Rückwärts gebeugter, weiblicher Akt 1919

Lovis Corinth created this woodcut print in black and white, and it's got this real abstracted feel, like it's caught in a moment of shifting perception. I can just imagine Corinth wrestling with the wood, right? Cutting these bold, graphic shapes and lines. It's kind of frenetic. The figure is almost consumed by this thicket of marks. I wonder if he was thinking about other artists like Munch, who used woodcuts to express really raw emotions. I think Corinth is doing something similar here, digging into the psyche. There is this tension between representation and abstraction, between the figure and the ground. It’s this visual push-and-pull that keeps the eye moving and makes you feel like you’re never quite grasping the whole picture. Artists are always in this conversation across time and space, responding to each other's work, maybe even arguing with it. And for me, that's what makes art so exciting. It's an ongoing experiment, an invitation to see the world in new ways.