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Karsch records an edition of about 15 unnumbered proofs before the edition of 30 impressions printed in colour and about ten in black only
Provenance: The estate of the artist, with part of the Estate stamp and signature of Erich Heckel at the reverse lower right sheet corner
Of all the Brücke artists Mueller was the most consistent about depicting mankind in nature. While the other artists treated the range of subjects – portraits, still lifes and others, from 1910 onwards Mueller was almost ceaselessly exploring the idyll of nature and primitive living. His females are unlike the other artists and despite the bold Expressionist oulines, they express an overwhelming innocence and gentleness. The focus in this subject is not the religious element. Despite taking a well-known biblical story, the picture is more about ancient people living a more natural life nude or semi-clothed amidst nature and the joy of new life.
Like those of the other Brücke artists, nearly all of Mueller’s prints were in black and white. This is probably his first work he printed in colours, made simply by first printing the yellow tone and then over printing this with the black.
Mueller loved the results of using the lithographic process for his prints. The lithograph suited his painterly style. His other prints include only six woodcuts and one etching.
This particular example Mueller kept in his collection all his life. On his death, fellow Brücke artist Erich Heckel helped organize the artist’s estate. The prints in the estate were stamped on the reverse and signed by Erich Heckel.
Karsch, Florian. Otto Mueller zum hundertsten Geburtstag: Das graphische Gesamtwerk. Exh. cat. Berlin: Galerie Nierendorf, 1974.
Moeller, Magdalena M., ed. Auf der Suche nach dem Ursprünglichen: Mensch und Natur im Werk von Otto Mueller. Exh. cat. Berlin: Brücke-Museum, 2004