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Lot Essay
Als in der Nacht zum 6. Juni 1931 der Feueralarm im Münchner Glaspalast losging, war nichts mehr zu retten. Am nächsten Tag offenbarte sich das ganze Ausmass der Feuersbrunst. Cuno Amiets Retrospektive, die im Westflügel ausgestellt war, brannte nieder. Rund 51 Werken aus dem Zeitraum 1891 bis 1931, deren Auswahl er persönlich getroffen hatte und die teils aus seinen eigenen Beständen, teils aus Privat- und Museumsbesitz stammten, waren zerstört. Dieser Schicksalstag bestärkte ihn, den Verlust durch neue Schöpfungen auszugleichen und alte Kompositionen aus der Erinnerung wieder auf die Leinwand zu bringen. In der Folge malte er umso tatkräftiger, sein Blick war nach vorne gerichtet.
Amiet zog sich von September bis Oktober 1931 an den Thunersee zurück. Der Sammler und Verleger der Berner Tageszeitung Der Bund, Fritz Pochon-Jelt, stellte ihm seine Ferienvilla in Hilterfingen als Atelier zur Verfügung. In dieser Zeit entstanden die Thunersee-Bilder, die von der inneren Ruhe zeugen, trotz des Schicksalsschlages. Als Hinweis darauf setzte er seiner Signatur eine Flamme voran, bei all den Werken aus dem Jahre 1931, die nun auch in unserem Gemälde zu sehen ist. Das Bild Am Thunersee, 1931 wirkt leicht und grossflächig. Das beruhigende Blau des Sees nimmt schon fast die Hälfte des Werkes ein, die Ruhe wird durch nichts gestört, der Künstler besinnt sich auf leichte Farben, sie wirken beinahe transparent wie ein Aquarell.
Cuno Amiet gehört neben Ferdinand Hodler und Giovanni Giacometti zu den Wegbereitern der Schweizer Moderne.
When the fire alarm went off in the Glaspalast in Munich during the night of 6th June, 1931, it was already too late for anything to be saved. The full extent of the damage the fire had caused became apparent the following day. Cuno Amiet's retrospective that was being exhibited in the west-wing had been burnt to the ground. Approximately 51 artworks created between 1891 to 1931, that he had personally selected and that came from either his own collection or from other private or museum sources, were destroyed. This great misfortune made him determined to replace what had been lost with new creations, and to recall and put on canvas once again his earlier creations. Consequently, he painted with even greater fervor, with his eye on the future.
From September to October 1931, Amiet stayed at Lake Thun. Fritz Pochon-Jelt, an art collector and the publisher of the Bernese daily paper, Der Bund, had given Amiet permission to use his holiday villa in Hilterfingen as an atelier. It was during this period that his Lake Thun paintings were created, paintings that radiate an inner calm despite the great misfortune that had befallen him. As a sign of the latter, he placed a small flame in front of his signature in all his paintings from 1931, and it can also be seen on our painting. The work Am Thunersee, 1931 seems airy and expansive in this painting. The calming blue of the lake takes up almost half the space, with nothing disturbing its tranquility, the artist having chosen light colours that seem as transparent as a watercolour.
Along with Ferdinand Hodler and Giovanni Giacometti, Cuno Amiet was a pioneer of Swiss modern art.
Amiet zog sich von September bis Oktober 1931 an den Thunersee zurück. Der Sammler und Verleger der Berner Tageszeitung Der Bund, Fritz Pochon-Jelt, stellte ihm seine Ferienvilla in Hilterfingen als Atelier zur Verfügung. In dieser Zeit entstanden die Thunersee-Bilder, die von der inneren Ruhe zeugen, trotz des Schicksalsschlages. Als Hinweis darauf setzte er seiner Signatur eine Flamme voran, bei all den Werken aus dem Jahre 1931, die nun auch in unserem Gemälde zu sehen ist. Das Bild Am Thunersee, 1931 wirkt leicht und grossflächig. Das beruhigende Blau des Sees nimmt schon fast die Hälfte des Werkes ein, die Ruhe wird durch nichts gestört, der Künstler besinnt sich auf leichte Farben, sie wirken beinahe transparent wie ein Aquarell.
Cuno Amiet gehört neben Ferdinand Hodler und Giovanni Giacometti zu den Wegbereitern der Schweizer Moderne.
When the fire alarm went off in the Glaspalast in Munich during the night of 6th June, 1931, it was already too late for anything to be saved. The full extent of the damage the fire had caused became apparent the following day. Cuno Amiet's retrospective that was being exhibited in the west-wing had been burnt to the ground. Approximately 51 artworks created between 1891 to 1931, that he had personally selected and that came from either his own collection or from other private or museum sources, were destroyed. This great misfortune made him determined to replace what had been lost with new creations, and to recall and put on canvas once again his earlier creations. Consequently, he painted with even greater fervor, with his eye on the future.
From September to October 1931, Amiet stayed at Lake Thun. Fritz Pochon-Jelt, an art collector and the publisher of the Bernese daily paper, Der Bund, had given Amiet permission to use his holiday villa in Hilterfingen as an atelier. It was during this period that his Lake Thun paintings were created, paintings that radiate an inner calm despite the great misfortune that had befallen him. As a sign of the latter, he placed a small flame in front of his signature in all his paintings from 1931, and it can also be seen on our painting. The work Am Thunersee, 1931 seems airy and expansive in this painting. The calming blue of the lake takes up almost half the space, with nothing disturbing its tranquility, the artist having chosen light colours that seem as transparent as a watercolour.
Along with Ferdinand Hodler and Giovanni Giacometti, Cuno Amiet was a pioneer of Swiss modern art.