Walter Sauer
23. Young Woman with a Ribbon in Her Hair, 1921
Graphite and ink, heightened with brown and yellow pencil, on prepared wax paper
57 x 47.5cm
12151
$ 24,000
Walter Sauer (1889–1927), 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...
Walter Sauer (1889–1927), 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 high-light the emotional and psychological dimensions of his subjects. Though his life was cut short in 1927, Sauer’s art stands as a testament to his ability to convey complex human experience 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 pretreating paper, as here, with wax to imitate vellum, and layering with 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 Émile Fabry and Jean Delville, and his exposure to Japanese art, which introduced him to intricate detailing and expressive line work.
Young Girl with a Ribbon in her Hair is a captivating artwork dating from the early 1920s, when Sauer was at the height of his career and not long before his tragic and untimely death, in 1927, at the age of 38. 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.
Rendered in chalk and ink on prepared wax paper, the artist skilfully explores the tonal qualities of the medium, achieving a remarkable range of lightsand 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, and frames her face. Each individual strand of hair is rendered with a mesmerising level of detail and precision by the artist. Two details complement this arrangement: a cameo necklace visible against the dress between curls of hair, and a poised bow ribbon adorning the top of her head, which fails to confine her voluminous hair.
Walter Sauer was an artist of remarkable ambition, despite a life marked by illness and sorrow. Born to German parents in Saint-Gilles, Belgium, 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 Italian Old Masters. Around 1916, as World War I dragged on 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. 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 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, introduc-ing him to Japanese printmaking and calligraphic techniques, thereby broadening his artistic horizons and infusing his work with cultural diversity.
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. This exquisitely rendered portrait of a determined looking young girl, elegant and resolute, and somewhat ethereal, reflects the Japanese notion of Yurei - the term used in Japanese folklore to denote a type of ghost or spirit. Yurei 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 depict-ed as women with stronger emotional ties to the physical world than men. The way Sauer has also monogrammed his initials in his signature evokes Japanese Hanko, used for official document signatures.
Sauer’s artwork from this period often features women as central subjects, depicted with a blend of empathy and psychological depth. His method involved pretreating paper, as here, with wax to imitate vellum, and layering with 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 Émile Fabry and Jean Delville, and his exposure to Japanese art, which introduced him to intricate detailing and expressive line work.
Young Girl with a Ribbon in her Hair is a captivating artwork dating from the early 1920s, when Sauer was at the height of his career and not long before his tragic and untimely death, in 1927, at the age of 38. 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.
Rendered in chalk and ink on prepared wax paper, the artist skilfully explores the tonal qualities of the medium, achieving a remarkable range of lightsand 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, and frames her face. Each individual strand of hair is rendered with a mesmerising level of detail and precision by the artist. Two details complement this arrangement: a cameo necklace visible against the dress between curls of hair, and a poised bow ribbon adorning the top of her head, which fails to confine her voluminous hair.
Walter Sauer was an artist of remarkable ambition, despite a life marked by illness and sorrow. Born to German parents in Saint-Gilles, Belgium, 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 Italian Old Masters. Around 1916, as World War I dragged on 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. 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 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, introduc-ing him to Japanese printmaking and calligraphic techniques, thereby broadening his artistic horizons and infusing his work with cultural diversity.
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. This exquisitely rendered portrait of a determined looking young girl, elegant and resolute, and somewhat ethereal, reflects the Japanese notion of Yurei - the term used in Japanese folklore to denote a type of ghost or spirit. Yurei 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 depict-ed as women with stronger emotional ties to the physical world than men. The way Sauer has also monogrammed his initials in his signature evokes Japanese Hanko, used for official document signatures.
