{"product_id":"142610","title":"Gabriele Münter ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYG66eDvJnf1K0mr13hMNOCGAnjeh.png?v=1765013967\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Gabriele Münter \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/110506151\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eAlongside Kandinsky, Paul Klee, and Franz Marc\u003cbr\u003e He led modern art and created his own figurative paintings.\u003cbr\u003e The Life and Works of Gabriele Münter\u003cbr\u003e\u003cbr\u003e “A true portrait is impossible without respect for humanity.”\u003cbr\u003e Going through the great currents of modern art\u003cbr\u003e The quiet power of unstoppable freedom\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e “There was a painter who, though outwardly unremarkable, could speak with certainty about art, raise serious questions, and withstand criticism with coolness.\u003cbr\u003e She was strong, and she was a thorough artist, but her strength lay in her stillness.\u003cbr\u003e “A dramatic appearance didn’t suit her.”\u003cbr\u003e\u003cbr\u003e As Impressionism faded and a new era began, we shed light on the life and works of Gabriele Münter, a German female artist who spearheaded the birth of modern art. \u003cbr\u003eMünter created a unique and distinctive world of figurative painting, without being swept away by the great current of modern art called abstraction.\u003cbr\u003e Why did it take so long for these artists to be recognized as 'artists'?\u003cbr\u003e\u003cbr\u003e Gabriele Münter lived in an era when female artists were disparaged as \"female revellers\" and \"natural amateurs.\"\u003cbr\u003e Moreover, art history still describes the meeting with Kandinsky as a major event, explaining that Münter was unilaterally influenced by Kandinsky.\u003cbr\u003e It was not until the 1950s, when she was in her 70s, that she began to receive renewed attention and seemed to be at a turning point.\u003cbr\u003e However, this reduces Münter to a peripheral figure in the German expressionist group 'Der Blaue Reiter' centered around Kandinsky.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThis book dispels these misconceptions and negative assessments surrounding Gabriele Münter and focuses on her independent life.\u003cbr\u003e Despite the limitations of her time and humanity, she silently but boldly experimented freely in her own way.\u003cbr\u003e In particular, Münter, even while a student of Kandinsky, showed talents that surpassed his in drawing, photography, and printmaking.\u003cbr\u003e Looking at Münter's works included in this book, one can clearly sense his eye for the unusual, his sense of humor, and his affection for everyday objects and landscapes.\u003cbr\u003e This book reassesses Gabriele Münter's influence on later art, thereby giving her her rightful place in art history.\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Introduction - Prince Yusuf and the Woman of Nothing 9\u003cbr\u003e Places of Childhood and Adolescence 17\u003cbr\u003e US Trip 29 \u003cbr\u003eNatural Amateur 43\u003cbr\u003e Departing for Munich 51\u003cbr\u003e Journey with Kandinsky 71\u003cbr\u003e The Potential of Education for Women 93\u003cbr\u003e Late Summer in Upper Bavaria 101\u003cbr\u003e Munich 121, a paralyzing sight that leaves people unable to move\u003cbr\u003e The Last Judgment 139\u003cbr\u003e Freedom to Follow Your Own Laws 149\u003cbr\u003e The Blue Knight and the Moth 155\u003cbr\u003e The Long Farewell to Kandinsky 177\u003cbr\u003e Abstraction, Irrepresentation, and Still Life with a Spotted Dog 189\u003cbr\u003e Open your ears wide 199\u003cbr\u003e Gray 1920s 213\u003cbr\u003e Birds' Breakfast 233\u003cbr\u003e Witnesses of the Times, Donors, and a Place in Art History 255\u003cbr\u003e Reference 269\u003cbr\u003e Author: Miju 273\u003cbr\u003e Source of plates and photos 279\u003cbr\u003e Translator's Note 281\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate3878\/MidCate002\/387710809(1).jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e She no longer belonged to the generation of physical and material pioneers who had risen through the social ladder on their own, free from the rigid social norms of the Kingdom of Prussia.\u003cbr\u003e Rather, she becomes the protagonist of a generation that seeks inner and artistic renewal. \u003cbr\u003eAlthough her family had little sensitivity to recognize her potential, her talent for capturing objects and people in her drawings was a given.\u003cbr\u003e --- p.23~24\u003cbr\u003e\u003cbr\u003e Gabriele Münter, while exploring photography and acquiring various materials, pondered not only the question of composition but also what photography clearly could not do.\u003cbr\u003e The contrast of light and dark in her black and white photographs, which echoes her later print graphics, contrasts sharply with the contours and lines that have been her own intuitive means of expression since childhood.\u003cbr\u003e While the use of cameras has led to a marked decrease in the number of meticulous pencil drawings, later in life, after his enlightenment as an artist, references to the colors he would choose appear for the first time in his sketches.\u003cbr\u003e Although initially written only in words, it hints at the possibility that color could be another means of expression.\u003cbr\u003e --- p.33~35\u003cbr\u003e \u003cbr\u003eOnly with the introduction of color did Gabriele Münter begin to understand his work as art.\u003cbr\u003e But while this color was absent, she regarded both the pencil and the camera as recording media of choice, above all else, for processing what she saw, or for vividly capturing human impressions or cultural characteristics.\u003cbr\u003e This does not mean that as soon as she learned photography, she did not start sketching photographs, that is, comparing and examining different media and their characteristics.\u003cbr\u003e --- p.35\u003cbr\u003e\u003cbr\u003e Ernst Gul asked this question in his authoritative 1858 book, Women in Art.\u003cbr\u003e “Are women qualified to do art, and if so, how many are there?” This question should not be answered too easily.\u003cbr\u003e Because women's artistic qualities are very outstanding. \u003cbr\u003e“Women tend to work delicately and meticulously to master their craft rather than boldly capture great ideas, so they will end up in arts that utilize easy and comfortable techniques.” In this way, a hierarchy is already created from the proportion of women active in each field of art.\u003cbr\u003e While there are virtually no women in architecture, and a very small group of women in sculpture, easily quantifiable, women are found in the overwhelming majority in painting and drawing.\u003cbr\u003e In painting, women were able to establish themselves in fields that 'lovingly reproduce nature', such as still life, portrait, and landscape painting, but they failed to stand out in areas dominated by 'creative art', such as history painting. \u003cbr\u003eTo add a word purely according to the logic of the oyster, it is easy to find that the highest percentage of women is in the field of photography, which seems to be predetermined to be imitated from the beginning and is relatively easy to handle.\u003cbr\u003e\u003cbr\u003e --- p.45~46\u003cbr\u003e\u003cbr\u003e This book offers a comprehensive summary of traditional perspectives on creative women, but it's hard to say that these perspectives will significantly shift within the next 50 years.\u003cbr\u003e Quite the opposite.\u003cbr\u003e When Carl Scheffler published Women and Art half a century later, discrimination in many fields of art had only worsened.\u003cbr\u003e The benevolent but subtly dismissive attitude seen in Gul's writings has now been replaced by open contempt.\u003cbr\u003e He denied that women had any imagination or artistic impulse, and branded them as “imitation itself.” \u003cbr\u003eWomen were seen as “natural amateurs” and therefore incapable of being “productive artists,” and any notable artistic achievements by women were inevitably a betrayal of femininity, associated with “immaturity, sickness, or excessive sexual sensitivity, or with sexual perversion or impotence.”\u003cbr\u003e This state of impotence is limited to women who simply reproduce, but for women who actually produce works of art, this state of perversion is bound to be severe and intense.\u003cbr\u003e --- p.46\u003cbr\u003e\u003cbr\u003e In this climate, it was by no means natural for gallery owners to recognize the true value of female artists by holding solo exhibitions or for academic papers on creative women to be published. \u003cbr\u003eEven avant-garde artists like August Macke and Franz Marc essentially took it for granted that women would sacrifice their creativity for the sake of their husbands' success.\u003cbr\u003e Painter Marianne von Werefkin temporarily gave up painting to support her boyfriend, Alexei von Jawlensky.\u003cbr\u003e Yet, even in the years after 1900, examples that matched this hostile portrayal of female artists became increasingly rare.\u003cbr\u003e Because female artists such as Werefkin, Münter, Juli Wolfthorn, Käthe Kollwitz, Jacoba van Heemskerk, and Paula Modersohn-Becker became key figures in German modern art.\u003cbr\u003e --- p.48\u003cbr\u003e\u003cbr\u003e Kandinsky spent the summer of 1903 trying to master the technique of woodcuts, but she, who was officially his student, was clearly more skilled in drawing, photography, and printmaking. \u003cbr\u003eEven when evaluating Kandinsky's decorative and symbolic prints, Münter showed his confidence in line and openly criticized Kandinsky for using it incorrectly.\u003cbr\u003e Münter had a remarkable ability to judge what he was good at and what he needed to learn more about.\u003cbr\u003e She thought she had a natural talent for drawing.\u003cbr\u003e --- p.65\u003cbr\u003e\u003cbr\u003e If photography and woodcuts represented the path Gabriele Münter would take in the future, Kandinsky's impressionistic influence in painting seemed to have temporarily set back her artistic development.\u003cbr\u003e That's not to say that by wrestling with his theoretical reflections, she didn't gain a clearer idea of ​​how to proceed in condensing and simplifying her own subject.\u003cbr\u003e As early as 1899, Kandinsky had clearly distanced himself from “the clear and detailed reproduction of nature.” \u003cbr\u003eHe also advocated extracting and condensing various natural phenomena in order to find “a grain of pure beauty” and to liberate himself from “a state of complete dependence on nature.”\u003cbr\u003e Recognizing the new possibilities in art photography around 1900 and in particular in the sword print technique that Münter favored, he asked:\u003cbr\u003e “Who would have imagined, even just ten years ago, that one could reproduce ‘one’s own’ gaze in a medium as clearly mechanical as photography?” Kandinsky said that the efforts of individual photographers had now proven that photography was not only a suitable medium for personal expression, but could also take its place in art exhibitions.\u003cbr\u003e Through this “revolution of light particles,” photography was elevated to the realm of art.\u003cbr\u003e --- p.67\u003cbr\u003e \u003cbr\u003eMore than ancient ruins or embroidery, what captured Münter's heart were the essence of Arab culture, the street life, and the alleyways that dotted the capital of that former French protectorate.\u003cbr\u003e She took in the atmosphere of the safe alley.\u003cbr\u003e As she did in America, she carefully focused her camera on the unfamiliar things that fit her way of looking at things.\u003cbr\u003e Not only did those white, cubic houses fit perfectly with her vision of a reduced objectivity that increasingly emerged in her work, but they also resonated deeply with her in their light and color.\u003cbr\u003e The small-scale oil and tempera paintings, sketches, and photographs retained the character of studies, and were intended to be produced on a larger scale later.\u003cbr\u003e Like Kandinsky, Münter returned repeatedly to oriental themes in the years that followed.\u003cbr\u003e --- p.77\u003cbr\u003e \u003cbr\u003eGabriele Münter realized that even before he had developed a vision for reducing objects in photography and graphics, there was already a famous pioneer in the field: the Nabis.\u003cbr\u003e Through reduction, it was important to reveal more than meets the eye, to show emotions, the essence of things, and deeper relationships.\u003cbr\u003e The means to show such things seemed clear.\u003cbr\u003e These include simplification, abandonment of perspective effects, and luminous colors separated by black bands.\u003cbr\u003e Like a church window, or an enamel work with each side divided by fine metal lines.\u003cbr\u003e Then there are ways to break away from impressionism and pointillism, which deconstruct rather than summarize and condense, and to focus on the core questions.\u003cbr\u003e It was achieved through integration (integralism), not decentralization.\u003cbr\u003e --- p.87\u003cbr\u003e \u003cbr\u003eBut unlike most of his colleagues, Gabriele Münter developed a relationship with his objects that went beyond purely aesthetic stimulation.\u003cbr\u003e She lived with things, and things lived with her.\u003cbr\u003e At the same time, he developed a close relationship with the landscape, mountains, lakes and the small town of Murnau.\u003cbr\u003e Just as the art world was fundamentally a male domain, so too was the mountain.\u003cbr\u003e Heroism, danger, adventure, solitude, conquering peaks—all of these had masculine connotations.\u003cbr\u003e A female member of the Alpine Association? It was unimaginable.\u003cbr\u003e Gabriele Münter was not a liberated female mountaineer who conquered mountains in search of dangerous stimulation, but she built a monument to the mountains.\u003cbr\u003e The wildness, beauty, and power of the mountain unfold like a panorama.\u003cbr\u003e Mountain landscapes were a genre that the art world graciously tolerated for women.\u003cbr\u003e --- p.111\u003cbr\u003e \u003cbr\u003eGabriele Münter participated in the comprehensive artistic ideology pursued by his life partner.\u003cbr\u003e I was open to it and interested in it, but I wasn't completely captivated by it.\u003cbr\u003e And later, he regretted not having developed his musical skills while maintaining close relationships with composers like Hartmann and Schoenberg, whose music had moved Kandinsky's heart.\u003cbr\u003e Despite her attempts at abstract experimentation, rather than following Kandinsky's path toward abstraction, she still had a deep desire to maintain contact with the earth and a relationship with nature.\u003cbr\u003e --- p.117\u003cbr\u003e\u003cbr\u003e The house in Munich and the mansion in Murnau represented new experiences for Münter.\u003cbr\u003e Finally, she had two homes where she could decorate the space she wanted and stay as long as she wanted. \u003cbr\u003eHer collection of secular and religious folk art, including items from Bavaria and Russia, soon filled her cabinets and desks.\u003cbr\u003e Taking pictures of a space was a kind of ritualistic act that showed that it was one's own.\u003cbr\u003e --- p.124\u003cbr\u003e\u003cbr\u003e The essential characteristic of the art she pursued was to attempt a single subject in series.\u003cbr\u003e In other words, it is not a struggle to complete a final work, but rather a coexistence of multiple perspectives or color choices that specifically transform the same value.\u003cbr\u003e This diversity extends to the realm of form.\u003cbr\u003e She intentionally distorted the form. \u003cbr\u003eSometimes she outlined them with lines or unified planes of color, sometimes she transformed them into something mysterious and chaotic, sometimes into a folksy simplicity, sometimes, as she herself put it, “kitsch-like,” sometimes “more austere,” and sometimes “clearly influenced by Picasso.”\u003cbr\u003e\u003cbr\u003e --- p.159\u003cbr\u003e\u003cbr\u003e This may sound like a bit of a generalization, but there are clearly gender-specific 'constants' here.\u003cbr\u003e Because female artists of this era received less attention from the art market than their male colleagues, they often exploited this initially negatively perceived situation to experiment more freely.\u003cbr\u003e Male artists clearly placed more value on their own unique characteristics so that gallery owners and collectors could recognize their work and make it more sellable. \u003cbr\u003eWomen's works, on the other hand, often displayed a much wider range of stylistic diversity.\u003cbr\u003e Gabriele Münter's work is a wonderful example of this trend.\u003cbr\u003e “Who else paints as many pictures as I do?” she once asked Kandinsky in a letter, doubting her own talent.\u003cbr\u003e Although she had some apprehensions, she always ultimately avoided being fixed on anything and decided to allow herself as much artistic freedom as possible.\u003cbr\u003e This decision speaks volumes about her self-image and confidence.\u003cbr\u003e For her, art meant testing herself.\u003cbr\u003e --- p.159~160\u003cbr\u003e\u003cbr\u003e From 1911 to 1913, the perception of her and her work among those around her was ambivalent. \u003cbr\u003eShe strengthened her independence by exhibiting more than 80 works at the Sturm Gallery in Berlin, run by Herbart Walden, from January 1913, and two months later at the Der Neue Kunstsalon exhibition run by Max Dietzel in Munich.\u003cbr\u003e But on the other hand, I witnessed the hostility of my colleagues growing.\u003cbr\u003e She had the impression that Franz Marc and August Macke's attitude towards her had changed, and her premonition was not wrong.\u003cbr\u003e Above all, the wives who had given up their artistic ambitions for their husbands looked upon successful female painters with jealousy.\u003cbr\u003e Münter, despite being close to the charismatic Kandinsky, went his own way without being greatly swayed by the abstract mysticism he advocated.\u003cbr\u003e --- p.160\u003cbr\u003e\u003cbr\u003e But Maket much preferred the role of judge. \u003cbr\u003eNevertheless, it is significant that the young painter Macke, who was enthusiastic about Münter, doubted Münter's artistic independence.\u003cbr\u003e Because she highly valued and placed considerable value on her own artistic independence, she must have emphasized this from the moment she first met Macke.\u003cbr\u003e “I really liked Münter.\u003cbr\u003e I cannot agree with the idea that she worked entirely alone, as I believe that Kandinsky was the one who gave her work its mental stimulation.\u003cbr\u003e “It’s just like I can’t think of myself without being heavily influenced by French painting.”\u003cbr\u003e --- p.163\u003cbr\u003e\u003cbr\u003e In response to that warning, Maria Frank was able to tell this story:\u003cbr\u003e It was said that Kandinsky criticized her husband, saying that their once strong friendship had clearly cooled.\u003cbr\u003e “This is complete delusion!” What else can I say? \u003cbr\u003eHere again, the culprit was that 'moth'.\u003cbr\u003e “The only answer is probably Münter.” Münter essentially ruined the spiritual union between Kandinsky and Marc that had led to the creation of the Blue Rider.\u003cbr\u003e “We don’t think Franz will stay with the Blue Knight any longer.\u003cbr\u003e Because his personal relationship with Kandinsky was more important to him than the Blue Rider.\u003cbr\u003e He liked that exchange much better.”\u003cbr\u003e --- p.167\u003cbr\u003e\u003cbr\u003e August Macke was offended by this, but Gabriele Münter took it calmly.\u003cbr\u003e The exhibition photos that have survived to this day were taken by Münter.\u003cbr\u003e She considered her involvement with the Blue Knight and the Munich New Artists Association to be somewhat coincidental.\u003cbr\u003e She was in the right place at the right time with the right people.\u003cbr\u003e “In 1909, without doing much, I became a founding member of the New Artists Association in Munich. \u003cbr\u003eThe Munich New Artists Association formed the revolutionary avant-garde that, after the Bridge School in northern Germany, initiated the art of our time.\u003cbr\u003e When the Blue Knights group was formed in 1912, I was there from the beginning.\u003cbr\u003e The paintings represented my work alongside the works of famous masters, making it known throughout Germany and beyond, from Moscow to Chicago.\u003cbr\u003e “I didn’t have to do anything until that happened.”\u003cbr\u003e --- p.171\u003cbr\u003e\u003cbr\u003e For the charming Gabriele Münter, now thirty-eight, this period was an opportunity to escape Kandinsky's shadow not only in terms of self-awareness but also in terms of the mirror of society.\u003cbr\u003e Among Swedish artists, she was suddenly treated as the outstanding co-founder of the already legendary Blue Knight. \u003cbr\u003eShe was also considered a foreigner who had already lived in Paris for ten years, an expert in the art worlds of Munich, the Rhineland, and Berlin, and a woman who could discuss art clearly and distinctly.\u003cbr\u003e She has taken on a role here that was previously played by Marie Anne Werefkin in Munich.\u003cbr\u003e Although on a much more modest scale, he invited people to his salon to discuss art, attracting mainly a generation of young Swedish artists.\u003cbr\u003e --- p.199\u003cbr\u003e\u003cbr\u003e Open to experimentation and new influences, Münter experimented with a number of new techniques from 1916 onwards, from copperplate to lithography.\u003cbr\u003e At the same time, he painted portraits of women, commissioned portraits of society members, and paintings of his female friends.\u003cbr\u003e All of it shows beautiful women who are sophisticated and confident.\u003cbr\u003e Her sensitivity and empathy opened doors for her. \u003cbr\u003eShe was convinced that “true portraiture is impossible without respect for humanity.”\u003cbr\u003e If you ignore similarities, you will end up with only effective pictures.\u003cbr\u003e If we exaggerate only the external and physiognomic similarities, the result will be a distorted picture like a caricature.\u003cbr\u003e Both approaches are wrong.\u003cbr\u003e Instead, empathy and sincerity are required.\u003cbr\u003e “The task of depicting people is so important that I have never been tempted to go beyond it, to deconstruct the human form and record it in a unique composition, or to abandon it altogether and replace it with something abstract.\u003cbr\u003e People believe that in this way they can grasp the spiritual itself, express the human aura to some extent, and create metaphors and symbols, but the physical appearance of a human being, especially the face, is already a symbol.” The physical seems to be a natural symbol of the spiritual.\u003cbr\u003e --- p.206\u003cbr\u003e \u003cbr\u003eWhat would have been Gabriele Münter's fate if she had gone to Kandinsky's side in the provincial towns of Weimar and Dessau? The wives of Bauhaus professors—Julia Feininger, Annie Albers, Gertrud Arndt, and Lily Klee—were promising artists with artistic ambitions, yet none of them could escape, even remotely, the shadow of their husbands.\u003cbr\u003e In the end, most of them lived as housewives or mothers.\u003cbr\u003e In this respect, Kandinsky's new wife Nina suited that look much better than Gabriele Münter.\u003cbr\u003e She was a typical character and content with the role of a wife.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e As early as 1914, the Berlin writer and social reformer Lou Merten concluded:\u003cbr\u003e “A working man, especially one who is active in the mental or artistic fields, emphasizes and demands conformity from a young age. \u003cbr\u003eFor example, a man who protects his chosen field of work from interference and attack, and devotes or completely sacrifices everything to his work, his work, his special talents, is granted an indulgence from all social responsibility.” The opposite situation applies to women.\u003cbr\u003e If marriage eases the burden on men, it is a burden on women.\u003cbr\u003e Even winning creative space is socially evaluated differently depending on gender.\u003cbr\u003e Creative men are said to realize themselves by pursuing their goals, while creative women are said to neglect their duties.\u003cbr\u003e Although the Bauhaus gave itself a modern appearance, this way of thinking was also felt here.\u003cbr\u003e Women and Art? For women, textiles were recommended as a suitable field of work, if possible. \u003cbr\u003eThe idea that women should be educated to earn a living if they are to remain single was already formalized in the 19th century, and this idea played a role here as well.\u003cbr\u003e On the other hand, artistic development was considered a kind of luxury that women could rather give up.\u003cbr\u003e --- p.217\u003cbr\u003e\u003cbr\u003e While landscapes and still lifes had dominated her work during her time in Sweden, humans once again became the central subject of her art.\u003cbr\u003e Above all, it was due to her surrounding circumstances.\u003cbr\u003e When I was with Kandinsky, I tended to stay away from society, and because I had no living models, I ended up focusing on objects and natural phenomena.\u003cbr\u003e Now the atelier is gone, but instead it was among the people at Hotel Schloss Elmau and in Berlin.\u003cbr\u003e At the same time, my observation skills and curiosity about my neighbors, which had been a habit since childhood, were revived. \u003cbr\u003eNow, I could express the essence with just a few clear lines.\u003cbr\u003e At this time, she used the lines of the sketch to match the characteristics of the model, sometimes roughly, sometimes lightly, and sometimes flutteringly.\u003cbr\u003e --- p.223\u003cbr\u003e\u003cbr\u003e For a while she also tried to borrow this new direction from her own art, combining it with expressionistic colors.\u003cbr\u003e She was able to preserve the explosive dynamism of her native expressionist art in her impromptu sketches to the end.\u003cbr\u003e But the subtle adjustments and dissecting coldness of the new objectivism remained fundamentally alien to her until the very end.\u003cbr\u003e --- p.227\u003cbr\u003e\u003cbr\u003e But the sketchy nature continued to follow her.\u003cbr\u003e “Gabrielle Münter always chose static elements to paint among those close to her during her turbulent times. \u003cbr\u003e“Something about her essence that was complete proved its worth long after the Blue Knights group had disbanded,” Hartrauf recalled.\u003cbr\u003e “G as a draftsman.\u003cbr\u003e Münter has long been neither so simple nor so straightforward.\u003cbr\u003e Clearly, her other potentials would not have been able to develop properly in the Blue Knight group.\u003cbr\u003e Only during periods of more intense isolation was she able to carve out her own path, one suited to this more secretive and personal creative impulse.” Despite the flatness and intensity of color, for Münter the linear was always part of the painting.\u003cbr\u003e “Anyone who looks closely at my paintings will discover a sketch artist there.”\u003cbr\u003e --- p.227~228\u003cbr\u003e\u003cbr\u003e During a trip to Switzerland in 1927, she photographed two girls at the swimming pool in Cademario, near Lugano. \u003cbr\u003eOne of them, the 'Java Woman', appears in several paintings.\u003cbr\u003e Considered an homage to Gauguin, this woman breathes an exotic South Pacific air into the Alpine landscape that is a kind of home to Münter.\u003cbr\u003e What moved this artist to \"integrate\" in his own way? The girl sits naked in an unfamiliar setting, crouched, her face turned to the side, yet never losing sight of the observer.\u003cbr\u003e Why does she sit so defenseless in an unfamiliar place? Is she an exile, an image of someone uprooted? Or has she herself come to the Alps in search of the exotic? This seemingly lovely painting, while puzzling, raises questions that have persisted in Münter's paintings.\u003cbr\u003e The combination of diverse objects, the combination of different cultures, the familiar and the unfamiliar, the secular and the sacred is a kind of constant. \u003cbr\u003eThe Javanese woman in the mountains was another turning point.\u003cbr\u003e --- p.228~230\u003cbr\u003e\u003cbr\u003e One could understand Gabriele Münter's unprecedented profusion of flower paintings, despite witnessing such a political situation, as a surrender.\u003cbr\u003e If you look closely, her first painting contains only flowers.\u003cbr\u003e Even as other paintings piled up, flower paintings sold like hotcakes.\u003cbr\u003e So I created these pictures.\u003cbr\u003e On the one hand, as Caroline Hille understood it, one might recognize “a very original, complex work of high quality, which speaks of her existential state” while following the Dutch tradition and expressed in a significant title like “Night Flowers.”\u003cbr\u003e --- p.252\u003cbr\u003e\u003cbr\u003e In 1947, in an attempt to drive out the evil spirits of Germany, an exhibition of French paintings from Impressionism to the present day was held, and the following year, the exhibition \"The Blue Rider\" was held with the subtitle \"Munich and 20th Century Art.\" \u003cbr\u003eTo hold the Art of the Century exhibition in Munich in 1949, to completely obscure the time after 1933, was an extremely obsessive act of trying to banish the past from memory.\u003cbr\u003e At the same time, the exhibition internally re-ranked the participating artists, a ranking that would have long-lasting effects.\u003cbr\u003e Gabriele Münter, like Werefkin, was determined to be merely a peripheral figure, artistically “simple and natural” and who never raised “any questions” about art.\u003cbr\u003e Completely misunderstanding her approach, I judged her to be “indifferent to principles, composition and drawing.”\u003cbr\u003e This sounds like a 19th century division of labor.\u003cbr\u003e Or perhaps it sounds like a purification of Wilhelm Lübke's 1862 thoughts on the role of women in art. \u003cbr\u003e“According to the nature of things, women were assigned less valuable fields of painting, and their activities were restricted to areas where the natural depiction of objects was valued rather than the expression of spiritual content.”\u003cbr\u003e --- p.255~257\u003cbr\u003e\u003cbr\u003e This cover placed over Münter and Verefkin did not allow the woman any intellectual reflection.\u003cbr\u003e The philosopher Johannes Eichner, in particular, protected her from Nazi persecution by wrapping her in the cloak of innocence, but on the other hand, he found no real passage into the essence of her work.\u003cbr\u003e But his later assessment clearly shows that he actually believed in her true, unfaltering nature, her purity, and her positivity to life.\u003cbr\u003e\u003cbr\u003e His book, Kandinsky and Münter. \u003cbr\u003eIn the introduction to “On the Origins of Modern Art,” he already apologized for his recklessness in simultaneously mentioning two artists so different “in temperament, development, achievements, influence, and value.”\u003cbr\u003e He proved that the unique source of Münter's art lies in its “essential originality.”\u003cbr\u003e It is said to be “a move towards simplicity, a fundamental human characteristic, living and acting independently, and being free from traditional prejudices, customs, and learned values.” It is both true and false, a recognition of value and a simplification at the same time. \u003cbr\u003eAnyone who knew how open she was to new influences, how clearly yet respectfully and, if necessary, firmly expressed her opinions, how hard she worked to discover form, would immediately see that there was something more hidden within her than natural talent.\u003cbr\u003e Even though she said this in 1948:\u003cbr\u003e “I have always painted to suit the abilities of the brush.”\u003cbr\u003e --- p.257~258\u003cbr\u003e\u003cbr\u003e Gabriele Münter was a humble old woman who mingled among the visitors.\u003cbr\u003e She was demoted from a leading lady to a witness, a witness of the times.\u003cbr\u003e She felt that way herself.\u003cbr\u003e “My job is to see and draw pictures and sketches, not to give speeches. \u003cbr\u003eBut people keep asking me to talk about myself and my work, and to tell them about the times when I was in the middle of the process of creating modern art.”\u003cbr\u003e --- p.258\u003cbr\u003e\u003cbr\u003e In 1957, Gabriele Münter donated his collection of Kandinsky works to the city of Munich to celebrate his 80th birthday.\u003cbr\u003e The previous year, Kandinsky was awarded the Munich Cultural Prize.\u003cbr\u003e Meanwhile, people began to vaguely know that Münter was keeping a box of art in the basement.\u003cbr\u003e The box made this basement into a “basement where treasures worth millions of marks were stored.”\u003cbr\u003e So people understood that Münter was also someone they had to flatter, like the wife of a deceased artist. \u003cbr\u003eHans Conrad Rötel, the astute conservator of the Bavarian State Picture Collection and later director of the Lenbach Museum, was a frequent guest in Murnau.\u003cbr\u003e He personally took the initiative to bring those treasures into the light.\u003cbr\u003e Her noble act of donating her works rather than selling them to American art dealers was generally admired.\u003cbr\u003e But Münter's significance as a painter faded behind her new role as a donor.\u003cbr\u003e --- p.260\u003cbr\u003e\u003cbr\u003e For Gabriele Münter, the 1950s were a time of self-discovery.\u003cbr\u003e But on the other hand, it was also a time when the Blue Knight was 'demoted' to a peripheral position in art history.\u003cbr\u003e For Buchheim, Münter was a daring artist who courageously threw away conventions without any worries and achieved freedom through improvisation and spontaneity. \u003cbr\u003eSuch freedom was something that the contemplative Kandinsky had long struggled to achieve.\u003cbr\u003e It sounds generally positive, but underneath it hides an act that defines the characteristic of female innocence.\u003cbr\u003e “The unsystematic nature of women served her well.\u003cbr\u003e “She painted ‘unstoppably,’ following her instincts without setting formal goals.” In this short sentence, the author condenses the common idea of ​​femininity in art and Gabriele Münter’s approach into a concrete but misleading way.\u003cbr\u003e Buchheim says that very masculine traits are paired with these feminine traits.\u003cbr\u003e “With an almost masculine determination, she suppressed all the small combinations of materials that disturbed the figurative unity, and through strict simplification she obtained the structure of a clearly composed landscape. \u003cbr\u003e“In such a combined structure, the cloud layer and the water column have essentially the same value as a hay barn or a hill with a forest.”\u003cbr\u003e --- p.262\u003cbr\u003e\u003cbr\u003e Until the very end, she remained true to her belief that painting must come from within, even if she received various inspirations from outside sources.\u003cbr\u003e Because it was important to capture the experience in a painting rather than drawing the material.\u003cbr\u003e On May 19, 1962, Gabriele Münter died in Murnau.\u003cbr\u003e Almost 50 years have passed since my legendary meeting with Else Lasker Schiller.\u003cbr\u003e The meeting strikingly revealed the essential characteristics of two fundamentally different artists.\u003cbr\u003e There is a passionate poet who also draws pictures.\u003cbr\u003e She was a poet who felt life as a kind of ups and downs, a tottering movement that revolved around herself above all else, a “drama of a spiral staircase.” \u003cbr\u003eHe was a poet who vacillated in a constant state of “joyful despair” or “hopeless joy,” and who considered it a demand to loudly defend his merits and his status as an artist.\u003cbr\u003e Meanwhile, there was a painter who, though outwardly unremarkable, could speak with certainty about art, raise serious questions, and withstand criticism with cool composure.\u003cbr\u003e She was strong, and she was a thorough artist, but her strength lay in her stillness.\u003cbr\u003e Dramatic appearances didn't suit her.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.268\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003e“Women are ‘natural amateurs’ and therefore cannot function as ‘productive artists,’ and any notable artistic achievements by women are necessarily acts of betrayal of femininity, associated with ‘immaturity, sickness, or excessive sexual sensitivity, or with sexual perversion or impotence.’”\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eEven in the 20th century, women were not treated as 'complete human beings'.\u003cbr\u003e Needless to say, the possibility of women being recognized as 'artists' was slim.\u003cbr\u003e Since the dawn of art, female artists and their works have always existed, but they have always remained anonymous.\u003cbr\u003e At that time, women had no opportunity to pursue a career as an artist, let alone receive art education from public institutions.\u003cbr\u003e In the late 19th century, private art schools opened their doors to women, but they still faced inequality and discrimination in terms of tuition and content.\u003cbr\u003e\u003cbr\u003e Even after such outstanding women became active artists, the long-standing antipathy toward women receiving education and pursuing art did not easily disappear.\u003cbr\u003e Even artists who prided themselves on being so-called progressive openly looked down on women's abilities and even displayed hostile attitudes. \u003cbr\u003eThey have subtly internalized the 'division of sexual roles' between men and women, the 'hierarchy' within the art system, and the 'gender-based ability gap' that were taken for granted in conservative society.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Also, Franz Marc, August Macke, Paul Klee, and Alexei von Jawlensky, who led German modern art in the early 20th century, took it for granted that their wives and companions would give up their artistic talents and support them as artists.\u003cbr\u003e In the Blue Rider group, only Gabriele Münter and Kandinsky were not caught up in this unequal relationship.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003e“Even though she did not follow Kandinsky’s path toward abstraction and instead experimented with abstraction, she still had a deep desire to maintain contact with the earth and a relationship with nature.”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Gabriele Münter did not give up his art for Kandinsky. \u003cbr\u003eShe sympathized with Kandinsky's opinions, but never yielded to or became subservient to him.\u003cbr\u003e Although she also attempted abstraction and left behind several works, she never abandoned her efforts to represent objects concretely and her attachment to everyday objects and landscapes that exist in reality until the end of her life.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e In this way, Münter always tried to maintain an independent attitude in art and life.\u003cbr\u003e Perhaps the most symbolic expression of this aspect of Münter is the bicycle and the camera.\u003cbr\u003e Whenever she had the chance, she rode her bike with a camera, recreating the various aspects and landscapes of life through her own perspective.\u003cbr\u003e He also carefully focused his camera on unfamiliar things that fit his way of looking at things. \u003cbr\u003eAt the time, many artists viewed cameras as mere means of recording, but Münter embraced photography with an open attitude and even attempted a photography style that advocated pictorialism.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Always open to experimentation and new influences, Münter experimented with many new techniques, including engraving, lithography, and portraiture.\u003cbr\u003e Among them, the portraits of her female colleagues are filled with stylish, confident, and beautiful women.\u003cbr\u003e She also challenged mountain landscapes, traditionally considered a male domain, and powerfully expressed the wildness and beauty of the mountains.\u003cbr\u003e\u003cbr\u003e \u003cb\u003e“Guys of the Blue Knights, be careful! A moth has appeared in the meantime.”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e But even his colleagues in the Blue Knight group did not understand Münter's attitude of maintaining independence and uniqueness in life and art. \u003cbr\u003eThey tried to view Münter's work only through the lens of Kandinsky, and belittled her originality and 'ordinary' paintings.\u003cbr\u003e Even her colleagues, who had initially been enthusiastic about her, compared Münter to a moth and blamed her for the disbandment of the Blue Knight.\u003cbr\u003e After World War I broke out, painters belonging to the Blue Riders of various nationalities, including Russia, Germany, and France, turned from comrades to enemies and lost their lives fighting on the battlefield.\u003cbr\u003e In this way, the Blue Knight was naturally disbanded, but Münter, who had escaped the clouds of war and crossed over to neutral Sweden, was treated as a co-founder of the Blue Knight and presented various works there.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e “My job is to see and draw pictures and sketches, not to give speeches. \u003cbr\u003eBut people keep asking me to talk about myself and my work, and to tell them about the times when I was in the middle of the process of creating modern art.”\u003cbr\u003e\u003cbr\u003e The Blue Riders disappeared, but their work was once again seen in Munich in 1949, a year swept by the Nazis.\u003cbr\u003e But now Münter's role has changed from leading role to witness of the times.\u003cbr\u003e The 1950s were a time of rediscovery for her, but also a time when she was 'relegated' to a peripheral figure in the history of art.\u003cbr\u003e Post-war Germany was obsessed with highlighting modernist art, which had been persecuted by the Nazi regime, in an effort to erase the atrocities of the Nazis.\u003cbr\u003e As a result, there was a side effect of art dealing with materials related to everyday life at the time being relatively neglected.\u003cbr\u003e Münter was a victim of that very side effect. \u003cbr\u003eBy focusing on Münter's time in the Blue Rider era, particularly his association with Kandinsky, the work of Münter in Northern Europe and the 1920s and 1930s, when he worked with everyday subjects, has been overlooked.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book does not deny the influence of Kandinsky on the life and work of Gabriele Münter.\u003cbr\u003e Instead, we will try to remove the numerous adjectives that have obscured Münter so far and look at him again from various new perspectives.\u003cbr\u003e In other words, Münter and Kandinsky influenced each other not unilaterally but reciprocally, worked freely and quietly according to their own rules, made efforts for their male and female fellow painters, and attempted various series on one theme.\u003cbr\u003e These facts would amply answer Ernst Gul's rude question in the late 19th century: \"Are women qualified to practice art?\" \u003cbr\u003eThe move to re-accept Gabriele Münter could finally be considered a step in the right direction.\u003cbr\u003e This work will allow not only Münter but also many other talented female artists to find their proper place in art. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePublication date:\u003c\/strong\u003e June 10, 2022\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover book binding method guide\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 296 pages | 508g | 135*200*20mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791189346355\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1189346354 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43891664257066,"sku":"142610","price":37.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/22c56e95780e3e1b772a9728f409dd3b.jpg?v=1765337010","url":"https:\/\/librairie.coreenne.fr\/en\/products\/142610","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}