Leo Putz

Private Collection, Czech Republic
Sale: Sotheby's London, 27 June 2007, lot 61
Purchased at the above sale by the present owner

Munich, Internationale Ausstellung im Glaspalast, 1905

Internationale Kunstausstellung München, exh. cat., Munich, 1905, p. 549
Wilhelm Michel, Leo Putz-ein deutscher Künstler der Gegenwart, Leipzig, 1908, pl. 35
Helmut Putz, Leo Putz-Werkverzeichnis in zwei Bänden, vol. II, Gauting, 1994, p. 786, no. 1434, illustrated

The canvas has a number of areas of repair on the reverse. The paint surface has retouchings, some of which have not been textured and so are visible under a raking light. The retouchings are clearly visible under ultra-violet light. Many would appear to be excessive, and are undoubtedly larger than is really necessary. A more sympathetic restoration could minimise these retouchings. The painting has clearly suffered damage in the past as a result of having been rolled and stored in an attic for many years, and has been subsequently retouched.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1905, this monumental early work of cancan dancers at ease backstage is among Putz's most ambitious compositions.

Inspired by his stay in Paris, Hinter den Kulissen is a masterful evocation of the French capital's demi-monde that was the source of fascination to so many painters, most famously Toulouse Lautrec. Putz would have frequented Pigalle's many cabarets and café concerts, including the Moulin Rouge, Moulin de la Galette and the Folies Bergère, which were synonymous with the dancers like La Goulue (Louise Weber) and Jane Avril who performed there.

As the title of the painting suggests, Putz affords the viewer a privileged behind-the-scenes glimpse of five young performers during a short interval between acts. The raking yellow light penetrating through the slit in the curtain is in stark contrast to the intimate womanly camaraderie that is the subject of the painting. The two girls in the centre are fully costumed and ready to emerge on to the stage, relieving the three undressed women. In a twist of dramatic irony, one girl steals a peek at the assembled audience beyond the curtain, unaware that she is herself the subject of the viewer's gaze, a device Putz no doubt borrowed from Edgar Degas.

Putz records two studies for the present work, a gouache and an oil (see Helmut Putz, nos. 1432 and 1433).