Fan Design [recto]

The drawing centers on a seated female figure enclosed within a circular frame, surrounded by organic and fantastical elements: fluttering butterflies, blooming flowers, and abstract, floating forms. Tiny figures weave through the composition, suggesting a dreamlike or symbolic realm. The imagery evokes themes of nature, transience, and quiet contemplation, typical of Corinth’s interest in allegory during this period.

Corinth rendered the scene with light, agile graphite strokes that convey movement and spontaneity. The lines are loose yet deliberate, balancing improvisation with careful detail. The green paper’s tone softens the graphite’s contrast, creating a muted, atmospheric effect. The absence of heavy shading or bold contours reflects a focus on line and rhythm rather than volume or realism.

The drawing is dated and signed by Corinth in the corner, confirming its origin in 1906. It belongs to a series of intimate sketches he produced during his time in Berlin, where he was active in the Berlin Secession. While not publicly exhibited at the time, such works were likely used as studies or personal explorations, later preserved as part of his artistic record.

In 1906, Corinth was still grounded in naturalistic representation, though increasingly drawn to symbolic and decorative subjects. His involvement with the Berlin Secession exposed him to modernist ideas, yet his style had not yet embraced the expressive brushwork that would define his later work. This drawing reflects a quiet, introspective phase between academic training and artistic transformation.

Though minor in scale, this drawing offers insight into Corinth’s creative process during a pivotal decade. It reveals his engagement with ornamentation and symbolic imagery before his style radically shifted after 1911. As a preserved sketch, it contributes to understanding the evolution of his visual language and the breadth of his artistic output beyond large-scale paintings.