Gabriele Münter:
Picture "Jawlensky and Werefkin" (1909), framed
Proportional view
Picture "Jawlensky and Werefkin" (1909), framed
Gabriele Münter:
Picture "Jawlensky and Werefkin" (1909), framed

Quick info

reproduction on LuxoArtVelvet paper | framed | passe-partout | glazed | size approx. 54.5 x 66 cm (h/w)

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Product no. IN-877464.R1

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Frame variant
Picture "Jawlensky and Werefkin" (1909), framed
Gabriele Münter: Picture "Jawlensky and Werefkin" (1909),...

Detailed description

Picture "Jawlensky and Werefkin" (1909), framed

Gabriele Münter and her partner at the time, Wassily Kandinsky, spent a lot of time with the artist couple Jawlenksy and Werefkin in the Upper Bavarian town of Murnau. In addition to numerous paintings, Murnau is also regarded as a source of inspiration for the formation of the "Blaue Reiter".
Original: Oil on cardboard. Munich, Städtische Galerie im Lenbachhaus.

4-colour reproduction on LuxoArt velvet paper. Motif size 32 x 43.5 cm (h/w). Framed in a silver solid wood frame with bevel cut passe-partout, glazed. Size approx. 54.5 x 66 cm (h/w). © VG Bild-Kunst, Bonn 2017.

Portrait of the artist Gabriele Münter

About Gabriele Münter


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.