Brushstrokes

The art of putting the right color in the right spot Exploring the art of painting

"The sentence that a well-painted turnip is better than a badly painted Madonna has become a permanent feature of modern aesthetics. But the sentence is wrong; it must read: A well-painted turnip is just as good as a well-painted Madonna." This quote by Max Liebermann (1916) marks the point of departure for an exhibition at Lenbachhaus that explores what and, more importantly, how the artists of the nineteenth and early twentieth centuries painted. The presentation probes the question what constitutes "good painting" and examines the idea of the painterly from a variety of angles.

Aspects to be addressed include the pace of painting, beginner's luck, questions of attribution, bans on colors, and the quest for pure painting: Lovis Corinth, for example, created an enormous bouquet of flowers, a birthday gift for his wife, in a mere three days. When Franz von Stuck started experimenting with oil paints and the picture turned out well, he proudly labeled it "my first oil painting" right on the canvas, a pat on the back for himself as well as a message for posterity. A rapidly yet brilliantly painted unsigned portrait of a woman might be by Wilhelm Busch or by Franz von Lenbach, as both painted in very similar styles in the early stages of their careers. One would think that landscape painters were especially partial to the color "green," but oddly enough, pure green, straight from the tube, was derided as "spinach." Wilhelm Leibl, last but not least, cared only for the "how," not the "what"; his search for the "essence of painting" inspired his colleague Carl Schuch to make a radically simplified still life with leeks.

Curated by Karin Althaus

We would like to thank our lenders for their generous and dependable support:

Christoph Heilmann Stiftung
BayernLB
Münchener Secession
Gabriele Münter- und Johannes Eichner-Stiftung
Bundesrepublik Deutschland
Münchner Stadtmuseum
Doerner Institut der Bayerischen Staatsgemäldesammlungen
 

wall texts (PDF)

Works

Carl Schuch
Bauernhaus in Ferch am Schwielowsee, 1878 ?
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Wilhelm von Diez
Strauchritter, um 1875/1900
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Max Slevogt
Danae, 1895
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Carl Spitzweg
Wo brennts?, um 1850
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Carl Spitzweg
Ausruhende Spaziergänger, um 1865/1870
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Wilhelm Leibl
Knabenkopf, 1896
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Hermann Groeber
Malschüler, um 1908
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Wilhelm Busch
Auf der Weide, um 1885/90
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Wilhelm Leibl
Kopf eines Blinden, um 1866/67
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Wilhelm Trübner
Kartoffelacker bei Weßling in Oberbayern, 1876
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Carl Schuch
Männliches Bildnis, undatiert
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Franz von Lenbach
Hüterbub auf einem Grashügel, um 1859
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Franz von Lenbach
Zwei Bauernjungen an einem Abhang, 1859
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Carl Spitzweg
Einsiedler und Teufel, um 1870
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Lovis Corinth
Der Walchensee, 1919
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Lovis Corinth
Hymnus an Michelangelo, 1911
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Wilhelm Busch
Landschaft, um 1890
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Franz von Stuck
Die Wilde Jagd, um 1888
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Lovis Corinth
Der Walchensee bei Mondschein, 1920
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Ludwig Willroider
Viehweide bei Morgenstimmung, 1872
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Johann Sperl
Wiese vor Leibls Atelier in Aibling, 1893
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Carl Spitzweg
Päpstliche Zollrevision, um 1855 oder 1875/80
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Eduard Schleich der Ältere
Oberbayerische Ebene mit heimziehender Schafherde, um 1860/1870
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Wilhelm Trübner
Brüsslerin mit blauer Krawatte, 1874
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Albert Weisgerber
Pariser Café, 1906
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Karl Haider
Katharina Haider, 1875
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Wilhelm Trübner
Linde auf Herrenchiemsee, 1874
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Emilie von Hallavanya
Selbstbildnis, um 1905 (?)
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Eduard Schleich der Ältere
Sandgrube an der Schleißheimer Allee, um 1860/1870
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Albert Weisgerber
Im Münchner Hofgarten, 1911
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Max Slevogt
Selbstbildnis mit schwarzem Hut, 1913
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Wilhelm Leibl
Der Maler Julius Bodenstein, 1876
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Wilhelm Busch
Bildnis eines Knaben mit großem Hut, um 1871/1872
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Carl Spitzweg
Die Jugendfreunde, um 1855 oder 1862/1863
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Carl Schuch
Stillleben mit Porree, um 1886/88
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Lovis Corinth
Der Pianist Conrad Ansorge, 1903
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Lovis Corinth
Selbstbildnis mit Skelett, 1896
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Max Liebermann
Amsterdamer Waisenkind, 1881
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Franz von Lenbach
Arthur Georg Freiherr von Ramberg, um 1862
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Franz von Lenbach
Unbekanntes Mädchen, 1877?
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Franz von Lenbach
Bauernjunge beim Brotessen in der Stube, 1856/58
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Theodor Alt
Bildnis eines Revolutionärs, 1. Hälfte 1870er Jahre
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Wilhelm Leibl
Frau Anna Gentz, um 1868
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