(Karlsruhe 1878–1955 Berlin)
Portrait of Elisabeth Hofer, artist’s monogram, dated CH 43, oil on canvas, 100 x 65 cm, framed

Provenance:
Estate of Karl Hofer, no. 253 (label with the number on the stretcher and gallery label Kunsthandel Gerd Köhrmann, Köln Nachlass Karl Hofer)
Galerie Elfriede Wirnitzer, Baden-Baden no 197
Baukunst, Cologne (1978)
Galerie Andreas Baumgartl, Munich 2001- there acquired by the present owner
Private Collection, Germany

Exhibited:
Baukunst Cologne 1978, Karl Hofer no. 43
Baukunst Cologne 1984, Karl Hofer, no. 8
Galerie Raab Berlin 1998, Karl Hofer 1944–1955, no. 35
Galerie Andreas Baumgartl, Munich

Literature:
Karl Bernhard Wohlert, Karl Hofer, Verzeichnis der Gemälde, published by Markus Eisenbeis, Van Ham Art Publications, vol. 2, Cologne 2007, No. 1625 b

The lady in the portrait is the second wife of Karl Hofer: in 1938 the artist married Liesel Schmidt, whom he had met through his friend, the sculptor Renée Sintenis.
Showing the subject as removed from the world and completely withdrawn into themselves is characteristic for Karl Hofer’s portraits. Thus, Elisabeth Hofer sits pensively, focused on herself, looking into space, on a simple chair in a room that is not further specified, and which is, in any case, of little importance. Only the person, the forms, colours, the expression that defines her, matter. The angular, striking shape of the face extends to the stylistic idiom of representing the body. Not least, it encompasses a linear figurativeness: the body and facial features are sharp, almost harsh, intensified by the high-contrast colours of the austere dark blue dress, juxtaposed with the red sleeves and collar. One almost imagines the red back of the chair to be part of the dress. And yet, despite the sharp, angular features and gestures, the portrait conveys a sensual charisma and melancholy, which impressively contrasts the laconic and pictorially reduced form.

On 1 March 1943, Hofer’s atelier in the Freiherr-vom-Stein-Straße was destroyed by bombs. 150 paintings, over 1000 drawings, as well as writings and notes, fell victim to the flames. Just four days after the fire Hofer began to paint again. “The extraordinary sensitivity that was bestowed on me through this misfortune, allowed me to execute the majority of paintings much better …” (1) A series of works arose during this period, which once again focused on the positive things in life and consciously avoided the horrors of the war: portraits of girls, still lifes, flower bouquets, as well as our present painting.

(1) Elisabeth Fuler (ed.), Karl Hofer – Leben und Werk in Daten und Bildern, Frankfurt 1978, p. 180