Museum Folkwang
Dresden, Augustusbrücke mit Rückenfigur
  • Oskar Kokoschka
  • Dresden, Augustusbrücke mit Rückenfigur, 1923

  • Dresden, August Bridge with Figure from the Back
  • Oil on canvas
  • 65,5 x 95,7 cm
  • Acquired in 1951
  • Inv. G 230
  • CommentaryIn his Dresden period (1919-1923), Kokoschka painted nine panoramic views of the city altogether; they show the painter's view from the window of his studio in the Akademie not far from the Brühlschen Terrasse. The painting in Essen, probably the last of this series, is the only one in which Kokoschka extended the composition to include a figure overlooking the landscape. It shows the view over the August Bridge and the Marien Bridge towards Lössnitzberge: to the left in the distance you can see the Elbspeicher and the steeple of the Jacobi Church; towards the middle you come to the stocky tower of the machine and boiler yard of the Ostragehege slaughterhouse, followed by a group of houses on Neustädter Ufer next to the August Bridge on the right edge of the painting.
    There has been controversial speculation concerning the figure from the back in the foreground.
    It can be seen as a self-portrait of the artist, who was just about to leave Dresden when the painting was made. According to a later statement by Kokoschka's widow, the painter had used one of his students as model. A third interpretation sees a view of the back of one of the stone putti on the balustrade surrounding the roof of the one-storey painting room of the Akademie.
  • Provenance1923, Erwerbung vom Künstler über die Galerie Hugo Erfurt, Dresden, Sammlung Willy Hahn, Berlin/Bad Aussee/Tutzing
    06.1928 - 08.07.1937, Erwerbung von der Galerie Arnold, Dresden, Schlesisches Museum der Bildenden Künste, Breslau
    08.07.1937, Beschlagnahmung
    08.07.1937 - 12.03.1941, Deutsches Reich / Reichsministerium für Volksaufklärung und Propaganda, Berlin
    08.1938 - 12.03.1941, Berlin, Depot Schloß Schönhausen, Berlin, Lagerung "international verwertbarer" Kunstwerke
    12.03.1941 - 1942, Tausch, Hildebrandt Gurtlitt, Hamburg
    1942 - 1950, Karl L.Hopmann (Dr. med.), Köln
    1950, Köln, Kunstsalon Hermann Abels
    1951, Museum Folkwang, Essen
  • Obj_Id: 3,362
  • Obj_Internet_S: ja
  • Obj_Ownership_S (Verantw):Painting, Sculpture, Media Art
  • Obj_SpareNField01_N (Verantw): 187
  • Obj_Creditline_S: Gemäldesammlung
  • Obj_Title1_S: Dresden, Augustusbrücke mit Rückenfigur
  • Obj_Title2_S: Dresden, August Bridge with Figure from the Back
  • Obj_PartDescription_S (Titelerg):
  • Obj_SpareMField01_M (Alle Titel): Dresden, Augustusbrücke mit Rückenfigur Dresden, August Bridge with Figure from the Back Dresden, Augustusbrücke mit Rückenfigur
  • Obj_Dating_S: 1923
  • Jahr von: 1,923
  • Jahr bis: 1,923
  • Obj_IdentNr_S: G 230
  • Obj_IdentNrSort_S: G 0230
  • Obj_Classification_S (Objtyp): Painting
  • Obj_Crate_S: 65,5 x 95,7 cm
  • Obj_Material_S: Oil on canvas
  • Obj_Technique_S:
  • Obj_SpareSField01_S (Mat./Tech.): Oil on canvas
  • Obj_AccNote_S (Erwerb): Acquired in 1951
  • Obj_PermanentLocation_S (Standort):
  • Obj_Condition1_S (Druckerei):
  • Obj_Condition2_S (Auflage):
  • Obj_Subtype_S (Genre):
  • Obj_Rights_S: © Fondation Oskar Kokoschka / VG Bild-Kunst, Bonn 2017
Commentary
Artists
Provenance

In his Dresden period (1919-1923), Kokoschka painted nine panoramic views of the city altogether; they show the painter's view from the window of his studio in the Akademie not far from the Brühlschen Terrasse. The painting in Essen, probably the last of this series, is the only one in which Kokoschka extended the composition to include a figure overlooking the landscape. It shows the view over the August Bridge and the Marien Bridge towards Lössnitzberge: to the left in the distance you can see the Elbspeicher and the steeple of the Jacobi Church; towards the middle you come to the stocky tower of the machine and boiler yard of the Ostragehege slaughterhouse, followed by a group of houses on Neustädter Ufer next to the August Bridge on the right edge of the painting.
There has been controversial speculation concerning the figure from the back in the foreground.
It can be seen as a self-portrait of the artist, who was just about to leave Dresden when the painting was made. According to a later statement by Kokoschka's widow, the painter had used one of his students as model. A third interpretation sees a view of the back of one of the stone putti on the balustrade surrounding the roof of the one-storey painting room of the Akademie.