Max Liebermann

Ewald Müller, Berlin
Acquired from the above by the father of the present owner circa 1960

Berlin-Wannsee, Galerie Mutter Fourage, Max Liebermann in Wannsee. Glanz und Untergang einer Lebenswelt, 1997, illustrated in colour in the catalogue

The canvas is unlined and there is no evidence of retouching under ultra-violet light. This work is in very good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although slightly fresher and more luminous, and the greens and yellows are richer in the original.
"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."

Gartenlokal am Wannsee (Haus am See) depicts one of the beer gardens on the Wannsee lake, just a few kilometres southwest of Berlin. The painting captures a wonderfully atmospheric view onto the lake rendered with a warmly infused light. Liebermann often painted scenes of the lake's restaurants, employing the artist's practice of painting en plein air. His method of exploring the same subject from a variety of viewpoints demonstrates his status as the most important German Post-Impressionist painter. The artist was strongly inspired by the French Impressionists and was one of the pioneering collectors of Impressionist art in Germany. The application of thick impasto and the quick, expressive brushstrokes in the present work are testimony to the artist's admiration of painters such as Manet, Monet and van Gogh.  

Liebermann commissioned his house by the Wannsee in 1909. The gardens of his home and the bustling crowds of Berliners in the outdoor cafés along the lake were key subjects of his art. Like Monet, who never tired of painting his flower garden at Giverny, the artist found a constant source of inspiration in his rich Wannsee garden and the lake's idyllic surroundings. The fashionable crowd sits between trees while the billowing sails of the pleasure boats tack along behind them. The scene of city dwellers spending their summer weekends in the open air, engaged in conversation, and the interest in yachting is reminiscent of the French Impressionists' focus on the rising leisure class and the increased mobility of Parisians at the end of the 19th century. The lively gathering, vibrant colours and spontaneous Post-Impressionist brushstrokes through which the scene is rendered emphasise Liebermann's life-affirming vision that endured until the end of his long career.