Loreley - Oskar Kokoschka
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Beschreibung
A powerful 1941 allegorical painting by Oskar Kokoschka, depicting the Loreley myth as a commentary on the chaos of the Second World War.
Oskar Kokoschka painted Loreley in 1941, during his period of exile in the United Kingdom. The work functions as a political allegory, reflecting the artist's response to the Second World War. The composition depicts the legendary siren of the Rhine, yet she is reimagined as a grotesque, queen-like figure who presides over a scene of maritime chaos. Her presence is detached, contrasting with the turbulent waters and the struggling figures caught in the swell below.
The painting employs the aggressive, gestural brushwork characteristic of Kokoschka's mature style. The palette is dominated by churned greens and muddy browns, punctuated by the stark, unnatural yellow of the sky and the distant, glowing red of a lighthouse or beacon. The figures in the water, including a man clutching a lifebuoy, suggest a narrative of displacement and peril. By invoking the Loreley myth, Kokoschka draws a parallel between the ancient folklore of the Rhine and the contemporary destruction occurring across Europe.
Unlike his earlier, more psychological portraits, this work engages with broader historical anxieties. The distortion of the figures and the frantic application of paint communicate a sense of urgency and unease. The siren, often associated with the seduction of sailors, here appears as a harbinger of doom, indifferent to the suffering unfolding in the sea. This piece remains a significant example of how Kokoschka utilised classical motifs to comment on the political instability of the mid-twentieth century. The work is held in the collection of the Museum Boijmans Van Beuningen in Rotterdam.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Loreley - Oskar Kokoschka
Artist Biography
Oskar Kokoschka
He was born in 1886 in Pochlarn, Austria. He was shot through the head in Ukraine and bayoneted in the chest in Russia. He survived both.
After the war, he commissioned a Munich dollmaker named Hermine Moos to create a life-size replica of Alma, sending detailed instructions about the feel of her skin and the weight of her body. Moos covered the figure in feathers instead. Kokoschka eventually staged a public execution: he decapitated the doll and smashed a bottle of wine over its head on his lawn. The police arrived the next morning, thinking he had murdered a woman.
The Nazis declared him a degenerate artist. He fled Czechoslovakia for London after the Munich Agreement and became a British citizen in 1947. His Expressionist portraits are among the most psychologically penetrating of the twentieth century: raw, agitated surfaces that seem to expose the sitter's interior state. He lived to ninety-four.
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