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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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| Survey of the artists
 Image under artist's copyright. |
2080
Winterauktionen 20.–21.11.2020
Munsky, Maina-Miriam
1943 Wolfenbüttel - 1999 Berlin.
«Hüfte (hip)».
Oil on canvas. Signed lower right and dated (19)88. Verso a printed collection label numbered «Nr. 66» and with the work's data.
H 151,
An almost disturbing effect and a dismissively cool, literally sterile atmosphere are typical of Maina-Miriam Munsky's photorealistic paintings, which show operating theatres in action, often in monumental format. The co-founder of the Berlin artist group «Gruppe Aspekt», who can be classified as a Critical Realist, left more than mere documentation of medical events to posterity. Her works convey in an oppressive way the dark and mysterious world, that few patients like to imagine, the sphere of powerlessness and absolute helplessness on the operating table, and thus for many people they cross the sensitive border of their emotional comfort zone.
Provenance: purchased at the Galerie Kornhauskeller of the Ulmer Kunststiftung, Pro Arte, Ulm, in 1987; since then med art-collection of the HUG-group, 
Munsky, Maina-Miriam
1943 Wolfenbüttel - 1999 Berlin.
«Hüfte».
Öl auf Leinwand. U.r. sign. und (19)88 dat. Verso ein gedrucktes Sammlungsetikett «Nr. 66» num. und mit den Angaben zum Werk.
H.
Eine nahezu beunruhigende Wirkung und eine abweisend kühle, im wahrsten Sinne des Wortes sterile Atmosphäre sind typisch für Maina-Miriam Munskys photorealistische Gemälde, die Operationssäle im laufenden Betrieb zeigen, oft in monumentalem Format. Die Mitbegründerin der Berliner «Gruppe Aspekt», die sich dem Kritischen Realismus zuordnen lässt, hinterließ der Nachwelt mehr als bloße Dokumentationen medizinischen Geschehens. Ihre Werke vermitteln auf beklemmende Weise die düster-geheimnisvolle Welt, die sich die wenigsten Patientinnen und Patienten gerne vorstellen, die Sphäre der Machtlosigkeit und des absoluten Ausgeliefertseins auf dem Operationstisch, und überschreiten damit für viele Menschen die empfindliche Grenze ihrer emotionalen Komfortzone.
Provenienz: erworben 1987 in der Galerie Kornhauskeller der Ulmer Kunststiftung Pro Arte, Ulm; seitdem med art-Sammlung der HUG-Gruppe,