Selbstbildnis im Mantel mit Skizzenblock

Liebermann employs loose, fluid brushwork characteristic of Impressionism, though tempered by a muted palette of grays, browns, and greens. The texture of the coat and the sketchbook is rendered with economy, avoiding excessive detail. Light falls softly across his face and hands, modeling form without harsh contrast. The background’s indistinctness focuses attention on the figure and his tools, reinforcing the painting’s quiet, contemplative tone.

Created in the final decade of Liebermann’s life, the painting was produced after decades of artistic leadership in Germany. It remained in his possession until his death in 1935. The work entered the collection of Kunsthaus Zürich in 1936, acquired shortly after his passing. Its presence in a Swiss institution reflects the international recognition of his work, even as his reputation in Germany was increasingly strained by political shifts.

By 1925, Liebermann was a respected elder statesman of German art, having championed Impressionism since the 1870s and led the Berlin Secession. Though his style had evolved beyond early plein-air practices, he retained a commitment to modern life as subject matter. This self-portrait emerges in a period of cultural transition, as modernist movements gained ground and traditional institutions faced upheaval—yet Liebermann remained focused on the quiet rituals of artistic work.

The painting endures as a testament to Liebermann’s belief in art as a disciplined, daily practice. It stands apart from more flamboyant self-representations of his contemporaries, offering instead a sober, unembellished view of the artist at work. Its preservation in Kunsthaus Zürich ensures its accessibility to audiences beyond Germany, affirming his role as a bridge between French Impressionism and Central European modernism.