Gabriele Münter

"19 Feb. 1877–19 May 1962, a German expressionist painter who was at the forefront of the Munich avant-garde in the early 20th century.

.... a driven artist, dedicated to the German Expressionist movement. She kept a journal and documented her journeys with a state-of-the-art camera. She was familiar with many of the more famous artists of the time....

...In 1909 Münter began using glass as a different medium. This was a process that had been adopted by Kandinsky, Franz Marc, August Macke, and Heinrich Campendonk. But Münter was the first one to actually copy the traditional practices that this kind of work had to offer. Soon enough Münter and Kandinsky, along with the other artists, began painting their own designs on the glass pieces. This process she had learned during her time in Murnau, when she had discovered Bavarian and Bohemian Hinterglasmalerei, which was basically painted glass. This was one step that the group the Blaue Reiter had taken towards primitive art. This kind of art could be observed in many places in Europe at the beginning of the 20th century. Münter loved Kandinsky and worked hard to bring him and his paintings to the public eye.

Kandinsky’s and Münter’s professional and personal relationship lasted for about 12 years. During this time their relationship affected Münter’s art. Kandinsky was married for 15 years while he was in a relationship with Münter. They spent a great deal of time together traveling through Europe..." (Wikipedia)

By 1914, Münter’s particular strengths as an artist — her ability to simplify and her talent for accurate and striking delineation — were in full bloom. Reduction of form and clear color contrasts are also the hallmarks of the portraits of her artist friends, with which she became a sort of chronicler of the Blue Rider group. The mysterious still lifes she created around 1911 feature the products of religious artisan craftwork and reverse ..."
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First Collected by

David Jenni


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