Portrait of Commerce Counselor Ebenstein - Oskar Kokoschka
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Beschreibung
A 1923 portrait by Oskar Kokoschka, capturing the Commerce Counselor Ebenstein through expressive, fluid brushwork and a warm, atmospheric palette.
Oskar Kokoschka painted this portrait of the Commerce Counselor Ebenstein in 1923. During this period, the artist moved away from the more aggressive, distorted forms of his earlier Viennese work, adopting a more painterly and fluid approach to the human figure. The subject is depicted in a formal suit, his posture suggesting a quiet, contemplative state.
Kokoschka employs a technique characterised by visible, energetic brushwork. The paint is applied with a sense of urgency, creating a surface that feels alive and tactile. The face of the sitter is rendered with particular attention to the effects of light and shadow, which define the contours of his features and the texture of his skin. The background is composed of warm, earthy tones that shift in hue, providing a contrast to the darker, more structured attire of the subject.
This work demonstrates the artist's ability to capture the psychological presence of his sitters. Rather than focusing on a precise, photographic likeness, Kokoschka seeks to convey the character and internal state of the individual. The hands, resting in the foreground, are painted with a similar expressive freedom, their form suggested through colour and light rather than rigid outline. The composition is balanced, with the figure positioned centrally against a muted, atmospheric backdrop. This portrait remains a clear example of the artist's mature style, where his interest in the human condition is mediated through a sophisticated command of oil paint and colour. The work reflects the broader European tradition of portraiture while maintaining the distinct, subjective approach that defined the Expressionist movement in the early twentieth century.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Portrait of Commerce Counselor Ebenstein - 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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