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Female nude from the back

Year: 1920
Material: Watercolor
Dimensions: 45 x 57 cm

The representation of the naked body of practicing on Fritz Griebel always an attraction. In all media, which he spoke, he took issue with the act: oil painting, drawing, water color and silhouette. He often shifted his character programs in the natural or combined them with still life.

In this work we see a month of the Back of a single woman in an undefined space. The right arm rests on the ground that could be a bed. The left arm rests on the implied thigh, the legs are bent, so that only the soles of the feet and lower leg portions of the visible. The head is slightly tilted to the left. The short hair, almost black women give a clear view of the back.

He is a single symphony of colors. No limits contours from him. It is modeled only from colors. A green brushstroke is thicker at the shoulders, making a harsh diffraction, and then to run straight down and leak into a slight curve to the left to move and eventually in a swerve to the right. A parallel to the curvature of the lower running short green brush stroke forms a triangle, which leads to the buttocks. The entire green brushstroke runs along the spine, which supports the back and separated into two halves. Thus we see in the upper back a second, running parallel to the first green brush stroke. He is not considered constant but stops again and will continue a bit.

Let's look at the colors of the back more closely, we notice that it is made of yellow, pink and white - the recessed surfaces - composed. These white areas are highly refined over the entire image area is divided. They contribute significantly to the color modulation. They give physicality through the contrast of the colors. This is particularly evident in the buttocks and thighs is going on.

Interestingly, the colors of the right arm is red, orange, green, blue and white are placed side by side and run into one another. The hand as well as the feet are indicated with quick brush strokes only. An almost black line marks the top line and the adjacent arm sharply, like you can discover on the other side of the body: there is a dark green thin brushstroke.

Fritz Griebel: Male Nude with apple-still life, 1930s, oil / canvas, 17.5 x 22 cm.

The colors match the body constituted on the one hand and on the other hand it is a reflection of the environment. This means that the body builds up in the same colors and the colors are nothing but reflections of light. On the supporting arm, this is especially obvious, because there again the one with all the colors of the background.

The green brush strokes that structure so striking back, are nothing but shadows. Already in his early works set Griebel give a green shade. Just as the Impressionists Griebel gave up the color black, in his oeuvre, he used them very rarely. He painted the side lying on a bed male nude "alla prima", ie he did without a soundtrack and glaze. Even here he sat unpainted surfaces as a compositional device.

Jean-Auguste-Dominique Ingres: The Great Odalisque 1814, oil / canvas, 91 x 162 cm, Louvre, Paris.

If we compare the female back act with the image of "The Great Odalisque" by Jean-Auguste-Dominique Ingres (1780-1867) is seen to enter the drawing, the funds in favor of color in the background. The classicist Ingres however, stressed in his harem lady's profile. The skin is flawless. The body exhales its unnatural, flowing lines. In contrast to the "feminine back act," Griebel takes on Ingres' "Odalisque" with us eye contact. The Frenchman drew a heightened sensibility - a nocturnal fantasy of the monogamous West. Griebel was instead established a female body without sexualizing it. His concern was primarily concerned to raise the color of a design tool.

Antje Buchwald