501 - Theo von Brockhusen (1882, Marggrabowa, Masuria – Charlottenburg, 1919)

Theo von Brockhusen (1882, Marggrabowa, Masuria – Charlottenburg, 1919) Boats on Lake Schwielowsee Oil on canvas. (Circa 1914). Approx. 96 x 115 cm. On the reverse of the stretcher, a label from the (Ferdinand) Möller Gallery, Berlin, handwritten there as “No. 391 (29) v. Brockhusen, Schwielowsee, large,” as well as two additional handwritten labels reading “No. 11 (eleven) / Boats on the Schwielowsee” and “7 Boats on the Schwielowsee 1914 (15.)” as well as a typographic label number “197” and the handwritten number “a 29” on the stretcher bar. • At the beginning of his career, Theo von Brockhusen was clearly influenced by Max Liebermann, and he initially produced numerous Belgian and Dutch dune landscapes • Beginning in 1907, the Markish landscape around Potsdam became one of his most important subjects • Brockhusen’s characteristic and energetic painting style reflects his intensive engagement with Vincent van Gogh Theo von Brockhusen ranks among the leading representatives of German Impressionism, alongside Max Liebermann, Max Slevogt, Lovis Corinth, and Paul Baum. Born in East Prussia, the artist first studied at the Academy of Fine Arts in Königsberg, where he created his first landscape paintings en plein air. At the age of 22, he moved to Berlin, joined the Berlin Secession, and was among the group of artists who split off to form the Free Secession in 1914. In 1906, Brockhusen signed an exclusive contract with the renowned art dealer Paul Cassirer, which remained in effect until 1915. In 1906, Brockhusen undertook a study trip to Paris and London, as well as to Knokke, Belgium, to which he would return several times in the following years. There he created sketch-like, Impressionist coastal and dune scenes that reveal a clear influence from Liebermann. Brockhusen, who had suffered from severe lung disease since his youth, repeatedly sought respite in nature, longing for light and fresh air. Beginning in 1907, he regularly spent the summer months at the Baumgartenbrück Inn on Lake Schwielowsee, south of Potsdam. From his window, Brockhusen observed day-trippers and strollers stopping for a break in the beer garden. The restaurant, situated beneath the mighty chestnut trees right on the shore, became one of his favorite subjects. He also found inspiration for his paintings in the neighboring villages of Ferch and Werder, as well as in the vast fields and orchards surrounding Lake Schwielowsee. This landscape of the Mark became his most important source of inspiration; it was here that he created his major body of work in the years that followed. In the summer of 1909, Brockhusen wrote in the guestbook of the Herrmann family, who ran the inn in Baumgartenbrück: “I spent three of the most wonderful years here, finding more than mere beauty—(harmony) in nature. This harmony seems to unite everything here into a single melody (…).” (Exhibition catalog, Potsdam 2025/26, p. 330). Brockhusen’s visual language is characterized by expansive, almost panoramic views, atmospheric moods with luminous colors, and shifting light. He works with an energetic brushstroke, applying paint in thick impasto layers with small, undulating strokes, thereby creating a tactile texture full of vitality on the picture’s surface. His intense engagement with the paintings of Vincent van Gogh is unmistakable. All of this comes together in the painting “Boats on Lake Schwielowsee” to create a cheerful summery atmosphere. As viewers, we can almost feel the light breeze on our skin ourselves; the sunlight glistening on the water makes us squint our eyes a little. Who wouldn’t want to climb into one of the rowboats moored at the dock and take a little boat ride on Lake Schwielowsee? Exhibition: Theo von Brockhusen, Kunstamt Charlottenburg, Berlin 1952; Contemporary Art of East Germany, Die Künstlergilde e. V., Mathildenhöhe, Darmstadt 1956, label on the reverse side of the canvas; Karl Hagemeister: “… The Light That Is Ever-Changing”—Landscape Painting of German Impressionism, Potsdam Museum – Forum for Art and History, Potsdam, et al., 2020/21, cat. no. 120/150, color ill. p. 198; Theo von Brockhusen. Colors in Light. Artists of German Impressionism, Potsdam Museum – Forum for Art and History, Potsdam 2025/26, color ill. p. 196. Provenance: The artist’s estate; Private collection, Northern Germany. Taxation: subject to margin scheme (VAT: Margin Scheme).