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©
Albert Henrich
Albert Henrich

Portrait of the Painter A.M. Tränkler

1926
Oil on canvas.
81 x 62 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
582
(
1980.27
)
Room 45
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 19th Century. The Impressionist Period 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms: Ayako Rokakku 54 Postpop rooms: Ayako Rokakku 55 Postpop rooms: Ayako Rokakku 56 Postpop rooms: Ayako Rokakku Rodin Exhibition room
Albert Henrich, who was associated with the realist trends of the German Neue Sachlichkeit (New Objectivity), is an artist who is virtually unknown — almost as unknown as the person he portrays in this picture, the painter A.M. Tränkler. Although Henrich chiefly painted still lifes, he also produced portraits and landscapes, closely following the tradition of seventeenth-century Dutch painting.

The portrait of Alfons Maria Tränkler, of whom all that is known is his name and, as the title of the picture states, the fact that he was a painter, is executed with a highly sober, painstaking realism that lends it a certain harshness. Henrich’s psychological characterization of the sitter is reflected in the angular face — contracted in a stern gesture, with restrained expressiveness — jutting out from the gleaming starched collar of his shirt, and the right hand which holds a cigarette. Illuminated by a light source situated to Tränkler’s left, these sombre areas of flesh are painted with powerful chiaroscuro and stand out against the dark tones of the suit and the picture’s background.

Paloma Alarcó
20th Centurys. XX - Pintura europea. Nuevo ordenPaintingOilcanvas
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Retrato del pintor A. M. Tränkler

Retrato del pintor A. M. Tränkler

17.00 €

Kandinsky socks

Kandinsky socks

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La máquina Magritte: Exhibition catalog (Spanish w. English texts)

La máquina Magritte: Exhibition catalog (Spanish w. English texts)

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César Paternosto. Towards painting as object. Exhibition Catalogue

César Paternosto. Towards painting as object. Exhibition Catalogue

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Portrait of the Painter A.M. Tränkler. Retrato del pintor A. M. Tränkler, 1926
Portrait of the Painter A.M. Tränkler
Albert Henrich

©

Albert Henrich

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Portrait of the Painter A.M. Tränkler. Retrato del pintor A. M. Tränkler, 1926
Portrait of the Painter A.M. Tränkler
Albert Henrich

©

Albert Henrich

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