Oil on canvas.
Estate no. L 346. Signed and dated lower right. Signed, dated and titled with blue chalk on verso as well aswith estate stamp and with inscription "L. 346" in chalk. Also with adhesive label with number "246". 45,3 x 35,2 cm (17,8 x 13,8 in).

Accompanied by a written expertise issued by the Gabriele Münter- and Johannes Eichner Foundation, Munich, dated 18 April 2011. The work will be included into the catalog raisonné of paintings by Gabriele Münter.

PROVENANCE: Private collection Hesse.

Gabriele Münter received her first art lessons at the 'Damen-Kunstschule' (Ladies Art School) in Düsseldorf and then attended the Society of Woman Artists as M. Dasio's and A. Jank's pupil. Then she went to Munich where she visited the private art school 'Phalanx' which was run by Wassily Kandinsky. In 1904 Münter and Kandinsky began travelling together: to Holland, Italy, France - where they met Rousseau and Matisse - and elsewhere. Stylistically she now distanced herself from Impressionism and her works began showing Fauve and Expressionist influences. In 1908 she and Kandinsky began leading a calmer life in their apartment in Munich. They often met with Klee, Marc, Macke, Jawlensky and Marianne von Werefkin. The country house Münter bought in Murnau provided an ideal working environment. In 1909 the artist began painting glass, a medium which would later also be adopted by Kandinsky, Marc, Macke and Campendonk. Münter was a member of the 'Neue Künstlervereinigung München' for two years and in 1911 she joined the 'Blaue Reiter', the artist group founded by Kandinsky and Marc. She was interested in Kandinsky's development towards abstract art, but her own works continued to be figurative. Her landscapes, figurative scenes and portraits show a reduction to the essential with an inclination towards humorous characterization. When war broke out, Münter and Kandinsky at first moved to Switzerland. Münter, however, decided a year later to go to Stockholm, where she separated from Kandinsky. In late autumn 1917 she moved to Copenhagen.

In the days of World War I, which Gabriele Münter spent in Scandinavia at first with Wassily Kandinsky and then on her own, the artist explored Nordic landscapes, which she captured in a subdued and differentiated style, unlike it was the case in her works from before the war. The large almost monochrome color fields have disappeared. Münter avowed herself to a palette of a broken coloring. In terms of its formal arrangement the composition’s structure goes back to what has been developed, especially as far as the strong contour is concerned. However, the new path becomes obvious, a path to which Münter will stick in the following years. The landscape is illustrated with moderate forms of expression, it has hardly anything spectacular to offer. But yet, she succeeded in creating a complete composition, all in her artistic sense, with a pleasant balance between strict forms and an optical isolation of individual pictorial elements interconnected over the colors.

She traveled a lot during the 1920s and spent some time in Munich, Murnau, Cologne and Berlin. After 1931 she spent most of her time in Murnau and Munich. In 1956 she received the Culture Prize of the City of Munich. The year 1960 saw the first exhibition of Münter's work in the US, followed in 1961 by a large show in the Mannheim Kunsthalle. The artist died in her house at Murnau on 19 May 1962. [KD].