Mela Muter

Galerie Gmurzynska-Bargera, Cologne

Apart from a hairline crack to the upper right corner (approx. 2.5cm.), the board is in good condition, flat and even. There are no signs of retouching visible under ultraviolet light, and this work is in overall good condition. Held in a decorative, gold-painted moulded plaster and wood frame with a bronze slip.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted circa 1940-45, during Mela Muter's sojourn in southern France, the serene landscape and strong sunlight of the Midi were a welcome contrast to the dark reality of World War II that had engulfed Paris.

Mela Muter enjoyed painting views of Avignon and its historical landmarks like Saint Benezet's Bridge. Trees, especially the olive groves, were very attractive to her, as she felt that they embodied an almost human element, a sensitivity, which she made efforts to translate through her paintings.  

She often chose points of view that allowed her to juxtapose rushing rooflines of tightly settled homes against the soft flowing character of trees billowing in the wind. Muter's brushwork during this time remains impasto balanced by strong splashes of reflective colour. Areas of openness and space were achieved by leaving the canvas bare.