1858 -1925 · East Prussia, Munich, Berlin and Walchensee

Flesh, flowers, myths and landscapes vibrate under the touch of Lovis Corinth, a pivotal painter between naturalism, German impressionism and expressionism.

Lovis Corinth was born in 1858 in Tapiau, East Prussia. He studied in Konigsberg then at the Munich Academy, completed his training in Antwerp and joined the Julian Academy in Paris in 1884. This career gave him a solid culture of the nude, history painting and old masters. After years in Munich, he settled permanently in Berlin in 1901, opened a painting school and joined the Berlin Secession, of which he became president in 1911. His first student, Charlotte Berend, became his model, his wife and a major artist. Corinth refuses to choose between tradition and modernity. Biblical stories, mythological kidnappings, portraits, nudes, bouquets and the domestic scenes are worked with increasingly free material. In December 1911, a stroke left him partially paralyzed. However, he took up painting again and transformed this ordeal into renewal: the drawing tended, the color intensified and the gesture became more visible. From 1918, the landscapes of the Walchensee concentrated this maturity, where mountains, water and sky seem animated from the inside. Died in 1925, Corinth left behind an immense body of work that the Nazi regime would later describe as "degenerate art". Died in 1925, Corinth left behind an immense body of work that the Nazi regime would later describe as "degenerate art". His painting remains one of the great crossings of modern German art. Died in 1925, Corinth left behind an immense body of work that the Nazi regime would later describe as "degenerate art". His painting remains one of the great crossings of modern German art. Died in 1925, Corinth left behind an immense body of work that the Nazi regime would later describe as "degenerate art". His painting remains one of the great crossings of modern German art. Died in 1925, Corinth left behind an immense body of work that the Nazi regime would later describe as "degenerate art". His painting remains one of the Mann. His reading favors figures.

Corinth keeps the construction of the ancient master, but frees the surface: the touch circulates the same energy in the flesh, the sky and the flower.