1444 - Carl von Marr (1858 Milwaukee – 1936 Munich)

Carl von Marr (1858 Milwaukee – 1936 Munich) Adoration of the Christ Child Around 1900, Marr turned his attention to mythological and religious themes in a striking manner. This includes this large-format, nearly square masterpiece depicting the Adoration of the Child, in which he profoundly enhances the motif with a Baroque, metaphysical, dreamlike staging in a Symbolist manner. Stylistically, Marr combines realistic and Impressionist techniques with a soft, impasto application of paint and a masterfully loose brushstroke. He conveys a sense of dignified grandeur already in the composition itself by setting the multi-figure scene within a painted, semicircular arcade arch flanked by columns—a technique familiar from old altarpieces as well as from Caspar David Friedrich’s crucifixion paintings. Marr was evidently influenced by the old masters of the Baroque—the way he uses light and cast shadows here, and composes the dense groups, is reminiscent of Rembrandt. Although it is actually evening, a mystical, dramatic atmosphere of light floods the entire painting. The bright light emanating from the Child illuminates the kneeling Mary as well as the circles of adoring angels. While most of the figures are largely frozen in awe of the miracle of the Nativity, on the left side of the painting a young woman dynamically breaks away from a group moving toward the Child. In this way, Marr draws the empathetic viewer into the scene. Above it all, the sky—radiating with golden light—is filled with dancing angels across multiple planes of space. This painting dates from around 1898–1901. Closely related is the monumental, landscape-format “Adoration of the Christ Child” (circa 1898), which came from the collection of media tycoon William Randolph Hearst to the Marr Collection at the Museum of Wisconsin Art in West Bend. Marr adopted the basic composition of the lower section, expanded it, and added a second, essential element: in the center of the painting, he inserted Christ on the cross as a further main motif, rendered in blue-gray grisaille. Christ on the cross is seen only by St. Francis of Assisi, who stands opposite him and looks up at the Crucified One in deep adoration. St. Francis’s biography, spirituality, and iconography had close connections to both the Christ Child and the Crucified One. Marr created a powerful masterpiece of multi-layered symbolism, for the simultaneous presence of the Nativity and Christ on the cross foreshadows the future Passion. The same composition as in our painting can also be found in the sketch “The Crucifixion and Death of Christ,” published in 1901 by Anna Spier in *Die Kunst unserer Zeit* (likely a design for a large devotional painting or fresco). In this sketch, Marr used the crucifixion motif in three variations as a framing element. The foundation of Marr’s art was his thorough artistic training, for which he went to Germany. He studied successively at the art school in Weimar, the Academy of Fine Arts in Berlin, and, beginning in 1877, at the Academy of Fine Arts in Munich under Wilhelm von Lindenschmit, Gabriel von Max, and Otto Seitz. In the thriving art city of Munich, Marr established a reputation within just a few years as a significant genre, history, and portrait painter. In 1889, he achieved his definitive breakthrough with the monumental history painting “The Flagellants” at the exhibition in the Glaspalast (now in the Museum of Wisconsin Art). In 1893, Marr himself became a professor at the Munich Academy; in 1896, he received a gold medal at the Great Berlin Art Exhibition; and in 1909, he was awarded a title of nobility by the Bavarian monarchy. Oil on canvas, lined; signed lower right; 198.5 cm x 204 cm. Probably original frame. Cf./Lit.: Anna Spier, “Karl Marr,” in “Die Kunst unserer Zeit” 1901, Vol. I (first half), pp. 1–39, ill. p. 30 “Carl Marr. The Crucifixion and Death of Christ (Sketch).” Provenance: formerly owned by the artist’s descendants; German private collection. Oil on canvas, relined. Signed. Probably original frame.