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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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 Image under artist's copyright.

2215
Herbstauktionen 25.–26.09.2015
Michaux, Henri
1899 Namur - 1980 Paris.
«Dessin mescalinien». India ink with red and brown ink on strong wove paper, with tear-off edge at the upper margin. Monogrammed lower right.
Henri Michaux is considered as one of the great lonesome figures within the art of the 20th century. He is a personality of deep, almost monastic spirituality and more interested into literature, when he first encounters the paintings of Paul Klee, Max Ernst and Giorgio de Chirico in 1925. He is amazed and particularly during his early work influenced by the Surrealists, fascinated by their methodical techniques, including automatism as an important tool to reach the subconscious. In 1956 he starts a series of controlled experiments with hallucinogens such as mescaline and is translating his collected experiences into poetry, as well as into numerous paintings and drawings, including the present work. Characteristic for these works is the use of hieroglyphic and calligraphic signs occupying the field between writing and painting and connecting them to each other.
Provenance: purchased at Gallery Lelong, Paris; since then private collection.

deutsch 1899 Namur - 1980 Paris.
«Dessin mescalinien». Tusche und rote sowie braune Tinte auf festem Velin, am oberen Rand mit Abreißkante. U.r. monogr.
H. 26,5, B. 18 cm (Blattgröße).
Henri Michaux gilt als einer der großen Einzelgänger in der Kunst des 20. Jahrhunderts. Als Persönlichkeit von tiefer, fast mönchischer Spiritualität ist er zuerst mehr der Literatur zugewandt, als er 1925 der Malerei von Paul Klee, Max Ernst und Giorgio de Chirico begegnet und begeistert ist. Vor allem während seines Frühwerks steht er den Surrealisten nahe und nutzt viele ihrer methodischen Arbeitstechniken, wie beispielsweise den Automatismus, um Zugang zu seinem Unterbewusstsein zu erlangen. Um 1956 beginnt er seine ersten kontrollierten Experimente mit Halluzinogenen und anderen bewusstseinserweiternden Drogen, darunter auch Meskalin. Seine dabei gesammelten Eindrücke und Erfahrungen verarbeitet er in literarischen Werken sowie zahlreichen Gemälden und Zeichnungen, zu denen auch das hier gezeigte Blatt zählt. Charakteristisch für jene Arbeiten ist, dass sie Schrift und Bild in sich zu vereinen scheinen, indem sie Poesie und Zeichnung durch hieroglyphische und teilweise kryptisch-kalligraphische Zeichen miteinander verbinden.
Provenienz: erworben in der Galerie Lelong, Paris; seitdem Privatsammlung.
 

hammer price: 18500,- EUR
(starting price: 12000,- EUR)