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Flora

Date: 1920s
Material: pencil / paper
Dimensions: 35 x 28 cm

 

This undated and unsigned drawing is created from the painting "Flora" by Rembrandt van Rijn (1606-1669). It is likely that Fritz Griebel made the drawing as a young artist after a figure, since he was never proven in St. Petersburg.

The Baroque artist portrayed his wife Saskia van Uylenburgh (1612-1642) three times as Flora, the goddess of spring and flowers: in 1634, 1635 and 1641. The St. Petersburg version originated in the wedding of the year. Saskia, who came from a Patritzierfamilie, wearing a fancy costume with embroidery and shiny fabrics. They stand out well against the dark background. In one hand she holds a flower-filled rod on her head she wears also flowers. Her face is brightly lit by the light.

Rembrandt: Saskia als Flora, 1634, Öl/Lwd., 125 x 101 cm. Eremitage, St. Petersburg (The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-Rom, 2002. Distributed by Directmedia Publishing).

Fritz Griebel was interested in his drawings not for the beautiful costume. He who in his art again and again the people studied, put his focus in the artistic approaches to master the Dutch Baroque style in the face of the young woman.

Upon closer examination, it should be noted that he moved away from the original. The face is modeled, the eyes are bigger and look at the viewer as opposed to the model. Like the nose also seem a bit awkward, so Griebel created an enchanting portrait chest. The expression of the face is different from that created it Rembrandt. This flora seems more confident and less girly.

Very clever - almost masterfully one might say - led the young Griebel the pencil. Shadow areas around the head and upper body he hatched, so he had a contrast to the bright face. The loose hair are done in wavy lines around the head and fall gently over the shoulders. The costume he was composed of delicate, thin strokes. The flowers turn arose from soft, round lines. For the delicate, slightly round face of the young woman sat Griebel very thin lines on the paper, add a touch of shadow on the face.

Thus, the drawing could be interpreted as a study of the line, the times straight, curved, may appear thick or thin, hard or soft on the character base. Fritz Griebel strokes leads this very clearly in mind.

 

Antje Buchwald 2014