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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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2589
Herbstauktion
Nauen, Heinrich
1880 Krefeld - 1940 Kalkar.
Öl/Lw. Waldweg. In expressiven Farben gemalter, lichtbeschienener, von schlanken Bäumen gesäumter Pfad. U.r. monogr. und (19)12 dat. H. 73,
«Seit 1911 widmete sich Nauen in seiner Landschaftsmalerei ausschließlich dem Park und der weiten Landschaft um Schloß Dilborn, die ihm mit ihren Bäumen und Büschen, glitzernden Teichen, den Blumen und Blüten eine Fülle verschiedenartigster Motive bot.» Aus: Klara Drenker-Nagels, Heinrich Nauen - Das expressionistische malerische Werk von 1905 bis 1920, Köln 1996, S. 62.
Ist das vorliegende Werk in seiner intuitiven, wenig strukturieren Farbgebung wohl noch Ausdruck seiner Beeinflussung durch den französischen Fauvismus und hervorragendes Beispiel seines weichen farbenprächtigen Frühstils, werden seine späteren Werke stärker durch Cézanne und den Expressionismus Erich Heckels zugunsten einer härteren und kantigeren Formensprache geprägt.
Lit.: AKL, Thieme-Becker, Vollmer.