拍品专文
Campendonck is one of only a few twentieth century artists to have experimented extensively in painting on glass. He was first introduced to the technique in 1911 when working with the Blaue Reiter artists.
Elisabeth Erdmann-Macke recalls: "Als wir bei Marcs in Sindelsdorf zu Besuch waren,...sassen wir abends alle um den runden Tisch und malten Glasbilder. Franz und Maria, August und ich und manchmal waren auch Helmut Macke und Campendonck dabei." (K. Lankheit, Hinterglasmalerei im XX. Jahrhundert, 1962)
Although the Blaue Reiter and later the Sturm artists all abandoned the technique relatively quickly, Campendonck pursued his research into the media, primarily during the early 1920s.
Herbert Campendonck has suggested that this composition may have been inspired by a long visit the Flemish poet Paul van Ostayen paid to Campendonck at his country house in Krefeld-Verberg, and may well have been given by the artist to Paul van Ostayen as a souvenir.
We are grateful to Herbert Campendonck for his assistance in researching this work.
Elisabeth Erdmann-Macke recalls: "Als wir bei Marcs in Sindelsdorf zu Besuch waren,...sassen wir abends alle um den runden Tisch und malten Glasbilder. Franz und Maria, August und ich und manchmal waren auch Helmut Macke und Campendonck dabei." (K. Lankheit, Hinterglasmalerei im XX. Jahrhundert, 1962)
Although the Blaue Reiter and later the Sturm artists all abandoned the technique relatively quickly, Campendonck pursued his research into the media, primarily during the early 1920s.
Herbert Campendonck has suggested that this composition may have been inspired by a long visit the Flemish poet Paul van Ostayen paid to Campendonck at his country house in Krefeld-Verberg, and may well have been given by the artist to Paul van Ostayen as a souvenir.
We are grateful to Herbert Campendonck for his assistance in researching this work.