.
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
Results of your search
Matches:
1/1 overview 
| send e-mail 
| Survey of the artists
 |
3220
Winterauktionen 19.–20.11.2021
Master of the Nieder-Erlenbach Altar attr.
Probably Middle Rhine late
Two counterparts. Exteriors of two altar wings, representing the Annunciation.
Oil on panel, margins attached as well as embedded in another, modern panel. Unsigned. Verso inscribed «Tafel 1 (panel 1)» respectively «Tafel 2 (panel 2)» and «Rückseite (back)» as well as on an embossed label of the studio for painting restoration G. Kreuter, Basel, handwritten inscribed «Oktober 1966 (october 1966)».
H 102,
H 103,5,
Spread over two panels lies an interior with red and white floor tiles, a surrounding wooden bench and a plain beamed ceiling. Through windowless openings in the walls, the view opens onto rolling green hills, a fortified city and bizarre, craggy rock formations. On the right panel, the Virgin Mary kneels at a prayer desk. Almost ecstatically enraptured and wrapped in a white cloak, she meets the Archangel Gabriel on the left panel, who, raising his hand in a gesture of blessing, announces to her the message of conception. In front of the angel, there is a bundle of lilies symbolising virginal purity on the floor in a blue and white vase.
The Annunciation is, so to speak, the nucleus of the Christian promise of salvation. The Son of the Virgin will sacrifice himself for the sins of humanity and thus overcome death. Due to the central importance of this episode of salvation history, it has been repeated countless times and plays a fundamental role in the pictorial transmission of the Christian faith. It is usually integrated into larger contexts and is depicted together with other scenes from the Gospels. Thus, one could assume that the present panels are the outer sides of a folding winged altarpiece.
Verbal attribution: Dr. Bodo Brinkmann and Gabriel Dette, Kunstmuseum Basel, 09.02.2018.
Statement: Dr. Eva Maria Breisig, Städtische Museen,
Condition report 