Lot

10

Gabriele Münter, Häuser am Wald

In Evening Sale - Modern and Contemporary Art

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Köln
Gabriele Münter, Häuser am Wald
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.

Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland

Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)

In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Gabriele Münter, Häuser am Wald
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.

Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland

Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)

1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).
Gabriele Münter, Häuser am Wald
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.

Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland

Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)

In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Gabriele Münter, Häuser am Wald
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.

Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland

Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)

1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).

Evening Sale - Modern and Contemporary Art

Sale Date(s)
Lots: 98
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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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Tags: Kandinsky, Wassily Kandinsky, Modern & Impressionist Art