“ Big bright showcase ” - ( German: Großes helles Schaufenster ) - a painting by German artist August Macke , painted in 1912. Currently stored at the Sprengel Museum in Hanover .
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| August Macke | ||
| Large bright showcase . 1912 | ||
| Großes helles schaufenster | ||
| Oil on canvas . 106.8 × 82.8 cm | ||
| Sprengel Museum , Hannover | ||
Content
- 1 History of creation
- 2 Description
- 3 notes
- 4 Literature
Creation History
The painting was painted by Mackey, probably in November 1912. It appeared as a response to the paintings of Italian futurists, first seen in the original at the Rhine Art Salon. The Rhine Salon exhibited works from a traveling exhibition of futurists who had previously visited Paris and London and the Berlin Sturm gallery. Macke visited Cologne with Franz Mark ; the artist shared his impressions of what he saw with Bernhardt Köhler (letter of October 12, 1912) [1] .
The futuristic view of the life of the big city was close to Macke. He has a new motive - a woman standing in front of a shop window. Later, in 1913, the artist developed several of his variations in the drawing, and in 1914, in Hilterfingen , he wrote The Fashion Store . In the "Big Bright Showcase" he first addressed this topic [1] .
Description
The large-scale painting by Macke is a reminiscence of Umberto Boccioni 's painting “ The Street Enters the House ” (1911. Sprengel Museum, Hannover), which was also exhibited at the Rhine Salon. Like Boccioni, in Macke, the center of the composition is a female figure, but instead of repeatingly repeating and sweeping houses and passers-by around it, a whirlwind of many reflections in the glass window is formed. Items displayed in a sunlit window are combined with reflections of horses harnessed to carriages and people passing by. Mirror glass, where different plans are combined, lines curiously intersect, embodies the bright, brilliant and bustling life of a metropolis. Smears of paint, mixing randomly, visualize street noise [1] .
Like Boccioni, Macke uses the Cubist technique, breaking the wall of the house on the right into separate planes, thus emphasizing the instability of the composition. Here he also draws close to Delaunay , whose “Simultaneous Windows” he could see in Paris at the end of October 1912 [2] [3] . Thus, the picture is also the first time interpretation of the famous Delaunay series [1] .
Notes
- ↑ 1 2 3 4 Moeller, 1988 , S. 108.
- ↑ Then Mackey and Mark met Robert Delaunay.
- ↑ Sprengel Museum Hannover. Marc, Macke und Delaunay. Die Schönheit einer zerbrechenden Welt (1910-1914) (Unavailable link) . Date accessed May 23, 2018. Archived May 23, 2018.
Literature
- Moeller, Magdalena M. August Macke. - Köln: DuMont Buchverlag, 1988 .-- ISBN 3-7701-2209-7 .