Seated Woman with Wood Sculpture (Primary Title)

Ernst Ludwig Kirchner, German, 1880 - 1938 (Artist)

oil on canvas
Framed: 43 1/4 × 43 1/4 in. (109.86 × 109.86 cm)
Unframed: 38 1/2 × 38 1/2 in. (97.79 × 97.79 cm)
Adolph D. and Wilkins C. Williams Fund
German Expressionism and France: From Van Gogh and Gauguin to the Blaue Reiter, Los Angeles County Museum of Art, June 8-September 14, 2014; Montreal Museum of Fine Arts, October 6, 2014-January 25, 2015

Ernst Ludwig Kirchner, 1880-1938, National Gallery of Art, Washington, DC, March 2-June 1, 2003; Royal Academy of Arts, June 24-Sept. 30, 2003.

Paintings and Prints from the Ludwig and Rosy Fischer Collection of German Expressionist Art, VMFA, July 11-Sep. 20, 1998

Kirchner exhibition, Kunsthalle Grabbeplatz, Dusseldorf, 1960.

Die Neue Malerei, Galerie Arnold, Dresden, 1914, No. 85.
Price, Renée, Ronald S. Lauder, Nelson Blitz, Sharon Jordan, Jill Lloyd-Peppiatt, Sherwin Simmons, and Janis Staggs. Ernst Ludwig Kirchner. München: Prestel, 2019. (no. 11, p. 45, no. 9, p. 97)

Goldberg, Itzhak. L’Expressionnisme. Paris: Citadelles & Mazenod, 2017. color illus., p. 85.

Gianfreda, Sandra, ed. Vibrant Metropolis Idyllic Nature. Kirchner- The Berlin Years. Exh. Cat. Kunsthaus Zurich. Munich: Hirmer Verlag GmbH, 2017. Fig. 7, color illus., p. 50.

Schäffer, Gisela. Der unschuldige Blick: Leni Riefenstahls Nuba-Fotografien. Berlin and München: Deutscher Kunstverlag, 2016. Plate 11, fig. 1 p. 283 color illus. Text p. 158.

Akinsha, Konstantin, et al. “Russian Modernism. Cross-Currents of German and Russian Art, 1907-1917. Munich: Prestel Verlag, 2015. fig 13, p. 23

Barriault, Anne B., and Kay M. Davidson. Selections from the Virginia Museum of Fine Arts. Richmond, VA: Virginia Museum of Fine Arts, 2007. (pp. 296-297, ill. p. 297)

Hanna Strzoda, Die Ateliers Ernst Ludwig Kirchners: eine Studie zur Rezeption "primitiver" europäischer und aussereuropäischer Kulturen, Petersberg: Imhof, 2006, no. 300, p. 197 (illus.).

Hermann Gerlinger, Katja Schneider, et al., Nur für ihre Frauen: Schmuck von Karl Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Halle (Saale): Stiftung Moritzburg, 2003, p. 15 (illus.).

Jill Lloyd, et al., Ernst Ludwig Kirchner, 1880-1938, exh. cat., Washington, DC: National Gallery of Art, 2003, no. 82, illus., n.p., credits p. 250. [as Erna Seated with a Sculpture]

Elke P. Frederiksen and Martha K. Wallach, Facing Fascism and Confronting the Past: Women Writers from Weimer to the Present, Albany, NY: SUNY Press, 2000, pp. 25-26, b/w fig. 2.3, p. 26.

John T. Paoletti, “Painting as Historical Dialogue: Contemporary German Art in the Virginia Museum of Fine Arts,” on CD ROM, Boca Ratan, FL: SirS Renaissance Database, September 1995.

Lucius Grisebach, Ernst Ludwig Kirchner 1880-1938, Koln: Taschen, 1995, illus. p.74.

Jill Lloyd et al, Ernest Ludwig Kirchner 1880-1938 (London: Royal Academy of Arts in asso. with National Gallery, Washington DC, 2003) pp. 20-21, 250, cat. no. 82, color ill. n.p.

John T. Paoletti, “Painting as Historical Dialogue: Contemporary German Art in the Virginia Museum of Fine Arts,” Arts in Virginia, Vol. 29, nos. 2 & 3, 1990, fig. 1, p. 36.

“Twentieth Century Art,” Virginia Museum of Fine Arts Annual Report 1984/85, p. 14, illus.

Donald E. Gordon, Ernst Ludwig Kirchner, Harvard University Press, Cambridge, 1968, Cat. No. 268, p. 304 (illus.).
1914 (Galerie Ernst Arnold, Dresden, Germany). [1]. By 1960, Private Collection, Düsseldorf (?), Germany. [2] Before or by 1968, Mrs. Geller-Zärtlang [no dates], Neuss, Germany. [3] By October 1984 (Wolfgang Wittrock, Düsseldorf, Germany); sold 17 October 1984 to Virginia Museum of Fine Arts (VMFA), Richmond, Virginia. [4]

[1] The painting was in an exhibition “Die Neue Malerei” at the Galerie Arnold, Dresden, 1914, No. 85.

[2] The painting was included in a solo Kirchner exhibition at the Kunsthalle Grabbeplatz, Düsseldorf, in September – October, 1960, No. 19. In the catalogue, the only lender information is “Private Collection” – possibly from Düsseldorf as other Private Collections mentioned in catalogue indicate the location of lender. Later in 1984, the dealer W. Wittrock lists the provenance as Private Collection, Düsseldorf. Document in VMFA curatorial file.

[3] In Donald E. Gordon’s 1968 catalogue raisonne, the provenance of the painting (No. 268) listed is Mrs. Geller-Zärtlang, Neuss, Germany with no dates. Gordon also references the Kirchner Archive Documentation Album II, 27.

[4] Acquisition date in Registration and Curatorial files, VMFA.

Image released via Creative Commons CC-BY-NC

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