8 months ago

Diplomatic World_nummer 56.

and rarely exhibited

and rarely exhibited works on loan. One important goal of the Foundation is to prepare a catalogue raisonné of Gabriele Münter’s paintings that will document all oil paintings created by the artist with information about their provenance, exhibition history, and the relevant literature. A key part of the estate is the Münter House in Murnau. Münter and Kandinsky frequently stayed in the house in the years 1909-1914. She lived there from 1931 to her death in 1962, from 1936 on with her companion Johannes Eichner (1886-1958). After renovations in 1998- 99, it now appears as it did between 1909 and 1914. Richly appointed and decorated with paintings and reverse glass paintings by Kandinsky and Münter and popular art from their collection as well as the artists’ own hand-painted furniture, the house is now a museum which vividly conveys the atmosphere that prevailed here before World War I. During the National Socialist’s reign of terror, Münter hid her works in the basement of the house in Murnau, along with numerous others by Kandinsky, the “Blue Rider” protagonists, and their circle. Thus she was able to rescue them from certain seizure and perhaps even destruction. Kandinsky had to leave Germany in such haste at the outbreak of war in 1914 that most of his belongings, including his entire collection, had to be left behind in Munich. His efforts to reclaim his possessions — the paintings especially — once the war was over led to a protracted legal battle with Münter, which was not resolved until 1926. While Kandinsky had some of his paintings restored to him, Münter was allowed to retain the vast bulk of them. For many years, the collection was left to languish in a warehouse in Munich; but once the threat posed by the National Socialists became imminent, Münter retrieved the works in storage and took them back to Murnau with her. There they remained, hidden from view, right up to the nineteen-fifties. 158 Gabriele Münter, Landschaft mit gelbem Haus, 1916, Öl auf Leinwand, 41,5 x 52,7 cm, Privatsammlung

Ausstellungsansicht Gabriele Münter. Malen ohne Umschweife im Kunstbau, 2017 Foto: Simone Gänsheimer, Ernst Jank, Städtische Galerie im Lenbachhaus und Kunstbau München What induced Münter to unlock her “basement of millions” — as it was later called — was an encounter with Hans Konrad Roethel (1909–1982), then the director of the Städtische Galerie im Lenbachhaus, Munich from 1957 on. In 1957, Gabriele Münter marked her own eightieth birthday by making an unparalleled gift of large parts of this same collection to the Lenbachhaus, thus transforming it over night into a world-class museum. The Lenbachhaus has now the world’s largest collection of art of the “Blue Rider”. It includes extensive holdings of outstanding works by the leading “Blue Rider” artists — first and foremost, Kandinsky and Münter, but also Alexej Jawlensky, Marianne von Werefkin, Franz Marc and August Macke. The exhibition is organized by the Gabriele Münter- und Johannes Eichner-Stiftung and the Städtische Galerie im Lenbachhaus und Kunstbau München in cooperation with the Louisiana Museum of Modern Art, Humlebæk and the Museum Ludwig, Cologne. The curators are Isabelle Jansen — Curator and Chief Executive of the Gabriele Münter- und Johannes Eichner-Stiftung — and Matthias Mühling — Director of the Städtische Galerie im Lenbachhaus und Kunstbau München. An exhibition catalogue is published by Prestel Verlag. GABRIELE MÜNTER. PAINTING TO THE POINT Städtische Galerie im Lenbachhaus und Kunstbau München, Munich, Germany October 31, 2017 to April 8, 2018 Louisiana Museum of Modern Art, Humlebæk, Denmark May 3 to August 19, 2018 Museum Ludwig, Cologne, Germany September 15, 2018 to January 13, 2019 159