Details
Alfred Henry Maurer (1868-1932)
Two Heads
signed 'A.H. Maurer' (upper right)--signed 'A.Maurer' and inscribed with title (on the reverse)
oil on canvas laid down on board
29¾ x 19½ in. (75.6 x 49.6 cm.)
Painted circa 1928.
Provenance
Estate of the artist.
Hudson D. Walker, New York.
Babcock Galleries, New York.
Joseph H. Hirshhorn, New York.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington, D.C.
Christie's, New York, 23 May 1990, lot 219.
Mark Borghi Fine Art, New York.
Private collection, New York.
Literature
Hudson D. Walker Papers, Archives of American Art, Smithsonian Institution, Washington, D.C., Microfilm no. 130, frame 1-54.
S. Reich, "Alfred H. Maurer 1868-1932," National Collection of Fine Art, Smithsonian Institution, Washington, D.C., pp. 105-7, fig. 135.
Exhibited
New York, North Shore Child Guidance Clinic, Festival Loan Show, September 1961.
Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Alfred H. Maurer: The Hirshhorn Museum and Sculpture Garden Collection, May-August 1979, no. 13.

Lot Essay

Although Alfred Maurer explored the theme of single and double heads throughout his career those of his later career such as Two Heads are by far the most complex. The present work, which is unique in its large size, is a riveting convergence of Cubist and Expressionist influences. "Maurer's late abstract heads, with their intense emotional presence and highly tactile paint quality...erupt into startling images that tend to be violently distorted and subvert physiognomy for the sake of expressiveness...Maurer fuses Cubist structure and Expressionist form into a single forceful composition." (S.B Epstein in Hollis Taggart Galleries, Alfred H. Maurer: Aestheticism to Modernism, exhibition catalogue, New York, 1999, p. 50)

Heightening the impassioned composition of Two Heads is the juxtaposition of images achieved by the shadow of Maurer's earlier more Modigliani-esque heads showing from beneath the later more dynamic heads. "The overlapping of imagery in this abstraction reinforces the intriguing psychological aspect of the work and highlights its Expressionist character." (Alfred H. Maurer: Aestheticism to Modernism, p. 50)

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