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Description

Koller, Oskar - "Bouginevillea", watercolor/paper, flowering branch of a bougainvillea, signed and dated (19)98 lower left, titled lower center, matted ca. 39x22cm, minimally bumped, frame behind glass ca. 70,5x51cm, in addition: Scheigetz, probably Scheigetz Irmgard (Tegernsee), "Rittersporn", signed lower left, in passepartout, ca. 49,5x19cm, frame behind glass, ca. 69x38cm

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Koller, Oskar - "Bouginevillea", watercolor/paper, flowering branch of a bougainvillea, signed and dated (19)98 lower left, titled lower center, matted ca. 39x22cm, minimally bumped, frame behind glass ca. 70,5x51cm, in addition: Scheigetz, probably Scheigetz Irmgard (Tegernsee), "Rittersporn", signed lower left, in passepartout, ca. 49,5x19cm, frame behind glass, ca. 69x38cm

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En vente le Saturday 20 Jul : 10:00 (CEST)
nurnberg, Allemagne
Auktionshaus Franke
+499115273720
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Koller, Oskar - 1925 Erlangen - 2004 Fürth, from 1947 attended the then Berufsoberschule (today's FH für Design) Nuremberg, he was taught color theory and drawing, until 1959 he studied at the Akademie der Bildenden Künste Nuremberg and was a master student of Hermann Wilhelm, he returned to the academy in 1985/1986 as a visiting professor, in 1957 Koller had a scholarship from the DAAD Bonn in Paris, It was there that he first encountered abstract tendencies and began to paint his first abstract pictures. In 2005, the municipal art gallery in Fürth showed a retrospective of 47 works on the themes of trees, people (especially on the theme of dance) and houses/cubic architecture, the latter in collage technique, these three themes were particularly close to Oskar Koller's heart throughout his life, as he put it in 1976: "I became a painter through the joy of painting, I felt the air, saw the trees, the people, the houses, I practiced on their forms." He liked to emphasize the analogy between trees/tree trunks and figures or He liked to emphasize the analogy between trees/tree trunks and pictures of people, the sometimes cheerfully baroque tree pictures in acrylic on canvas or on aluminum plate were juxtaposed with those in acrylic on paper in black and white, including sheets from the very last creative period, January 2004, the exhibition was intended to make a contribution to seeing Oskar Koller not only as a flower painter, but in his versatility, also on display was a selection of collages from different decades, some of which are driven to complete abstraction, "Architectural III with yellow", acrylic / Lwd, inscribed, titled and signed on the reverse, on adhesive label "Große Kunstausstellung München 1972", with adhesive label Galerie Defet Nürnberg, dat. 1971, rubbed, approx. 85x120cm