Los

239

Gabriele MünterBlumenstillebenÖltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas

In Modern Art

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Gabriele MünterBlumenstillebenÖltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas - Bild 1 aus 2
Gabriele MünterBlumenstillebenÖltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas - Bild 2 aus 2
Gabriele MünterBlumenstillebenÖltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas - Bild 1 aus 2
Gabriele MünterBlumenstillebenÖltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas - Bild 2 aus 2
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
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Gabriele Münter
Blumenstilleben

Öltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas gerahmt. Am unteren Rand links mit Bleistift datiert und bezeichnet 'B.B.10/56' sowie zur Mitte der Darstellung hin mit dem Monogramm-Signum 'MÜ' versehen. - Der chamoisfarbene Bogen minimal uneben geschnitten, im Kantenbereich leichte Verbräunungen.

Mit einer Bestätigung von Isabelle Jansen, Gabriele Münter - und Johannes Eichner-Stiftung, München, vom 18. Juli 2017; die Arbeit ist in dem Arbeitsheft der Künstlerin von 1956 unter der Nr. BB 10 verzeichnet.

Provenienz
Privatbesitz Rheinland (höchstwahrscheinlich von der Künstlerin direkt erworben); Lempertz Auktion 589, Kunst des XX. Jahrhunderts, 5. Juni 1982, Los 468; seitdem Privatsammlung Rheinland

Das Stillleben, insbesondere das Blumenstillleben, erscheint im Oeuvre von Gabriele Münter als eines ihrer großen zentralen Themen. Arrangement, Stilistik und Farben der individuellen Bildfindung zeugen von den Möglichkeiten des Sujets in Bezug auf die moderne Malerei, so wie sie sich vom "Blauen Reiter" her neu deklinierte, weit jenseits von Botanik und klassischem Naturstudium. Münter wird zweifellos durch die eigene Sammlung von Volkskunst und Hinterglasbildern, die sie kopierte und paraphrasierte, auf die Ursprünge menschlicher Kreativität und des einfachen Schmuckbedürfnisses gestoßen sein. Auch sie hat diese Dinge wie ihre Malerfreunde als authentische Zeugnisse der Gestaltung empfunden und interessiert studiert, vor allem mit frischem Auge betrachtet. Diese Zeugnisse gerieten zum Vorbild, vergleichbar einer der eigenen Kunst unterlegten heimlichen Matrix (s. Vergleichsabb.).
Im Spätwerk der 1950er Jahre legt Münter ihre Blumenstillleben gerne als sog. "farbige Zeichnungen" in Öl auf Papier an und verteilt in großzügiger Komposition auf weißem Grund die abstrahierten Blütenformen in immer neuer Variation (vgl. Annegret Hoberg/Helmut Friedel, Gabriele Münter, Retrospektive. Ausst. Kat. Lenbachhaus, München 1992, Kat. Nr. 248, S. 296). Unter Betonung der Umrisse bündelt und scheidet sie gleichzeitig die Formen, betont den möglichen Reichtum der Sträuße in bis zu sieben verschiedenen Blütenarten und beschränkt dabei die Farbgebung auf klare Komplementärfarben, die dem Betrachter entgegenleuchten. Besonders gelungene Werkbeispiele pflegte sie bekanntermaßen auch selbst zu kopieren. Auch Tuschfederzeichnungen dieser Zeit zeigen eine intensive Beschäftigung mit komplexen, verdichteten Blumenstillleben. Im vorliegenden Blatt besticht die sehr freie und lebendige Komposition nicht zuletzt durch symmetrische Anklänge des Arrangements. Münter bringt die Unruhe einer quasi "natürlichen" Gruppierung durch ihre Künstlichkeit und ihre Kunst zum harmonischen Ausgleich ohne die Stärke des unmittelbaren Ausdrucks zu verlieren.


Vergleichsabbildung: „Bayerisches Spiegelbild St. Martin“, Frontispiz im Almanach „Der Blaue Reiter“
Gabriele Münter, Der heilige Martin und der Bettler, Aquarell nach einem Spiegelbild, 1911/1912
Aus: Brigitte Salmen (Hg.), Der Almanach „Der Blaue Reiter“, Bilder und Bildwerke in Originalen, Ausst. Kat. Schloßmuseum Murnau 1998, S. 90 © VG Bild-Kunst, Bonn 2018

Gabriele Münter
Blumenstilleben

Oil tempera on firm smooth paper. 30.7 x 42.9 cm. Framed under glass. Dated and inscribed 'B.B. 10/56' in pencil at lower left margin and with monogram signum 'MÜ' towards the centre of the depiction. - The chamois-coloured sheet slightly unevenly cut. Minor browning towards the edges.

With a confirmation from Isabelle Jansen, Gabriele Münter - und Johannes Eichner-Stiftung, Munich, dated 18 July, 2017; the work is registered in the artist's work book of the year 1956 under the no. BB 10.

Provenance
Private possesseion, Rhineland (very probably acquired directly from the artist); Lempertz Auction 589, Kunst des XX. Jahrhunderts, 5 June 1982, lot 468; in Rhenish private collection since

Still lifes, particularly floral still lifes, present a major and central subject in Gabriele Münter's oeuvre. The arrangement, style and colours of the individual compositions testify to this subject's potential in connection with modern painting - re-explored on the basis of the "Blauer Reiter", moving far beyond botany and traditional studies from nature. Münter indubitably came across the wellsprings of human creativity and the basic need for decoration through her own collection of folk art and reverse-glass paintings, which she copied and paraphrased. Like her other painter friends, she also experienced these objects in terms of the authentic products of form-giving processes, studying them with interest and, above all, seeing them with fresh eyes. These products came to provide a model, comparable to a secret matrix underlying her own art (see comparative illus.).
In her late work of the 1950s Münter often conceived her floral still lifes as so-called "coloured drawings" in oil on paper, distributing ever-changing variations of semi-abstract flower forms in expansive compositions on a white ground (see Annegret Hoberg/Helmut Friedel, Gabriele Münter, Retrospektive, exhib. cat., Lenbachhaus, Munich 1992, cat. no. 248, p. 296). Emphasising the contours she simultaneously concentrates and separates the forms, underscores the bouquets' potential abundance in up to seven different kinds of flowers and, at the same time, limits her palette to clear complementary colours which shine out towards viewers. It is well known that she was in the habit of also personally copying particularly successful examples of her work. Her pen-and-ink drawings of this period also display an intense occupation with complex and concentrated floral still lifes. The very free and vibrant composition of the present sheet is compelling not least through the symmetrical echoes of the arrangement. Through its artificiality and her art, Münter brings the unruliness of a - so to speak - "natural" grouping into a harmonious balance without losing the power of its direct expression.


Comparative illustration: „Bayerisches Spiegelbild St. Martin", frontispiece in the almanac „Der Blaue Reiter"
Gabriele Münter, Der heilige Martin und der Bettler, watercolour from a mirror image, 1911/1912
From: Brigitte Salmen (ed.), Der Almanach „Der Blaue Reiter", Bilder und Bildwerke in Originalen, exhib. cat. Schloßmuseum Murnau 1998, p. 90 © VG Bild-Kunst, Bonn 2018
Gabriele Münter
Blumenstilleben

Öltempera auf festem glatten Papier. 30,7 x 42,9 cm. Unter Glas gerahmt. Am unteren Rand links mit Bleistift datiert und bezeichnet 'B.B.10/56' sowie zur Mitte der Darstellung hin mit dem Monogramm-Signum 'MÜ' versehen. - Der chamoisfarbene Bogen minimal uneben geschnitten, im Kantenbereich leichte Verbräunungen.

Mit einer Bestätigung von Isabelle Jansen, Gabriele Münter - und Johannes Eichner-Stiftung, München, vom 18. Juli 2017; die Arbeit ist in dem Arbeitsheft der Künstlerin von 1956 unter der Nr. BB 10 verzeichnet.

Provenienz
Privatbesitz Rheinland (höchstwahrscheinlich von der Künstlerin direkt erworben); Lempertz Auktion 589, Kunst des XX. Jahrhunderts, 5. Juni 1982, Los 468; seitdem Privatsammlung Rheinland

Das Stillleben, insbesondere das Blumenstillleben, erscheint im Oeuvre von Gabriele Münter als eines ihrer großen zentralen Themen. Arrangement, Stilistik und Farben der individuellen Bildfindung zeugen von den Möglichkeiten des Sujets in Bezug auf die moderne Malerei, so wie sie sich vom "Blauen Reiter" her neu deklinierte, weit jenseits von Botanik und klassischem Naturstudium. Münter wird zweifellos durch die eigene Sammlung von Volkskunst und Hinterglasbildern, die sie kopierte und paraphrasierte, auf die Ursprünge menschlicher Kreativität und des einfachen Schmuckbedürfnisses gestoßen sein. Auch sie hat diese Dinge wie ihre Malerfreunde als authentische Zeugnisse der Gestaltung empfunden und interessiert studiert, vor allem mit frischem Auge betrachtet. Diese Zeugnisse gerieten zum Vorbild, vergleichbar einer der eigenen Kunst unterlegten heimlichen Matrix (s. Vergleichsabb.).
Im Spätwerk der 1950er Jahre legt Münter ihre Blumenstillleben gerne als sog. "farbige Zeichnungen" in Öl auf Papier an und verteilt in großzügiger Komposition auf weißem Grund die abstrahierten Blütenformen in immer neuer Variation (vgl. Annegret Hoberg/Helmut Friedel, Gabriele Münter, Retrospektive. Ausst. Kat. Lenbachhaus, München 1992, Kat. Nr. 248, S. 296). Unter Betonung der Umrisse bündelt und scheidet sie gleichzeitig die Formen, betont den möglichen Reichtum der Sträuße in bis zu sieben verschiedenen Blütenarten und beschränkt dabei die Farbgebung auf klare Komplementärfarben, die dem Betrachter entgegenleuchten. Besonders gelungene Werkbeispiele pflegte sie bekanntermaßen auch selbst zu kopieren. Auch Tuschfederzeichnungen dieser Zeit zeigen eine intensive Beschäftigung mit komplexen, verdichteten Blumenstillleben. Im vorliegenden Blatt besticht die sehr freie und lebendige Komposition nicht zuletzt durch symmetrische Anklänge des Arrangements. Münter bringt die Unruhe einer quasi "natürlichen" Gruppierung durch ihre Künstlichkeit und ihre Kunst zum harmonischen Ausgleich ohne die Stärke des unmittelbaren Ausdrucks zu verlieren.


Vergleichsabbildung: „Bayerisches Spiegelbild St. Martin“, Frontispiz im Almanach „Der Blaue Reiter“
Gabriele Münter, Der heilige Martin und der Bettler, Aquarell nach einem Spiegelbild, 1911/1912
Aus: Brigitte Salmen (Hg.), Der Almanach „Der Blaue Reiter“, Bilder und Bildwerke in Originalen, Ausst. Kat. Schloßmuseum Murnau 1998, S. 90 © VG Bild-Kunst, Bonn 2018

Gabriele Münter
Blumenstilleben

Oil tempera on firm smooth paper. 30.7 x 42.9 cm. Framed under glass. Dated and inscribed 'B.B. 10/56' in pencil at lower left margin and with monogram signum 'MÜ' towards the centre of the depiction. - The chamois-coloured sheet slightly unevenly cut. Minor browning towards the edges.

With a confirmation from Isabelle Jansen, Gabriele Münter - und Johannes Eichner-Stiftung, Munich, dated 18 July, 2017; the work is registered in the artist's work book of the year 1956 under the no. BB 10.

Provenance
Private possesseion, Rhineland (very probably acquired directly from the artist); Lempertz Auction 589, Kunst des XX. Jahrhunderts, 5 June 1982, lot 468; in Rhenish private collection since

Still lifes, particularly floral still lifes, present a major and central subject in Gabriele Münter's oeuvre. The arrangement, style and colours of the individual compositions testify to this subject's potential in connection with modern painting - re-explored on the basis of the "Blauer Reiter", moving far beyond botany and traditional studies from nature. Münter indubitably came across the wellsprings of human creativity and the basic need for decoration through her own collection of folk art and reverse-glass paintings, which she copied and paraphrased. Like her other painter friends, she also experienced these objects in terms of the authentic products of form-giving processes, studying them with interest and, above all, seeing them with fresh eyes. These products came to provide a model, comparable to a secret matrix underlying her own art (see comparative illus.).
In her late work of the 1950s Münter often conceived her floral still lifes as so-called "coloured drawings" in oil on paper, distributing ever-changing variations of semi-abstract flower forms in expansive compositions on a white ground (see Annegret Hoberg/Helmut Friedel, Gabriele Münter, Retrospektive, exhib. cat., Lenbachhaus, Munich 1992, cat. no. 248, p. 296). Emphasising the contours she simultaneously concentrates and separates the forms, underscores the bouquets' potential abundance in up to seven different kinds of flowers and, at the same time, limits her palette to clear complementary colours which shine out towards viewers. It is well known that she was in the habit of also personally copying particularly successful examples of her work. Her pen-and-ink drawings of this period also display an intense occupation with complex and concentrated floral still lifes. The very free and vibrant composition of the present sheet is compelling not least through the symmetrical echoes of the arrangement. Through its artificiality and her art, Münter brings the unruliness of a - so to speak - "natural" grouping into a harmonious balance without losing the power of its direct expression.


Comparative illustration: „Bayerisches Spiegelbild St. Martin", frontispiece in the almanac „Der Blaue Reiter"
Gabriele Münter, Der heilige Martin und der Bettler, watercolour from a mirror image, 1911/1912
From: Brigitte Salmen (ed.), Der Almanach „Der Blaue Reiter", Bilder und Bildwerke in Originalen, exhib. cat. Schloßmuseum Murnau 1998, p. 90 © VG Bild-Kunst, Bonn 2018

Modern Art

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Köln
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Germany

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