🌸 Gabriele Münter’s Photography/Fotografie 🌸
The exhibition is presenting the entirety of Gabriele Münter‘s broad work. Münter has been a lifelong traveller. During one of her journeys to her US-American relatives in the early 1900s she took a camera with her and created portraits of her nearest surroundings. A motive she would follow throughout her whole career, although she later changed her creative medium.
Die Ausstellung zeigt das gesamte Spektrum Gabriele Münters Schaffens. Münter, die ihr Leben lang reiste, nahm zu einem Besuch ihrer US-amerikanischen Verwandten um 1900 eine Kamera mit. Mit ihr porträtierte sie ihr nahes Umfeld auf interessante Weise. Ein Motiv, das sie über ihre gesamte Karriere hinweg verfolgte, auch wenn sie ihr künstlerisches Medium änderte. .
#HappyBirthday , Marianne von Werefkin!
On this day (according to the Julian calendar) 158 years ago the artist was born in Tula near Moscow as daughter to a general. In 1886 the family moved to St. Petersburg where she became a pupil of the famous realist painter Ilja Repin. It was through him that she first met Alexei Jawlensky, in 1892. Together they moved to Munich in 1896 where Werefkin gave up painting for almost ten years in order to devote herself entirely to promoting Jawlensky's talent. A vacation to Paris in 1906 induced her to take up painting again, creating a new style shaped by the iconography of human emotions.
Want to know more? In fall 2019 we will dedicate the large exhibition “Soulmates. Alexej Jawlensky and Marianne Werefkin” to both artists in order to retrace their individual creative evolution and to pinpoint the ways in which they inspired and influenced each other during their lifelong private and artistic relationship.
Erma Bossi, Portrait Marianne von Werefkin, um 1910, Gabriele Münter- und Johannes Eichner-Stiftung
Franz Marc, The Large Blue Horses (1911), Oil on canvas, Walker Art Center, Minneapolis.
Franz Marc was a key figure in the German Expressionist movement and influenced other artists despite his short career. Animals were often the subject of his works, which are well known for their bright, bold colours. This particular painting is an example of how he used vibrant colours to create a powerful effect; the three blue horses were intended to portray peaceful harmony, contrasted with the violence and aggression of the red hills behind them.
#workoftheweek : Paul Klee, Waldbeere (Wild Berry), 1921, Lenbachhaus
The world of the stage held a continuing fascination for Klee: the theatre, the circus, variety artistes, and magicians form the subject of many of his works, in which bizarre imaginary figures are seen performing some sort of act that is far removed from reality. In „Wild Berry“, a strange puppet-like creature with an enormous head stands on a kind of stage in the middle of a dark wood.