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拍品專文
This view from the Griesbräu inn near the shores of the Staffelsee in Murnau, close to the Bavarian alps, presents us with a landscape of simplified forms and strong colour. Today the area is still celebrated for its natural beauty and is known as Das Blaue Land (the Blue Land) in commemoration of Der Blaue Reiter (The Blue Rider), the loose group of modern artists who resided there and who exhibited together in the few years before the First World War. Comprising not just Münter but Wassily Kandinsky, Paul Klee, August Macke and Franz Marc, it is noteworthy that the colour blue was so compelling for these painters and that it features so strongly in the present work too, in lake, mountains and sky. The group thought of the colour as having profoundly spiritual connotations. For them it symbolised the eternal and weighed against the dull materialism of contemporary life.
The present work marks the critical juncture of Münter’s first visit to the Murnau locale with Kandinsky in the summer of 1908. She was immediately struck by the elementary power of its panoramas, its weather and its capacity for the sublime, qualities which directly influenced what became her expressionist painting style. The meadow, barn and mountains of the title are rendered as essences of form, colour fields whose lineaments are graphically defined. A late evening sunset is suggested by the pink in the sky above the mountains and against the leaves lit contre-jour around their edges. The foliage is shown un-individuated, its detail subsumed into flattish angular shapes whose dark patterning is like a design laid down against the contrasting blue of the still just light sky and establishes a distinct variance to the sinuous form of the land.
Some evidence of Münter’s early interest in photography can be detected in the way she borrows from its framing and cropping attributes. See for example, the green intrusion of another mostly hidden-from-view tree at top right and the way that the tree on the left is viewed almost haphazardly in front of the barn, making it look as if the building is glimpsing out from around and behind it. The mountains, tree trunk and branches are mostly silhouettes while the pink and red roof of the barn project themselves conspicuously as forceful colour inverses of the meadow.
The present work exemplifies the verve and daring of Münter’s Fauvist-like reduction of three-dimensional representation to fundamental motifs and planes and to the sensuous colour consonances to be found in nature.
The present work marks the critical juncture of Münter’s first visit to the Murnau locale with Kandinsky in the summer of 1908. She was immediately struck by the elementary power of its panoramas, its weather and its capacity for the sublime, qualities which directly influenced what became her expressionist painting style. The meadow, barn and mountains of the title are rendered as essences of form, colour fields whose lineaments are graphically defined. A late evening sunset is suggested by the pink in the sky above the mountains and against the leaves lit contre-jour around their edges. The foliage is shown un-individuated, its detail subsumed into flattish angular shapes whose dark patterning is like a design laid down against the contrasting blue of the still just light sky and establishes a distinct variance to the sinuous form of the land.
Some evidence of Münter’s early interest in photography can be detected in the way she borrows from its framing and cropping attributes. See for example, the green intrusion of another mostly hidden-from-view tree at top right and the way that the tree on the left is viewed almost haphazardly in front of the barn, making it look as if the building is glimpsing out from around and behind it. The mountains, tree trunk and branches are mostly silhouettes while the pink and red roof of the barn project themselves conspicuously as forceful colour inverses of the meadow.
The present work exemplifies the verve and daring of Münter’s Fauvist-like reduction of three-dimensional representation to fundamental motifs and planes and to the sensuous colour consonances to be found in nature.