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Lovis Corinth [was] one of many Germans who joined the international throng at the Académie Julian, where Bastien-Lepage was revered and his methods taught. His The Artist's Father on His Sickbed (1888, Frankfurt, Städelsches Kunstinstitut) is a superlative exercise in objective realism, though Corinth is often highly subjective too, indeed sinister, as in Self-Portrait with Skeleton (1896, Munich, Lenbachhaus). Inside every German naturalist there was a symbolist trying to get out. Certainly Corinth's nudes, as in The Temptation of St Anthony (1897, Munich, Neue Pinakothek) and Bacchanal (1899, Gelsenkirchen, Städtisches Museum), were a long way from those of Anders Zorn, though always striking and inclined to cling to the memory (as were the erotic pictures he did for private sale and circulation). Corinth, like so many fine painters, was a manic-depressive who suffered from alcoholism and the effects of a stroke in 1911. But he continued to paint, still searching for a style and a subject matter which suited him, ending up painting landscapes of the Bavarian Highlands, such as Tree at the Walchensee (1923, Zurich, Kunsthaus). These are likely to prove his most acclaimed work when critical opinion has reached a settled verdict on this difficult artist. - From Art: A New History, by Paul Johnson. Lovis Corinth images 1912 Samson Blinded 1924 Das trojanische Pferd (The Trojan horse) 1925 Ecce Homo [Art Posters] [Home] [Juxtapositions] [Galleries] [Theory and Criticism] [Art CD-ROM Reviews] [Artchive] [Links]