L’opera originale di Max Liebermann risale al 1902-1903 ed è esposta presso l’Hamburger Kunsthalle, ad Amburgo in Germania. In questo dipinto,...
The original work is dated 1901. His background is a beach, where two riders riding their horses are strolling. The man dressed in light turns his head to the side and his gaze towards the rough sea, while the one dressed in dark looks straight ahead. The style used is very elegant, full of nuances and the tones are bright.
The original work is dated 1901. The painting is famous for its tormented history: stolen from its rightful owner David Friedmann by the Nazi regime and believed destroyed, it is finally found in the Gurlitt collection, also known as "Hitler's Treasure". It is returned to its rightful owner, after having been bequeathed to the Kunst museum in Bern, which accepts it and investigates the properties together with the German authorities. Background of the work is a beach, where two riders riding their horses are strolling. The man dressed in light turns his head to the side and his gaze towards the rough sea, while the one dressed in dark looks straight ahead. The style used is very elegant, full of nuances and the tones are bright. An artist deeply tied to religion, given his Jewish origins, Max Liebermann begins without achieving the desired results, to paint with a realistic and strongly expressive style, preferring subjects such as peasants, proletarians, hospital interiors, hospices and orphanages, which he depicts through intense colours full of energy. In 1873 he moves to Paris where, influenced by the impressionist style of Manet and Degas, he enriches his paintings with bright colours and elegant brushstrokes. In these years his favourite themes are scenes of bourgeois life and portraits, thanks to which he obtains the deserved success. In 1892 he founds an artistic movement which will be the predecessor of the Berlin Secession. An authoritative man with a pungent personality, Max Liebermann is one of the first artists to be persecuted by the Nazi regime as a Jew: in addition to removing him from his positions, the regime prevents him from continuing his profession and exhibiting his works. All the works previously made by the artist were also removed from the German public collections.