Masterpiece Story: Sailboats by Lyonel Feninger
James W Singer 28 May 2023 min Read
Lyonel Feininger, Sailboats , 1929, Detroit Institute of Arts, Detroit, MI, USA. Detail.
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Cubism – the word instantly evokes images of Picasso and his figures with multiple noses. However, there is more than just Picasso who excels in this modern style. Lyonel Feininger is one such artist. His Sailboats from 1929 showcases the excitement of the Cubist style as well as the energy of the Jazz Age. It is almost as if Picasso decided to go boating. All aboard!
Lyonel Feininger was an American artist who lived and worked in Germany for most of his life. He was the first teacher at the famous Bauhaus School when it opened in 1919, and he taught alongside Paul Klee and Wassily Kandinsky . Feininger was a follower of Precisionism, a form of Cubism , which is sometimes referred to as Synthetic Cubism. Sailboats includes Cubist shapes but has a more romantic, colorful and decorative rendering. Feininger brought warmth into his pieces which contrasted with the more austere styles of other Bauhaus artists.
Lyonel Feininger studied in Paris prior to teaching at the Bauhaus School in Weimar. In France he met artist Robert Delaunay who probably influenced Feininger with his French Orphist ideas of vibrant colors, warm hues, and sharp lines. Feininger fused these Orphist characteristics with Cubist ideas of reduction, fragmentation, and geometric shapes.
Feininger’s style, as seen in Sailboats , is one of the instantly recognizable subjects, cut into sharply delineated planes of great slanted triangles. His planes are like triangular cut pieces of glass. They are sharp, precise, and transparent. This triangular fragmentation would later become Feininger’s signature style and would differentiate him from other followers of Precisionism/Synthetic Cubism.
Lyonel Feininger was the only faculty member to work at the Bauhaus School for its entire existence from 1919 to 1933. It closed soon after the Nazi party’s rise to power in Germany. Feininger’s paintings were declared inferior by Adolf Hitler and the Nazi party, and he was even showcased in the infamous Degenerate Art Exhibition of 1937. Thankfully, Feininger had already returned to New York in 1936. Otherwise, we can only speculate on the horrors that may have happened to Feininger if he had remained in Nazi Germany.
The Nazi art criticism was clearly unfounded and deranged. Lyonel Feininger’s Sailboats is now recognized as a tour de force of early 20th-century art. It has an invigorating feeling as both sky and sea break into diagonal shards of blue and white. The view is from a low perspective as if we are on a boat ourselves.
Sweeping lines emphasize the sails as the boats race forward. Are we witnessing a regatta? Are we participating in it? Regardless, we are certainly partaking in the beauty and energy of the moment. Lyonel Feininger’s Sailboats is a wonderful addition to the Detroit Institute of Arts . It is blissfully vibrant and buoyantly vivid. It is simply wonderful.
Bibliography
Wendy Beckett, and Patricia Wright, Sister Wendy’s 1000 Masterpieces, London: Dorling Kindersley Limited, 1999.
Victoria Charles, Joseph Manca, Megan McShane, and Donald Wigal, 1000 Paintings of Genius, New York, NY: Barnes & Noble Books, 2006.
Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, Gardner’s Art Through the Ages, 12th ed. Belmont, CA: Thomson Wadsworth, 2005.
“ Lyonel Feininger ”, Union List of Artist Names, Getty Research Institute. Accessed August 16, 2020.
“ Sailboats ”, Collection, Detroit Institute of Arts. Accessed August 16, 2020.
- 20th century
- Lyonel Feininger
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James W Singer
James W. Singer is an art historian and fine art photographer. He earned a Bachelor of Arts in Art History from the University of Florida. He later moved to Paris, France. He currently writes “Masterpiece” articles for DailyArt Magazine.
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Lyonel Feininger, an artist linked to Der Blaue Reiter (The Blue Rider), evolved gradually towards faceting and formal construction under the influence of the Cubist and Orphist works of Léger, Delaunay, Metzinger, Gleizes and Le Fauconnier. Ships is one of the seventeen works Lyonel produced in 1917. His interest in marine themes, which had first arisen during his childhood and had grown as a result of his visits to the Baltic Sea during the war years, is combined with a formal and fragmented geometric language that attests to the artistic novelties he discovered during his years in Paris, particularly during his visit to the Salon des Indépendants of 1911. In 1917, when Lyonel Feininger painted the present work in the Thyssen-Bornemisza collection, his situation as an American residing in Germany had been complicated by the United States’ joining the war. Despite these misgivings, his solo exhibition held at the end of the year in the Der Sturm gallery in Berlin was a success with both public and critics and marked the beginning of his rise to recognition. Paloma Alarcó
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We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.
(A three masted ship, and a yacht)
Lyonel feininger.
United States of America, Germany
17 Jul 1871 – 13 Jan 1956
Signed l.l. sheet, ink "Feininger". Dated l.r. sheet, ink "5 8 33".
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Works in the collection
Exhibition history
Shown in 4 exhibitions.
Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack , Art Gallery of New South Wales, Sydney, 04 Jul 1974–19 Aug 1974
Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack , National Gallery of Victoria [St Kilda Road], Melbourne, 29 Aug 1974–06 Oct 1974
Three years on: acquisitions 1978-81 , Art Gallery of New South Wales, Sydney, 15 Oct 1981–01 Dec 1981
Modernism 1900-1950: prints and drawings from the collection , Art Gallery of New South Wales, Sydney, 23 Jul 1994–25 Sep 1994
Bauhaus and Expressionism: German prints and drawings from the Art Gallery of New South Wales , New England Regional Art Museum, Armidale, 04 Mar 2005–15 May 2005
Bibliography
Referenced in 4 publications.
Edmund Capon AM, OBE and Jan Meek (Editors), Portrait of a Gallery , 'Prints & Drawings', pg. 115-122, Sydney, 1984, 118, 119 (colour illus.).
Nicholas Draffin, Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack , Sydney, 1974, 32 (illus.). cat.no. 27
Nicolas Draffin, Three years on: a selection of acquisitions 1978-1981 , 'Prints and Drawings - Australia, European and American', pg. 47-66, Sydney, 1981, 54 (illus.). cat.no. 11
Renée Free, Modernism 1900-1950: prints and drawings from the collection , Sydney, 1994. no catalogue numbers
Other works by Lyonel Feininger
(A sailing boat with a dinghy) Lyonel Feininger 1888 334.1979
Self portrait (and standing figure) Lyonel Feininger circa 1889 335.1979
Frau Müller - our "landlady" Lyonel Feininger 1889 336.1979
Mutter Müller's balcony, in yard Lyonel Feininger 1889 337.1979
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The carnivalesque expressionism of Lyonel Feininger
— september 2011, associated media, lyonel feininger: at the end of the world, by barbara haskell with essays by john carlin, bryan gilliam, ulrich luckhardt and sasha nicholas.
Although Lyonel Feininger (1871–1956), the painter and caricaturist, was born in New York he lived most of his productive years in Germany before finally returning to New York City in 1937. He always suffered the emotional pain of being an expatriate, when in Germany he admired American directness and when in the USA he longed for a German respect for tradition and learning.
Feininger remembered his most uncomplicated childhood years as his happiest, in the Connecticut countryside or watching trains and fully rigged ships on the Hudson River. Drawing constantly, these were subjects that became part of a visual repertoire which stayed with him always. As well as drawing, the nine-year-old Feininger played the violin and by the age of 12 he was performing in public. When he was 16 his musical parents sent him to Leipzig to study music but instead Feininger chose to go to art school—the very prestigious Royal Academy in Berlin.
While there he developed a strong interest in caricature and soon found work as an illustrator for some comic newspapers in Berlin. For the next few years he concentrated on drawing and in strengthening his skills to seize the character of a figure in seconds. His work was quite successful, being published in both Germany and in the USA and he invented a biting, satirical expression using exaggerated perspectives and inhabited by strange, half-human machines. For a short period he illustrated a full-page comic supplement for the Chicago Tribune where he introduced readers to ‘your uncle Feininger’, and concentrated on an assortment of gadgets and flying machines and characters who had narrow escapes. The page was treated as an overall design with flat colour planes, silhouettes and abstract patterns rather like Japanese prints.
Feininger’s success as an illustrator was not a complete satisfaction for him because he had always wanted to be a fine artist. ‘I crave after serious work’ he said, and was determined to teach himself to paint. A spell in Paris brought him into contact with some disciples of Matisse and his work, still with tilted perspectives and scale distortions, made daring advances in colour. The paintings that he exhibited in 1910 were closer to those of the German Expressionists, with their still sour tonalities and emotional intensity, than they were to the high-keyed palette of contemporary French painting, but the very next year, 1911, Feininger’s work was exhibited in a major Salon. This was a period of explosive innovation in Berlin, with the German groups known as Der Blaue Reiter (Blue Rider) and Die Brucke exhibiting in local galleries. Although Feininger was invited to join them, strangely, he declined, fearing that his art was not yet fully formed. He was then overlooked in the selection of works for New York’s Armory Show of 1913, which turned out to be an excellent and ground-breaking exposure of contemporary European art in the USA.
Feininger first encountered Cubism in Paris. ‘I saw the light’ he said, ‘…Cubism showed the way. Afterward it was amazing to find that for years I had been on the right road’. Initially, he was suspicious of what he called ‘the chaotic dispersal of form’ but within a year he had developed a style including geometric faceting and gradation of colour to express volume. At no stage did he try to imitate or undertake the more intellectual manner of the ‘real’ Cubists, Picasso and Braque, who were showing a new way for understanding objects. For him it was enough to break surfaces into crystalline slices in order to make angular, prismatic forms. He called it ‘prism-ism’. Ships at sea wallowing in angular seas and faceted cathedral spires became familiar subjects and The Green Bridge II ( Grune Brucke II ) of 1916, used on the cover of the catalogue to his current retrospective in New York, is a fine example of this phase of his work.
In 1919 Feininger had what he called ‘the beginning of the finest adventure in his artistic career’ when he joined Gropius as a master of the Bauhaus, the school that aimed to reform art education and to unify fine art and craft. He provided graphics and taught painting and drawing by instructing the students in practical skills. His colleagues at the Bauhaus were famous in many fields. Among them were Paul Klee, Wassily Kandinsky and the composer Arnold Schoenberg. It was at this time that Feininger was also able to indulge in music and he declared that ‘Music is the language of my innermost self’.
His own oil paintings in the years before the Second World War are crystalline and fine, with very carefully modulated layers of transparent washes of pigment. It is said that he worked and reworked his canvases, sometimes wiping out entire compositions and starting fresh three times in a single day. The subject matter does not vary a great deal, consisting mostly of town streets and buildings constructed of emphatic verticals, or sailing yachts slanting in the wind, or horizontal seas and breakwaters. The painter used flat brushes to avoid any trace of gesture or handling and the general appearance is like looking through layers of light and atmosphere. He hoped to communicate what he called ‘sacred spaces’ and ‘an inner meaning rather than an outward form’ to stimulate the viewer’s understanding ‘of the mysteries of the divinity’ but too often they seem mannered, cold and too controlled to invigorate the spirit. These are the Feininger paintings we know best because many of them have found their way into museum collections in the USA.
In 1931 Feininger became inexorably caught up in Germany’s rising political crisis and the Bauhaus, now at Dessau, was closed by the city council. ‘Everything is shaky, in boundless fear of the times upon us and poisoned by politics’, wrote Feininger as the situation in Germany was spiralling out of control. A small number of galleries still dared to show avant-garde art, but public institutions and private collectors ceased buying it and after years of financial hardship Feininger was forced to leave Germany for the last time.
On his return to the USA the artist once again felt the pangs of dislocation. He wrote, ‘coming back after so many years of absence has been a strange experience. I went away as a musician; I came back as a painter. People I had known before were most of them dead. Of the conditions and surroundings I had been familiar with nothing was left. I had to readjust myself in every respect and sometimes felt my very identity had shrivelled within me’. His work shifted from oil painting with rich layering of colour to thin transparent washes in watercolour over a network of drawn lines, first in charcoal, then ink. The works had a dematerialized, weightless appearance and the subject matter returned to the sailing ships, buildings and arched viaducts of his earlier years. Despite a large retrospective exhibition held at the Museum of Modern Art in New York in 1944 organized by Alfred J. Barr, Feininger’s art never really acquired a position of sustained importance. He was disappointed by his own apparent lack of success after the major exhibition and lamented to a fellow artist, ‘How appallingly little carrying force exhibitions have in this country...whereas in Europe they grow outward and are taken into account and form a foundation which may be built on’.
The current very sumptuous retrospective of the work of Lyonel Feininger, subtitled ‘At the Edge of the World’ was organised by the Whitney Museum of American Art in New York in collaboration with the Montreal Museum of Fine Arts. The show can be seen in New York until mid-October and in Montreal from mid-January until the middle of May 2012. It includes works from all phases of the artist’s hugely diverse career, proving his enterprising spirit and showing the extent of his involvement with groups and institutions that defined the development of modern art. These include Cubism, the Blaue Reite (Blue Rider), the Bauhaus, the Blue Four and Black Mountain College.
We sense the comprehensive reach of the exhibition and its catalogue when we read of Feininger’s satirical illustrations and comics, his ‘carnivalesque Expressionist compositions and crystalline architectural scenes, his whimsical handcarved wooden figures and his late oils’. But that’s not all, for we find additional essays focusing on his photographs and the musical fugues that he wrote in the 1920s. We become aware of Feininger’s many interests when we read about his violin and organ studies running alongside his career as a visual artist. A reed organ, squeezed between easels and brushes in his studio, provided release from those times that are euphemistically called the ‘creative impasse’. The four essays, written by academics and museum curators, are packed with information about the variety and richness of Feininger’s oeuvre . The most important and detailed one, carrying the overly dramatic title ‘Redeeming the sacred; the romantic modernism of Lyonel Feininger’ is by Barbara Haskell of the Whitney, who organised the exhibition and headed the team that produced the catalogue. For this essay in particular, the author has made extensive and careful use of the Lyonel Feininger papers kept in the Houghton Library at Harvard University as well as other published works on the artist.
Lyonel Feininger – At the Edge of the World by Barbara Haskell with essays by John Carlin, Bryan Gilliam, Ulrich Luckhardt and Sasha Nicholas is published by Yale University Press, 2010. 256 colour and 12 mono illus. ISBN 978 0 300 16846 4
Media credit: University of Iowa Museum of Art, Iowa City; gift of Owen and Leone Elliott 1968.15 © Lyonel Feininger Family, LLC./Artists Rights Society (ARS), New York
Article —
Lyonel Feininger, In a Village Near Paris (Street in Paris, Pink Sky), 1909
Lyonel Feininger, A Group of Houses and Figures, c. 1949 Painted wood, dimensions variable
Lyonel Feininger, Self-Portrait (Selbstbildnis), 1915
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Affiliated links, editor's notes.
‘Lyonel Feininger – At the Edge of the World’ is at the Whitney Museum of American Art, New York until 16 October and then at the Montreal Museum of Fine Arts from 20 January until 13 May 2012.
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Ostsee-Schoner
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Lyonel Feininger
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Lyonel Feininger Biography
The work of Lyonel Feininger spans critical decades in the development of Modernism. His work evades exact categorization by movement, though it functions at the intersection of German Expressionism, Cubism and Bauhaus experimentation. The works for which he is best known articulate the planar shifts and jagged lines of Cubism through an Orphist color palette, and explore humankind’s relationship to architecture, mechanization, and industrialization.
Feininger was born in New York City to German-American parents, but he spent most of his life and career in Europe, aligning with German Expressionism and the European avant-garde. He moved to Berlin to study music at the age of sixteen, but almost immediately turned to the visual arts, enrolling instead at the Kunstgewerbeschule and later the Akademie der Künste. He worked as a caricaturist for American and German magazines including Harper’s Round Table , Berliner Tageblatt , and Humoristische Blätter, and exhibited in the Berlin Secession exhibitions from 1901 to 1903. He spent 1906 to 1908 working in Paris, and expanding his painterly perspective upon encountering the works of Robert Delaunay and the Parisian avant-garde. He began exhibiting with Der Blaue Reiter in 1913, with Cubo-Expressionist compositions with imagery that consistently recalls architectural and nautical structures. In 1919, Walter Gropius invited him to teach at the newly formed Bauhaus, where he served as the head of the print workshop. After his work was declared degenerate by the Nazis, Feininger returned to the United States in 1937, where he spent the remainder of his life, experimenting with freer applications of color in addition to photography.
Multiple museums have organized posthumous retrospectives since his death in 1956, including the Dallas Museum for Contemporary Arts in 1963, the Pasadena Art Museum in 1966, the Kunsthaus Zürich in 1973, and the Whitney Museum in 2011. Feininger’s paintings consistently sell for record numbers; Jesuits III sold at Sotheby’s for $23.2 million, three times its estimate. His work features in major museums including the Museum of Modern Art, New York; the Phillips Collection, Washington, D.C.; and the Kunstmuseum Basel.
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Lyonel Feininger, Sailboats, 1929, Detroit Institute of Arts, Detroit, MI, USA. Detail. Lyonel Feininger was the only faculty member to work at the Bauhaus School for its entire existence from 1919 to 1933. It closed soon after the Nazi party's rise to power in Germany. Feininger's paintings were declared inferior by Adolf Hitler and the ...
Learn about Lyonel Feininger, a leading exponent of Expressionism who worked as a caricaturist and comic strip artist. Explore his 68 artworks, biography, and influences at Wikiart.org.
Museo Nacional Thyssen-Bornemisza. Lyonel Feininger, an artist linked to Der Blaue Reiter (The Blue Rider), evolved gradually towards faceting and formal construction under the influence of the Cubist and Orphist works of Léger, Delaunay, Metzinger, Gleizes and Le Fauconnier. Ships is one of the seventeen works Lyonel produced in 1917.
Learn about Lyonel Feininger, a painter, printmaker, and photographer who lived in Germany from 1887 to 1937. He developed a style of interlocking, crystalline planes and taught at the Bauhaus school of art and design.
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'The Yacht Race (Wettsegeln)' was created in 1918 by Lyonel Feininger in Expressionism style. Find more prominent pieces of genre painting at Wikiart.org - best visual art database.
Lyonel Feininger The Yacht Race (Wettsegeln) 1918 Lyonel Feininger Town Gate, Ribnitz (Das Tor, Ribnitz) 1918 Lyonel Feininger Rainy Day on the Beach (Regentag am Strande) for... 1918 Lyonel Feininger Gelmeroda (with the Fir Tree) (Gelmeroda [mit... 1918 Lyonel Feininger.a Da ...
From 1924 through 1935, Lyonel Feininger spent summer vacations at Deep in Pomerania on the Baltic coast, now in East Germany. Sometimes accompanied by members of his family but often alone, he reserved these months for drawings and watercolors as a respite from easel painting. A wild and unpopulated resort, Deep lacked the comforts of previous ...
From Jörg Maass Kunsthandel, Lyonel Feininger, Model yachts under sail on the baltic (1930), Gelatin silver print, 23 × 17 cm. Skip to Main Content. Get the app, get the art. Get the app, and find the art you love. Get the app, and artworks tailored to you.
(A three masted ship, and a yacht) 1933 Artist. Lyonel Feininger. United States of America, Germany 17 Jul 1871 - 13 Jan 1956 Details. Date 1933 Media category Drawing Materials used ... Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack, Sydney, 1974, 32 ...
["Zwei Yachten," 1926, drawing by Lyonel Feininger] Classification Photographs Work Type negative, photograph Date c. 1930 Culture German Persistent Link https://hvrd.art/o/29673 Physical Descriptions Technique Negative, gelatin dry plate (glass) Dimensions 8.9 x 11.9 cm (3 1/2 x 4 11/16 in.)
Learn about the life and work of Lyonel Feininger, a painter and caricaturist who combined expressionism and cubism in his art. See how he used geometric faceting and colour to create the illusion of depth in his paintings, such as Barfüsserkirche II.
Lyonel Feininger was a German-American painter and a leading exponent of Expressionism. He also worked as a caricaturist, comic strip artist, photographer and composer.
Yachten' (lower left), dated '6.9.29.' (lower right), with the collector's stamp and inscribed 'Herrn Regierungsrat Dr. H. Stinnes, mit besten Weihnachtsgrüssen, von Lyonel Feininger' (Lugt 1376d; lower left) and bears inscription (lower right) watercolor and pen and India ink on paper. 9 x 11¼ in. (23 x 29 cm.) Executed on 6 September 1929.
Painted at the height of Lyonel Feininger's involvement with the Bauhaus, Ostsee-Schoner ... 1935, enjoying Deep's unique light and space and painting and indulging his favourite hobby of making and sailing model yachts with his sons. 'The sea is beautiful,' he wrote back to his wife Julia in excitement at this time, 'only it looks completely ...
Its extraordinary art collection includes modern and contemporary art such as The Yacht Race (Wettsegeln) (Lyonel Feininger). Welcome to MoMA.org. ... Lyonel Feininger [228] About: Lyonel Feininger. Department: Prints and Illustrated Books [2763] Classification: Print [1662] Date: 1918. Resources:
Learn about Lyonel Feininger, a Cubist-Expressionist painter and illustrator who taught at the Bauhaus school. Explore his 5,761 artworks on artnet, including paintings, prints, and comics.
Browse artwork and art for sale by Lyonel Feininger and discover content, biographical information and recently sold works. Lyonel Feininger. Born 1871. Died 1956. Interested in selling a work by Lyonel Feininger? Start Selling. Works by Lyonel Feininger at Sotheby's Past Lots; Past Lots. 22. Type: lot.
The Lyonel Feininger Project LLC, overseen by Achim Moeller, is pleased to announce that Volume I (1907-1918) of The Catalogue Raisonné of Paintings by Lyonel Feininger (1871-1956) is planned for publication in 2008. Volumes II (1919-1936) and III (1937-1956) are scheduled to appear by 2011.
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