Gabriele Münter:
Picture "View of the Murnauer Moos" (1908), framed
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Picture "View of the Murnauer Moos" (1908), framed
Gabriele Münter:
Picture "View of the Murnauer Moos" (1908), framed

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limited, 1,000 copies | facsimile print on handmade paper | framed | passe-partout | glazed | size 56 x 64 cm (h/w)

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Product no. IN-781156.R1

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Frame variant
Picture "View of the Murnauer Moos" (1908), framed
Gabriele Münter: Picture "View of the Murnauer Moos" (190...

Detailed description

Picture "View of the Murnauer Moos" (1908), framed

The artist was impressed by the picturesque location of the village on a hill situated above the Murnauer Moos, in the foothills of the Alps, and the intense colours of the brightly painted houses of the village. The strongly luminous, flat and unmixed colours placed next to each other and an area-like application of paint are striking.

5-colour facsimile print on 270g Rives handmade paper. Limited edition of 1,000 copies. Framed in a silver solid wood frame with passe-partout, glazed. Size 56 x 64 cm (h/w).

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Portrait of the artist Gabriele Münter

About Gabriele Münter

1877-1962

Gabriele Münter was an Expressionist painter and a member of the New Munich Artists' Association but did not belong to the Blaue Reiter movement.

Gabriele Münter became known as Wassily Kandinsky's companion. She saved a significant part of his works through the war and post-war period and later made them known to the public, together with paintings by artist friends of the Blaue Reiter and her own works.

When Gabriele Münter bought a house in Murnau in 1909, which she lived in during the summer with her partner Kandinsky, the idyllically situated domicile soon developed into a centre of the avant-garde. Marc, Macke and Werefkin, Jawlensky were regular guests. They all found much inspiration for their artistic work in the area around the Staffelsee – art history likes to describe these years surrounding the founding of the Blaue Reiter as the "Murnau period".

With the beginning of the First World War and the separation from Kandinsky, turbulent years followed for Münter. In 1931, she moved to Murnau for good. The landscape in the foothills of the Bavarian Alps plays a major role in her work from this period, as it did at the beginning of the century. When Münter died in Murnau in 1962, she had long been considered, along with Paula Modersohn-Becker, the most important Expressionist painter.

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