Gabriele Münter

Gabriele Münter & Johannes Eichner Foundation, Munich
Leonard Hutton Galleries, New York
Mr. & Mrs. J. Schreiber (acquired from the above in 1976 and sold: Sotheby's, New York, November 5, 2009, lot 195)
Acquired at the above sale

Stockholm, Nya Konstgalleriet, Gabriele Münter, 1917
Copenhagen, Den Frei Kunstudstillig, Gabriele Münter, 1918, no. 88
Copenhagen, Ny Kunstal, Gabriele Münter, 1919, no. 43
Storrs, The William Benton Museum of Art, University of Connecticut, Russian Avant-Garde Art from the Schreiber Collection, 1986, no. 2801
New Rochelle, Castle Gallery College of New Rochelle, Russian Avant-Garde Art from the Schrieber Collection, 1984, no. 8, illustrated in the catalogue

Work is in very good condition. Canvas is lined. Under UV light: there is a 5 inch fine line of inpainted spots to address surface abrasion near the right edge (just above the center) and a few small scattered spots toward the left edge and right corner. Otherwise fine.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Gabriele Münter's painting Landschaft mit Einoedhof, is a wonderful panoramic depiction of the Bavarian countryside surrounding the small town Murnau, beautifully capturing the vastness and depth of the landscape. After many years of travelling throughout Europe with her companion Wassily Kandinsky, she returned with him to Munich in late 1908 and shortly afterwards discovered the enchanting village of Murnau. The picturesque countryside around Murnau, with the alpine peaks in the background, provided the artist with a new source of inspiration and an ideal opportunity to paint outdoors; landscapes were Münter's favorite subject, and she returned to imagery of this particular setting at several times throughout her career. In December 1941 the artist wrote in her diary: "Still life is [like] the piano – landscape is the orchestra" (quoted inGabriele Münter, The Years of Expressionism 1903-1920 (exhibition catalogue), Milwaukee Art Museum, Milwaukee, 1998-99, p. 127). In Murnau, Münter and Kandinsky were also fascinated by the local tradition of Hinterglasmalerei (glass painting) which they discovered in the small town, and both artists experimented extensively with this medium. Münter's response to the jewel-like luminosity, simplified forms and fresh naivete of this folk-art is particularly evident in works such as the present landscape.

Kandinsky and Münter together with fellow artists such as Alexej von Jawlensky, Franz Marc and August Macke founded the avant-garde movement Der Blaue Reiter (The Blue Rider) in Munich. As is apparent in Landschaft mit Einoedhof, the group sought to liberate painting from the literal, figurative image of the world in order to reach a symbolic dimension, which unified man with the forces of nature, creating a universal, harmonious unity. Franz Marc explained: "Nature glows in our pictures as in every form of art. Nature is everywhere, in us and outside us; there is only one thing that is not altogether nature, but rather the overcoming and interpreting of nature: art. Art always has been and is in its very essence the boldest departure from nature and 'naturalness'. It is the bridge into the spirit world" (quoted in Peter Selz, German Expressionist Painting, Berkeley, 1974, p. 210).