Web oficial de la Fundación Juan March

Der barmherzige Samariter

Adolf H÷lzel
Der barmherzige Samariter (The Good Samaritan), ca. 1909

Oil on canvas, 26.8 x 38.6 in.
Sammlung DaimlerChrysler

Viewing Hölzel's religious paintings (8), it is virtually impossible to comprehend how such works could lead to Schlemmer’s representation of stereometric figures, to Baumeister's surreal color forms or to the Concrete pictures of Graeser, who were all pupils of Hölzel in Stuttgart. The key lies in Hölzel's stringently rational figural compositions and in the reduced surface structures of the backgrounds of his pictures as well as his academic teachings based on color theories and the development of forms. In Der barmherzige Samariter, Hölzel arranged the figures to form an imaginary triangle and created an abstract painterly space by means of the linear interlocking of the color surfaces. Komposition is among the later works that Hölzel preferred to create with pastel crayons and that form a reference point for the abstract tendencies of the DaimlerChrysler Collection.

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