Gabriele Münter (1877-1962)
PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR
Gabriele Münter (1877-1962)

Staffelsee mit Nebelsonne

Details
Gabriele Münter (1877-1962)
Staffelsee mit Nebelsonne
signed and dated 'Münter 1931' (lower left); with Nachlass stamp (on the reverse)
oil on board
13 x 16 in. (33 x 40.5 cm.)
Painted in 1931
Provenance
Estate of the artist.
Kunsthandlung Franz Resch, Gauting, Germany (1966).
Galerie Änne Abels, Cologne (1967).
Anon. (acquired from the above, 1969); sale, Christie's, London, 7 October 1999, lot 88.
Egon Wolfgang Tistou Kerstan, Schwarzwald, Germany (acquired at the above sale).
Walter König, Cologne.
Galerie Gunzenhauser, Munich.
Senger Bamberg Kunsthandel, Bamberg (acquired from the above, 2006).
Acquired from the above by the present owner, October 2006.
Exhibited
Ludwigshafen am Rhein, Wilhelm Hack Museum, Der Blaue Reiter: Die Befreiung der Farbe, November 2003-February 2004.
Museum Moderner Kunst Passau, Den Blick als Frau gerichtet: Margret Bilger, Paula Modersohn-Becker, Gabriele Münter, July-August 2004.
Münster, Kunstmuseum Pablo Picasso, Die vielen Gesichter der Moderne: Eine suddeutsche Privatsammlung, August-November 2005 (titled Herbstlandschaft mit roter Sonne).

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Sarah El-Tamer
Sarah El-Tamer

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Lot Essay

This painting will be included in the forthcoming Münter catalogue raisonné being prepared by the Gabriele Münter- und Johannes Eichner-Stiftung.
For Münter, the 1930s marked a revival both in love and in her art. With the onslaught of World War I, Wassily Kandinsky, Münter’s companion, was forced to leave Murnau and Germany at large to return to his native Russia. Though Münter initially joined him in exile, their relationship deteriorated and the two eventually parted ways. She had stepped away from painting after her separation from Kandinsky around 1917 and would only return to painting a decade or so later after spending the 1920s traveling extensively. After visiting Paris from October 1929-June 1930, Münter created a series of mainly portraits and street scenes which are more muted in coloration than her earlier Der Blaue Reiter style. This period of artistic reinvigoration was directly linked with her emotional state; it was only after the development of her relationship with the art historian Johannes Eichner, her second partner, that her emotional state became more stable so that she was able to work properly. With Eichner, she moved back to Murnau in 1931 and would stay there for the rest of her life. The Murnau landscape would continue to inspire her during the 1930s and beyond, just as it had been a portal of change for her earlier works in the first decade of the 20th century.

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