Hans Lietzmann - Male Portrait

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

In this painting, Hans Lietzmann demonstrates remarkable pictorial technique, allowing him to render the subject perfectly and naturally. The subject appears in almost perfect profile, with a slight and natural three-quarter twist. There is great precision and richness of physiognomic detail in this essential portrait that focuses all attention on the subject's personality. In addition to this meticulous study of character, the painter also stands out for his loose brushstrokes, creating a delicate softness in the modeling. The subject's forms blend seamlessly with the decontextualized space of the background. The use of light, enhancing the subject's sculptural consistency, is highly skilled. The light comes from the left, leaving the area to the right of the face in shadow. The demeanor, the serious and concentrated expression, tell us much about the existential nature of this painting, further confirmed by the dynamic, vibrant pictorial style.

Hans Lietzmann was an artist born in Berlin in 1872. He trained at the Berlin Academy between 1884 and 1885. He arrived in Italy at the end of the century, where he was deeply fascinated by the Renaissance. A passionate landscape painter, he moved to Torbole in the early 20th century to found a school of open-air nude painting. The theme of the Garda landscape, interpreted through Jugendstil, decorative, and symbolist influences, also persists in the religious works the artist created from the 1920s onward. Between 1940 and 1945, his focus on landscape was enriched by the study of portraiture. Many of the residents of Torbole posed for his paintings, portraying various characters. Hans Lietzmann died in 1955 in Riva del Garda and is buried in the Torbole cemetery.

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