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Fritz Müller-Schwaben, Sonnenspitze mit Bergdorf in Tirol On a slightly cloudy summer day, a dairymaid leads her sheep to pasture in a mountain village at the foot of the imposing backdrop of the Tyrolean Sonnenspitze, warm impressionist painting with skilful use of light and partly virtuously blurred contours, oil on canvas, around 1920, signed lower right "Fritz Müller-Schwaben.", on the reverse of the frame label of the Stuttgart art dealer "ALFRED HIRRLINGER", inscribed "Fritz Müller-Schwaben" in ink and titled "Sommer im Gebirge", on the stretcher stamp "J. Eisenmann Mal-Leinen München", lower right with small loss in the canvas, in need of cleaning, in bronzed moulding with floral decoration of the time, this with bumps, folded dimensions approx. 70 x 100 cm. Artist information: German painter and graphic artist (1879 Mainz - 1957 Munich), initially a pupil at the Kunstgewerbeschule Straßburg, studied at the Munich Academy under Karl Raupp from 1906, member of the Reichsverband Bildender Künstler Deutschlands, active in Munich, source: Thieme-Becker, Dressler, Matrikel der Akademie München and Internet.

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Fritz Müller-Schwaben, Sonnenspitze mit Bergdorf in Tirol On a slightly cloudy summer day, a dairymaid leads her sheep to pasture in a mountain village at the foot of the imposing backdrop of the Tyrolean Sonnenspitze, warm impressionist painting with skilful use of light and partly virtuously blurred contours, oil on canvas, around 1920, signed lower right "Fritz Müller-Schwaben.", on the reverse of the frame label of the Stuttgart art dealer "ALFRED HIRRLINGER", inscribed "Fritz Müller-Schwaben" in ink and titled "Sommer im Gebirge", on the stretcher stamp "J. Eisenmann Mal-Leinen München", lower right with small loss in the canvas, in need of cleaning, in bronzed moulding with floral decoration of the time, this with bumps, folded dimensions approx. 70 x 100 cm. Artist information: German painter and graphic artist (1879 Mainz - 1957 Munich), initially a pupil at the Kunstgewerbeschule Straßburg, studied at the Munich Academy under Karl Raupp from 1906, member of the Reichsverband Bildender Künstler Deutschlands, active in Munich, source: Thieme-Becker, Dressler, Matrikel der Akademie München and Internet.

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SCHWABE (Carlos) & ZOLA (Émile). Le Rêve. Illustrations by Carloz Schwabe and Lucien Métivet. Paris, Marpon et Flammarion, [1892]. In-4, brown half-chagrin with corners, spine ribbed, gilt title, initials J.D. on tail, double gilt fillet on covers, gilt head, covers preserved. Color cover, black title vignette and 55 black illustrations by Carlos Schwabe (27 full-page, 5 frames, 1 in the text, 11 culs-de-lampe and 11 chapter headings); 10 illustrations by Lucien Métivet at the end of the book (5 full-page, 1 chapter heading and 4 culs-de-lampe). Copy of the current edition on vellum. Some foxing. One of the monuments of modern illustrated book history, a masterpiece by Swiss painter Carlos Schwabe (1866-1926), a leading figure in fin-de-siècle symbolism and idealism: "Self-taught, Schwabe made a name for himself with his enchanting interpretation of L'évangile de l'enfance, an illustration exhibited at the Salon de la Rose+Croix (...) in 1892. Carlos Schwabe's art is characterized by extraordinarily meticulous drawing, tinged with archaism and distortion, combined with a highly original visionary iconography. He thus established himself as one of the most promising young creators of the idealist trend. At the same time, Émile Zola was completing the Rougon-Macquart cycle, a monument of naturalist literature. The meeting of these two personalities, who seemed to have opposing views of the world, aesthetics and generation, seemed improbable. However, publisher Ernest Flammarion's desire to publish an illustrated version of Le Rêve led to an unforeseen and unpredictable collaboration between the two men. Schwabe's illustrations are based on a free interpretation of the Zolian text, close to a dreamlike, fantastical universe. This surprised Zola, who discovered in his plates "so many things he didn't remember putting in the book". The twenty-six-year-old artist replied with aplomb that he "should have put them there"! (...) The illustration of Le Rêve remains one of the major works of Symbolism: the novel's experimental themes, as well as the confrontation between Zola and Schwabe, made it the setting for a representation of the aesthetic and intellectual conflicts of the time, opposing naturalism and idealism." Presentation of the exhibition "Symbolisme et naturalisme: Carlos Schwabe, illustrateur du Rêve de Zola", Musée d'Orsay 1994 (curators: Rodolphe Rapetti and Jean-David Jumeau-Lafond). See also Jean-David Jumeau-Lafond's excellent article on this edition in the BNF-Gallica files.