His finest narrative paintings from Susanna and the Elders in 1890, through Salome and Homeric Laughter, to Ariadne on Naxos and the Trojan Horse in 1924.
Expressionism
From his first self-portrait when he was 29, through his wild years in Munich and Berlin, his stroke in 1911, and the First World War, to his last shortly before his death 100 years ago.
In his last year of intensive painting, he concentrated on landscapes of the Walchensee, his family, and final narratives of the Trojan Horse and Balzac.
The family moved to live, as much as possible, in their chalet on the shore of Walchensee, where he painted more than 60 landscapes with new-found energy.
From patriotism and optimism, the war took Corinth into depression that was only relieved when he got out of Berlin into the countryside.
Self-portraits during his recovery show how he was changing style to Expressionism, oddities with depth, Odysseus battling with the suitors, Ariadne on Naxos, and Joseph with Potiphar’s wife.
His battle to paint again after his major stroke illustrated in Bordighera, rough sea in a storm, Samson blinded, and mirror-play.
In which he paints The Scream, shoots himself in the hand, exhibits The Frieze of Life, and paints some monumental works – in scale and intent.
Probably the most sustained and brilliant series of narrative paintings since Rembrandt.
Comparison across a selection of his self-portraits and nudes shows how dramatically his style changed through his career.
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