Max Liebermann & Lovis Corinth

Within the turn of the century, after Corinth and Liebermann became significant artistic leaders in Berlin, they were, and also the painter Max Slevogt, grouped to the so-called "Triumvirate of German Impressionism," a phrase attributed for the art dealer and publisher Paul Cassirer. The phrase may perhaps simply had been a device intended to give important, but normally unclassifiable, artists a label that would earn general approbation and excite interest among the "rather sophisticated Berlin public." But it had an impact that went beyond this. The distorting lens of this concept eventually created an art-historical narrative wherever Impressionism was the central fact. Thus, based on the legend that emerged, Liebermann, Corinth and Slevogt "made good headway in Germany during the wake of French Impressionism already introduced there." Corinth himself, in an ironic, but accurate, catalogue of his stylistic phases on the 1880s and 1890s, merely allotted four years to Impressionism; noting that, from 1892 to 1896 he painted in either the type of "Impressionism or in the style of B?cklin." For Liebermann, even though he did develop a distinctive Impressionist-oriented type after 1900, the label was somewhat confining. It tended to limit appreciation of his physique of early work, which was heavily influenced by Manet and Frans Hals. It also led persons to overlook the fact that, even in his impressionist period, Liebermann by no means shared the goals of the French Impressionism.

After the end in the Very first World War, however, Liebermann was president on the Academy, and Corinth "was no longer noticed to occupy the centre of Berlin as an art city." But, from that point, official support for their jobs grew. Liebermann was honored using a retrospective exhibition at the Berlin Academy in 1927. Corinth, whose work was given an even earlier retrospective, in 1923 and at the National Gallery, received numerous honors, and his works became prime acquisitions for numerous galleries. The stronger official status of Corinth is visible as soon as the ownership of their works is informally surveyed. Inside a catalogue of a 1965 Liebermann exhibition, for example, the lenders are, primarily individuals inside the big towns and cities of the Netherlands and Germany. Inside 1959 exhibition of Corinth's jobs at the Tate (the largest ever held outside Germany to that date), however, there is a significantly higher percentage of institutional lenders--primarily region and municipal museums in Germany.

Part on the problem, of course, is how the word was used without producing any distinction between French modernist styles. This is undoubtedly a favorite procedure between non-scholarly writers. Yet, as soon as a certain art-historical narrative becomes a received idea, it tends to tyrannize more than later writers. Certainly this really is the situation with Selz and Finke, whose views on Liebermann and Corinth were among the few available in English 25 years ago. As late as 1974, for example, Finke noted that, because there was no "viable alternative" to this procedure of joining the painters then, so long as 1 recognized the differences in their aims and approaches from people with the French Impressionists, there was no reason not to link the 3 in this manner. Yet, both writers had enormous issues reconciling the Impressionist designation with the jobs of the painters.

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