Wilhelm Lehmbruck

Acquired by the grandmother of the present owner by the 1930s
Thence by descent

Dietrich Schubert, Wilhelm Lehmbruck, Catalogue raisonné der Skulpturen, 1898-1919, Worms, 2001, no. 76/77 I 3, illustration of another model p. 289

The terracotta has a rich reddish patina. Natural variations run from reddish and grey tones. There are some minor scratches which appear to be part of the cast, most notably on the left of the figure's collarbone, the centre of the neck, the right cheek and the tip of the nose. There is minor surface soiling. There are minor accretions near the reverse of the base. Some losses to the patina are visible on the top back of the head. Colours: Overall fairly accurate in the printed catalogue.
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Conceived in Paris in 1913-14, Kopf der Schreitenden (Mädchenkopf sich wendend) marks a pivotal point in Lehmbruck's œuvre. The present work brilliantly defines the attenuation and elongation that was to become Lehmbruck's defining sculptural characteristic. Lehmbruck's sensitive use of material creates a deep unity between the contents and the moulding. The figure with her elegantly elongated neck supporting her head slightly turned to one side conveys a sense of innocence and pensiveness whilst simultaneously emanating a delicate sensuality.

After studying at the Dusseldorf Academy of Art, Lehmbruck moved to Paris in 1910, where he lived at 105, rue de Vagiraud. There he frequented the Café du Dôme, where he met sculptors such as Brancusi, Archipenko and Modigliani. With its diversity of stimulation and its atmosphere pulsating with ever new artistic ideals, Paris was the ideal arena for Lehmbruck to develop his style. Having been an admirer of Rodin's work since 1904 and meeting Aristide Maillol in 1910, the present work is a fine example of how Lehmbruck received stimuli from both artists. Dietrich Schubert noted on Lehmbruck's fascination with Maillol: 'Like Maillol, Lehmbruck became fascinated with the introvert qualities of a figure whereby he concentrated on portraying his models in a composed, sensual state being at one with their spiritual centre' (Dietrich Schubert, Die Kunst Lehmbrucks, Worms, 1990, p. 118, translated from German). Formally less voluptuous than a Maillol, yet rounded and sensual and expressively more delicate than a Rodin, Kopf der Schreitenden (Mädchenkopf sich wendend) is intensely quiet and pensive.
In the present work, Lehmbruck moves towards an internalization of expression whereby his depiction of elongated limbs becomes a symbol of the spiritual.