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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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4393
Herbstauktionen 04.–05.10.2013
Memento-Mori-Totenkopf
Memento mori skull. Probably Germany 17th/
Wohl deutsch 17./
Mit seinen hohlen Augen und den vorstehenden Zähnen gilt der Totenkopf als eines der eindeutigsten «Memento mori»-Motive der bildenden Kunst, die ähnlich den Vanitas-Darstellungen den Gläubigen an die Vergänglichkeit und den leeren Schein allen irdischen Lebens gemahnen sollten. Dass auch der Ruhm, den man im Diesseits erlangt hat, im Tode nichtig wird, symbolisieren die kleinen Totenköpfe und die Knochen auf dem Schädel, die diesen wie Trophäen seiner Widersacher aus vergangenen Kriegen bekrönen, die aber nicht das gleiche Schicksal von ihm abwenden konnten. Im Tod sind alle gleich. Aus dem Memento mori entwickelte sich im von Seuchen und Naturkatastrophen geplagten Mittelalter mit dem Ars moriendi «die intensive Auseinandersetzung mit der Vergänglichkeit, die zu einem gottesfürchtigem Leben animieren sollte. [...] Seit dem
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