Otto Modersohn - Spätsommer an der Wümme (Late Summer on the Wuemme (Louise Modersohn-Breling)), 1923

Oil on painting board

49 x 68 cm / framed 65 x 84 cm
19 x 26 inch / framed 25 x 33 inch

Monogrammed bottom right, dated "OM X23"
Expertise Rainer Noeres, Otto Modersohn Museum Fischerhude from 12.12.2019

- with craftman's frame -

N 9390

About the work

Otto Modersohn’s paintings from the early 1920s are documents of the constant transformation of his painting under the influence of the late works of Cézanne, but without his denying or even losing his own signature. The artist trusts in the increasing simplification of his compositional means. Pictorial elements are summarised in animatedly structured colour areas. His colour palette remains true to the local colour of nature: “The power does not lie in the colourfulness”, expressed his artistic attitude. He painted this landscape study on cardboard not far from his home, on the bank of the northern arm of the Wumme, which had been provided with a new concrete bridge for the crossing only a few weeks previously. The green of the trees and shrubs defining the painting is subdued, reflecting the beginning of autumn. Bushes, trees and western dock line the shore. The highly animated scenery is enlivened by the figure of his wife, Louise Modersohn-Breling.
Simplicity, simplification is the most important thing, not only in the form, but even more so in terms of colour. The painting must represent a chord, a harmony: 'The master first becomes apparent in simplification.'
Then rich in nuances within the chord. The most important thing is that a painting is "strong”. Paula always spoke of this, and this simplification, this summarising in form and colour, is the main means for making a painting strong. Almost all times, all great masters are then related within it (…) One sound, not however many. The less one can make do with, the better.
” (Otto Modersohn, Journal, 10 September 1923)
The Modersohns spent the final weeks of the summer of this year 1923, shaken by economic crisis and inflation, in the small Franconian towns of Iphofen and Sulzfeld. Back in Fischerhude again, Otto Modersohn painted forty more works by the end of the year, including this one.
(Rainer Noeres)

Text authored and provided by Rainer Noeres, manager of the Otto Modersohn Museum in Fischerhude,

born 1948. Typesetter apprenticeship in Hamburg from 1965-1968. Study of fine arts at the Hochschule für bildende Künste in Hamburg (HfbK) from 1968-1973. Co-founder and operating partner of the Produzentengalerie Hamburg from 1973-2009. Teaching appointment for painting at the HfbK in 1974.
Married to Antje Modersohn, the daughter of Christian Modersohn, since 1976, three children. Decisively involved in establishing the Otto Modersohn Museum and archive in Fischerhude since 1977. Responsible for the creation of the catalogue raisonné of Otto Modersohn since 1980. Planning and execution of many exhibitions and cooperation projects with museums and art associations in Germany and abroad. Author of foundational publications on the work of Otto Modersohn. Employed since 2010 as head of the museum, as well as as voluntary managing director of the Otto-Modersohn-Gesellschaft e.V. and the Otto Modersohn Foundation, which were founded in 1989. Member of the board of the Otto Modersohn Foundation and of the Otto-Modersohn-Museum-Tecklenburg e.V. in Tecklenburg/Westphalia, founded in 2015.   (Visit website)

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Otto Modersohn, Late Summer on the Wuemme (Louise Modersohn-Breling), 1923, 49 x 68 cm / framed 65 x 84 cm, N 9390
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