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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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3238
Winterauktionen 24.–25.11.2023
Wesely, Michael
Born 1963 Munich, lives and works in Berlin.
«Der Orinoco bei der Insel Guajibo (the Orinoco by the island Guajibo)».
C-print on aluminium-dibond behind acrylic glass (Diasec). Typographically imprinted signature lower left, dated 1999, titled and numbered 1/3.
H 100,
Work from an edition of three copies.
In honor of the 200th anniversary of Alexander von Humboldt's Central and South American expedition (1799 - 1804), the Munich photographer created large format photographs of South America's second largest river, the Orinoco. For this Wesely uses specially built cameras with slit-shaped openings instead of a round lens. «With the consequence that the incoming light rays can no longer spread out evenly, as would be the case with a round aperture, they instead begin to overlap in such a way that only streaks of light are recorded by the film. [...] The images completely refuse to be read. [...] Inevitably, our perception shifts to the purely aesthetic qualities: We thus begin to look at the images as if they were abstract paintings.» Martina Fuchs, Zur Sichtbarmachung des Unsichtbaren, in: Clemens Fahnemann (Ed.), Michael Wesely, Photographien, Photographs, Berlin 2001, pp. 13 - 14.
Provenance: private collection Freiburg i.Br.
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