.
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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3238
Winterauktionen 24.–25.11.2023
Wesely, Michael
Born 1963 Munich, lives and works in Berlin.
«Der Orinoco bei der Insel Guajibo (the Orinoco by the island Guajibo)».
C-print on aluminium-dibond behind acrylic glass (Diasec). Typographically imprinted signature lower left, dated 1999, titled and numbered 1/3.
H 100,
Work from an edition of three copies.
In honor of the 200th anniversary of Alexander von Humboldt's Central and South American expedition (1799 - 1804), the Munich photographer created large format photographs of South America's second largest river, the Orinoco. For this Wesely uses specially built cameras with slit-shaped openings instead of a round lens. «With the consequence that the incoming light rays can no longer spread out evenly, as would be the case with a round aperture, they instead begin to overlap in such a way that only streaks of light are recorded by the film. [...] The images completely refuse to be read. [...] Inevitably, our perception shifts to the purely aesthetic qualities: We thus begin to look at the images as if they were abstract paintings.» Martina Fuchs, Zur Sichtbarmachung des Unsichtbaren, in: Clemens Fahnemann (Ed.), Michael Wesely, Photographien, Photographs, Berlin 2001, pp. 13 - 14.
Provenance: private collection Freiburg i.Br.
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