GROSSBERG, CARL
1894 Elberfeld/Wuppertal–1940 Combiègne near Laon

Title: Marktstraße in Bad Tölz.
Date: 1935.
Technique: Oil on wood.
Measurement: 64 x 383 cm.
Notation: Signed and dated lower right: Carl Grossberg 1935. Verso inscribed by a hand other than that of the artist.
Frame: Framed.


Enclosed with the painting are two preliminary studies.



Provenance:
- - Private collection Bad Tölz (directly from the artist)

- Private collection South Germany (by inheritance)



- Grossberg is regarded as a master of architectural and industrial subjects

- His paintings captivate the viewer with their formal clarity and rigorous composition, and are an expression of a new photographic vision

- The unusual panoramic format frames rows of houses with rhythmic harmony and clean lines



Carl Grossberg (1894–1940) is one of the leading figures of New Objectivity in Germany. After finishing school, he began studying architecture in Aachen and Darmstadt in 1913, an experience that was to have a lasting influence on his later artistic vision. The First World War interrupted his studies; after being wounded, Grossberg returned and continued his studies in Weimar, initially under Walther Klemm, and later at the Bauhaus under Lyonel Feininger. In the 1920s, he developed a distinctive visual language, characterised by architectural precision, clear perspectives and a cool, objective atmosphere. Factory halls, machine rooms and cityscapes appear in his paintings as strictly ordered, mostly deserted spaces. With this sober, almost photographic perspective, Grossberg reflects on the technical modernity and industrial transformation of his time and occupies a central position within New Objectivity as a painter of the built world.

The painting “Marktstraße in Bad Tölz” depicts an unusually elongated cityscape in an extreme landscape format. As if on a stage, a succession of townhouses in this Upper Bavarian spa town lines the street. Different façades, gables and roof shapes form a rhythmic sequence of architectural motifs in delicate, subdued pastel tones. Grossberg reduces the buildings to their clear geometric structures: window axes, roof lines and façade surfaces become precisely arranged pictorial rhythms. This creates an almost musical order in which the urban landscape does not appear as a real view, but as a pictorial structure deliberately composed by the artist. Within his oeuvre, the work represents a remarkable extension of his interest in architecture – instead of industrial complexes, the focus here shifts to a historic urban structure, whilst the characteristic clarity and constructive rigour of his painting remain unmistakable



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