(Stribach near Lienz 1868–1926 St. Justina near Bolzano)
“Der Kopf des Sämanns” from “Sämann und Teufel”, signed Egger Lienz, watercolour, pencil on paper, on cardboard, 28 x 23.5 cm, framed

See in:
Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, vol. I, Verlag Christian Brandstätter 1996, p. 135 (full page colour ill): Der Sämann, fragment (cut) of the first version of “Sämann und Teufel”, 1908, oil on canvas (M244) and p. 137- first (preserved) version (M245) as well as in vol. II), p. 605/Z 407 (“Sämann in Halbfigur”, free replica, 1918)

Provenance:
Private Collection, Bolzano-directly from the artist’s family

Egger-Lienz said the following about his piece “The Sower and the Devil”:
“The creator and the destroyer; eternal life and eternal death: this is what these two enemies are intended to represent. The brownish red colour that predominates across the body, face and hands is a necessary stylistic aspect that I considered carefully;…
I came across this idea when repeating the image of the dance macabre, and since then, I have used this dark, brownish red skin colour whenever it fits with the psychological circumstances. This warm, rust-coloured, reddish note that covers my new images is an element that supplements my style colouristically: it makes it serious, solemn, austere.”
Wilfried Kirschl, Albin Egger Lienz 1868-1926, Das Gesamtwerk, vol. I, Christian Brandstätter Verlag 1996, p. 136

In this study, too, the sculpted bodies and volume characteristic of Egger-Lienz’ work are clearly expressed.

See in:
Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, vol. I, Verlag Christian Brandstätter 1996, p. 135 (full page colour ill): Der Sämann, fragment (cut) of the first version of “Sämann und Teufel”, 1908, oil on canvas (M244) and p. 137- first (maintained) version (M245) as well as in vol. II), p. 605/Z 407 (“Sämann in Halbfigur”, free replica, 1918)

Provenance:
Private Collection, Bolzano-directly from the artist’s family

Egger-Lienz said the following about his piece “The Sower and the Devil”:
“The creator and the destroyer; eternal life and eternal death: this is what these two enemies are intended to represent. The brownish red colour that predominates across the body, face and hands is a necessary stylistic aspect that I considered carefully;…
I came across this idea when repeating the image of the dance macabre, and since then, I have used this dark, brownish red skin colour whenever it fits with the psychological circumstances. This warm, rust-coloured, reddish note that covers my new images is an element that supplements my style colouristically: it makes it serious, solemn, austere.”
Wilfried Kirschl, Albin Egger Lienz 1868-1926, Das Gesamtwerk, vol. I, Christian Brandstätter Verlag 1996, p. 136

In this study, too, the sculpted bodies and volume characteristic of Egger-Lienz’ work are clearly expressed.