Art prints of paintings
Lovis Corinth

Explore reproductions of Lovis Corinth (1858-1925), the German painter, draughtsman and printmaker whose work connects academic training, Berlin Impressionism and an increasingly expressive use of colour and gesture. Portraits, self-portraits, Lake Walchen landscapes, bouquets, nudes, mythology and biblical scenes make up a particularly varied catalogue.

To choose a work, start with its subject and atmosphere: a face built with broad brushstrokes, a lake crossed by light, a dense bouquet or a dramatic scene. The dimensions, formats and options actually available are indicated on each product page.

Lovis Corinth: Between Realism, Impressionism and Expression

After extensive training in Königsberg, Munich and Paris, Corinth settled in Berlin in 1901 and became a leading figure of the Berlin Secession. His career cannot be reduced to a single label: the naturalism of his early work gradually opened up to a freer brushstroke, more intense colours and visibly textured paint.

After his stroke in 1911, his drawing and painting gained even greater energy. Portraits, nudes, landscapes, religious narratives and mythological subjects remained central, but their forms often became more restless and directly expressive.

Self-Portraits: The Face as a Record of Time

Corinth portrayed himself throughout his career. Self-Portrait in Armour plays with history and costume, while Self-Portrait with Hat and Coat favours a more everyday presence. Self-Portrait offers a direct view of how the face is constructed through colour.

Self-Portrait with a Skeleton confronts the artist with mortality and the studio tradition. In Self-Portrait at Lake Walchen, the place of creation becomes part of the subject. Finally, Self-Portrait with Charlotte Berend-Corinth and a Glass of Sekt transforms the self-image into a couple’s scene.

Charlotte Berend-Corinth, Family and Intimate Circle

Charlotte Berend-Corinth, the artist’s wife and a painter in her own right, appears under several visual identities. Portrait of Charlotte Corinth focuses on the face, while Carmencita, Charlotte in Spanish Costume combines portraiture, costume and staging. Portrait of Charlotte Berend-Corinth in the Garden connects the figure with the light outdoors.

The family circle also includes Franz Heinrich Corinth, the Artist’s Father and The Artist’s Father on His Sickbed. These works give portraiture a biographical and sometimes deeply vulnerable dimension.

Public Portraits and Figures of the Era

Corinth also painted political leaders, artists, writers and figures from the cultural world. Portrait of Friedrich Ebert creates an official image without erasing the sitter’s physical presence. Portrait of Georges Brandes and that of Herbert Eulenberg reflects his interest in intellectuals and writers.

In these portraits, the background, clothing and direction of the gaze contribute as much as the facial features. A vertical, close-up composition is particularly well suited to a narrow wall, desk or bookcase.

The Walchensee: Lake, Mountain and Changing Light

From 1919 onwards, the Walchensee landscape became one of Corinth’s major later subjects. Walchensee Landscape and View from a Balcony towards the Walchensee depict the lake from different viewpoints. Lake Walchen, Silver Path makes the light on the water the central axis of the composition.

The seasons and times of day profoundly alter the subject: Walchensee in Winter, Walchensee Lake at Moonrise and The Duchy at Walchensee in the Snow show how snow, sky and reflections renew the same landscape.

Landscapes, Forests and Travel Views

Beyond the Walchensee, Corinth explored places where brushwork directly constructs space. Forest Path leads the eye into the distance, while Orchard in Winter arranges trunks and branches into a network. Lake Lucerne in the Morning favours a more open, luminous atmosphere.

These landscapes work well on their own, but can also form a coherent group centred on water, mountains or the seasons. Before creating a gallery wall, compare the proportions and dominant colours of the selected images.

Flowers and Still Lifes: Colour, Texture and Rhythm

Bouquets allowed Corinth to concentrate colour and movement within a close-up space. Vase with Flowers offers a direct subject, while Still Life with Chrysanthemums and Amaryllis plays with the density and variety of forms.

Roses and Lilacs, Orchids and Chestnut Blossoms offer different palettes and silhouettes. These subjects suit interiors seeking a vivid presence without an imposed narrative.

Biblical Narratives: Sin, Violence and Redemption

Biblical themes gave Corinth the opportunity to explore the body, conflict and emotion. Samson Blinded focuses the tension on a figure stripped of his strength. Cain and Cain and Abel develop the theme of fraternal violence in two forms.

Adam and Eve, the Fall of Man, Expulsion from Paradise and Christ on the Cross combine religious narrative with expressive gesture.

Mythology, Literature and Theatre

Corinth also drew on mythology and literature. The Chariot of Venus and The Loves of Zeus give physical form to ancient stories. Leda revisits a myth frequently treated throughout art history.

The Homeric Laughter favours collective movement, while William Tell brings together image, legend and theatre. These works suit interiors seeking a powerful scene rather than a purely contemplative subject.

Nudes and Studies of the Body

The nude occupies an important place in Corinth’s work, from his academic training through to his later compositions. This is not a homogeneous group: studio poses, mythological scenes and figures captured indoors create different relationships with the model and the viewer’s gaze.

When choosing, consider the direction of the pose, the degree of contrast with the background and the orientation of the format. Dimension and medium options vary by work and are specified on the corresponding product page.

Choosing a Lovis Corinth Reproduction

• For a portrait: explore the self-portraits, Charlotte Berend-Corinth and Berlin personalities.
• For a landscape: focus on Lake Walchen, the lakes, forests and winter scenes.
• For colour: choose a bouquet, roses, orchids or a still life.
• For a dramatic scene: turn to biblical, mythological or literary stories.

The proportions of the image matter as much as its palette. Check the dimensions, media and framing options available on each page before finalising your choice.

Frequently Asked Questions about Lovis Corinth

Was Lovis Corinth an Impressionist or an Expressionist?

His career spans several movements. Trained in academic Naturalism, he became a leading figure in German Impressionism and later developed an increasingly expressive brushstroke. It is more accurate to follow this evolution than to confine him to a single category.

Why did he paint so many self-portraits?

Self-portraiture allowed him to study his face, his age, his role as an artist and his own mortality. Together, these images form almost a visual diary of his career.

Why is Lake Walchen important in his work?

Corinth began staying there regularly in 1919. The lake, mountains, snow and changing light became the central motifs of many later landscapes.

Was Charlotte Berend-Corinth merely his model?

No. Charlotte Berend-Corinth was a painter in her own right. She was his pupil, his wife and a frequent model, and after his death she played an essential role in documenting and promoting his work.

Are all the reproductions available in the same formats?

No. The available formats, media and framing options depend on the work. The available options appear on the product page when making your selection.

Browse the Lovis Corinth Collection

Begin with a visual family, then compare the variations: self-portraits at different ages, Charlotte in several roles, Lake Walchen across the seasons, or bouquets distinguished by their palettes. Reading the works as series reveals the continuity of an artist who transformed the same subjects through colour, material and time.