Melchior Lechter

Blaue Blume Einsamkeit,


oil on board


Melchior Lechter (Münster 1865-1937 Raron/Wallis)

"Blaue Blume Einsamkeit" ["Blue Flower of Loneliness," also known as "Blue Flower of Solitude"]


oil on board

with frame designed by the artist himself

70 x 38 cm (without frame); 106 x 74 cm (with frame)

signed and dated lower right: MELCHIOR LECHTER / 1892-93 

titled on frame, bottom front: BLAUE BLUME EINSAMKEIT


Julius Landmann (1877-1931), who acquired directly from the artist, thence by descent within the family until purchased by The Daulton Collection.  Julius Landmann was an important economist who was significantly involved in the foundation of the Swiss National Bank and served as its Secretary from 1906-10. He was friends with Melchior Lechter and Stefan George.

Publication History:

Reinhard Weinhold, "Melchior Lechter und das Kunstgewerbe," in Illustrirten Kunstgewerblichen Zeitschrift für Innen-Dekoration, VIII Jahrgang, March Heft 1897 (Darmstadt, Leipzig, Wien: Kunstverlag Alexander Koch, 1897), pp. 57-58, referenced without illustration at p. 58.

Julius Norden, "Ein neuer Farbensymboliker (Melchior Lechter)" ["A New Color Symbolist"], in Beilage zur Baltischen Monatsschrift (Riga: Verlag der Baltischen Monatsschrift, 1897), pp. 25-33, referenced without illustration at p. 32.

Georg Fuchs, "Melchior Lechter," in Deutsche Kunst und Dekoration, Band I, October 1897-March 1898 (Darmstadt: Verlagsanstalt Alexander Koch, 1898), pp. 161-192, with illustration at p. 191.

Georg Fuchs, "Melchior Lechter," in Die Umschau, II. Jahrgang (Frankfurt a. M.: H. Bechhold Verlagsbuchhandlung, 1898), pp. 451-456, with illustration at p. 453.

Julius Norden, "Bei Melchior Lechter," in Die Gegenwart, Nr. 13 (Berlin: Verlag der Gegenwart, 1901), pp. 200-202, referenced without illustration at p. 200.

Maximilian Rapsilber, Melchior Lechter (Berliner Kunst III. Sonderausgabe der Berliner Architekturwelt) (Berlin: Verlag Ernst Wasmuth, 1904), with illustration at p. 35.

Pauline Lange, "Melchior Lechter," in Westermanns Illustrierte Deutsche Monatshefte, Vol. 97, Oct. 1904-March 1905 (Braunschweig: Verlag George Westermann, 1905), pp. 23-39 (Oct. 1904), with illustration at p. 28.

Annegret Müller, Melchior Lechter - Leben und Malerisches Werk, dissertation (Bochum 1981), pp. 100-102, with illustration at p. 374.

Michael Thimann, "Geheiligte Überlieferung: Melchior Lechter und die deutsche Kunst am Ende des 19. Jahrhunderts," in Melchior Lechters Gegen Welten. Kunst um 1900 zwischen Münster, Indien und Berlin, eds. Sebastian Schütze und Jürgen Krause (Münster: Landschaftsverband Westfalen-Lippe, 2006), pp. 54-63, referenced without illustration at p. 61.


"The present work is a particularly fine example of Lechter's Symbolist works. His so-called mood pictures [Stimmungsbildern] deal with human emotions, although they are often mysterious and not easily interpreted. Lechter has lent the work a sacred character through various attributes and compositional elements: the symmetrical structure and the static stillness of the woman are reminiscent of ancient representations of saints. The laurel wreath in her hair is traditionally a symbol of artistic fame, or of art renowned in itself. The woman's nudity symbolises her purity. Her large eyes look to the “Ehemals und Einstmals” (days of yore) as Lechter himself poetically formulated it. They probably point to the rapture, the contemplation of art, which also goes hand in hand with solitude. The title of the painting, “Blaue Blume Einsamkeit” (translated: Blue Flower of Solitude) also refers to an important symbol of Romanticism: the “blue flower”, a motif from a novel by Novalis. Linked to a holistic view of art, the frame was made by Lechter himself and additionally underscores the symbolism."  K

view with frame:
Jack Daulton
The Daulton Collection