Männliches Bildnis mit Aufgestütztem Arm (Portrait of a Man Smoking)

Corinth employed drypoint, a printmaking method involving direct scratching into the paper’s surface with a hardened needle. This produced rich, velvety lines with a rough, irregular edge that retained ink effectively. The resulting texture—loose, gestural, and deeply shaded—conveys the weight of the figure’s form and the softness of his clothing, emphasizing immediacy over precision, a hallmark of his post-1911 style.

This print emerged during a period of personal and artistic transformation for Corinth, following a stroke in 1911 that altered his physical coordination and artistic method. Though he remained active in Berlin’s art circles, his work grew more introspective. The print’s origin lies within his private studio practice, likely made for personal or limited circulation rather than public exhibition, reflecting his shift toward intimate, self-directed subjects.

In 1916, Germany was entrenched in World War I, yet Corinth’s focus remained on individual presence rather than public turmoil. His earlier association with the Berlin Secession had evolved into a more personal artistic path. This portrait reflects a broader trend among German artists of the time: turning inward, using portraiture to explore psychological depth amid societal upheaval, detached from political or propagandistic aims.

Corinth’s drypoint portraits, including this one, contributed to the redefinition of printmaking as a vehicle for emotional expression rather than mere reproduction. His use of scratchy, tactile lines influenced later generations of German Expressionist printmakers. Though not widely exhibited in his lifetime, such works are now recognized for their raw humanity and technical innovation in early 20th-century graphic art.