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Cuno Amiet, Gartentor (Gartenthor)

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Cuno Amiet, Gartentor (Gartenthor)
Öl auf Leinwand. 85,5 x 66,3 cm. Gerahmt. Unten rechts grün monogrammiert und datiert 'CA 31'. Rückseitig auf der Leinwand die Bezeichnung 'O.29.' und oben auf dem Keilrahmen 'Gartenthor 1931, Biel, Loeb'. - Ausgezeichnete, farbfrische Erhaltung. Am linken Bildrand minimale Bereibungen.

SIK-ISEA Nr. 80654

Wir danken Franz Müller, Schweizerisches Institut für Kunstwissenschaft, Zürich, für freundliche Informationen. Das Werk wird in den elektronischen Werkkatalog aufgenommen.

Provenienz
Sammlung Eugen Loeb, Muri/Bern (wohl beim Künstler erworben); Sammlung Victor und Anne-Marie Loeb-Haymann, Muri/Bern; Privatbesitz Baden-Württemberg

Ausstellungen
Thun 1968 (Kunstsammlung der Stadt Thun), Cuno Amiet (1868 - 1961). Werke seit 1918, Kat. Nr. 59 (mit rückseitigem Etikett); Biel 2001 (CentrePasquArt), Collection Loeb, Kat. Nr. 18

„Soll der Baum nun in die Mitte kommen? Oder lieber etwas seitwärts? Soll er […] wenig Platz dem Himmel lassen oder ist es just das Himmelsblau, das meinem Baum die richtige Folie gibt?“ (Cuno Amiet, Über Kunst und Künstler, Bern 1948, S. 86) Als der Schweizer Maler Cuno Amiet mit diesen Worten seine anfänglichen Überlegungen zu einem seiner Landschaftsbilder beschrieb, könnte er das Gemälde „Gartentor“ gemeint haben. Dargestellt ist ein von Bäumen und hohen Sträuchern gesäumter Weg, der auf ein verschlossenes Gartentor zuläuft und den Blick auf eine von Wiesen und Bergen bestimmte Landschaft freigibt. Darüber wölbt sich ein von wenigen Wolken verdeckter, strahlender Sommerhimmel. Für sein Gartenbild wählte Amiet eine leuchtend-helle Farbpalette mit Grün, Orange und Violett sowie dunklem Tannengrün als Akzent.
Bei dem dargestellten Landschaftsausschnitt dürfte es sich um die Gegend bei Oschwand bei Herzogenbuchsee östlich von Bern handeln, wo Amiet nach seiner Hochzeit mit Anna Luder die erste gemeinsame Wohnung bezog. Nach einsetzendem Erfolg ließ er sich dort vom Reformarchitekten Otto Ingold 1908 ein Haus mit Atelier bauen und legte einen angrenzenden Nutz- und Ziergarten an. Ab 1910 machte Amiet den nun in ganzer Fülle erblühten Garten zum Hauptmotiv seines Schaffens. Im Lauf der Zeit gelangen ihm immer gewagtere Kompositionen mit ausgeklügeltem Licht- und Schattenspiel und zu Ornamenten neigenden Blumenrabatten. Das zentrale Bildmittel Amiets blieb aber die Farbe, die er in seiner langen Schaffenszeit auch immer freier einsetzte: „Und mit breitem Pinsel fuhr man durch die Farben hin, setzte den gefundenen Ton keck und kühn mit Vergnügen auf die Leinwand, und den andern nebendran. Und es dauerte nicht lang, so war das Bild mit Glanz vollendet.“ (Amiet 1948, S. 86)
Amiet gehört zu den Wegbereitern der modernen Malerei in der Schweiz. Unter dem Eindruck des französischen Postimpressionismus, auch den Tendenzen der Schule von Pont-Aven, löste er sich als einer der ersten Schweizer Maler von den Traditionen des 19. Jahrhunderts. In der Zeitspanne von 1906 – 1913 war Amiet Mitglied der Künstlergruppe „Die Brücke“, die ihn darin bestärkte, mit reinen Farben zu arbeiten. Zurück in der Schweiz schuf er gemeinsam mit seinem Freund Giovanni Giacometti einen farbenfrohen Kolorismus Schweizer Prägung. Oschwand machte er zum Zentrum seines künstlerischen Schaffens und in den späten Jahren zum Treffpunkt vieler Künstler.
Cuno Amiet, Gartentor (Gartenthor)
Oil on canvas. 85.5 x 66.3 cm. Framed. Monogrammed and dated 'CA 31' in green lower right. Inscriptions 'O.29.' verso on canvas and 'Gartenthor 1931, Biel, Loeb' on upper stretcher bar. - In excellent condition with fresh colours. Minimal rubbing to left edge.

SIK-ISEA Nr. 80654

We would like to thank Franz Müller, Schweizerisches Institut für Kunstwissenschaft, Zurich, for kind information. The work will be included in the electronic works catalogue.

Provenance
Collection Eugen Loeb, Muri/Bern (presumably acquired from the artist); Collection Victor and Anne-Marie Loeb-Haymann, Muri/Bern; Private property, Baden-Württemberg

Exhibitions
Thun 1968 (Kunstsammlung der Stadt Thun), Cuno Amiet (1868 - 1961). Werke seit 1918, cat. no. 59 (label verso); Biel 2001 (CentrePasquArt), Collection Loeb, cat. no. 18

“Should the tree go in the middle now? Or better somewhat to the side? Should it […] leave little room for the sky, or is sky blue just the thing to provide my tree with the right background?” (Cuno Amiet, Über Kunst und Künstler, Bern 1948, S. 86) When the Swiss painter Cuno Amiet used these words to describe his initial considerations regarding one of his landscape paintings, he could have been referring to the picture “Gartentor”. A path lined with trees and high bushes leads to a closed garden gate, revealing a view of a landscape defined by meadows and mountains. Above them we find the vault of a radiant summer sky covered by a few clouds. For his garden painting, Amiet has selected a luminous and light palette featuring green, orange and violet as well as accents in a dark fir green.
The depicted landscape is probably from the area around Oschwand – near Herzogenbuchsee, to the east of Bern – where Amiet and Anna Luder moved into their first home together following their wedding. In 1908, after he had begun to have success, he commissioned the reformist architect Otto Ingold to build a house with a studio for him there, and he set up a kitchen and decorative garden next to it. From 1910 Amiet made this garden, which was in completely full flower by then, the central motif of his work. Over time he succeeded in creating more and more daring compositions featuring ingenious plays of light and shadow and flower beds with an ornamental tendency. However, the central aspect of Amiet’s painting remained colour, which he employed more and more freely over the course of his long career: “And I pushed a broad brush through the paints, took pleasure in freshly and boldly applying the discovered tone to the canvas, and then another next to it. And it did not take long before the picture was splendidly completed” (Amiet 1948, p. 86).
Amiet was among the renewers of Swiss art around 1900. Influenced by French post-impressionism as well as tendencies from the School of Pont-Aven, he broke with the traditions of the 19th century and, together with his friend Giovanni Giacometti, he developed a characteristically Swiss and vividly bright, colouristic painting.
Cuno Amiet, Gartentor (Gartenthor)
Öl auf Leinwand. 85,5 x 66,3 cm. Gerahmt. Unten rechts grün monogrammiert und datiert 'CA 31'. Rückseitig auf der Leinwand die Bezeichnung 'O.29.' und oben auf dem Keilrahmen 'Gartenthor 1931, Biel, Loeb'. - Ausgezeichnete, farbfrische Erhaltung. Am linken Bildrand minimale Bereibungen.

SIK-ISEA Nr. 80654

Wir danken Franz Müller, Schweizerisches Institut für Kunstwissenschaft, Zürich, für freundliche Informationen. Das Werk wird in den elektronischen Werkkatalog aufgenommen.

Provenienz
Sammlung Eugen Loeb, Muri/Bern (wohl beim Künstler erworben); Sammlung Victor und Anne-Marie Loeb-Haymann, Muri/Bern; Privatbesitz Baden-Württemberg

Ausstellungen
Thun 1968 (Kunstsammlung der Stadt Thun), Cuno Amiet (1868 - 1961). Werke seit 1918, Kat. Nr. 59 (mit rückseitigem Etikett); Biel 2001 (CentrePasquArt), Collection Loeb, Kat. Nr. 18

„Soll der Baum nun in die Mitte kommen? Oder lieber etwas seitwärts? Soll er […] wenig Platz dem Himmel lassen oder ist es just das Himmelsblau, das meinem Baum die richtige Folie gibt?“ (Cuno Amiet, Über Kunst und Künstler, Bern 1948, S. 86) Als der Schweizer Maler Cuno Amiet mit diesen Worten seine anfänglichen Überlegungen zu einem seiner Landschaftsbilder beschrieb, könnte er das Gemälde „Gartentor“ gemeint haben. Dargestellt ist ein von Bäumen und hohen Sträuchern gesäumter Weg, der auf ein verschlossenes Gartentor zuläuft und den Blick auf eine von Wiesen und Bergen bestimmte Landschaft freigibt. Darüber wölbt sich ein von wenigen Wolken verdeckter, strahlender Sommerhimmel. Für sein Gartenbild wählte Amiet eine leuchtend-helle Farbpalette mit Grün, Orange und Violett sowie dunklem Tannengrün als Akzent.
Bei dem dargestellten Landschaftsausschnitt dürfte es sich um die Gegend bei Oschwand bei Herzogenbuchsee östlich von Bern handeln, wo Amiet nach seiner Hochzeit mit Anna Luder die erste gemeinsame Wohnung bezog. Nach einsetzendem Erfolg ließ er sich dort vom Reformarchitekten Otto Ingold 1908 ein Haus mit Atelier bauen und legte einen angrenzenden Nutz- und Ziergarten an. Ab 1910 machte Amiet den nun in ganzer Fülle erblühten Garten zum Hauptmotiv seines Schaffens. Im Lauf der Zeit gelangen ihm immer gewagtere Kompositionen mit ausgeklügeltem Licht- und Schattenspiel und zu Ornamenten neigenden Blumenrabatten. Das zentrale Bildmittel Amiets blieb aber die Farbe, die er in seiner langen Schaffenszeit auch immer freier einsetzte: „Und mit breitem Pinsel fuhr man durch die Farben hin, setzte den gefundenen Ton keck und kühn mit Vergnügen auf die Leinwand, und den andern nebendran. Und es dauerte nicht lang, so war das Bild mit Glanz vollendet.“ (Amiet 1948, S. 86)
Amiet gehört zu den Wegbereitern der modernen Malerei in der Schweiz. Unter dem Eindruck des französischen Postimpressionismus, auch den Tendenzen der Schule von Pont-Aven, löste er sich als einer der ersten Schweizer Maler von den Traditionen des 19. Jahrhunderts. In der Zeitspanne von 1906 – 1913 war Amiet Mitglied der Künstlergruppe „Die Brücke“, die ihn darin bestärkte, mit reinen Farben zu arbeiten. Zurück in der Schweiz schuf er gemeinsam mit seinem Freund Giovanni Giacometti einen farbenfrohen Kolorismus Schweizer Prägung. Oschwand machte er zum Zentrum seines künstlerischen Schaffens und in den späten Jahren zum Treffpunkt vieler Künstler.
Cuno Amiet, Gartentor (Gartenthor)
Oil on canvas. 85.5 x 66.3 cm. Framed. Monogrammed and dated 'CA 31' in green lower right. Inscriptions 'O.29.' verso on canvas and 'Gartenthor 1931, Biel, Loeb' on upper stretcher bar. - In excellent condition with fresh colours. Minimal rubbing to left edge.

SIK-ISEA Nr. 80654

We would like to thank Franz Müller, Schweizerisches Institut für Kunstwissenschaft, Zurich, for kind information. The work will be included in the electronic works catalogue.

Provenance
Collection Eugen Loeb, Muri/Bern (presumably acquired from the artist); Collection Victor and Anne-Marie Loeb-Haymann, Muri/Bern; Private property, Baden-Württemberg

Exhibitions
Thun 1968 (Kunstsammlung der Stadt Thun), Cuno Amiet (1868 - 1961). Werke seit 1918, cat. no. 59 (label verso); Biel 2001 (CentrePasquArt), Collection Loeb, cat. no. 18

“Should the tree go in the middle now? Or better somewhat to the side? Should it […] leave little room for the sky, or is sky blue just the thing to provide my tree with the right background?” (Cuno Amiet, Über Kunst und Künstler, Bern 1948, S. 86) When the Swiss painter Cuno Amiet used these words to describe his initial considerations regarding one of his landscape paintings, he could have been referring to the picture “Gartentor”. A path lined with trees and high bushes leads to a closed garden gate, revealing a view of a landscape defined by meadows and mountains. Above them we find the vault of a radiant summer sky covered by a few clouds. For his garden painting, Amiet has selected a luminous and light palette featuring green, orange and violet as well as accents in a dark fir green.
The depicted landscape is probably from the area around Oschwand – near Herzogenbuchsee, to the east of Bern – where Amiet and Anna Luder moved into their first home together following their wedding. In 1908, after he had begun to have success, he commissioned the reformist architect Otto Ingold to build a house with a studio for him there, and he set up a kitchen and decorative garden next to it. From 1910 Amiet made this garden, which was in completely full flower by then, the central motif of his work. Over time he succeeded in creating more and more daring compositions featuring ingenious plays of light and shadow and flower beds with an ornamental tendency. However, the central aspect of Amiet’s painting remained colour, which he employed more and more freely over the course of his long career: “And I pushed a broad brush through the paints, took pleasure in freshly and boldly applying the discovered tone to the canvas, and then another next to it. And it did not take long before the picture was splendidly completed” (Amiet 1948, p. 86).
Amiet was among the renewers of Swiss art around 1900. Influenced by French post-impressionism as well as tendencies from the School of Pont-Aven, he broke with the traditions of the 19th century and, together with his friend Giovanni Giacometti, he developed a characteristically Swiss and vividly bright, colouristic painting.

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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