Walter Sauer
Portrait of a young woman with a ribbon in her hair, 1921
Graphite, with brown and yellow pencil highlights, on prepared wax paper
57 x 47.5 cm
30P C
€ 42,000
Further images
Walter Sauer, a Belgian artist born in 1889, is known for his profound impact on the early 20th-century art scene, particularly through his nuanced and evocative depictions of women. His...
Walter Sauer, a Belgian artist born in 1889, is known for his profound impact on the early 20th-century art scene, particularly through his nuanced and evocative depictions of women. His work from the 1920s remains significant for its unique technique and thematic focus on the female form and psyche, rendered through innovative techniques that highlight the emotional and psychological dimensions of his subjects. Despite his premature death in 1927, Sauer's art remains a testament to his ability to convey complex human experiences through the delicate interplay of line, texture, and light. Sauer's artwork from this period often features women as central subjects, depicted with a blend of empathy and psychological depth. His method involved pre-treating paper, as here, with wax to imitate vellum, and layering this chalk and ink, a technique which gave his subjects, usually women, a luminous, almost ethereal quality that draws viewers into the emotional states of the depicted figures. Sauer's interest in women as subjects was not merely aesthetic but also deeply humanistic. His drawings often reflect the hardships and psychological states of his models. His approach to his subject matter was influenced by his studies under Symbolist artists like Emile Fabry and Jean Delville, and his exposure to Japanese art, which introduced him to intricate detailing and expressive line work. This combination of influences helped Sauer develop a distinctive style that combined technical precision with rich, emotive content.
Walter Sauer's Portrait of a Young Girl with a Ribbon in her Hair is a captivating artwork dating from the early 1920s, when he was at the height of his career and not long before the artist's tragic and untimely death at the age of 38 in 1927. Seamlessly fusing traditional and modern elements, Sauer’s portrait of an unknown girl not only showcases Sauer's exceptional draughtsmanship but reflects the growing European interest in Japanese art.
Sauer presents a young girl with an enchanting presence. Rendered in charcoal and chalk on prepared wax paper, the artist skilfully explores the tonal qualities of the medium, achieving a remarkable range of lights and shadows that lend depth and dimension to the portrait. The young girl gazes out enigmatically, her features meticulously and delicately portrayed, particularly her brown eyes - which appear even more intense against the monochromatic backdrop of the drawing. Her piercing gaze contrasts with her playful hairstyle, which flows over her shoulders and drapes onto her modest dress, it frames her face and envelopes her simple dress. Each individual strand of hair is rendered with a mesmerising level of detail and precision by the artist. Two details compliment this arrangement, a cameo necklace which pokes out from a plain dress between curls of hair, and a delicately poised bow ribbon, adorning the top of her head which fails to confine the voluminous hair.
Walter Sauer (1888-1947) was an artist of remarkable ambition, despite a life marked by illness and sorrow. Born to German parents in Saint-Gilles, Sauer faced the challenges of chronic lung problems and the devastating loss of his young sister during his childhood. Nevertheless, he displayed unwavering dedication to his craft from an early age. Sauer's artistic journey began in the solace and inspiration of his family's library, where he immersed himself in the world of art history. His passion for the visual arts led him to pursue formal education at the prestigious Academy of Fine Arts in Brussels, with a specialisation in decorative painting. Sauer's talent and commitment as an artist earned him recognition through multiple grants and prizes, affording him the opportunity to embark on extensive travels to France and Italy. These journeys allowed him to study and draw inspiration from the masterworks of renowned artists, further refining his skills and enriching his artistic perspective. Around 1916, as World War I erupted and his health deteriorated, Sauer transitioned from painting to drawing. He channelled his artistic energy into portraying the female figure, employing a highly nuanced and perceptive approach.
In 1917 Sauer encountered Mathilde Dressen at a party, a woman of exceptional beauty who would become his model, lover, and, by January 1918, his wife. However, their marital happiness was soon overshadowed by Mathilde's manifestation of psychological struggles, resembling manic depression or bipolar disorder. Her frequent hospitalisations weighed heavily on Sauer, affecting his artistic output during this period. As he dedicated substantial time to his ailing wife, Sauer delved into his work, seeking to convey the emotional turmoil he witnessed. This experience endowed him with an uncanny ability to depict the psychological depths of his subjects.
During this formative period, Sauer was influenced by significant mentors, including Symbolist artists Emile Fabry, Jean Delville, and Constant Montald, who left a profound imprint on his artistic sensibilities. Girl with a Ribbon in her Hair epitomises his enduring fascination with religious imagery and Symbolist themes. His introduction to mysticism can be attributed to his esteemed mentors at the Belgian Academy of Fine Art, Jean Delville and Emile Fabry, both of whom participated in Joséphin Péladan's Salon de la Rose + Croix. This salon's veneration of beauty and spirituality undoubtedly kindled Sauer's lifelong dedication to portraying the psychological essence of female portraiture.
Sauer's time at the Academy of Fine Arts in Brussels, under the guidance of Constant Montald, also led to a friendship with the Asian art antiquarian Murakami. This relationship cultivated Sauer's deep appreciation for Asian art, introducing him to Japanese printmaking and calligraphic techniques, thereby broadening his artistic horizons and infusing his work with cultural diversity. The influence of Japanese art led Sauer to enhance the decorative quality of his drawings by developing innovative techniques, such as pre-treating sheets with wax to create the impression of vellum. He also often added layers of wax like translucent glazes, between applications of charcoal or graphite to add depth, as exemplified in the present artwork.
Sauer’s exposure to Japanese art and culture, not only materialised in his techniques, but also in his approach to his subject matter and an interest in the psychological presence of his sitters. The exquisitely rendered portrait of a determined looking young girl, elegant and resolute, and somewhat ethereal, reflects the Japanese notion of Yūrei. Yūrei is a term from Japanese folklore and it refers to a specific type of ghost or spirit. Yūrei are believed to be the spirits of the deceased, often those who have experienced a traumatic or untimely death. These spirits are typically depicted as pale, ghostly figures, dressed in white burial kimono and with long, dishevelled black hair that obscures their faces. representing unresolved conflicts that prevent the soul from reincarnation, often depicted as women with stronger emotional ties to the physical world than men. The way Sauer has also monogrammed his initials in his signature also evoke Japanese hanko, used for official document signatures.
The stark and yet beautiful, refined and yet elegant imagery of Sauer’s work – as exemplified here – is an arrestingly modern approach to draughtsmanship and which means that his work continues to resonate as much today as it did one hundred years ago.
Walter Sauer's Portrait of a Young Girl with a Ribbon in her Hair is a captivating artwork dating from the early 1920s, when he was at the height of his career and not long before the artist's tragic and untimely death at the age of 38 in 1927. Seamlessly fusing traditional and modern elements, Sauer’s portrait of an unknown girl not only showcases Sauer's exceptional draughtsmanship but reflects the growing European interest in Japanese art.
Sauer presents a young girl with an enchanting presence. Rendered in charcoal and chalk on prepared wax paper, the artist skilfully explores the tonal qualities of the medium, achieving a remarkable range of lights and shadows that lend depth and dimension to the portrait. The young girl gazes out enigmatically, her features meticulously and delicately portrayed, particularly her brown eyes - which appear even more intense against the monochromatic backdrop of the drawing. Her piercing gaze contrasts with her playful hairstyle, which flows over her shoulders and drapes onto her modest dress, it frames her face and envelopes her simple dress. Each individual strand of hair is rendered with a mesmerising level of detail and precision by the artist. Two details compliment this arrangement, a cameo necklace which pokes out from a plain dress between curls of hair, and a delicately poised bow ribbon, adorning the top of her head which fails to confine the voluminous hair.
Walter Sauer (1888-1947) was an artist of remarkable ambition, despite a life marked by illness and sorrow. Born to German parents in Saint-Gilles, Sauer faced the challenges of chronic lung problems and the devastating loss of his young sister during his childhood. Nevertheless, he displayed unwavering dedication to his craft from an early age. Sauer's artistic journey began in the solace and inspiration of his family's library, where he immersed himself in the world of art history. His passion for the visual arts led him to pursue formal education at the prestigious Academy of Fine Arts in Brussels, with a specialisation in decorative painting. Sauer's talent and commitment as an artist earned him recognition through multiple grants and prizes, affording him the opportunity to embark on extensive travels to France and Italy. These journeys allowed him to study and draw inspiration from the masterworks of renowned artists, further refining his skills and enriching his artistic perspective. Around 1916, as World War I erupted and his health deteriorated, Sauer transitioned from painting to drawing. He channelled his artistic energy into portraying the female figure, employing a highly nuanced and perceptive approach.
In 1917 Sauer encountered Mathilde Dressen at a party, a woman of exceptional beauty who would become his model, lover, and, by January 1918, his wife. However, their marital happiness was soon overshadowed by Mathilde's manifestation of psychological struggles, resembling manic depression or bipolar disorder. Her frequent hospitalisations weighed heavily on Sauer, affecting his artistic output during this period. As he dedicated substantial time to his ailing wife, Sauer delved into his work, seeking to convey the emotional turmoil he witnessed. This experience endowed him with an uncanny ability to depict the psychological depths of his subjects.
During this formative period, Sauer was influenced by significant mentors, including Symbolist artists Emile Fabry, Jean Delville, and Constant Montald, who left a profound imprint on his artistic sensibilities. Girl with a Ribbon in her Hair epitomises his enduring fascination with religious imagery and Symbolist themes. His introduction to mysticism can be attributed to his esteemed mentors at the Belgian Academy of Fine Art, Jean Delville and Emile Fabry, both of whom participated in Joséphin Péladan's Salon de la Rose + Croix. This salon's veneration of beauty and spirituality undoubtedly kindled Sauer's lifelong dedication to portraying the psychological essence of female portraiture.
Sauer's time at the Academy of Fine Arts in Brussels, under the guidance of Constant Montald, also led to a friendship with the Asian art antiquarian Murakami. This relationship cultivated Sauer's deep appreciation for Asian art, introducing him to Japanese printmaking and calligraphic techniques, thereby broadening his artistic horizons and infusing his work with cultural diversity. The influence of Japanese art led Sauer to enhance the decorative quality of his drawings by developing innovative techniques, such as pre-treating sheets with wax to create the impression of vellum. He also often added layers of wax like translucent glazes, between applications of charcoal or graphite to add depth, as exemplified in the present artwork.
Sauer’s exposure to Japanese art and culture, not only materialised in his techniques, but also in his approach to his subject matter and an interest in the psychological presence of his sitters. The exquisitely rendered portrait of a determined looking young girl, elegant and resolute, and somewhat ethereal, reflects the Japanese notion of Yūrei. Yūrei is a term from Japanese folklore and it refers to a specific type of ghost or spirit. Yūrei are believed to be the spirits of the deceased, often those who have experienced a traumatic or untimely death. These spirits are typically depicted as pale, ghostly figures, dressed in white burial kimono and with long, dishevelled black hair that obscures their faces. representing unresolved conflicts that prevent the soul from reincarnation, often depicted as women with stronger emotional ties to the physical world than men. The way Sauer has also monogrammed his initials in his signature also evoke Japanese hanko, used for official document signatures.
The stark and yet beautiful, refined and yet elegant imagery of Sauer’s work – as exemplified here – is an arrestingly modern approach to draughtsmanship and which means that his work continues to resonate as much today as it did one hundred years ago.
