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Professor Hermann Dischler
25th September 1866 – 20th March 1935
Hermann Dischler was born on the 25th of September in 1866 in Freiburg i.Br. He received his artistic training in the art school in Karlsruhe, he was student of Gustav Schönleber. Thereafter he was engaged as a painter in the Breisgau-Hochschwarzwald area.
1894, after he finished his studies, he built himself an artist’s workroom in Freiburg i.Br. At this time he went on a lot of trips and his trusty camera followed him everywhere. Five years later he started to number and comment his artworks, which he collected in 29 «Bildbüchern (books of pictures)».
In the winter months from 1905 to 1907 he stayed in the Todtnauer Hütte, where a lot of his oil studies arise.
The snowy winter landscapes became his typical theme and he called himself «Schneemoler (snowpainter)». 1917 he received his professorship by Grand Duke Friedrich II.
In 1927 he had an exhibition with artists like Curt Liebich, Julius Heffner, Wilhelm Nagel, Wilhelm Wickertsheimer a.o., they called themselves «Die Schwarzwälder (the Black Forests)». He died on the 20th of March in 1935 in Hinterzarten. Today his works are extremely appreciated because the snowy landscape present the untouched nature.
Lit: Exhibition Catalogue Augustiner Museum, Freiburg i.Br., 1993
Professor Hermann Dischler
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2037
Herbstauktionen 19.–20.10.2018
Maillol, Aristide
1861 Banyuls-sur-Mer - 1944 ebd.
«Les deux lutteuses». 1900. Dark patinated bronze on a marble base. Monogrammed to plinth, as well as verso numbered 5/6 and stamped «F. Godard Fondeur Paris». Under the base a printed label of Richard Gray Gallery, Chicago/New York, with the work's data.
H (including base)
Aristide Maillol, who began to turn towards sculpture almost exclusively from 1900 on, is today regarded as a main representative of French and European sculpture in the first half of the 20th Century. Already the artist's contemporaries were aware of the importance of his completely new and unique interpretation of the female body: Maillol is the beginning of Modernism in sculpture, the art historian Julius Meier-Graefe is writing back in 1904. The artist's motifs are almost exclusively strong, sensuous and very feminine nude women in classical simplicity. The clearly defined shapes and smooth surfaces, accentuating the physicality and effecting a remarkable naturalness in expression and appearance, are characteristic for his work. The unaffected, relaxed poses of the figures sometimes remind of models of ancient Greece.
Maillol's work, initiating the returning to the classical laws of sculpture, had a strong influence on the entire European sculpture.
Provenance: The Perls Galleries, New York; Richard Gray Gallery, Chicago/New York; private collection.
Literature: Maurice Denis, Aristide Maillol, Paris 1925, ill.
Catalogue raisonné: Rewald 99. 
1861 Banyuls-sur-Mer - 1944 ebd.
«Les deux lutteuses». 1900. Bronze, dunkel patiniert, auf Marmorsockel. Oben auf der Plinthe monogr. sowie verso 5/6 num. und gestempelt «F. Godard Fondeur Paris». Unter dem Sockel ein gedrucktes Etikett der Richard Gray Gallery, Chicago/New York, mit den Angaben zum Werk.
H. (mit Sockel)
Aristide Maillol, der sich ab 1900 fast ausschließlich der Bildhauerei zuwandte, gilt heute als einer der Hauptvertreter der französischen und europäischen Skulptur der 1. Hälfte des 20. Jahrhunderts. Schon zu Lebzeiten des Künstlers war man sich der Bedeutung seines völlig neuen und eigenen Stils der Interpretation des weiblichen Körpers bewusst: Mit Maillol beginne die Moderne für die Plastik, schreibt bereits 1904 der Kunsthistoriker Julius Meier-Graefe. Die Motive des Künstlers sind nahezu ausnahmslos kraftvolle, sinnfreudige und sehr weibliche Frauenakte in klassischer Einfachheit. Charakteristisch sind die klar umrissenen Formen und glatten Oberflächen, die die Körperlichkeit betonen und eine große Natürlichkeit in Ausdruck und Gestalt bewirken, sowie die ungekünstelten, gelassenen Posen der Figuren, die zuweilen an Vorbilder der griechischen Antike erinnern.
Maillols Werk, das eine Rückbesinnung auf die klassischen Gesetze der Skulptur einleitete, übte starken Einfluss auf die gesamte europäische, besonders aber die deutsche Bildhauerei aus.
Provenienz: The Perls Galleries, New York; Richard Gray Gallery, Chicago/New York; Privatsammlung.
Literatur: Maurice Denis, Aristide Maillol, Paris 1925, Abb.
Werkverzeichnis: Rewald 99.