Jüngling. 1917.


Ebner / Gabelmann 717 H. Dube 310 II B (von III). Signiert und datiert. Bezeichnet „gedr. F. Voigt“. Eines von 40 Exemplaren. Auf Velin. 36 x 29,7 cm (14,1 x 11,6 in). Papier: 61 x 51,5 cm (24 x 20,3 in).

Gedruckt von Fritz Voigt, Berlin. Blatt 8 aus der Mappe „Elf Holzschnitte, 1912-1919, Erich Heckel bei J.B. Neumann“, Berlin 1921.

PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032).

AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001).

Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017).

Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022).

LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 304, SHG-Nr. 461 (m. Abb.).

Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog

In December 1911, Heckel moved from Dresden to Berlin. Die Brücke was dissolved in 1913. Heckel volunteered for service in Berlin when the war broke out in 1914. Although he underwent a brief training period, he was ultimately rejected by the army for being too old. He then turned to the Red Cross, joining a hospital train in Flanders in March 1915 as a medical orderly. It was stationed successively in Roeselare, Ostend and Ghent. The platoon was assembled by Walter Kaesbach, a curator from the National Gallery of Berlin, and included painters such as Max Kaus, Otto Herbig and Anton Kerschbaumer, as well as the poet Ernst Morwitz. At a certain moment in Roeselare, Heckel found himself in the same hospital train as Max Beckmann.[7] From May 1915 until the end of the war in November 1918, Heckel served in the Ostend emergency hospital. Housed in the railway station, it was home to a true artists’ colony. The orderlies painted, made woodcuts and read and discussed literature and poetry. They adorned the building with murals and window decorations and produced special works at Christmas. Heckel befriended James Ensor who invited him into his house and his studio. He also continued his artistic activities in Germany. On the home front, he established contacts with collectors and prepared for exhibitions. As a draughtsman, he made numerous sketches of the places he visited and the people he observed. But as a painter, the Flemish landscape and North Sea created the deepest impression, especially the sunlight penetrating the unusual cloud formations.