PROPERTY OF A GERMAN COLLECTOR
Thence by descent
Cologne, Dom Galerie, Gedächtnisausstellung Sammlung Ferdinand Möller, 1966
Munich, Galerie Thomas, A 11 Art Forum, Otto Mueller, 1988
Einfach. Eigen. Einzig. Otto Mueller, 1874-1930, Wegbereiter der Künstlergruppe Brücke und deren selbstverständliches Mitglied (exhibition catalogue), Zwickauer Kunstsammlung, Zwickau; Kunsthalle Vogelmann, Heilbronn & Lehmbruck Museum, Duisburg, 2012-13, vol. II, illustrated p. 138
Mueller joined Die Brücke group in 1910, becoming one of the only members to have any formal training as a painter. The previous year he had exhibited a bathing scene at the first exhibition of the Neue Sezession in Berlin, which attracted the attention of the founder members of Die Brücke, who admired its freely composed, faux-naïve qualities. One particularly innovative contribution that Mueller made to the Brücke group, for which he was greatly admired by his fellow painters, was his use of distemper. Discussing this development, Peter Selz writes: “This new technique was extremely important, because it helped all the painters to get away from the pastose tenacity of oil and the method of applying paint in thick blotches, and to start painting in the large planes that they had already worked into their woodcuts” (P. Selz, German Expressionist Painting, Berkeley & Los Angeles, 1957, p. 115). Mueller continued to use and adapt distemper throughout his career, and it is this medium that endows the present works rich, almost fresco-like quality.
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