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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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1070
Herbstauktionen
Manship, Paul Howard attr.
1885 St. Paul - 1966 New York.
Head of an Antilope. Patinated bronze. Signed and dated 1930 on the base. One horne damaged. Possibly a posthumous cast.
1885 St. Paul - 1966 New York.
Antilope. Bronze, dunkel patiniert. Von runder Plinthe aufsteigender, stilisierter Antilopenkopf. Auf der Plinthe sign. und 1930 dat. Ein Horn besch. H. 76, B. 32,5 cm.
Paul Manship reiste 1909 nach Rom, wo er bis 1912 an der American Academy sein in den USA begonnenes Studium fortsetzte. Während seines Aufenthalts in Europa begann er, sich zunehmend für archaische Kunst, klassische Skulpturen Indiens sowie für ägyptische und assyrische Kunst zu interessieren und entwickelte aus diesen Einflüssen seinen eigenen Stil. Nach seiner Rückkehr in die USA fand dieser stark simplifizierte Stil großen Anklang sowohl bei den Modernisten als auch bei konservativen Kritikern und Sammlern. Manship wird häufig als einer der Vorläufer der Art-Déco-Bildhauer angesehen.
Bei diesem Stück handelt sich wohl um einen posthumen Guss.