.
Karl Hauptmann
«The Feldberg Painter»
24th April 1880 – 7th April 1947
Karl Hauptmann was born on 25th of April in 1880 in Freiburg i.Br., Germany. He received his artistic training in Nürnberg and Munich and was thereafter engaged as a decorative painter.
In 1908 he produced the first of what were to be his typical Black Forest paintings. In the years between 1915 and 1919, he produced numerous images of the Alpine region he had visited during his deployment with the mountain infantry in the First World War.
In 1918 Karl Hauptmann purchased «Molerhüsli», which for him encompassed his dwelling, atelier, and exhibition space. It soon became a favourite meeting place for skiers, hikers, students, and visitors to Feldberg.
Due to Hauptmann’s ever-present health problems, his doctor prescribed a trip to Italy in 1940, to which he again travelled the following year.
On 7th of April in 1947, Karl Hauptmann died at the age of 67 at his «Molerhüsli».
Lit.: Exhibition Catalogue, Feldberg, 1993.
Karl Hauptmann
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1366
Herbstauktionen
Verheyen, Jef
1932 Itegem - 1984 St-Saturnin-d'Apt.
«Lichtstrom II (light flux II)». Oil on canvas. Verso signed, dated (19)69 and indistinctly inscribed, titled on stretcher frame. Verso exhibition label «Musée d'Art Moderne et d'Art Contemporain, Nice». Provenance: gallery Jöllenbeck, Cologne; since 1985 in private collection. Exhibition: Zero International, Musée d'Art Moderne et d'Art Contemporain, Nice, 1998. 
1932 Itegem - 1984 St-Saturnin-d'Apt.
«Lichtstrom II». Öl/Lw. Weiße Farbfläche von rötlich bzw. gelblich schimmerndem Nebel durchzogen. Verso sign., (19)69 dat. sowie undeutlich bez., auf Keilrahmen bet. Verso Ausstellungsetikett «Musée d'Art Moderne et d'Art Contemporain, Nice». H. 60, B. 60 cm.
Die puristische Ästhetik und Betitelung des Gemäldes «Lichtstrom II» von Jef Verheyen verdeutlicht den engen Bezug des belgischen Malers zu den Ideen der Künstlergruppe Zero. Die Thematisierung des Lichtes, welches die ZERO-Künstler, beispielsweise durch spiegelnde oder durchsichtige Oberflächen, in ihre Kunstobjekte einbezogen, zeigt sich hier in der durch zarte Farbschleier durchbrochenen Monochromie der weißen Farbe.
Provenienz: Galerie Jöllenbeck, Köln; seit 1985 in Privatsammlung.
Ausstellungen: Zero International, Musée d'Art Moderne et d'Art Contemporain, Nizza, 1998.