Berlin 1877 - 1962 Murnau
"House with Balcony", 1902
oil on canvas
24,6 x 17 cm (9 7/8 x 6 5/8 in.)
"Landscape near Kallmünz", 1903
oil on canvas
26 x 30 cm (10 3/8 x 11 3/4 cm)
"Houses by the River", 1903
oil on cardboard
17,23 x 25,5 cm (6 3/4 x 10 in.)
„View of the Moss in Evening Light (Murnau Landscape)", 1908
oil on artist board
32,2 x 40,5 cm (12 5/8 x 16 in.)
"After the Tea II (Kandinsky with the Art Dealer Goltz at Ainmillerstrasse 36, Munich)", 1912
oil on board
20 1/8 x 26,9 on. (51 x 68 cm)
Gabriele Münter was a leading proponent of German Expressionism and a close ally of the artist group 'Der Blaue Reiter'. The time she spent in Murnau with her companion Wassily Kandinsky was among the most fertile periods of her oeuvre. Reduction of form and clear colour contrasts are also the hallmarks of the portraits of her artist friends Marianne von Werefkin, Alexej von Jawlensky, Franz Marc and August Macke, for whom she became a sort of chronicler of the group 'Der Blaue Reiter'. Her mysterious still lifes also feature the products of religious artisan craftwork and reverse glass paintings that they collected. Münter spent the period during and after World War I in Scandinavia. In 1930, Münter returned to her home in Murnau with her second life partner, Johannes Eichner; she would live and work there until her death in 1962. Münter gifted the Lenbachhaus in Munich more than 1000 works by „Blauer Reiter“ artists and made the „Blue Land“, the landscape around Murnau where she lived, famous. The Gabriele Münter and Johannes Eichner Foundation preserves and manages her estate.
Galerie Thomas showed Gabriele Münter’s works in many group exhibitions. In 1994 and 2001 the gallery presented solo exhibitions of Münter's works, and in 2017 a much noted exhibition giving an overview of her works, from the early impressionist phase and the Blue Rider period to the late landscapes and flower still lifes, including never before exhibited works on loan from private collections.
Galerie Thomas sold numerous of her coveted paintings over the years. That proved to be important to the Gabriele Münter- und Johannes Eichner-Stiftung when it began working on a catalogue raisonné a few years ago. The gallery opened its archive for the Münter foundation and was able to provide valuable information, details, and missing images, and to establish contact with collectors, who own paintings.