alfred Koeppen, Die moderne Malerei in Deutschland, Bielefeld/Leipzig 1902, p. 85, ill. 86 on p. 87. Gottfried Stoffers (ed.), Die Industrie- und Gewerbe-Ausstellung für Rheinland, Westfalen und benachbarte Bezirke verbunden mit einer deutsch-nationalen Kunst-Ausstellung, Düsseldorf 1902, p. 365. Rudolf Klein, Die deutschnationale Kunstausstellung, in: Die Rheinlande, vol. 4, Sept. 1902, p. 27. Lovis Corinth, der Akt in der bildenden Kunst, in: Kunst und Künstler, vol. 2, 1904, p. 112. Hans Rosenhagen, Max Slevogt, in: Die Kunst für Alle, vol. 21, issue 6, Dec. 15, 1905, p. 129. Albert Kuhn, Allgemeine Kunstgeschichte, vol. II, Einsiedeln 1909, n. A. 1378. Karl Scheffler, Slevogt's Improvisations. Notizen zu Bildern aus der Sammlung Ed. Fuchs, in: Kunst und Künstler, vol. X, no. 12, 1912, pp. 578-588, on the triptych p. 579 (ill. on p. 578). Karl Voll, Max Slevogt. 96 Reproduktionen nach seinen Gemälden, Munich 1912, p. 20 (with ill. 30, 31). Ausstellungen, Berlin, in: Kunstchronik, vol. 26, no. 39, June 25, 1915, p. 479. Robert Breuer, Max Slevogt - Berlin. Zur III. Ausstellung Deutscher Meister bei Fritz Gurlitt, in: Deutsche Kunst und Dekoration, vol. 36, Apr.-Sept. 1915, pp. 415-422, on the triptych p. 422 (ill. p. 419). Karl Scheffler, Talente, Berlin 1917, p. 115. Max Deri, Die neue Malerei: II. Impressionismus, Max Slevogt: Der Verlorene Sohn, Ein Dokument des deutschen Impressionismus, in: Illustrierte Zeitung, Leipzig, vol. 153, no. 3979, Oct. 1919, pp. 404f. (ill.). Emil Waldmann, Max Slevogt, Berlin 1923, pp. 53, 55. Fritz Knapp, Die künstlerische Kultur des Abendlandes, Bonn 1923, vol. III, fig. 265. Max Osborn, Geschichte der Kunst, 3rd edition, Berlin 1924, p. 405. Wilken von Alten, Max Slevogt, Bielefeld 1926, pp. 15ff., ill. 19. Martin Wackernagel, Max Slevogt, Munich-Gladbach 1926, ill. 7. Die Kunstauktion, vol. 2, no. 11, March 11, 1928, p. 116. Adolph von Donath, Max Slevogt, gestorben am 20. Sept., in: Der Kunstwanderer, vol. 14, Sept. 1932, p. 318. Rudolph Lepke, Berlin, Kunstsammlung F. - Berlin: Gemälde neuerer Meister [...], June 16/17, 1937, no. 115 (illu., plate 1). Weltkunst, Deutsche Kunst und Antiquitätenmesse, vol. 11, no. 22/23, June 6, 1937, p. 2 (illu.). Max Goering, Max Slevogt, in: Thieme-Becker, vol. 31, 1937, p. 133. Rudolph Lepke, Berlin, Antiquitäten, Möbel, Kunstgewerbe [...] Gemälde alter und neuerer Meister, June 22-24, 1938, no. 739 (ill. on plate 6). Karl Scheffler, Max Slevogt, Berlin 1940, pp. 29 (ill.), 39. Catalog of the Staatsgalerie Galerie Stuttgart: Neue Meister, Stuttgart 1968, p. 172 (additional bibliography). Malerei und Plastik des 19. Jahrhunderts, inventory catalog Staatsgalerie Stuttgart, Stuttgart 1982, p. 148. Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f. Ulrich Weitz, Salonkultur und Proletariat. Eduard Fuchs: Sammler, Sittengeschichtler, Sozialist, Stuttgart 1991, p. 321, no. 5. Sigrid Achenbach, Die Rolle Max Liebermanns und Max Slevogts in den Verlagen Bruno und Paul Cassirer, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 58-75, here p. 72, note 6. Michael Fuhr, "Slevogts Bilder hängen neben solchen von Manet, Degas und Puvis de Chavannes." Einiges zu Paul Cassirer, Max Slevogt und den Wandmalereien für Neu-Cladow, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 297-309. Sigrun Paas, Roland Krischke, Max Slevogt in der Pfalz. Catalog Max Slevogt Gallery at Villa Ludwigshöhe near Edenkoben, Munich 2009, pp. 16f. Das beste aus aller Welt zeigen”. Kunstsalon Bruno & Paul Cassirer, Die Ausstellungen 1898-1901, ed. by Bernhard Echte and Walter Feilchenfeldt, Wädenswil 2011, on the exhibition pp. 179-214, there also with a comprehensive list of contemporary exhibition reviews, ill. on p. 202. Ulrich Weitz, Eduard Fuchs - Der Mann im Schatten, Berlin 2014, p. 171. Marcus Andrew Hurttig, Max Slevogt and the Leipzig Kunstverein before 1914, in: Gregor Wedekind (ed.), Max Slevogts Netzwerke. Kunst-, Kultur- und Intellektuellengeschichte des späten Kaiserreichs und der Weimarer Republik, Berlin 2021, pp. 173-196 (ill. on p. 178). Franz W. Niehl, Der verlorene Sohn sucht ein Zuhause. Praxis und Theorie der dialogischen Exegese, Münster 2022, p. 59. Dawn of Modernism At the turn of the century, the cultural scene in the art capitals of Munich and Berlin was characterized by the emergence of modernism accompanied by self-confident acts of provocation. The present triptych by Slevogt was a crucial work in this context. In 1892, the first rejection of the academic establishment took place in Munich with the founding of the Secession. Slevogt, Leibl, Trübner, Corinth, and other artists found their own unofficial exhibition spaces and artistic freedom. During the first exhibition in November 1893, Slevogt made the acquaintance of his important collector and friend Eduard Fuchs, later to become the owner of the triptych. The independence gained from the academies, and the official art world was also associated with questioning the great role models and the works of the Old Masters, such as Titian, Giorgione, and Velazquez, who were considered authoritative in Munich in particular for their coloring and lighting. Their aesthetics were challenged by a new, modern reality and a more direct, liberated expression. The lates
1. Ausstellung der Berliner Secession, Secession premises on Kantstrasse 12, Berlin, May 1899, no. 158. Ausstellung von Werken von Edouard Manet, H.-G.E. Degas, P. Puvis de Chavannes, Max Slevogt, 2nd year of the art exhibitions, winter 1899/1900, Bruno und Paul Cassirer, Berlin, October 15 - December 1, 1899, cat. no. 73. VI exhibition, Vereinigung Bildender Künstler Österreichs Secession, Vienna, spring 1900, no. 178. Dresden Art Salon, March 1900. Internationale Kunstausstellung, Secession, exhibition venue at Königsplatz, Munich, summer 1900, no. 278. III Ausstellung Deutscher Meister, Kunstsalon Fritz Gurlitt, Berlin, 1915. Max Slevogt. Ausstellung zum 50. Geburtstag des Künstlers, Freie Secession and Paul Cassirer, Berlin, Nov.-Dec. 1918, cat. no. 27. Slevogt Exhibition (Fuchs Collection), Ermeler-Haus, Berlin, October 19 - November 4, 1928, no. 15. Max Slevogt: Gemälde, Aquarelle, Pastelle, Zeichnungen, zu seinem 60. Geburtstag ausgestellt in der Preußischen Akademie der Künste, Berlin, October-November 1928 Max Slevogt. Religiöse Werke, Gemälde, Aquarelle, Grafiken, Pfalzgalerie Kaiserslautern, January 29 - February 20, 1966, no. 6, pp. 11, 53 (illustrated on p. 126), no. 39, p. 52: composition sketch. Max Slevogt. Gemälde, Aquarelle, Zeichnungen, Saarland Museum, Saarbrücken, works 1876-1914: May 29-July 12, 1992, works 1914-1932: July 26-Sept. 20, 1992; Landesmuseum Mainz, works 1914-1932: May 31-July 12, 1992, works 1876-1914, July 26-Sept. 20, 1992, cat. no. 34 (illustrated). Max Slevogt - Die Berliner Jahre, Von der Heydt-Museum Wuppertal, March 6 - May 22, 2005; Max Liebermann Haus, Berlin, June 4 - September 4, 2005, cat. no. 3 ( illustrated). Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 4 - October 12, 2014, p. 27 (illustrated), pp. 141-143 (illustrated), cat. no. 109. Max Slevogt. Eine Retrospektive zum 150. Geburtstag, Niedersächsische Landesmuseum, Hanover, September 28, 2018 - February 24, 2019, cat. no. 29 (illustrated)
Kunstsalon Paul Cassirer (acquired from the artist in 1899). Eduard Fuchs (1870-1940), Berlin (acquired from the above in 1911). Rudolph Lepke's Kunst-Auctions-Haus, Berlin ( June 16/17, 1937, on commission for Gertraud Fuchs, until June 22-24, 1938). Otto Staebler Collection, Tuttlingen (1949-1955 at the latest, subsequently in family ownership). Staatsgalerie Stuttgart (received in 1956 as a bequest from the aforementioned). Returned to the heirs of Eduard Fuchs (2024)
1898 - Kunstsalon Cassirer, Berlin Shortly before completing the triptych, Paul Cassirer opened a gallery in Berlin with his cousin Bruno, the secretary of the newly founded Secession. He recruited young, up-and-coming artists from Germany and, at the same time, promoted Impressionism from France. As early as March 1899, Walter Leistikow contacted Slevogt about including the triptych, which had previously impressed Liebermann so much in Slevogt's studio, as part of the first Berlin Secession exhibition in May. The work was both a success and a scandal in Berlin, even before it was exhibited in Vienna and Munich. In July, the business-minded Cassirer met Slevogt in Munich to take on some of his works, including the triptych and the "Danaë." He was so convinced by Slevogt that he proposed signing an exclusive contract with him in September, “on the condition that we have your representation for this period, i.e., you undertake to sell only through us during this time - except for portraits - and we undertake to buy paintings from you for at least four thousand marks a year” (Paul Cassirer to Slevogt, cited from Imiela 1968, p. 52). With the contract, Slevogt received a ticket to Paris with recommendations to the art dealers Durand-Ruel and Bernheim-Jeune and the collectors Viau and Faure. Along with Edouard Manet (17 works), Edgar Degas (17 works), and Puvis de Chavannes (13 works), Cassirer presented Slevogt with some 35 paintings. Manet's works included the scandalous painting “The Luncheon on the Grass” from 1863, still lifes and landscapes, and portraits of Zacharie Astruc and Jeanne Duval. Slevogt impressed with a survey of all genres, showing such ambitious works as the present triptych and "Danaë," as well as floral still lifes, landscapes, portraits, and nudes. The critical response supported Cassirer's sense of Slevogt's potential, who stood his ground against the French luminaries. The gallerist increasingly urged him to leave Munich for Berlin. Still hesitant, Slevogt first traveled to Paris in 1900 to attend the World Expo, where his picture “Scheherazade” was shown at the German Pavilion. After a brief detour via Frankfurt, he finally settled in Berlin for good in November 1901, although he was offered the title of professor in Munich - presumably in an attempt to persuade him to stay.
Condition report on request katalogisierung@kettererkunst.de
