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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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2099
Jubiläumsauktionen 06.–07.12.2019
Hofschen, Edgar
1941 Tapiau - 2016 Wuppertal.
«Monochrome Modifikation (monochrome modification)».
Oil and acrylic on two pieces of canvas glued with Ponal. Verso signed, titled and dated (19)69 as well as with indication of dimension.
H 105, W 105 cm.
Starting in 1969, Edgar Hofschen intensively explored the issues of connection and separation, of series and layering. The glue becomes a means and an object at the same time. The materials that come together are strengthened and create a «line of force» typical for Hofschen.
Provenance: purchased directly from the artist; since then private collection Frankfurt a.M. 
Hofschen, Edgar
1941 Tapiau - 2016 Wuppertal.
«Monochrome Modifikation».
Öl und Acryl auf zwei mit Ponal verklebten Leinwandstücken. Verso sign., bet. und (19)69 dat. sowie mit Angabe der Maße.
H.
Edgar Hofschen setzt sich ab 1969 intensiv mit der Thematik von Verbindung und Trennung, von Reihung und Schichtung auseinander. Der Leim ist hier gleichzeitig Mittel und Gegenstand. Die aufeinandertreffenden Materialien werden gefestigt und lassen die für Hofschen typische «Kraftlinie» entstehen.
Provenienz: erworben direkt beim Künstler; seitdem Privatsammlung Frankfurt a.M.