Galerie Henze & Ketterer AG

Stand:   446

Modern and contemporary art, specializing in Expressionism, mainly 'Brücke'. Representing the estate of Ernst Ludwig Kirchner

Galerie Henze & Ketterer
Kirchstrasse 26
CH-3114 Wichtrach/Bern
Switzerland
T  +41 31 781 06 01
F  0041-31-781 07 22
ghkt@artgalleries.ch
www.henze-ketterer.ch
Galerie Henze & Ketterer & Triebold
Wettsteinstrasse 4
CH-4125 Riehen/Basel
Switzerland
T  0041-61-641 7777
M   0041-79-508 69 61
F  0041-61-641 7778
ghkt@artgalleries.ch
www.henze-ketterer.ch

Gallery Information

  • Ingeborg Henze-Ketterer Owner
  • Wolfgang Henze Owner
  • Alexandra Henze Triebold Director
  • Marc Triebold Director

Profile Galerie Henze & Ketterer

Art from Modern to Contemporary Art

Your specialist for:
Expressionism since 1905 and the 20th century
Emigration to Italy since 1933
Abstraction, a world language, since 1945
New Figurative and Contemporary Art since 1960
New Media Videokunst.ch

Activities:
We show up to nine exhibitions a year in our 600 m2 gallery exhibition space. Next to our gallery is the "KUNST-DEPOT" designed by the architects Gigon/Guyer who also designed the Ernst Ludwig Kirchner Museum in Davos.
The "KUNST-DEPOT“ is both a storage space for the gallery and, on the top floor, a project room for younger artists.
In addition to our gallery exhibition program, we maintain a permanent exhibition from our artists in the gallery rooms.
Gallery, Art Dealer, Art Books, Publishing (www.buchhandel.de)
Archive and Estate Management (Ernst Ludwig Kirchner, Berthold Müller-Oerlinghausen, Theo Eble and Fritz Winter)
Exhibitions, Purchases,Sales, Commission, Estimates
Consulting concerning Documentation,Authenticity, Conservation, Insurance, Transport
Conceptual and organizational advice concerning exhibitions and collections.
Since 1993 in Wichtrach, previously in Stuttgart from 1946 , 1962 as well as 1970 in Campione d'Italia on the lake of Lugano

Directors: Ingeborg Henze-Ketterer and Dr. Wolfgang Henze.
Affiliate gallery (branch) in Riehen/Basel, Galerie Henze & Ketterer & Triebold: Under direction of Dr. Alexandra Henze Triebold and Marc Triebold the gallery Henze & Ketterer & Triebold in Riehen/Basel is committed to artists of German Expressionism as well as to abstraction after 1945 and New Figuration and also to contemporary painting and sculpture from Italy, Spain and Germany

Member:
Verein Berner Galerien
Verein Galerien in Basel
Verband Schweizer Galerien
Kunsthandelsverband der Schweiz CINOA
Schweizer Buchhändler-und Verleger-verband
Verband Kunstmarkt Schweiz

History of the gallery
The art dealing activities begun in 1946 by Roman Norbert Ketterer are now in the third generation of the family and can look back over seven decades. On 29th June 1946, the day of his chosen patron saints Peter and Paul, Roman Norbert Ketterer (Bräunlingen 1911 – Lugano 2002), who was then still living in Eislingen, Germany, and working in an entirely  different profession, founded the Stuttgarter Kunstkabinett. In so doing, Roman Norbert Ketterer had laid the foundation stone for the following firms over the next 65 years: Stuttgarter Kunstkabinett, 1946-1962, Galerie Roman Norbert Ketterer in Campione d’Italia, 1962-1988, Galleria Henze in Campione d’Italia, 1970-1993, Galerie Henze & Ketterer in Wichtrach/Berne since 1993 with its branch establishment in Riehen/Basle, Galerie Henze & Ketterer & Triebold, since  2001.
__________
In 1946, Roman Norbert Ketterer discovered Expressionism – hitherto banned by the Nazis as “degenerate” and hence completely unknown to him – as the true art of his generation. Determined to reinstate this movement in the annals of German art, Roman Norbert Ketterer founded his Stuttgarter Kunstkabinett in that same year.  By way of special auctions, which grew in status and magnitude to reach worldwide renown by 1962, Ketterer brought Expressionism back into the public eye, back into private collections and back into the museums that had been plundered by the Nazis.  Thus it was that the Stuttgarter Kunstkabinett laid the foundations for many famous art collections, such as those of Heinrich von Thyssen and Bernhard Sprengel, from which important art museums ultimately evolved.  From 1954 onwards, Roman Norbert Ketterer was also the executor of the estate of Ernst Ludwig Kirchner.  It was through the estate trust that Ketterer and his wife Rosemarie were able to finance the building of the new Kirchner Museum in Davos in 1992 and donate what was to be the nucleus of the museum's present collection. Between the years of 1962 and 1988, Roman Norbert Ketterer had also built up an art business in Campione d'Italia as a specialist in Expressionism.
It was also in Campione d'Italia, in 1970, that Ketterer's daughter Ingeborg and his son-in-law Wolfgang Henze (the son of the art critic Anton Henze, Münster/Rome) established their own gallery specializing in Expressionist prints, abstract art of the 1950s and the works of relatively young, contemporary artists such as Jürgen Brodwolf, Alfonso Hüppi and, later, Nakis Panayotidis and Daniel Spoerri.  The business activities of this gallery were extended in 1993 by the opening of another gallery in Wichtrach near Berne and now included the administration of the estates of other artists, such as that of Fritz Winter, and the archiving of artists' complete oeuvres, such as that of Ernst Ludwig Kirchner.  Since Roman Norbert Ketterer's death in 2002, Kirchner's estate has been administered at the gallery by his children Ingeborg Henze-Ketterer and Günther Ketterer.  The gallery in Wichtrach on the outskirts of Berne is located in a vast complex of buildings built between 1920 and 1964. The KUNST-DEPOT, designed by the architects Gigon + Gujer, whom the family discovered during the building work on the Kirchner Museum in Davos, was added in 2004. The KUNST-DEPOT meanwhile counts among the most exhibited and published pieces of architecture of the 21st century.
The family‘s third generation started their commitment in this field of activity right after completing their studies. From 2001 on exists a second gallery in Riehen/Basel as branch. Firstly unter the name of Galerie Triebold AG and then as Galerie Henze & Ketterer & Triebold. The founders and directors are Dr. Alexandra Henze Triebold (daughter of Ingeborg Henze-Ketterer and Dr. Wolfgang Henze)  and her husband, Marc Triebold (son of the gallery-owners Othmar and Delia Triebold). The Riehen-branch shows mainly Expressionism and Abstraction but also has some younger artists like Dario Basso, Pizzi Cannella, Robert Klümpen, Nunzio, Paolo Serra and others in its program. 
Our gallery sees its activity as a constant endeavour on behalf of the works and fields of art it represents, an activity that involves not least the acquisition of its own large collections of art works or whole estates and also the upkeep of archives on the individual artists and a fully comprehensive library.
During the last decades, and especially since it relocated to Switzerland in 1993, our gallery has evolved to become an internationally renowned and sought-after centre of competence for the representation of artists and art genres. Numerous worldwide museum exhibitions and publications not only originated here but were also curated by our gallery, either entirely or in collaboration. Particularly worthy of mention is the close collaboration between our Ernst Ludwig Kirchner Archive in Wichtrach/Berne and the Kirchner Museum in Davos, founded by Roman Norbert Ketterer.
The gallery has been taking part in international art fairs since the early 1970s, including Art Basel, Art Cologne, FIAC Paris, Art Karlsruhe and TEFAF Maastricht. It is there that we are able to show high-calibre solo and group exhibitions of the artists we represent, and also our preferred movements in art, especially German Expressionism, which then finds an exemplary platform at any one of the said fairs.    
In its exhibition rooms in Riehen/Basle, situated in immediate proximity to the Museum Beyeler, and its large exhibition rooms in Wichtrach, which have a total floor area of approx. 900 square metres, the gallery shows between four and six exhibitions per year and location. A special gallery bookshop in Wichtrach offers literature – both available and out of print – on our artists and our special fields of art. The Kirchner Shop is likewise managed by the gallery bookshop. The gallery grounds in Wichtrach were recently redesigned as a SCULPTURE GARDEN that can also readily cope with heavy works of sculpture. The gallery now plans to hold regular sculpture exhibitions there in parallel to the exhibitions in the gallery.

Artists Exhibited at the fair:

  • George Grosz

    George Grosz

    Biography : George Grosz 1893 George Grosz is born Georg Ehrenfried Gross on July 26 in Berlin. His father runs a pub in the center of the city, off the busy Friedrichstrasse. 1898 The family moves to Stolp in Pomerania, where Georg’s father is steward at the Freemasons’ Lodge. The boy’s imagination is fired by the illustrations in Über Land und Meer, Fliegende Blätter, Meggendorfer Blätter, Leipziger Illustrierte, and other weekly magazines subscribed to by the family. 1901 When Georg’s father dies, the family returns to Berlin, settling in the workers’ district of Wedding. 1902 The family moves back to Stolp, where Georg enjoys a carefree childhood. 1905 The twelve-year-old Georg fills a first sketchbook with drawings after Ludwig Richter, Eduard Grützner, and Wilhelm Busch. 1909 Grosz is admitted to the Royal Art Academy in Dresden, graduating two years later with a certificate of Honor from the Royal Saxon Academy of Fine Art, Dresden. 1912 In January he moves to Berlin, occupying an apartment with studio in the Südende district. Studies under Emil Orlik. 1913 During an eight-month stay in Paris he learns to produce life drawings every five minutes at the Académie Colarossi. 1914 Awarded second prize in a competition held by the Royal Museum of Arts and Crafts in Berlin. Enters military service in World War I, but is discharged the following year as ???unfit for service“. 1916 Disgusted with war-waging Germany, he anglicizes his name to George Grosz. Theodor Däubler publishes the first article on Grosz’s work. Grosz and John Heartfield begin collaborating on montages. In December Grosz starts work on Metropolis (Thyssen-Bornemisza Collection, Madrid), a painting constructed along the lines of a collage. 1917 Enters the military again, but is eventually discharged as ???permanently unfit for service.“ In June Grosz and Heartfield produce Neue Jugend (New Youth), a joint montage combinig collage, photographs, and lettering that serves to adver Exhibition : George Grosz
    Solo exhibitions (selection)
    1920
    Galerie Neue Kunst Hans Goltz, München
    1921
    Graphisches Kabinett, Bremen
    1922
    Galerie von Garvens, Hannover
    Kestner-Gesellschaft, Hannover
    1923
    Kunsthandlung Würthle und Galerie Flechtheim, Wien
    1924
    Kunsthandlung Hans Goltz, München<
    Galerie Joseph Billiet & Cie, Paris
    Malik-Verlag, Berlin
    1926
    Kunsthandlung S. Salz, Köln
    Galerie Alfred Flechtheim, Berlin
    Kunstkammer Martin Wasservogel, Berlin
    1927
    Galerie Alfred Flechtheim, Berlin
    1929
    Bruno Cassirer, Berlin
    1930
    Bruno Cassirer, Berlin
    Kunstverein Heilbronn
    1931
    Weyhe Gallery, New York
    Galerie Abels, Köln
    Galerie de la NRF, Paris
    1932
    Milwaukee Art Institute, Chicago
    Kolektivna Izlozba, Zagreb
    Palais des Beaux-Arts, Brüssel
    1933
    Galerie of An American Group, New York
    The Arts Club of Chicago
    Crillon Galleries, Philadelphia
    1935
    An American Place, New York
    1936
    Columbus Gallery of Fine Arts, Columbus (Ohio)
    1938
    Walker Galleries, West Hollywood
    The Art Institute of Chicago
    1939
    Walker Galleries, New York
    1941
    Walker Galleries, New York
    The Museum of Modern Art, New York
    Associated American Artists, New York
    1943
    The Denver Art Museum, Denver
    Associated American Artists, New York
    1945
    Associated American Artists, Chicago
    1946
    Associated American Artists, New York
    1948
    Associated American Artists, New York
    1949
    The Cleveland Museum of Art, Cleveland
    1950
    The Gallery of the Art Institute, Cleveland
    1952
    Dallas Museum of Fine Arts, Dallas
    1954
    Whitney Museum of American Art, New York
    William Rockhill Nelson Gallery of Art, Kansas City
    The Pasadena Art Institute, Pasadena
    San Francisco Museum of Art, San Francisco
    Associated American Artists, New York
    National Institute of Arts and Letters, New York
    1956
    University of Louisville, Allen R. Hite Art Institute, Louisville
    Country Life Art Center, Fort Salonga
    1957
    Staatliche Kunsthalle, Baden-Baden
    Des Moines Art Center, Des Moines
    1958
    Galerie Meta Nierendorf, Berlin
    Country Life Art Center,
    Detailed Description : George Grosz – The Nude The exhibition Paintings of the Nude at the Walker Galleries in New York in 1941 seems to have been the only monographic treatment of the nude in the oeuvre of George Grosz. None of the literature on George Grosz deals specifically with the nude. General literature makes mention of Grosz neither with reference to the nude in general nor with reference to the nude in modernity. This is highly astonishing, for the nude has an extremely important part to play in the oeuvre of George Grosz, both as an autonomous theme and in the context of larger compositions. Indeed, George Grosz's nudes were the object of deep interest, and not least in the USA, where this interest not only marked the beginning of George Grosz's years in America but also saved him from the Nazis, for in 1932 the Art Students' League of New York invited him teach in their nude class1, and Grosz did just that until 1958, though with little enthusiasm during the latter years. In those works of George Grosz that are devoted to his principal theme of the aggressive and exploited human being, the woman is almost always naked, defenceless, offering herself to the male aggressor, selling herself, ultimately becoming the sex murderer's victim.  Some of the resulting scenes were, and still are, generally considered "pornographic".  It was these "orgiastic" compositions alone – both the socially critical ones and those of a more private nature – that were the subject of Kathrin Hoffmann-Curtius's catalogue essay, Erotik im Blick des George Grosz, written in 1995.2 In our exhibition and in this catalogue, on the other hand, we are concerned purely with the discrete theme of the female nude as it appeared in George Grosz's oeuvre during the years between the first, soberly academic nude drawings made at the School of Arts and Crafts in Berlin in 1912 and those of the hot summers of the 1940s on Cape Cod, where in its languid dunes the beloved human body was to become so excitingl Artist's Documents: N/A Other Dealers:
    Also exhibited by:
    Arnoldi-Livie
  • Erich Heckel

    Erich Heckel

    Biography : Erich Heckel 1883 Erich Heckel is born in Döbeln (Saxony) 1901 Makes friends with Schmidt-Rottluff 1904 Finishes grammar school in Chemnitz and studies architecture at the Saxon Technical College in Dresden 1905 Together with Bleyl, Kirchner and Schmidt-Rottluff, he founds the Brücke artist’s circle on 17 June. Works at Wilhelm Kreis’s architectural studio. Rents a former butcher’s shop in 60, Berliner Strasse as the joint Brücke studio 1907 Finishes his job at Kreis’s. First trip to the Dangast Moors 1908 Spends May to October with Schmidt-Rottluff in Dangast 1909 Travels to Italy (Verona, Padua, Venice and Rome). Spends the summer at the Moritzburger Lakes, together with Kirchner (subsequently also in 1910 an 1911) 1911 Moves to Berlin 1912 Makes friends with Marc and Feininger 1913 Break-up of the Brücke group. First solo exhibition at the Gurlitt Gallery in Berlin 1914 Takes part in the Werkbund exhibition in Cologne. Volunteers for military service in the medical corps 1915 Meets Beckmann and Ensor. Marries Milda Frieda Georgi, called Sidi 1918 Settles down in Berlin in November 1919-1944 Spends the summer in Osterholz each year 1929 Trip to Provence, the Pyrenees, Northern Spain and Aquitania 1931 Trip to Northern Italy 1937 Branded as “degenerate” by Nazi authorities. 729 of his works are confiscated in German museums 1944 His Berlin studio is destroyed during an air raid. Moves to Hemmenhofen on Lake Constance 1949-1955 Professorship at the School of Fine Arts in Karlsruhe 1970 Erich Heckel dies in Radolfzell (Lake Constance) Exhibition : Erich Heckel
    Solo exhibitions (selection)
    1913
    Fritz Gurlitt, Berlin
    J. B. Neumann, Berlin (mit Vlaminck)
    1914
    Fritz Gurlitt, Berlin (mit Erbslöh, Hettner, Helberger, Lindau und Langer)
    1916
    Paul Cassirer, Paris
    Neue Kunst Hans Goltz, München
    Ludwig Schames, Frankfurt/Main
    1917
    Ludwig Schames, Frankfurt/Main
    Kölnischer Kunstverein, Köln
    Galerie Trittler, Frankfurt/Main (Graphik)
    1918
    Neue Kunst Hans Goltz, München
    J. B. Neumann, Berlin (Graphik)
    1919
    Kestner-Gesellschaft, Hannover
    Neue Kunst Hans Goltz, München
    Ludwig Schames, Frankfurt/Main
    1920
    Städtisches Museum, Elberfeld
    Kaiser-Wilhelm-Museum, Krefeld
    1921
    Ludwig Schames, Frankfurt/Main (mit Otto Mueller)
    1922
    Kunstverein, Erfurt
    1923
    J. B. Neumann, Berlin (Graphik)
    Städtisches Museum/Kunstverein Danzig
    Dr. Goldschmidt – Dr. Wallenstein, Berlin
    Enthüllung der Fresken im Augustiner-Museum, Erfurt
    Neue Kunst Fides (Rudolf Probst), Dresden
    1925
    Kunstsalon E. Richter, Dresden
    Karl Nierendorf, Düsseldorf
    1926
    Städtisches Museum, Barmen (mit Schmidt-Rottluff)
    Neuman-Nierendorf, Berlin („Aquarelle aus der Schweiz" mit Otto Mueller, Schmidt-Rottluff, Pechstein, Dix, u.a.)
    1927
    Ferdinand Möller, Berlin
    Graphisches Kabinett, München
    1928
    Städtisches Museum/Kunstverein, Königsberg i. Pr.
    Neue Kunst Fides (Rudolf Probst), Dresden
    1929
    Breslau (mit Feininger und Mataré)
    Städtisches Museum, Mülheim/Ruhr
    1930
    Ferdinand Möller, Berlin
    J. B. Neumann – Günther Franke, München
    J. B. Neumann, New York
    1931
    Kunsthütte, Chemnitz
    Graphisches Kabinett, München
    1933
    B. Thommen, Basel
    1935
    Kestner-Gesellschaft, Hannover
    1947
    Galerie des Jungend, Hamburg
    Kaiser-Wilhelm-Museum, Krefeld
    Frankfurter Kunstkabinett, Frankfurt/Main
    1948
    Deutsche Kunstagentur, Galerie Rudolf H. Dehnen, Göttingen
    Kölnischer Kunstverein, Köln
    Kaiser-Wilhelm-Museum, Krefeld
    Centre d’information, Schwenningen
    Hermann Raederscheidt, Ingolstadt
    Museum Folkwang, Essen (mit Nolde, Rohlfs und Schmidt-Rottluff)
    19
    Detailed Description : Erich Heckel - Watercolours from 1917 to 1962 - Landscapes and some still lifes Calm after the storm – restrained forms – delicate colours – inner glow What is it that so fascinates us human beings in general and the artist in particular about the outer surface of the Earth's crust, that part of the Earth on which we live, its landscape in other words? What is it that has forever inspired artists to paint still lifes? Why did Erich Heckel, after the First World War, devote himself to these two themes, and in watercolour above all else?  Three questions the visitor to this exhibition simply cannot help asking himself, and three questions about which so much has already been written.  In purely statistical terms, the iconography section of any art-historical library will show that mythology and religion, which are by far the largest thematic complexes in the history of art, are then followed, with roughly equal status, by history, nude, portraiture, landscape and still life.  Even in the special literature on Erich Heckel, more comprehensive attention is meanwhile paid to his works produced after the First World War than to his Expressionist works.1 Nevertheless, a few further observations will certainly not be amiss. Landscape has been one of the themes of painting ever since antiquity. Indeed, in some of the cultural epochs and centres of antiquity it even had preference over the others. There was a similar development in literature. Both developments led to a multitude of art-historiographical publications and texts on the theme in general and to just as many iconographical, geographical, historical or artist-specific observations from individual sources.  The most comprehensive overviews to have been produced during the last few decades are probably those published by Erich Steingräber in 1985 and, more recently, by Nils Büttner.2  Particular attention, both in the actual representation of the landscape and in relevant art-historical research, has Artist's Objects: Other Dealers:
    Also exhibited by:
    W. Utermann KG
    Richard Nagy Ltd.
  • Karl Hofer

    Karl Hofer

    Biography : KARL HOFER (1878 Karlsruhe – 1955 Berlin) • 1878 Hofer wird in Karlsruhe geboren. Vier Wochen nach seiner Geburt stirbt sein Vater, der Militärmusiker Karl Friedrich Hofer, an einem Lungenleiden • 1879 Da seine Mutter Ottilie (Schwester des Bildhauers Theodor Hengst und des Glasmalers Max Hengst)[1] den Lebensunterhalt verdienen muss, wird Karl bei zwei Großtanten untergebracht • 1884–1892 Unterbringung in einem Waisenhaus • 1892 Beginn einer kaufmännischen Lehre in einer Buchhandlung. In seiner Freizeit erste zeichnerische Versuche • 1896 Hofer lernt den drei Jahre jüngeren Leopold Ziegler kennen • 1897 Der Künstler tritt an der Karlsruher Akademie in die Zeichenklasse Robert Poetzelbergers ein • 1899 Nach der Berufung Hans Thomas wird Hofer dessen Schüler. Erster Aufenthalt in Paris • 1900 Zweiter Paris-Aufenthalt und Bekanntschaft mit Julius Meier-Graefe • 1901 Meisterschüler bei Thoma • 1902 Meisterschüler bei Leopold v. Kalckreuth an der Kgl. Akademie der bildenden Künste in Stuttgart. Freundschaft mit dem Maler Hermann Haller • 1903 Hochzeit mit Mathilde (gen. Thilde) Scheinberger in Wien. Fünfjahres-Vertrag mit Theodor Reinhart, der ihm die Übersiedlung nach Rom ermöglicht • 1904 Geburt des Sohnes Karl (gen. Carlino). In Bern Bekanntschaft mit Paul Klee • 1905 Geburt des Sohnes Titus, der drei Monate später stirbt • 1906 Erste Einzelausstellung durch Harry Graf Kessler in Weimar • 1907 Erste Berührung mit Marées' Fresken in Neapel • 1908 Dritter Paris-Aufenthalt. Seither neue Signatur: CH • 1909 Erste Einzelausstellung in der Berliner Galerie Fritz Gurlitt, Gründungsmitglied des Vereins Neue Künstlervereinigung München • 1910 Erste Indienreise • 1911 Hofer lernt den Bildhauer Wilhelm Lehmbruck kennen und bleibt bis zu dessen Tod mit ihm befreundet. Zweite Indienreise • 1914 Hofer verbringt den Sommer im französischen Badeort Ambleteuse. Nach Ausbruch des Ersten Weltkriegs wird er in der Breta Exhibition : Karl Hofer
    Exhibitions (selection)
    1905
    Kunsthaus Zürich
    1906
    Grossherzogliches Museum, Weimar
    1909
    Galerie Fritz Gurlitt, Berlin
    1911
    Kunsthalle Winterthur
    Galerie Thannhauser, München
    1914
    Galerie Paul Cassirer, Berlin
    Galerie Thannhauser, München
    1918
    Galerie Paul Cassirer, Berlin
    Kunsthalle Winterthur
    1919
    Galerie Paul Cassirer, Berlin
    1920
    Galerie Arnold, Dresden
    1922
    Galerie Flechtheim, Berlin
    1924
    Galerie Flechtheim, Berlin
    Galerie Hans Goltz, München
    1925
    Galerie Flechtheim, Berlin
    Galerie Flechtheim, Düsseldorf
    Galerie Caspari, München
    Kunsthaus Schaller, Stuttgart
    1928
    Städtische Kunsthalle, Mannheim
    Berliner Secession, Berlin
    Galerie Flechtheim, Berlin
    1929
    Kunsthaus Zürich
    Galerie Caspari, München
    1931
    Galerie Flechtheim, Berlin
    Galerie Hans Goltz, München
    1933
    Galerie Nierendorf, Berlin
    1934
    Galerie Nierendorf, Berlin
    1935
    Galerie Valentien, Stuttgart
    1936
    Kunstmuseum Winterthur
    Kunstverein Hamburg
    Busch-Reisinger Museum, Harvard University, Cambridge (MA)
    Galerie Buchholz, Berlin
    1937
    Galerie Nierendorf, Berlin
    1938
    Galerie Nierendorf, Berlin
    1939
    Kunstverein, Winterthur
    Museum of Fine Arts, Springfield (MA)
    Institute of Modern Art, Boston
    1946
    Magistrat der Stadt Berlin, Amt für Bildende Kunst, Berlin
    1948
    Galerie Günther Franke, München
    Galerie Henning, Halle/Saale
    Galerie Alex Vömel, Düsseldorf
    Museum der Bildenden Künste, Leipzig
    Galerie Henning, Halle/Saale
    1950
    Galerie Henning, Halle/Saale
    Märkisches Museum, Witten
    Museum Bochum
    Museum Folkwang, Essen
    Museum Duisburg
    Kunstverein Braunschweig
    1951
    Hochschule für Bildende Künste, Berlin
    1952
    Kunsthalle Hamburg
    1953
    Hochschule für Bildende Künste, Berlin
    Goslarer Museum, Goslar
    1954
    Kunstverein Hamburg
    Galerie Günther Franke, München
    Kunsthalle Basel
    Frankfurter Kunstverein, Frankfurt/Main
    Karl-Ernst Osthaus Museum, Hagen
    Kunsthaus, Bielefeld
    Kestner-Gesellschaft, Hannover
    Hessisches Landesmuseum, Darmstadt
    Württembergischer Kunstverein, Stuttgart
    Detailed Description : Karl Hofer Bibliography (selection) Benno Reifenberg: Karl Hofer. Leipzig, 1924 Adolf Behne: Karl Hofer. Berlin, 1947 Arthur von Schneider: Carl Hofer. Baden-Baden, 1948 Festgabe an Carl Hofer zum 70. Geburtstag, 11. Oktober 1948. Begonnen von Alfred Behne, hrsg. von Gerhard Strauss gemeinsam mit Heinrich Ehmsen, Hermann Henselmann, und Werner E. Stichnote. Potsdam, 1949 Karl Hofer: Aus Leben und Kunst. Berlin, 1952 Karl Hofer: Erinnerungen eines Malers. Berlin-Grünewald, 1953 Karl Hofer: Über das Gesetzliche in der bildenden Kunst. Nach einem nachgelassenen Manuskript, Hrsg. von Kurt Martin. Berlin-Dahlem, 1956 Ernest Rathenau (Hrsg.): Karl Hofer – Das graphische Werk. Mit einer Einleitung von Kurt Martin. New York, 1969 Gerd Köhrmann. Karl Hofer. Bergisch-Gladbach, 1970 Renate Hartleb: Carl Hofer. Dresden, 1976 Ursula Feist: Karl Hofer. Berlin, 1977 Elisabeth Furler (Hrsg.): Karl Hofer – Leben und Werk in Daten und Bildern. Unter Mitwirkung von Ursula Feist, Dieter Hoffmann und Gerd Köhrmann. Frankfurt/Main, 1978 Karl Hofer: Bilder im Schlossmuseum Ettlingen. Hrsg. von der Stadt Ettlingen und Karl-Hofer-Archiv Berlin. Mit Textbeiträgen von Ursula und Günter Feist. Berlin, 1983 Renate Hartleb: Karl Hofer. Leipzig, 1987 Ursula und Günter Feist (Hrsg.): Karl Hofer – Theodor Reinhart, Maler und Mäzen – Ein Briefwechsel in Auswahl. Berlin: 1989 Andreas Hüneke (Hrsg.): Karl Hofer – Malerei hat eine Zukunft – Briefe, Aufsätze, Reden. Leipzig und Weimar, 1991 Galerie Schlichtenmaier (Hrsg.): Karl Hofer 1878-1955 – Gemälde, Zeichnungen, Graphiken. Grafenau, 1992 Markus Eisenbeis (Hrsg.): Karl Hofer – Verzeichnis der Gemälde. Bearbeitet von Karl Bernhard Wohlert. 3 Bände plus CD. Köln, 2007 Exhibition catalogues (selection) Karl Hofer – Das gesammelte Werk. Städtische Kunsthalle Mannheim, 1928 Karl Hofer zum 60. Geburtstag. Kunstverein Winterthur, 1939 Carl Hofer – Ausstellung von neuen Werken. Hrsg. von dem Magistrat von Gross-Berlin, Artist's Objects:
  • Ernst Ludwig Kirchner

    Ernst Ludwig Kirchner

    Biography : Ernst Ludwig Kirchner 1880-1905 Ernst Ludwig Kirchner was born on 6 may 1880 in Aschaffenburg, where his father, Ernst Kirchner, was working as a chemical engineer in the paper industry. His parents had met and married in Gransee in Brandenburg, about 40 miles north of Berlin. His mother, a merchant’s daughter, was descended from Huguenots, a fact of which her son Ernst Ludwig was often to refer later in life. His father was the son of an evangelical pastor, Ernst Daniel Kirchner, in Walchow, near Neuruppin. When not looking after the souls of his parishioners, Ernst Daniel was an avid historian taking a particular interest in antiquity and local history, and he was made a member of the Berlin Academy on the strength of his research activities. An appreciative account of Ernst Daniel Kirchner can be found in Theodor Fontane’s Wanderung durch die Mark Brandenburg („On foot through Brandenburg”). As a result of the father’s profession, the Kirchner family moved home several times during Ernst Ludwig’s youth. The moved to Frankfurt am Main in 1886 and to Perlen, near Lucerne, only one year later. At the beginning of 1890, the family founds themselves in Chemnitz, where Ernst Ludwig’s father became Professor of Paper Sciences at the college of technology. Kirchner attended primary school in Frankfurt and Perlen. In the spring of 1890, he started attending the local high school in Chemnitz. In later years, Kirchner was always to think back with gratitude on his art master of the last four years in high school. Thanks to this man, whose name is handed down simply as Fischer, Kirchner mastered the theory of light and shade. Thus, though stemming from Prussian parents and born in Franconia, Ernst Ludwig – as was obvious from his speech – spend the adolescence in Saxony. In 1901 he passed his school-leaving examinations in Chemnitz. His parents had early recognized and welcomed the artistic leanings of their eldest son, but placed great value on completio Detailed Description : Kirchner the Draughtsman - As exemplified by his drawings of the human figure 1909-1936 (Text in catalogue 78 published September 2009) Kirchner the Draughtsman - As exemplified by his drawings of the human figure 1909-19361 The boldly casual, the exuberant use of ink, the violent strokes fascinated me, even that which, with just a few dashes, was but a hieroglyph of a figure was readable for me and I esteemed it exceedingly... Johann Wolfgang von Goethe, quoted, in translation, from: Der Sammler und die Seinigen, Dritter Brief, in: idem, Propyläen, 2nd Vol., 2nd Piece, Tübingen 1799 The significance of the drawing in the oeuvre of Ernst Ludwig Kirchner has been explained and emphasized in countless texts and exhibitions – including monographs devoted specifically to this technique and discipline – and not least in Kirchner’s own writings, some of which were penned under the pseudonym of Louis de Marsalle.2 Art historians’ concerns with Kirchner’s drawings are based – as is largely the case with Kirchner – on his own statements, these being most fascinatingly formulated, but they generally go no further, that is to say, they do not contribute to a recognition of Kirchner’s drawings within the context of the overall history of this technique. Here, too, Kirchner’s self-portrayal, so powerfully worded, so precisely structured and so accurate in its observation, has so far impeded an objective appraisal of his drawings by the art world.3 In terms of quality, quantity, diversity and significance, however, Kirchner’s drawings are unique in the history of this technique and are comparable with those of no other artist.4 Since the seminal books on the art and technique of drawing – all of them having their roots in the Albertina in Vienna – by Joseph Meder (1919), Heinrich Leporini (1925 and 1928) and Walter Koschatzky (1977),5 there has been no further comprehensive literature published on this so eminent – and not just from a tec Artist's Objects: Other Dealers:
    Also exhibited by:
    Galerie Thomas
    W&K-Wienerroither & Kohlbacher
    Bailly Gallery
  • Ernst Ludwig Kirchner

    Ernst Ludwig Kirchner

    Biography : Ernst Ludwig Kirchner 1880-1905 Ernst Ludwig Kirchner was born on 6 may 1880 in Aschaffenburg, where his father, Ernst Kirchner, was working as a chemical engineer in the paper industry. His parents had met and married in Gransee in Brandenburg, about 40 miles north of Berlin. His mother, a merchant’s daughter, was descended from Huguenots, a fact of which her son Ernst Ludwig was often to refer later in life. His father was the son of an evangelical pastor, Ernst Daniel Kirchner, in Walchow, near Neuruppin. When not looking after the souls of his parishioners, Ernst Daniel was an avid historian taking a particular interest in antiquity and local history, and he was made a member of the Berlin Academy on the strength of his research activities. An appreciative account of Ernst Daniel Kirchner can be found in Theodor Fontane’s Wanderung durch die Mark Brandenburg („On foot through Brandenburg”). As a result of the father’s profession, the Kirchner family moved home several times during Ernst Ludwig’s youth. The moved to Frankfurt am Main in 1886 and to Perlen, near Lucerne, only one year later. At the beginning of 1890, the family founds themselves in Chemnitz, where Ernst Ludwig’s father became Professor of Paper Sciences at the college of technology. Kirchner attended primary school in Frankfurt and Perlen. In the spring of 1890, he started attending the local high school in Chemnitz. In later years, Kirchner was always to think back with gratitude on his art master of the last four years in high school. Thanks to this man, whose name is handed down simply as Fischer, Kirchner mastered the theory of light and shade. Thus, though stemming from Prussian parents and born in Franconia, Ernst Ludwig – as was obvious from his speech – spend the adolescence in Saxony. In 1901 he passed his school-leaving examinations in Chemnitz. His parents had early recognized and welcomed the artistic leanings of their eldest son, but placed great value on completio Artist's Objects: Other Dealers:
    Also exhibited by:
    W. Utermann KG
    Ludorff
    Richard Nagy Ltd.
    Also represented by:
    Arnoldi-Livie
  • Max Beckmann

    Max Beckmann

    Biography : Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity. He is known for the self-portraits painted throughout his life, their number and intensity rivaled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the "Self". As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann's 1948 Letters to a Woman Painter provides a statement of his approach to art.) Max Beckmann Self-portrait with Horn, 1938-1940 Beckmann enjoyed great success and official honors during the Weimar Republic. In 1925 he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927 he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo.[3] By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basle and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held. His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a "cultural Bolshevik" and dismissed him from his teaching position at the Art School in Frankfurt. In 1937 the government confiscated more than 500 of his works from German
  • Otto Mueller

    Otto Mueller

    Biography : Otto Mueller 1874 Otto Mueller is born in Liebau (Silesia) 1890-1894 Apprenticeship as a lithographer in Görlitz 1894-1896 Studies at the Dresden Academy of Art, then travels to Switzerland and Italy together with the writer Gerhard Hauptmann 1898/99 Studies at the Munich Academy of Art, under von Stuck. Returns to Dresden 1908 Moves to Berlin, where he meets the sculptor Lehmbruck and the poet Rilke 1910 Member of the Brücke artist’s circle. Cofounder of the New Secession 1912 Takes part in the Sonderbund exhibition in Cologne. Travels to Bohemia together with Kirchner 1916-18 Military service, then returns to Berlin 1919 Member of the Co-operative Council of Art. Professorship at the Breslau Academy of Art 1924-1930 Numerous trips to Dalmatia, Bulgaria, Hungary and Romania 1930 Otto Mueller dies in Breslau 1937 357 of his works are confiscated in the German museums as part of the Nazi raid on the "degenerate" art Exhibition : Otto Mueller
    Solo Exhibitions (selection)
    1906
    Galerie Arnold, Dresden
    1909
    Galerie Gurlitt, Berlin
    1910
    Galerie Heinemann, München
    Galerie Arnold, Dresden
    1912
    Kunsthütte, Chemnitz
    1914
    Galerie Gurlitt, Berlin
    1918
    Nassauischer Kunstverein, Wiesbaden
    1919
    Paul Cassirer, Berlin
    1920
    Ferdinand Möller, Berlin
    1921
    Galerie Goldschmidt und Wallerstein, Berlin
    1923
    Ferdinand Möller, Berlin
    Galerie Goldschmidt und Wallerstein, Berlin
    Frühjahrsausstellung des Künstlerbundes Schlesien, Dresden
    Kunstverein, Erfurt
    1924
    Kunsthütte, Chemnitz
    Ferdinand Möller, Berlin
    1927
    Galerie der Neuzeit, Köln
    Ferdinand Möller, Berlin
    1928
    Ferdinand Möller, Berlin
    1929
    Günther Franke, München
    Gesellschaft der Freunde Junger Kunst, Braunschweig
    1930
    Ferdinand Möller, Berlin
    1931
    Ferdinand Möller, Berlin
    Schlesisches Museum der bildenden Künste, Breslau
    National Galerie, Berlin
    1934
    Ferdinand Möller, Berlin
    1947
    Staatliche Kunstsammlungen, Dresden
    Schlossberg Museum, Chemnitz
    Staatliche Kunstsammlung Weimar
    1948
    Städtische Ausstellung, Schwenningen an der Nahe
    1949
    Galerie Franz, Berlin
    Galerie der Spiegel, Köln
    1950
    Museum am Ostwall, Dortmund
    Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt/Main
    1952
    Günther Franke, München
    Alex Vömel, Düsseldorf
    1953
    Günther Franke, München
    Galerie Commeter, Hamburg
    1954
    Axel Vömel, Düsseldorf
    1956
    Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt/Main
    Kestner-Gesellschaft, Hannover
    Kunsthalle, Bremen
    Karl Ernst Osthaus Museum, Hagen
    1957
    Städtisches Kunstmuseum, Duisburg
    Meta Nierendorf, Berlin
    1962
    Verein für Kunst, Bamberg
    Günther Franke, München
    1963
    Dom Galerie, Köln
    Verein für Kunst, Bamberg
    Fränkische Galerie, Nürnberg
    1964
    Galerie Nierendorf, Berlin
    1968
    Galerie Nierendorf, Berlin
    1969
    Günther Franke, München
    1970
    Brücke-Museum, Berlin
    1974
    Städtisches Museum, Mülheim
    Galerie Nierendorf, Berlin
    1975
    Galerie Wünsche, Bonn
    1978
    Galerie Thomas, München
    197
    Detailed Description : Otto Mueller Monographs Eberhard Troeger: Otto Mueller. Freiburg im Breisgau, 1949 Hanns Theodor Flemming: Otto Mueller, Farbige Zeichnungen und Radierungen. Feldafing, 1957 Walther Scheidig: Otto Mueller, Zigeunermappe. Dresden, 1958 Alfred Schmeller: Otto Mueller, Märchenbilder und Zigeunerleben. München, 1959 Lothar-Günther Buchheim: Otto Mueller, Leben und Werk. Mit einem Verzeichnis der graphischen Werke von Florian Karsch. Feldafing, 1963 Lothar-Günther Buchheim: Otto Mueller, Pastelle – Zeichnungen - Lithographien. Feldafing, 1968 Florian Karsch: Otto Mueller, zum hundertsten Geburtstag – Das graphische Gesamtwerk. Berlin, 1974 Siegfried Haertel: Otto Mueller zum 100. Geburtstag. Bonn, 1974 Horst Jähner: Otto Mueller, Maler und Werk. Dresden, 1974 Marlene Decker: Gestaltungselemente im Bildwerk von Otto Mueller. Dortmund, 1993 Mario Andreas von Lüttichau: Otto Mueller, Ein Romantiker unter den Expressionisten. Köln, 1993 Magdalena M. Moeller: Otto Mueller – Gemälde – Aquarelle – Pastelle und Druckgraphik. Hirmer Verlag, München, 1996 Michaela Wallner: Otto Mueller, Exotismus und Primitivismus. MA Thesis, Universität Trier, 2001 Johann Georg Prinz von Hohenzollern/Mario-Andreas von Lüttichau (Hrsg.): Otto Mueller. Prestel Verlag, München, Berlin, London, New York, 2003 Tanja Pirsig-Marshall: Otto Mueller and the Gypsies. Doktorarbeit, University of Essex, 2004 Dr. Hans-Dieter Mück (Hrsg.): Von der Leichtigkeit des Seins – Otto Mueller 18747-1930: Gemälde – Aquarelle – Farbkreidenzeichnungen – Druckgraphik – Briefe aus der Sammlung Karsch, Berlin und aus einer weiteren Privatsammlung. 2 Bände. Apolda (Thür.), 2008 Exhibition Catalogues Otto Mueller. Galerie Paul Cassirer, Berlin, 1919 Otto Mueller. Gedenkausstellung, Nationalgalerie Berlin, 1931 Otto Mueller. Schlesisches Museum der bildenden Künste, Breslau, 1931 Otto Mueller 1874-1930. Staatliche Kunstsammlungen Dresden, 1947 Otto Mueller 1874-1930 – Gemälde, Aquarel
  • Emil Nolde (Emil Hansen)

    Emil Nolde (Emil Hansen)

    Biography : Emil Nolde 1867 Emil Nolde (Emil Hansen) wird in Nolde (Schleswig) geboren 1884-1888 Lehre als Möbelzeichner und Schnitzer, arbeitet anschliessend in verschiedenen Möbelfabriken in München, Karlsruhe und Berlin 1889 Lehrer an der Kunstgewerbeschule in Karlsruhe 1892-1897 Lehrer für ornamentales Zeichnen und Modellieren an der Kunstgewerbeschule in St.Gallen 1899 Besucht die Schule von Hölzel in Dachau und die Académie Julian in Paris 1903 Lässt sich auf der Insel Alsen nieder 1906/07 Mitglied der „Brücke“, Begegnung mit Munch 1910 Kontroverse mit Liebermann, Mitbegründer der „Neuen Secession“ 1913/14 Reist mit einer wissenschaftlichen Expedition über Russland, China und Japan  nach Neuguinea 1919-1921 Mitglied im „Arbeitsrat für Kunst“ 1926 Übersiedlung nach Seebüll 1931 Mitglied der Preussischen Akademie der Künste 1937 Im Zuge der Aktion „Entartete Kunst“ werden 1052 seiner Werke in deutschen Museen beschlagnahmt 1941 Ausschluss aus der Reichskunstkammer, erhält Malverbot 1944 Das Berliner Atelier wird bei einem Luftangriff vernichtet 1946 Ernennung zum Professor 1956 Gründung der „Stiftung Seebüll Ada und Emil Nolde“ 1956 Emil Nolde stirbt in Seebüll (Schleswig-Holstein) Exhibition : Emil Nolde
    Exhibitions (selection)
    1895
    Kunstverein, St. Gallen
    1904
    Kunstverein Leipzig
    Kunsthandlung Schulte, Berlin
    1905
    Städtisches Museum, Halle
    1906
    Galerie Arnold, Dresden
    Museum Folkwang, Hagen
    1907
    Museum Folkwang, Hagen
    Galerie Commeter, Hamburg
    1908
    Kunstverein, Jena
    Hallins konsthandel, Stockholm
    1909
    Kunstverein Heidelberg
    Kunstgewerbemuseum Flensburg
    1910
    Galerie Commeter, Hamburg
    1911
    Städtisches Museum, Elberfeld
    Galerie Commeter, Hamburg
    Ruhmeshalle, Kunstverein Barmen
    1912
    Galerie Arnold, Dresden
    Museum Folkwang, Hagen
    Westfälischer Kunstverein, Münster
    Der Neue Kunstsalon, München
    Kunsthalle Kiel
    1913
    Kunstverein, Jena
    1914
    Kunstverein, Halle
    Kunstverein, Leipzig
    1915
    Kunstsalon Schames, Frankfurt/Main
    1916
    Nassauischer Kunstverein, Wiesbaden
    Galerie Arnold, Dresden
    Graphisches Kabinett J. B. Neumann, Berlin
    1917
    Gummessons konsthandel, Stockholm
    Kunstsalon Schames, Frankfurt/Main
    1918
    Kestner-Gesellschaft, Hannover
    Kunstsalon Schames, Frankfurt/Main
    Neue Kunst, Hans Goltz, München
    1919
    Nassauischer Kunstverein, Wiesbaden
    Galerie Arnold, Dresden
    Nationalgalerie, Kronprinzen-Palais, Berlin
    1920
    Kunstsalon Richter, Dresden
    Kunstsalon Schames, Frankfurt/Main
    Kunsthütte Chemnitz
    Kunstverein Kassel
    1921
    Kunstverein Weimar
    St. Katharinenkirche, Lübeck
    Kunsthütte, Chemnitz
    Kunstverein Essen
    1922
    Kunsthaus Zürich
    Ruhmeshalle, Kunstverein Barmen
    Kunstsalon Schames, Frankfurt/Main
    Kestner-Gesellschaft, Hannover
    1923
    Neue Kunst Fides, Dresden
    1924
    Kunstsalon Schames, Frankfurt/Main
    Künstlerhaus Wien
    1925
    Kunstsalon Schames, Frankfurt/Main
    Neue Kunst Fides, Dresden
    Vereinigung für Junge Kunst, Oldenburg
    1926
    Nassauischer Kunstverein, Wiesbaden
    Altonaer Museum, Altona
    Kunstverein Erfurt
    1927
    Neue Kunst Fides, Dresden
    1928
    Kunstverein, Frankfurt/Main
    Hessisches Landesmuseum, Kassel
    Galerie Ferdinand Möller, Berlin
    Kestner-Gesellschaft, Hannover
    Kunsthalle Basel
    1929
    Kunstverein Rostock
    Städtisches Kunsthaus, Bielefeld
    1
    Detailed Description : Writings of the Artist Das eigene Leben (1897-1902). Köln, 2002 Jahre der Kämpfe (1902-1914). Köln, 2002 Welt und Heimat (193-1918). Köln, 2002 Reisen – Ächtung – Befreiung (1919-1946). Köln, 2002 Mein Leben (in einem Band zusammengefügte Ausgabe der 4-Bändigen Autobiographie. Köln, 1993 Briefe aus den Jahren 1894-1926. Hrsg. von Max Sauerlandt. Hamburg, 1967 Emil und Ada Nolde – Karl Ernst und Gertrud Osthaus, Briefwechsel. Hrsg. von Herta Hesse-Frielinghaus. Bonn, 1985 Hans Fehr – Emil Nolde. Ein Buch der Freundschaft. Köln, 1957 Catalogues raisonnés Gustav Schiefler: Das graphische Werk Noldes bis 1910. Berlin, 1911 Gustav Schiefler: Das graphische Werk von Emil Nolde 1910-1925. Berlin, 1927 Gustav Schiefler/Christel Mosel: Das graphische Werk von Emil Nolde – Band 1: Die Radierungen. Köln, 1966 Gustav Schiefler/Christel Mosel: Das graphische Werk von Emil Nolde – Band 2: Holzschnitte und Lithographien. Köln, 1967 Gustav Schiefler/Christel Mosel: Das graphische Werk von Emil Nolde. 2 Bände. Mit einer Einführung von Martin Urban. Köln, 1995 Martin Urban: Emil Nolde – Werkverzeichnis der Gemälde. Band 1: 1895-1914. London, 1987 Martin Urban: Emil Nolde – Werkverzeichnis der Gemälde. Band 2. 1915-1951. London und München, 1990 Monographs Festschrift für Emil Nolde anlässlich seines 60. Geburtstages. Dresden, 1927 Mario Giordano: Emil Nolde für Kinder. Köln, 2006 Werner Haftmann: Emil Nolde. Köln, 1958 Werner Haftmann: Emil Nolde – Ungemalte Bilder – Aquarelle und „Worte am Rande". Köln, 2002 Walter Jens: Emil Nolde, der Hundertjährige. Festvortrag zur Feier des 100. Geburtstages von Emil Nolde. Seebüll, 1967 Magdalena M. Moeller (Hrsg.): Emil Nolde – Expedition in die Südsee. München, 2002 Magdalena M. Moeller (Hrsg.): Emil Nolde – Die Bergpostkarten. München, 2006 Manfred Reuther: Das Frühwerk Emil Noldes – Vom Kunstgewerbler zum Künstler. Köln, 1985 Manfred Reuther: Emil Nolde – Meine biblischen u
  • Hermann Max Pechstein

    Hermann Max Pechstein

    Biography : Hermann Max Pechstein 1881 Max Pechstein is born in Zwickau 1896-1900 Apprenticeship with decorative painter in Zwickau 1900-1902 Studies at the Dresden School of Applied Art 1902-1906 Studies at the Academy of Fine Arts in Dresden 1906 Member of the Brücke. He is given the Saxon State Award 1907 Spends summer in Goppeln with Kirchner 1908 Moves to Berlin. Member of the Berlin Secession 1910 Co-founder and chairmain of the New Secession. Trip to the Moritzburg lakes together with Heckel and Kirchner 1911 He and Kirchner found the MUIM Institute (Modern Painting Lessons) 1912 Excluded from the Brücke because of his participation in the Berlin Secession exhibition 1914 Travels to the Palau Islands 1915-1916 Military service on the Western front 1918 Co-founder of the Co-operative Council for Art 1922 Member of the Prussian Academy of Arts 1933 He is forbidden to paint or exhibit by the Nazi authorities  1937 Branded as "degenerate" by the Nazis. 326 of his works are confiscated in German museums 1944 His flat in Berlin and a large number of his works are destroyed 1945 Professorship at the Academy of Fine Arts in Berlin 1955 Max Pechstein dies in Berlin Exhibition : Hermann Max Pechstein
    Solo Exhibitions (selection)
    1909
    Secession, Berlin
    1912
    Kunsthandlung Gutenberg, Berlin
    Kunsthandlung Hugo Moses, Berlin
    1913
    Fritz Gurlitt, Berlin (mit Oscar Moll)
    1916
    Kunstverein, Leipzig
    1918
    Fritz Gurlitt, Berlin
    1919
    Galerie Arnold, Dresden
    1921
    Kronprinzenpalais, Berlin
    Galerie Goyert, Köln (mit Rudolf Belling)
    Ferdinand Möller, Berlin
    1922
    Kestner-Gesellschaft, Hannover
    1923
    Ferdinand Möller, Berlin
    Kunsthaus Zürich
    Kunsthalle Bern
    Neue Kunsthandlung, Berlin
    Tel Aviv Museum (nur durch Plakat belegt)
    1924
    Akademie der Künste zu Berlin, Berlin
    Danziger Museum, Danzig
    1925
    König Albert-Museum, Zwickau
    1927
    Kunsthandlung Victor Hartberg, Berlin
    1931
    Berliner Secession Nr. 67, Berlin
    Belgrad
    Zagreb
    1932
    Galerie von der Heyde, Berlin
    1934
    Galerie von der Heyde, Berlin
    1935
    Van Diemen & Co./Karl Lillienfeld, New York
    1936
    Galerie von der Heyde, Berlin
    1937
    Carnegie Institut Pittsburgh, New York
    1938
    Karl Lillienfeld, New York
    1939
    Galerie von der Heyde, Berlin
    1946
    Staatsoper (Admiralspalast), Berlin
    1947
    Städtisches Museum, Zwickau
    Galerie Henning, Halle
    Junge Galerie, Hamburg
    1949
    Galerie Henning, Halle
    1951
    Kunstverein Freiburg in Breisgau
    1952
    Hochschule für bildende Kunst, Berlin
    1954
    Gerd Rosen, Berlin
    1955
    F. A. C. Prestel, Frankfurt/Main
    1958
    Gerd Rosen, Berlin
    L’Art Ancien, Zürich
    1959
    Nationalgalerie und Hochschule für Bildende Künste, Berlin
    Galerie Van Diemen-Lillienfeld, New York
    Dalzall-Hatfield Gallery, Los Angeles
    1960
    L’Art Ancien S.A., Zürich
    Kunstamt Charlottenburg, Berlin
    Kunstverein, Wolfsburg
    1965
    Elfriede Wirnitzer, Baden-Baden
    1969
    Galerie Pels-Leusden, Berlin
    Galerie Voigt, Bremen
    1970
    Galerie Gunzenhauser, München
    Serge Sabarsky, New York
    1972
    Altonaer Museum, Hamburg
    B.A.T.-Haus, Hamburg
    Jahrhunderthalle, Frankfurt-Hoechst
    Galerie Thomas. München
    1973
    Brücke-Museum, Berlin
    1981
    Galerie Wirnitzer, Baden-Baden
    Ostdeutsche Galerie, Regensburg
    Stiftung Pommern, Kiel
    Detailed Description : Hermann Max Pechstein Writings of the Artist Max Pechstein: Erinnerungen, 1945-46. Mit 105 Zeichnungen des Künstlers. Hrsg. von Leopold Reidemeister, mit einem Nachwort von Karin von Maur. Nachdruck der Ausgabe Wiesbaden 1960, Stuttgart, 1993 Max Pechstein: „Mein lieber Ede", Künstlerpost von Max Pechstein an Eduard Plietzsch. Hrsg. von Christian Vogel. Hamburg, 1996 Monographs Petra Buschhoff-Leineweber: Studien zum graphischen Werk von Max Pechstein (1905-1921). Bremen, 2004 Paul Fechter: Das graphische Werk Max Pechsteins. Berlin, 1925 Walter Heymann: Max Pechstein. 2. Aufl., München, 1916 Günter Krüger: Das Druckgraphisches Werk Max Pechsteins. Hrsg. von Max-Pechstein-Archiv Hamburg. Tökendorf, 1988 Konrad Lemmer: Max Pechstein und der Beginn des Expressionismus. Berlin, 1949 Magdalena M. Moeller (Hrsg.): Max Pechstein, Sein malerisches Werk. München, 1996 Max Osborn: Max Pechstein. Berlin, 1922 Aya Soika: Max Pechstein - Das Werkverzeichnis der Ölgemälde. 2 Bände. Hrsg. von Max Pechstein Urheberrechtsgemeinschaft. München, 2011 Exhibition Catalogues H.M. Pechstein und Rudolf Belling. Drittes Buch der Galerie Goyert, Köln, 1921 Max Pechstein. Van Diemen & Co. GmbH Lilienfeld Galleries, New York, 1932 Max Pechstein – Neue Landschaften. Galerie van der Heyde, Berlin, 1939 Max Pechstein. Einführung Adolf Jannasch. Staatsoper Berlin, Admirals-Palast, Berlin, 1946 Max Pechstein – Palau-Zeichnungen. Galerie Henning Graphisches Kabinett, Halle, 1947 Max Pechstein. Städtisches Museum Zwickau, 1947 Max Pechstein – Aquarelle, Zeichnungen und Graphik. Kunstverein Freiburg im Breisgau, 1951 Max Pechstein 1881-1955. Kunsthandlung F.A.C. Prestel, Frankfurt/Main, 1955 Max Pechstein. Galerie Gerd Rosen. Berlin, 1958 Max Pechstein – Zeichnungen und Aquarelle aus der Frühzeit. L’Art Ancien, Zürich, 1958 Der junge Pechstein – Gemälde, Aquarelle, Zeichnungen. Staatliche Museen zu Berlin, Nationalgalerie und Hochschule für Bildenden Künste, Ber Other Dealers:
    Also exhibited by:
    W. Utermann KG
    Richard Nagy Ltd.
  • Hans Purrmann

    Hans Purrmann

    Biography : Hans Purrmann 1880 Hans Purrmann wird am 10. April in Speyer geboren 1897 – 1899 Studium an der Kunstgewerbeschule in Karlsruhe 1900 – 1905 Studium an der Münchner Akademie bei Stuck und Hackl 1905/06 Aufenthalt in Berlin. Wird Mitglied der Berliner Secession. Künstlerische Prägung durch die französischen Impressionisten und deren deutschen Ausprägung 1906 – 1914 Studium in Paris bei Matisse. Wird Mitbegründer der Pariser deutschen Matisse-Schule 1916 Verlegt seinen Wohnsitz nach Berlin und Langenargen am Bodensee 1935 – 1943 Lebt in Florenz 1937 Sein Werk wird in Deutschland als „entartet“ verfemt 1943 Umsiedlung nach Montagnola 1966 Hans Purrmann stirbt am 17. April in Basel Exhibition : Hans Purrmann
    Solo Exhibitions (selection)
    1918
    Galerie Paul Cassirer, Berlin
    1925
    Galerie Pro Arte, Basel
    1927
    Galerie Alfred Flechtheim, Berlin
    Pfälzisches Gewerbemuseum Kaiserlautern
    1943
    Galleria d’Arte Moderna, Florenz
    1950
    Pfälzische Landesgewerbeanstalt Kaiserslautern
    Kunstmuseum Luzern
    1952
    Aargauischer Kunstverein, Gewerbemuseum Aarau
    1958
    Pfälzische Landesgewerbeanstalt, Kaiserslautern
    1960
    Kunstverein Hannover
    Pfälzische Landesgewerbeanstalt, Kaiserslautern
    1963
    Pfälzische Landesgewerbeanstalt, Kaiserslautern
    1964
    Stadthalle Freiburg i. Br.
    1965
    Pfalzgalerie Kaiserslautern
    Stadt Speyer
    Kulturhaus der Stadt St. Ingbert
    1966
    Aargauischer Kunstverein, Aarau
    Kunstverein, Frauenfeld
    Kunstverein Heidelberg
    Kunstverein Heilbronn
    Kunstgeschichtliches Institut der Johannes-Gutenberg-Universität, Mainz
    1967
    Kunst- und Kunstgewerbeverein, Pforzheim
    Pirmasens
    Kunstverein Ulm im Rathaus, Ulm
    1968
    Städtisches Bodenseemuseum, Friedrichshafen
    1970
    Pirmasens
    1976/77
    Museum Villa Stuck, München
    1979
    Staatliches Hans-Purrmann-Gymnasium, Speyer
    1980
    Museum Langenargen
    Mittelrheinisches Landesmuseum, Mainz
    1982
    Akademie derb Künste, Berlin
    1982/83
    Kunsthaus Zürich
    1986
    Kunstverein Speyer
    Museum Langenargen
    1987/88
    Bundeskanzleramt Bonn
    Landesmuseum Mainz
    Cercle Municipal, Luxembourg
    1990
    Kunstverein Speyer
    1995/96
    Gerhard-Marcks-Haus, Bremen
    1996/97
    Historisches Museum der Pfalz, Speyer
    2001
    Museum Langenargen
    2002
    Purrmann-Haus, Speyer
    Pfälzische Landesbibliothek, Speyer
    2003
    Purrmann-Haus, Speyer
    Detailed Description : Hans Purrmann Monographs Edmund Hausen: Der Maler Hans Purrmann. Berlin 1950 Barbara und Erhard Göpel: Leben und Meinungen des Malers Hans Purrmann – An Hand seiner Erzählungen, Schriften und Briefe. Wiesbaden, 1961 Hans Kinkel: Hans Purrmann in Montagnola – Ein Bildbericht. St. Ingbert 1973 Wilhelm Steigelmann: Hans Purrmann und die Pfalz. Erlebte Kunstgeschichte in Briefen. Edenkoben, 1975 Angela Heilmann: Hans Purrmann – Das druckgraphische Werk – Gesamtverzeichnis. Langenargen, 1981 Hans Purrmann und Gerhard Marcks: Eine Künstlerfreundchaft in Briefen. Bearb. von M. Rudloff. Langenargen/Sigmaringen, 1986 Clemens Jöckle: Hans Purrmanns Triptychon im Kreistagssaal zu Speyer. Hrsg. Vom Kunstverein Speyer/Purrmann-Haus Speyer. Speyer, 1993 Karen Volkmann: Die Skulpturen Hans Purrmanns, Magisterarbeit, LMU München, 1995 (unveröffentlicht) Reden über Hans Purrmann. Hrsg. von Friedrich Seel. Kunstverein Speyer in Verbindung mit dem Purrmann-Haus, Speyer. Lindenberg, 1996 Purrmanniana: Das Tagebuch von Gunter Böhmer – Purrmanniana. Hrsg. von E. Hindelang. Bearb. von H.-J. Imiela. Stuttgart, 2000 Essays Max Raphael: Purrmanns Atelierecke. In: Das Kunstblatt 1, 1917 Willy Kurth: Hans Purrmann. In: Kunstchronik 29, 1917/118 Curt Glaser: Hans Purrmann. In: Kunst und Künstler XVI, 1918 Willi Wolfradt: Hans Purrmann. In: Das Kunstblatt 2, 1918 Karl Scheffler: Hans Purrmann und der moderne Kolorismus. In: Kunst und Künstler XIX, 1921 Curt Glaser: Hans Purrmann. In: Deutsche Graphik des Westens. Berlin 1922 Friedrich Rintelen: Hans Purrmann – Bei Gelegenheit seiner Ausstellung um Basler Kunsthaus Pro Arte 1925. Wiederabgedruckt in: Reden, 1996 Curt Glaser: Hanns Purrmanns Entwürfe für Wandmalereien. In: Kunst und Künstler XXVIII, 1930 Karl Scheffler: Hans Purrmanns Landschaften aus dem Jahre 1930. In: Kunst und Künstler XXIX, 1931 Hermann Graf: Hans Purrmanns Wandgemälde im Kreisratsaal Speyer. In. Hans und Maschine 7, 1932 Piero Santi: Hans Purrma Artist's Objects:
  • Odilon Redon

    Odilon Redon

    Biography : Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family. The young Bertrand-Jean Redon acquired the nickname "Odilon" from his mother, Odile. Redon started drawing as a child; and, at the age of ten, he was awarded a drawing prize at school. He began the formal study of drawing at fifteen; but, at his father's insistence, he changed to architecture. Failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.) Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871. At the end of the war, he moved to Paris and resumed working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters; he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled À rebours (Against Nature). The story featured a decadent aristocrat who collected Redon's drawings. In the 1890s pastel and oils became his favored media; he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's. Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work. Influences of Japonism blended into his art, such as the painting The Death of the Buddha around 1899, The Buddha in 1906, Jacob and the Angel in 1905, and Vase with Japanese warrior in 1905, amongst many others. Baron Robert de Domecy (1867–1946) commissioned the artist in 1 Artist's Objects: Other Dealers:
    Also exhibited by:
    Richard Nagy Ltd.
  • Karl Schmidt-Rottluff

    Karl Schmidt-Rottluff

    Biography : Karl Schmidt-Rottluff 1884 Karl Schmidt-Rottluff (Karl Schmidt) is born in Rottluff near Chemnitz 1901 Makes friends with Heckel 1905 Leaves grammar school. Studies at the Saxonian Technical College in Dresden. 7 June: Co-founds the Brücke artist’s circle, together with Bleyl, Kirchner and Heckel 1906 The group requests him to ask Nolde to join. He meets Schiefler and Shapire in Hamburg 1907-1912 Summer trips to Dangast 1911 Trip to Norway 1912 Moves to Berlin. Makes friends with Feininger. Takes part in the Sonderbund exhibition in Cologne. Travels to Italy, Paris and Dalmatia 1913 Break-up of the Brücke 1915-1918 Military service in Lithuania and Russia 1918 Marries Emy Frisch 1918-1921 Member of the Co-operative Council for Art. Contributes to the magazine Die Aktion 1918-1943 Lives in Berlin. Spends each summer on the Baltic coast 1931-1933 Member of the Prussian Academy of Arts< 1937 608 of his "degenerate" works in German museums are confiscated by the Nazis 1943 Destruction of his Berlin studio in an air raid. He moves to Rottluff 1946 Returns to Berlin 1947-1954 Professorship at the School of Fine Art in Berlin 1964 At his suggestion, the Brücke Museum is founded in Berlin 1976 Karl Schmidt-Rottluff dies in Berlin Exhibition : Karl Schmidt-Rottluff
    Exhibitions (selection)
    1910
    Galerie Commeter, Hamburg
    1911
    Galerie Commeter, Hamburg
    Museum für Hamburgische Geschichte, Hamburg
    Atelier-Ausstellung, Hamburg
    1914
    Folkwang Museum, Hagen
    Kunstsalon, Berlin
    Kunstverein, Jena
    1915
    Kunstverein, Leipzig
    1917
    Galerie Hans Goltz, München
    1918
    Kunsthalle, Hamburg
    1919
    Galerie Ferdinand Möller
    Kunstverein, Halle
    1920
    Galerie Ludwig Schames, Frankfurt/Main
    Kestner-Gesellschaft, Hannover
    1921
    Galerie Commeter, Hamburg
    1922
    Galerie Alfred Heller, Berlin
    Kunstsalon Goldschmidt, Berlin
    Galerie Ferdinand Möller, Berlin
    Verein für Kunst und Kunstgewerbe, Erfurt
    1923
    Graphisches Kabinett Erfurt, Dresden
    Kestner-Gesellschaft, Hannover
    1924
    Overbeck-Gesellschaft, Lübeck
    1925
    Kühl und Kühn, Dresden
    Städtische Kunsthalle, Mannheim
    Museum für Kunst und Gewerbe, Hamburg
    1926
    Duisburger Museumsverein, Duisburg
    Vereinigung für junge Kunst, Augusteum, Oldenburg
    Galerie Commeter, Hamburg
    1927
    Galerie Ernst Arnold, Dresden
    Galerie Neumann-Nierendorf
    1928
    Galerie Ferdinand Möller, Berlin
    1929
    Kunsthütte Chemnitz
    Galerie Ludwig Schames, Frankfurt/Main
    Kunstverein Hamburg
    1930
    Provinzialmuseum, Hannover
    Galerie Buck, Mannheim
    1931
    Hamburger Kunstverein, Hamburg
    Galerie Neumann-Nierendorf, Berlin
    J. B. Neumann und Günther Franke, München
    Stadtmuseum, Osnabrück
    Galerie Alfred Flechtheim, Berlin
    1932
    Anhaltischer Kunstverein, Dessau
    1934
    Galerie Karl Nierendorf, Berlin
    1935
    Ausstellungsraum Karl Buchholz, Berlin
    Galerie Dr. Becker, Köln
    1936
    Westerman Gallery, New York
    1937
    Ausstellungsraum Karl Buchholz, Berlin
    1938
    Nierendorf Gallery, New York
    1946
    Städtische Kunstsammlung zu Chemnitz, Schlossberg-Museum, Chemnitz
    1947
    Overbeck-Gesellschaft, Lübeck
    Galerie Schüler, Berlin
    Galerie Hoffmann, Hamburg
    1948
    Galerie Henning, Halle
    Haus am Waldsee, Berlin
    Galerie Schüler, Berlin
    1949
    Galerie Henning, Halle
    Frankfurter Kunstkabinett Hanna Becker vom Rath, Frankfurt/Main
    1950
    Galerie
    Detailed Description : Karl Schmidt-Rottluff Monographs Susanne Anna (Hrsg.): Karl Schmidt-Rottluff – Malerei und Grafik. Städtische Kunstsammlung Chemnitz, 1993 Karl Brix: Karl Schmidt-Rottluff. Leipzig, 1920 Karl Brix: Karl Schmidt-Rottluff. Dresden, 1987 Victor Driksen: Karl Schmidt-Rottluff, Kleiner Führer der Hamburger Kunsthalle. Hamburg, 1921 Will Grohmann: Karl Schmidt-Rottluff. Stuttgart, 1956 Karl Kröner: Karl Schmidt-Rottluff, Berlin, 1948 Magdalena M. Moeller: Karl Schmidt-Rottluff, Werke aus der Sammlung des Brücke-Museum Berlin. Hirmer Verlag, München, 1997 Ernest Rathenau: Karl Schmidt-Rottluff – Das Graphische Werk seit 1923. New York, 1964 Leopold Reidemeister: Dor Holzstock als Kunstwerk - Karl Schmidt-Rottluff Holzstöcke von 1905 bis 1930. Brücke-Museum Berlin, 1983 Rosa Schapire: Karl Schmidt-Rottluff – Das Graphische Werk bis 1923 – Tafelband. Euphorion Verlag, Berlin, 1924 Gunther Thiem (Hrsg.): Karl Schmidt-Rottluff „Ungemalte Bilder" von 1934 bis 1944, und Briefe an einen jungen Freund. Deutscher Kunstverlag, München, Berlin, 2002 Gerhard Wietek: Karl Schmidt-Rottluff, Bilder aus Nidden 1913. Stuttgart, 1963 Gerhard Wietek: Karl Schmidt-Rottluff in Hamburg und Schleswig-Holstein. Neumünster, 1984 Gerhard Wietek: Karl Schmidt-Rottluff, Oldenburger Jahre 1907-1912. Oldenburg, 1994 Gerhard Wietek: Karl Schmidt-Rottluff, Plastik und Kunsthandwerk. Werkverzeichnis. München, 2001 Exhibition Catalogues Karl Schmidt-Rottluff. Galerie Ernst Arnold, Dresden, 1927 Karl Schmidt-Rottluff – Neue Gemälde und Aquarelle. Galerie Ferdinand Möller, Berlin, 1928 Karl Schmidt-Rottluff. Kunsthütte Chemnitz, 1929 Karl Schmidt-Rottluff – Aquarelle aus den Jahren 1943-1946. Städtische Kunstsammlung zu Chemnitz, Schlossberg-Museum, Chemnitz, 1946 Karl Schmidt-Rottluff – Vierzig Aquarelle aus den Jahren 1924-1946. Overbeck-Gesellschaft, Lübeck, 1947 Karl Schmidt-Rottluff – Holzschnitte. Galerie Henning, Halle, 1948 Karl Schmidt-Rottluff – Aquarelle und P Artist's Objects: Other Dealers:
    Also exhibited by:
    Ludorff
    W&K-Wienerroither & Kohlbacher
  • Géza Vastagh

    Géza Vastagh

    Biography : Géza Vastagh was one of the most important and best known Hungarian animal painters of the 19th century. Born in Kolozsvár, Transylvania (now Cluj in Romania), in 1866, he received his first artistic training in the studio of his father, the painter György Vastagh the Elder (1834-1922). In 1876, Géza Vastagh moved with his parents to Budapest where, inspired by his visits to the National Museum, he soon began to take a keen interest in stuffed animals, especially lions. Here there followed a period of stay in Munich from 1886 until 1888 when he attended art classes under the Hungarian artist Simon Hollósy (1857 – 1918) and Gabriel von Hackl at the Academy of Arts. It was there that he began to specialize in the depiction of animals, his preferred motifs being big cats. He exhibited in Munich's Glass Palace, a building of glass and iron structure modelled on the Crystal Palace in London. In 1889, after a short stay back in Budapest, Vastagh took up residence in France, where he took part in the Salon des Artistes Français and the Exposition Universelle in 1900. A scholarship awarded in 1898 enabled him to study his favourite motifs in the wild, to explore their natural habitats and to make countless sketches. He spent several months in Algeria and Tunisia where he was able to perfect his studies of wild animals that had begun in the zoological gardens of Europe's major cities, including Budapest, Munich, Paris, Hamburg, Leipzig, Berlin and London. He then returned to Hungary, where he was to spend the rest of his life. Vastagh's oeuvre can be divided into several phases of creativity: an early lion phase, a phase during which he painted Hungarian grey cattle, a poultry phase and, finally, a late lion phase in conjunction with landscapes. Vastagh had several thousand oil paintings, pastels and watercolours to his credit, most of them depictions of animals. He exhibited his paintings of wild animals very early on in his life (as early as the 1880 Detailed Description : Painted in 1912, “Two Maned Lions in a Woodland Landscape” is dominated by a majestic, proudly standing lion in the middle foreground, his maned head turned towards the viewer. The lion stands calmly and watchful in a bright forest clearing. He is followed by a second lion in the middle ground, entering the scene from the left. Visible in the background is a large, bare-branched tree surrounded by other, younger leaf-covered trees and bushes. The lion standing in the middle of the scene seems to have scented something. Raising his head, he half closes his eyes in order to concentrate on his sense of smell. He has a fully grown mane that completely surrounds his head and continues down to his chest, belly and groin. This dark, luxuriant mane with its fringe of gold around the head identifies the two lions as Barbary or Atlas lions. Known to have existed in Europe, this subspecies originated from North Africa, where it was widespread across all countries from Morocco to Egypt. Regrettably, the Barbary lion is now extinct in the wild. The two lions are depicted in very idyllic surroundings. The are both relaxed and the lion in the middle foreground observes the viewer self-assuredly, indeed there seems to be a direct eye-contact between the lion and the viewer. The balanced composition underlines the harmony of the scene. The colouration is primarily an intensive beige-brown-green. The lion in the middle seems to be posing for the painter. His gold-coloured mane makes him stand out against his dark-green and dark-brown surroundings, while the lion in the middle ground blends with the background. Compared with other works by Vastagh, this painting is relatively large and measures 106.5 x 125 cm, making it one of the more important works in the artist's oeuvre. It was very probably shown at the large retrospective in 1920, but it is very difficult to identify the work in the catalogue with the aid of just the title. The painting is in relatively good cond Artist's Objects:
  • Fritz Winter

    Fritz Winter

    Biography : Fritz Winter 1905 Fritz Winter is born in Altenbögge near Unna on 22nd September. His father is a miner, his mother a housewife. 1919 Training as an electrician, followed by employment as an electrical fitter and miner. 1925 Jobless – aimless wanderings through Belgium and Holland – first attempts at painting and drawing – takes a deep interest in the works of Vincent van Gogh and Paula Modersohn-Becker. 1927-1930 Studies at the Bauhaus in Dessau under Josef Albers, Wassily Kandinsky, Oskar Schlemmer, Joost Schmidt, among others. Combines artistic with scientific interests. 1928-1929 Takes part in first exhibition: "Young Bauhaus Painters" in Halle, Braunschweig, Erfurt and Krefeld. 1929 Visits Ernst Ludwig Kirchner in Davos – first one-man exhibition in Davos – meets Naum Gabo – influenced by Kirchner and "primitivism". 1930 Second visit to Kirchner in Davos – moves with Franz Ehrlich and Heinz Löw to Berlin, where they form the group "Studio Z" – works for 3 months in the studio of Naum Gabo in Berlin – finishes his studies at the Bauhaus on 10th September – first one-man exhibition in Germany, at the Kunststube Buchholz in Berlin - first abstract compositions evolve from the formal influences of Arp, Braque, Kirchner and Picasso. 1931-1932 Teaches at the Academy of Education in Halle – third visit to Kirchner – travels to Italy – first collages. 1932 Begins his series of "Biomorphic Ovals" (continued until 1935), "Tectonic Variants of Elementary Forms", "Geometrical Compositions". 1933 Moves with his companion and future wife Margarete Schreiber-Rüffer and her son Klaus-Dietrich to Allach near Munich – takes part in an exhibition of works of contemporary German art owned by Swiss collectors at the Kunsthaus in Zürich – begins his series of "Open Angular Structures" and "Dynamic Light Spaces" (continued until 1937) and their first variants, "Crystal and Light Ray Paintings" (continued until 1934). 1935 Moves to Diessen o Exhibition : Fritz Winter
    Solo Exhibitions (selection)
    1929
    Davos, Buchhandlung Heintz, Neu und Zahn
    1930
    Berlin, Kunststube
    1931
    Berlin, Galerie Ferdinand Möller: Fritz Winter. Variationen über ein Raumthema - Gemälde, Aquarelle
    1947
    Stuttgart, Haus Domnick
    1949
    Köln-Braunsfeld, Galerie Rusche
    1950
    Berlin, Galerie Schüler
    Hamburg, Galerie Ruhstrat
    Mannheim, Galerie Rudolf Probst: Neue Bilder 
    Wanderausstellung: München, Galerie Otto Stangl; Witten, Märkisches Museum; Wuppertal-Eberfeld, Städtisches Museum; Essen, Museum Folkwang; Hagen, Karl Ernst Osthaus Museum; Stuttgart, Galerie Lutz und Meyer; Basel, Galerie d’Art Moderne, Suzanne Feigel
    1951
    Bern, Galerie Marbach
    Erlangen, Amerikahaus
    Köln, Galerie Der Spiegel: Neue Arbeiten 
    München, Galerie Günther Franke
    1952
    Bern, Galerie Marbach 
    Bremen, Kunsthalle
    Brüssel, Galerie Apollo
    Köln, Galerie Ferdinand Möller: Neue Arbeiten 1951-52
    Luzern, Galerie d’Art International
    New York, Hacker Gallerie: Paintings
    Paris, Galerie Roque
    Venedig, Galleria della Fenice
    1953
    Berlin, Galerie Schüler
    London, Lefèvre Gallery
    Wuppertal, Städtisches Museum
    Wanderausstellung, Fritz Winter. Neue Arbeitsergebnisse: München, Galerie Günther Franke; Mannheim, Kunsthalle
    1954
    New York, Kleemann Galleries
    1955
    Köln, Galerie Der Spiegel: Fritz Winter. 21 Pinselzeichnungen
    Köln, Galerie Ferdinand Möller: Retrospektive 1928-55
    München, Galerie Günther Franke (1955/56): Fritz Winter - fünfzigjährig
    New York, Kleemann Galleries
    1956
    Berlin, Galerie Schüler
    Bern, Galerie Marbach
    Chicago, Fairweather-Hardin Gallery
    1958
    Berlin, Galerie Schüler
    New York, Kleemann Galleries: Paintings 1952-1957
    Rom, Galleria La Medusa
    1959
    Duisburg, Städtisches Kunstmuseum: Gemälde und Temperazeichnungen
    Frankfurt am Main, Göppinger Galerie 
    Frankfurt am Main, Galerie Hudtwalker
    München, Galerie Günther Franke: Überblick über sein Schaffen 1925-1959
    1960
    Köln, Kunsthaus Lempertz: Gemälde, Aquarelle un
    Detailed Description : Fritz Winter - from Klee to Kirchner, works from 1928 to 1934 Fritz Winter was born in 1905 in Altenbögge, a small mining community situated near Hamm in the industrial valley of the River Ruhr, and died in 1976 in Herrsching am Ammersee, near Munich. As with most of his fellow artists of his generation in Central Europe, his career followed a course dictated primarily by the historical events of the time: Following in his father's footsteps, Fritz Winter began his working life as a miner. By the age of 19, however, he was politically motivated enough to seek a freer life, subscribing to that international vagabondage that had gained such enormous cultural significance during the 1920s. From there it was but a short step to art. Having rapidly studied all the stylistic developments in art since 1880 (Cf. fig. 1 – 7), he then applied himself at greater depth to more recent developments, studying at the Bauhaus under Kandinsky, Klee and Schlemmer from 1927 until 1930 and working in close collaboration with Kirchner in Davos between the years of 1929 and 1932. Fritz Winter had already set his mind on abstraction, and it was abstraction that he was to practise untiringly until his death. However, after having made very promising beginnings as a artist, with teaching posts in Berlin (where he made the acquaintance of the sculptor Naum Gabo) and in Halle from 1931 until 1933, Fritz Winter escaped, in that fateful year of 1933, into an "inner emigration" in Allach, near Munich. Indeed, for Fritz Winter, this situation was tantamount to being "exiled" and from then on he simply painted "for the storeroom", as he himself once put it. One glimmer of hope, albeit a deceptive one, came in 1936, when an application for his admission to the Reich Culture Chamber was approved, but this was obviously a mistake, for artistic compromise was the last thing he would be prepared to accept, with the result that he was finally forbidden to paint in 1937. He continued to paint cland