For example, Bach’s anonymous nude created in aquatint, a glowing muse facing away from the viewer, is a frequent participant in auctions; a symbol of pure softness. Her slightly lowered gaze and tilted head do signify a certain elusive poeticism. In its own way, the poeticism is present in Bach’s much later work, The Portrait of a Girl (1976), but in a much more earthly form, evoking the image of the work In the Kitchen (1935) by Kaarel Liimand, the painter husband of the printmaker. The talented artist couple could endlessly find amazement in portraying Debora Vaarandi, but their real talent was revealed when they captured the similar elegance in mundane scenes.
Bach lost her partner to the war. What she gained from the war was his mastery in capturing the human soul. “In the 30s I worked with figures and much less with portraits. But during the war I started to see what I could not even imagine before, I become interested in people, their internal lives and tragedies,” reflects Bach in 1974 on how her style evolved. The portrait of a girl drying tableware originating from that period is one of the latest milestones of this journey, one that is processed and felt even more profoundly.
Haus Gallery’s spring auction will be held on Friday, 27 April at 7.30 p.m. Auction works can be viewed in the online catalogue and also at Haus Gallery.