German Impressionism

German Impressionism In 1919, Lovis Corinth bought a property in Urfeld, where his wife Charlotte Berend built a house for him. He nicknamed it for his wife Haus Petermann. The Haus am Walchensee became the artist's retreat, where he mainly produced landscape paintings, portraits and still lifes, but increasingly withdrew from the active art scene. His pictures of Walchensee were also a great economic success. In his own words, "never sold more than just after the collapse. It was a formally torn pictures of the easel, and never flourished exhibitions throughout Germany more than now. "In the same year, the etching folder Ancient legends appeared in 1920 with Collected writings followed by a compilation of Corinth's most important journal articles and essays.

Reception
Although Corinth was a significant and respected representative of German art during his lifetime and represented and promoted it in a very patriotic manner, many of his works were viewed very critically at the time of National Socialism in Germany. While the early work corresponded perfectly to the ideals of the National Socialists, the later, sometimes very expressionistic works were considered "degenerate". This change in the artist's work was interpreted as a consequence of his stroke in 1911; another increase after 1918 was again explained by a stroke, which in reality had not occurred. Alfred Rosenberg set the direction in the "myth":

A certain robustness was shown by L. C., but this butcher of the brush also broke in the loamy-corpse-like bastardhood of Syrian Berlin. In the course of the "cleaning" a total of 295 of his pictures were confiscated, including a large part of the collection of the National Gallery and the Hamburger Kunsthalle. Some of the works were shown in the same year in the exhibition "Degenerate Art" in Munich. Most of the pictures were then sold abroad, especially to Switzerland.

the most virulent attack ever mounted against moder art Stephanie Barron Fascism: Fascism and culture

Sculpture
Nolde and Barlach viewed as regenerative

'Degenerate Art:' The Fate of the Avant-Garde in Nazi Germany

S.Barron