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Born in Berlin, Münter began drawing as a child. Because women were not allowed to enroll in the official German academies, she received private lessons.

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Presentation on theme: "Born in Berlin, Münter began drawing as a child. Because women were not allowed to enroll in the official German academies, she received private lessons."— Presentation transcript:

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2 Born in Berlin, Münter began drawing as a child. Because women were not allowed to enroll in the official German academies, she received private lessons and attended classes at the local Women Artists' School. Dissatisfied with its curriculum, Münter began attending Munich's progressive new Phalanx School, where she studied sculpture, woodcut techniques and painting. In 1902 Münter began a 12-year professional and personal relationship with the Phalanx School's director, the Russian painter Wassily Kandinsky. Münter and Kandinsky

3 Portrait of Wassily Kandinsky Städtische Galerie im Lenbachhaus, Germany Together they traveled extensively and in 1908 fell in love with the village of Murnau in the lake district of southern Bavaria. Münter later bought a house there, where she spent much of her life. The next year, Münter helped establish the Munich-based avant- garde group Neue Künstlervereinigung (New Artists' Association), and in 1911 she, Kandinsky, and several other artists left that group to form Der Blaue Reiter (the Blue Rider), an important expressionist organization.

4 1914

5 Murnau

6 'Blue Mountain' Gabriele Münter 1909

7 Lower Main Street, Murnau, 1910

8 Village church in Riedhausen by Murnau 1908

9 Murnau, on the Staffelsee, lies on the railway line between Munich and Garmisch- Partenkirchen and is about 25 kilometres (15 miles) north of Garmisch. The original mediaeval town was largely destroyed by fire in the mid nineteenth century, but Murnau has become famous through its connection with the early twentieth century artistic movement known as Der Blaue Reiter. The movement was founded by Vassily Kandinsky and Franz Marc, and it was named after a painting by Kandinsky. Wassily Kandinsky Murnau - Staffelsee -1908

10 Landscape with a white wall 1910 Landscape with a white wall 1910

11 Portrait of Marianne von Werefkin 1909

12 The Blue Gable 1911

13 Tombstones in Kochel 1909

14 Yellow house with an apple tree 1910

15 View with a Church 1910 View with a Church 1910

16 Villas on the Hill, c. 1911

17 Madonna with Poinsettia 1911

18 Black Mask with Rose 1912

19 Kandinsky and Erma Bossi at the Table in the Murnau House 1912

20 Kandinsky and Munter fell in love with the town's landscape and with its serenity. Since Munter had generous inheritance, purchased a house in a picturesque and serene neighbourhood in the town. Munter and Kandinsky were friendly with the painter couple Von Jawlensky and often invited them into their home in Murnau. Other frequent guests in their home were Paul Klee and Franz Marc. The first exhibition of the Blue Rider painters took place about a year after they settled in Murnau. Their paintings were often described as abstract, violent Romanticism, Mysticism, Surrealism. But in all of them held a philosophical and intellectual attitude can be recognized. "Painting is an act of the soul" wrote Kandinsky "it makes it more sensitive. Painting is the soul's food". A year later another exhibition took place, including paintings by Picasso as well. Although the "Blue Rider" existed as a group only for two years, they were the most productive group of painters in the era before WW1. These painters had a distinct effect on art and art theory, which influenced the development of modern art. Painting in Kochel graveyard 1909

21 During World War I, Münter and Kandinsky went to neutral Switzerland, but, as a Russian national, Kandinsky was considered an enemy alien, so he returned to Moscow in Shortly thereafter, Kandinsky obtained a divorce from his wife and, instead of marrying Münter, in 1916 he wed Nina Andreyevskaya, whom he had met in Russia. Münter never saw him again.

22 Child with Ball 1916

23 Approaching 1917

24 After a period of relative inactivity, Münter, back in Germany, returned to painting seriously in the late 1920s. Münter continued to use the house in Murnau for some years, moving between Murnau, Munich and Cologne, until 1925, when she moved to Berlin. Despite the limitations imposed on her as a radical artist working during the Nazi era, Münter continued producing landscapes, portraits, still lifes, and interior scenes in a vividly colored, highly stylized manner similar to the one she had developed early in her career. The Russians' House. 1931

25 Breakfast of the Birds 1934

26 Landscape by Murnau 1955

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28 The Münter-Haus in Murnau is now a museum where you can see a collection of furniture painted by Münter and Kandinsky and a staircase decorated by Kandinsky. There is also an exhibition on the Blue Rider Almanac, a collection of illustrated essays which was the manifesto of this avante-garde movement. הפרש הכחול אלמנך

29 Muenter-Haus-Murnau

30 Autoportrait Gabriele Münter

31 THE BLUE RIDER With a magnificent donation from Gabriele Münter, on the occasion of ther eightieth birthday 1957, the Städtische Galerie came into possession of an outstanding collection of works by Wassily Kandinsky and by Münter herself, as well as many works by their other artist frined in the Blue Rider Circle, that turned the Lenbachhaus overnight into a museum of world significance. In addition to this the collection was enlarged by several works of Blue rider artists by the Bernhard Koehler foundation Over the years thanks to the Gabriele Münter and Johannes Eichner foundation it was possible to add significant pieces, the Kubin Archive of the Hamburg collector Dr. Kurt Otte was purchased in The unique collection of works by Kandinsky, Marc, Münter, Klee, Macke, Jawlensky and other artists friends in the Blue Rider circle, such as Bechtejeff, Bossi and Werefkin, documents Munich´s contribution to classic modernist art in the decade preceding the First World War.

32 The Lenbachhaus in Munich

33 Franz Marc The following paintings were hidden by Gabriele Munter from the Nazi regime, and were saved from destruction. from the Nazi regime, and were saved from destruction.

34 Franz Marc

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36 Wassily Kandinsky

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39 Paul Klee

40 August Macke

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42 מקורות: Gabriela Munter קלריטה ואפרים הנכם מוזמנים להיכנס לאתר שלנו: נשמח לתגובות נשמח לתגובות


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