Reinecke Mit Frau Und Kindern, Stolz Über Seine Erhöhung Zum Kanzler Des Reiches 1920

Lovis Corinth made this artwork – “Reinecke Mit Frau Und Kindern, Stolz Über Seine Erhöhung Zum Kanzler Des Reiches” – with layers of expressive marks, mostly red and black inks, to describe the figures. It feels like the whole scene emerged from a process of building up and taking away, with the artist working intuitively to capture the raw emotion of the moment. I can imagine Corinth stepping back from the plate, squinting at the emerging image, making adjustments and refinements. I wonder what he was thinking when he made it? Look at the way he's used those thick, dark lines to define the figure carrying the child – so forceful and confident! It's like he's channeling all the power and pride of this character through the sheer physicality of the ink. You can see echoes of Daumier and Goya in his work, that same interest in social commentary and the human condition. Artists are always in conversation, aren't they? Ultimately, it's about embracing ambiguity and uncertainty, allowing for multiple interpretations and resisting the urge to nail things down too tightly.