No.13 

Maximilian Kurzweil
(Bisenz 1867-1916 Vienna) “Pointe du Baie”, signed Kurzweil, oil on canvas, 35 x 43.5 cm, slightly attached to another canvas at upper margin framed, (K)

Probably identical to: Fritz Novotny-Hubert Adolph, Max Kurzweil, Ein Maler der Wiener Sezession, Verlag Jugend & Volk, Vienna 1969, p. 128, No. 63.
Provenance: private property, Vienna
It was relatively early - at the beginning of the 1890s - that Kurzweil experienced a decisive turning point both in his life and career, coming in touch with French painting. He worked in Paris between 1892 and 1894 and soon afterwards regularly spent the summers in Concarneau in Brittany. There were basically two aspects about French painting that appealed to him: pure Impressionism, which by then had been generally recognised, and a further stage in its development - Impressionism as it was advanced in the large, two-dimensional compositions by Vuillard, Bonnard, and Marquet. As to his relationship to French painting, Kurzweil obviously was in a similar situation as the Hungarian artist Rippl-Rónai. In the field of graphic art, he must have been impressed by Vallotton’s black and white art and the graphic works by Bonnard and Vuillard. By 1895, when the influence of French painting was finally reflected in Kurzweil’s art, Theodor von Hörmann had just passed away. He had been the first among the Austrian painters of the late 19th century to proceed from the tonality painting of “atmospheric Impressionism” (such as practiced by Pettenkofen, Emil Jakob Schindler, Ribarz, Jettel, and their circles) to Impressionism as such. What was new about it were the more intensive and brighter colours - Impressionism in the French manner, so to speak. Novotny/Adolph, Max Kurzweil, p. 11

estimate €8.000,- to €11.000,-

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