(Landshut 1868–1932 Neukastel)
Crouching Somali, signed, dated Slevogt 12, oil on canvas, 47 x 32 cm, framed

Letter of confirmation (copy) Prof. Dr. Paul Ortwin Rave, Berlin, Museum Berlin Dahlem, 8.1.1949

“Vielleicht ist es identisch mit dem unter Nr. 98 in dem Katalog der Slevogt- Ausstellung der Akademie in Berlin (1928) angeführten “Kauernden Somali-Neger” von 1912, obwohl die Masse 32:47 vertauscht sind”
“Perhaps it is identical with “Kauernder Somali-Neger” 1912, no. 98 in the catalogue of the Slevogt exhibition in the Kunstakademie in Berlin (1928), although the dimensions are inverted 32:47.”

Provenance:
Private Collection, Switzerland

“Slevogt prioritises gymnastic, artistic, exotic elements, dance, racing, the carnal mysticism of an oriental night, the slenderness of a Negro figure …. Slevogt’s art strives towards being more than just purely optical: it is optical novelism in the most elegant sense of the term. This holds true even when it seemingly limits itself to shaping a human likeness. Slevogt’s portraits themselves reveal what separates him from Liebermann: the expressionistic urge and the temperament of psychological revelation in which he permits space, air, clothing, bodily movements and facial expressions to take part equally. From time to time, there is even the impression that an assortment of these secondary attractions forms the main focus of the image for Slevogt.”
Max Slevogt – Berlin in: Deutsche Kunst und Dekoration, Darmstadt 1915, vol. 36, p. 416f

“Der Sieger” [The Victor] (Museum Kunstpalast, Düsseldorf) was painted by Max Slevogt in 1912. Numerous preparatory drawings, sketches and oil studies were created for the work in March of the same year. His model was Hassanó: a dark-skinned, very slender and tall man from Somalia. In addition to the half-length portrait, which is also currently in Museum Kunstpalast, Max Slevogt also painted seven movement studies in oil. These three works form part of these studies. Max Slevogt captured the movement and motion of Hassanó, a Somalian, in these three different body studies by applying relatively broad brushstrokes to the canvas in a deliberate manner.

The painting of the Somalian crouching in front of the fire is particularly striking. Despite its extremely reduced form and colour, it is painted in a fascinating manner, depicting the man deep in thought, crouching in front of the vividly rendered fire. Max Slevogt deliberately places delicate hints of dark blue in shaded areas, and adds touches of powerful red and white to the body of the crouching man, whose dark, shiny skin reflects the fire.

The study which features tall, slender Hassanó leaning on a spear can be seen as a direct model for the “Victor”: the man looks straight forward, and rests his gaze on the viewer with great self-confidence. Max Slevogt based this painting study on descriptions of the East African Nuer peoples, whose striking, relaxing pose was often described.

The dancing Somalian again represents Slevogt’s intention to exemplify his expressionistic urge with the aid of his figures, and to fill the entire space of the image with the movements, gestures and expressions of the human body. The light depicted as coming from the left-hand side of the image refracts into bright flecks on the dark skin of the dancer, who appears ecstatic and poised in his movements. In his oil studies, Max Slevogt varies Hassanó’s movements in many ways, and approaches his model from a wide range of perspectives. Some of the studies are very detailed, and allow Max Slevogt to capture the entirety of his work with seemingly fleeting, and yet highly decisive brushstrokes, which underline the force of expression in these three pieces in a unique way.