.
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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3229
Jubiläumsauktionen 06.–07.12.2019
Schreuer, Wilhelm
1866 Wesel - 1933 Düsseldorf.
Coffee party.
Oil on paper, mounted on cardboard. Monogrammed lower right. Verso inscribed by a different hand as well as annotation of owner.
H 60, W 80 cm.
Schreuer's paintings are characterized by a glazing technique with diluted paints on a wet ground, mostly applied on glued paper. Due to the fast drying paint, corrections are hardly possible for the artist. Thus, the surface of the works is almost as smooth as a mirror and shows practically no relief. Nevertheless, the individual brush stroke remains visible. This way of painting requires a high degree of skill. 
Schreuer, Wilhelm
1866 Wesel - 1933 Düsseldorf.
Kaffeegesellschaft.
Öl auf Papier, auf Malkarton kaschiert. U.r. monogr. Verso von fremder Hand bez. sowie Besitzervermerk.
H.
Die lasierende Malweise mit verdünnten Farben auf nassem Grund, die zumeist auf geleimtes Papier aufgetragen wurden, ist charakteristisch für die Gemälde von Schreuer. Korrekturen sind aufgrund der schnell trocknenden Farbe für den Künstler kaum möglich. Somit ist die Oberfläche der Werke fast spiegelglatt und weist praktisch kein Relief auf. Dennoch bleibt der individuelle Pinselduktus sichtbar. Diese Art der Malweise erfordert ein hohes Maß an Können.