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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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4330
Frühjahrsauktionen
Cuscoschule
Cuzco School Peru 17th/
The Cuzco School is named after the capitol city of the Inca's empire, located in the south of Peru in the midst of the Andean highlands. Even in the colonial era Cuzco preserved its role as an important cultural and political centre. The Italian Jesuit Bernardo Bitti, who arrived in Cuzco in 1583, influenced the development of Cuzco School decisively with the introduction of Mannerism. This is particularly visible in the typical elongated figures, as well as in the accentuation of the foregrounds, finding their way into the visual world of the Cuzco School. Over time the European influence is decreasing under the steadily growing importance of indigenous painters like Diego Quispe Tito and Juan de Santa Cruz Pumacallo. The Cuzco School experienced its golden period in the second half of 17th Century, after a severe earthquake destroyed wide areas of the city and the painters were confronted with countless new orders for decoration. Prevailing themes were taken from the Catholic religion, especially depictions of saints, often also in combination with the old Andean gods, in the typical narrative character of the Cuzco School.
One characteristic for the frequent mixture of cultures and religions in the Cuzco School are amongst other things the trapezoid representations of the Madonna, also visible in the present painting. These depictions are reminding of the silhouette of mountain Apu, who was venerated as a god. The long and dark hair is a reference to the matriarchy, still significant in the Andean culture until today.
Provenance: private collection Alsace.
Peru 17./
«Virgen de Candelaria (Jungfrau mit Kerze)». Öl auf Leinwand, Spannränder hinterklebt. Unsign.
Die Cuscoschule erhielt ihren Namen nach der gleichnamigen vorspanischen Inkahauptstadt, die im Süden Perus inmitten des Andenhochlandes liegt und auch während der Kolonialzeit ihre führende Rolle als kulturelles und politisches Zentrum beibehielt. Der italienische Jesuit Bernardo Bitti, der 1583 nach Cusco kam, beeinflusste mit der Einführung des Manierismus entscheidend die Entwicklung der Cuscoschule. So fanden die für den Manierismus typischen überlängten Figuren und eine Betonung des Bildvordergrundes Eingang in die Cuscomalerei, wobei der europäische Einfluss durch indigene Künstler wie Diego Quispe Tito und Juan de Santa Cruz Pumacallo mehr und mehr durch indigene Stilelemente und Bildvorstellungen verdrängt wurde. Ihren Höhepunkt erlebte die Cuscoschule in der zweiten Hälfte des 17. Jahrhunderts, nachdem ein schweres Erdbeben die Stadt stark zerstört hatte und viele Aufträge nun auch an indigene Künstler vergeben wurden, die allerdings zum größten Teil anonym blieben. Vorherrschendes Thema war die Bilderwelt der katholischen Religion, insbesondere Heiligendarstellungen, oft auch in Kombination mit andinen Göttern, wobei für die Cuscomalerei besonders der narrative Charakter typisch ist.
Typisch für die in der Cuscoschule häufige Vermischung der Kulturen und Religionen sind unter anderem die trapezförmigen Mariendarstellungen, zu denen auch das hier gezeigte Gemälde gehört. Sie erinnern in ihrer Gestalt an die Silhouette des Berges Apu, welcher als Gottheit verehrt wurde. Das lange dunkle Haar ist als Hinweis auf das bis heute bestehende Matriarchat in der andinen Kultur zu verstehen.
Provenienz: Privatsammlung Elsass.