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Albert Haueisen


Oil on canvas

Monogrammed at top left: A.H.

Still lifes, alongside landscapes, portraits and scenes of rural life, rank high in the painted oeuvre of Albert Haueisen. Still lifes became even more important to him in 1910, when the painter and draughtsman stepped up his study of French nature morte.1 It was this engagement that made this master pupil of Hans Thoma2 at the Grossherzoglich-Badische Akademie der Bildenden Künste in Karlsruhe develop such a fondness for floral still lifes. The painter who influenced him most in this respect was Henri Fantin-Latour.3 Like him, Haueisen took to painting single vases staged on a piece of furniture against a neutral, generally dark background.4 Haueisen’s vernal bouquet of lilacs with bold purples and mauves fanning out over the whole canvas fits this description perfectly. The lavish flower arrangement in a capacious, beige footed vase, which Haueisen used in only three of his many still lifes, is painted with visibly broad brushstrokes. Illuminated by incident light from the left, the vase stands out against the dark table and gloomy background in much the same way as do the white lilac panicles and bright dabs of colour of the flower arrangement itself. Alongside this light-dark contrast, however, it is above all the impasto painting, a style typical of Impressionism, that lends this magnificent floral display its density and three-dimensional impact. Sincere thanks are due to the author of the catalogue of Haueisen’s works, Dr. Eva Habermehl, who has kindly confirmed the authenticity of this painting and dated it 1914.

  1. Habermehl, Eva, Albert Haueisen 1872–1954. Ein süddeutscher Maler und Graphiker, Heidelberg 1998, pp. 43–44.

  2. Hans Thoma (1939 Bernau im Schwarzwald – 1924 Karlsruhe) was a professor at the Großherzoglich-Badischen Akademie der Bildenden Künste in Karlsruhe from 1899 to 1920.

  3. Henri Fantin-Latour (1836 Grenoble – 1904 Buré).

  4. Habermehl 1998, p. 44.

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