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拍品专文
Wilhelm Lehmbruck’s Büste der Knienden (Geneigter Frauenkopf) exemplifies the emotion, beauty, and restrained elegance the artist achieved through proportional elongation in sculptural form. Lehmbruck conceived the work following his move to Paris in 1910, motivated in part by a deep appreciation of Auguste Rodin and Aristide Maillol, later forming a close working relationship with the latter.
The bust reflects a synthesis of the classical sculptural tradition taught at the Düsseldorf Academy—where life study occupied a central place in academic training—and a more expressive articulation of human emotion, most clearly associated with Rodin. The present work thus embodies a moment of transition in the artist’s oeuvre, from heroic and classical subjects toward forms marked by introspective melancholy.
Lehmbruck worked extensively with the female figure as a vehicle for emotional expression, influenced by his wife Anita and other models, creating works that balance sensuality with empathy. In this sculpture, the woman’s hair—arranged in soft, flowing curls that frame the face—imparts a timeless quality to her beauty. Together with the exposed chest, these elements evoke an Edenic simplicity.
Previously owned by the prominent German collector Wilhelm Strecker, this work, along with one other sculpture by Lehmbruck, formed the foundation of Strecker’s collection and his engagement with modern sculpture.
The bust reflects a synthesis of the classical sculptural tradition taught at the Düsseldorf Academy—where life study occupied a central place in academic training—and a more expressive articulation of human emotion, most clearly associated with Rodin. The present work thus embodies a moment of transition in the artist’s oeuvre, from heroic and classical subjects toward forms marked by introspective melancholy.
Lehmbruck worked extensively with the female figure as a vehicle for emotional expression, influenced by his wife Anita and other models, creating works that balance sensuality with empathy. In this sculpture, the woman’s hair—arranged in soft, flowing curls that frame the face—imparts a timeless quality to her beauty. Together with the exposed chest, these elements evoke an Edenic simplicity.
Previously owned by the prominent German collector Wilhelm Strecker, this work, along with one other sculpture by Lehmbruck, formed the foundation of Strecker’s collection and his engagement with modern sculpture.