Sale: 514 / Evening Sale, Dec. 11. 2020 in Munich Lot 249

Gabriele Münter
Blick aufs Murnauer Moos (Blaue Berge), Um 1910.
Oil on cardboard
€ 250,000 - 350,000

$ 292,500 - 409,500

Lot description
Blick aufs Murnauer Moos (Blaue Berge). Um 1910.
Oil on cardboard.
Verso with a partly stamped and partly hand-written label with the number "L 385". 32.5 x 40.5 cm (12.7 x 15.9 in).
Verso inscribed "4251" by a hand other than that of the artist .
• Outstanding composition from Münter's best period of creation.
• Bright view of Münter's beloved "Blue Land", the 'Murnau Moos', in bold forms and colors.
• This presumably is the most radical version of Münter's seminal motif of the "Blue Mountains", which gains its special appeal through the geometrically reduced forms of the clouds, mountains and trees and the mirroring mountain panorama.
• Expressionist landscape painting of museum quality, published, among others, in the catalog of the Münter retrospective at Lenbachhaus, Munich, and the Schirn Kunsthalle, Frankfurt a. M

PROVENANCE: Private collection Neustadt (owned by the Münter family).
German company collection (1980).

EXHIBITION: Jubiläums-Katalog 1919-1969, Galerie Aenne Aebels, Cologne 1969, cat. no. 38, with illu. (here titled: "Murnauer Moos").
Galerie Gunzenhauser, Munich 1980, cat. no. 31 with illu. (here titled: "Murnauer Moos").
Landschaften eines Jahrhunderts aus der Sammlung Deutsche Bank, Deutsche Bank Frankfurt on the Main 1999, with illu. on p. 299.

LITERATURE: Annegret Hoberg, Gabriele Münter in München und Murnau 1901-1914, in: Gabriele Münter 1877-1962. Retrospective, published by Annegret Hoberg and Helmut Friedel, Munich 1992, p. 35, black-and-white illu. 11 (there mentioned as "Verbleib unbekannt"(remains unknown)).
Annegret Hoberg, Gabriele Münter, Cologne 2017, illu. on pp. 30f.
"[..] I once (not more often) went out with Jawlensky [alone] to paint the landscape. J. stayed back on Kohlgruber Landstraße and was painting - I went a little further […]. Then I saw the 'Berggeist Inn' from up there and how the path went up and the blue mountain and the red evening clouds on the sky. I quickly jotted down what I saw. It was like an awakening [..]"
Gabriele Münter, 1957 in retrospect of her painting "Der blaue Berg" from 1908, quote after: A. Hoberg (editor), Wassily Kandinsky und Gabriele Münter in Murnau und Kochel, 1902-1914. Briefe und Erinnerungen, Munich 1994, pp. 45f., 53f.).

Called up: December 11, 2020 - ca. 18.25 h +/- 20 min.

New artistic ways - contoured surface painting
In a stable situation and environment, from feelings of inner well-being and personal liberation, a large number of important works, which manifested Münter's artistic breakthrough and the newly found means of expression, were created in Murnau. In the years before the First World War, she was at the height of her artistic creation. Under the influence of Kandinsky, she left divisionist late impressionism behind her in order to open up to a bolder design. Münter's contoured surface painting becomes a haunting distinct feature of the works of these years.
Clarity and simplicity - the Murnau Moos revisited
In the composition "Blick aufs Murnauer Moos" (View of the Murnau Moos), a strong work in terms of both color and form, Münter has attained an artistic progressiveness that is unusual for her otherwise mostly moderate expressionist creation. This is where her artistic signature, newly developed in exchange with Wassily Kandinsky and Alexej von Jawlensky, shows: her ability to reduce what she sees to essential forms and to freely use colors in their purest form, detached from the impression of nature. She encloses the strongly contrasting colored areas with tight black contours and thus creates a strong composition characterized by closeness and an increased expression. Above all, there are two color groups that Gabriele Münter contrasted here so effectively: green and blue, merely the rose clouds that develop from a bluish purple vary the color scheme while they maintain the form. What makes this landscape so unusual is that Münter did not only reduces the colors to an extremely high degree, but also unified the forms in a highly schematic way: clouds, mountains and trees are only seen as colored triangles without internal structures. A spatial perspective is completely dispensed with and the landscape impression is obtained from a two-dimensional juxtaposition of luminous color values. The artist's memories contain the following passage, which seems to be almost programmatic for our wonderful landscape: "More and more I grasped the clarity and simplicity of this world. Especially in foehn, the mountains made for a strong completion of the picture, black-blue. This was the color I loved the most. " (G. Münter, quote from: A. Hoberg, Gabriele Münter, Cologne 2017, p. 31). If one compares Münter's wonderful creation with Jawlensky's painting "Rote Giebel" (Red Gables) from the same year, today part of the collection of the Museum Ludwig, Cologne, one can see the common, progressive approach the members of the "Neue Künstlervereinigung München", founded in 1909, pursued. Kandinsky's works from this year - such as his famous painting "Murnau mit Kirche I" (Lenbachhaus, Munich) – also celebrate color values and increasingly use impression of the landscape only as a representational starting point for a highly abstract conception of color and form. During this period, however, Kandinsky remained even more firmly attached to the design of the individual color fields in a late-Impressionist manner, as the dotted and sometimes still shimmering, modulated paint application shows, while Münter, like Jawlensky, had already achieved stronger flatness and monochromy.
Münter's time in the 'Blue Land' a highlight in her creation
After both artists had stayed in Murnau together several times, Münter bought the house on Kottmüllerallee at the urge of Kandinsky. To the east it had a view of the village and the church hill and to the south it overlooked the foothills of the Murnau Moos, where the two artists would spent a lot of time together until their separation in August 1914. The early Murnau period, which immediately preceded the founding of the "Blauer Reiter", was an extremely fruitful period for both artists, and for Münter it can well be considered the glorious heyday of her artistic work. It is regarded as a kind of nucleus of the "Blaue Reiter" and at the same time marked the great turning point in Münter's work: Here she found her very own style. The peculiar lighting conditions and the strong, glowing colors of the Lower Alpine landscape, the large, massive forms of the mountains acted as catalysts for the rapid development from post-Impressionism to Expressionism. In 1908 she created the painting "Der Blaue Berg" (Ketterer Kunst, auction 419, lot 312), a pioneering painting for Münter, which, in terms of color and landscape, is fundamental for our much more daring view of the Murnau mountains. Münter composed even more freely, even more detached from nature, throwing dark bordered, bright and pure color surfaces onto the unprimed cardboard, increasingly emancipating herself from the fundamental impression of nature with a poised brushstroke. She noted in her journal: "After a short time of agony I made a big leap - from copying nature - more or less impressionistic - to feeling a content - to abstraction - to rendering an extract." [EH/JS]

Buyer's premium, taxation and resale right apportionment for Gabriele Münter "Blick aufs Murnauer Moos (Blaue Berge)"
This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation.

Differential taxation:
Hammer prices up to € 500,000: 32 % buyer's premium
Hammer prices above € 500,000: for the share up to € 500,000: 32%, for the share above € 500,000: 27% buyer's premium
The buyer's premium contains VAT, however, it is not shown.

Regular taxation:
Hammer prices up to € 500,000: 25 % buyer's premium plus statutory sales tax Hammer prices above € 500,000: for the share up to € 500,000: 25%, for the share above € 500.000: 20% buyer's premium, each plus statutory sales tax

We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.

Resale right apportionment:
Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 2.4% including statutory sales tax.