Lovis Corinth – View of Lucerne, 1924 Sotheby’s

The watercolor presents a landscape dominated by atmospheric perspective and a muted palette. Here we observe a body of water occupying the lower portion of the composition, its surface rendered with loose brushstrokes that suggest both stillness and subtle movement. The reflections on the waters surface are indistinct, blending with the surrounding environment rather than providing clear mirror images.
A range of mountains rises in the background, their forms softened by a pervasive mist or fog. These peaks lack sharp definition; instead, they appear as undulating masses of grey and blue-grey tones, punctuated by hints of pink and ochre near the horizon line. The sky itself is similarly indistinct, with washes of color suggesting overcast conditions.
In the midground, a cluster of buildings is visible, partially obscured by the atmospheric haze. A prominent spire emerges from this grouping, hinting at a church or other significant structure within a settlement. These structures are not depicted with architectural detail; they function more as tonal elements contributing to the overall composition.
The artist’s technique emphasizes spontaneity and immediacy. The brushwork is loose and expressive, prioritizing mood over precise representation. Theres an intentional lack of clarity, which contributes to a sense of distance and melancholy. The limited color range reinforces this feeling, creating a somber and contemplative atmosphere.
A handwritten inscription in the lower right corner adds another layer of context. While its content is not immediately decipherable without translation, it serves as a personal mark, anchoring the work within a specific time and place. It suggests that this isnt merely an objective depiction but rather a subjective impression recorded by the artist.
The overall effect is one of quiet observation, capturing a fleeting moment in a landscape defined by its atmospheric conditions and the passage of time.