Gabriele Münter Mono Show. Museum Ludwig, Cologne, Sep 15, 18 – Jan 13, 19

“Münter. Gabriele Münter.” And not only the wife of Kandinsky

“Gabriele Münter? Oh yes, that’s Wassily Kandinsky’s wife.” That’s true, but nevertheless, it doesn’t even come close to the situation. Actually, in this tiny sentence, which is often said lightly and spontaneously, the true tragedy of Gabriele Münter reveals itself. Indeed, for a very long time, the extremely versatile, talented, and even during her lifetime quite successful artist Gabriele Münter stood in the shadow of her on-off partner. Kandinsky, who, with his artistic work and his theoretical concepts about art, definitely ranks among the truly great artists of modernism.

Definitely, Gabriele Münter’s name is also closely linked to the artist group “Blauer Reiter“ (=Blue Horse Rider), around Kandinsky and Franz Marc. In fact, it is thanks to her inititiative, that the Lenbach Haus in Munich became a museum of international reputation, due to Münter’s donation of numerous works which were created by the artists of the “Blauer Reiter”. Because of this strong connection with Kandinsky and the “Blauer Reiter”, her own extensive work actually somehow moved into the background. In short, it’s really time for another mono show for Gabriele Münter.

Gabriele Münter. One woman – many facets

After the Lenbach Haus in Munich, the Museum Ludwig in Cologne shows a unique exhibition of works by Gabriele Münter (1877 – 1962). Thus, the artist steps into the light, and out of the overpowering shadow of her husband. This exhibition is not about life circumstances and the chronological “working off” of Gabriele Münter’s work. Rather, it is about presenting the versatility and originality of Gabriele Münter.

For timelines and „drawers“, her work is also far too inconsistent: landscapes, portraits, still lifes, genres, pictures, interiors, but also the everyday life of an industrialized modern age, such as construction sites or technical processes.

Münter created drawings and paintings, photographies, prints, and even behind-the-glass paintings. Many motifs accompany her longer, she explores them over time with different modes of expression.

On numerous journeys, she is inspired by many, partly even exotic impressions, but also by the upper Bavarian landscape around Murnau. She collects handcrafted artefacts, figures of saints and woodcarvings. In many of her paintings, she shows objects from her collection, almost as if she wanted to bring herself into the picture. Gabriele Münter enjoys pictures painted by children, and explores the impartiality and immediacy of childlike expression.

Gabriele Münter was indeed highly experimental, expressing herself in different styles. In fact, she has a good “eye” for the motif, captures it quickly and confidently. She begins as an impressionist, becomes an expressionist, and over the years has tested several motifs in numerous variations. Many of her paintings are „flat“ and plain, without tiny detail, reduced and in clear forms, often „framed“ with strong black lines. They even remind of drawings, and they sometimes remain rather “sketchy”. A whole series of her works deals with the possibilities of abstraction.

And Kandinsky? Is here in the background

It goes without saying that Kandinsky and Münter inspired each other. Kandinsky was a central figure for Gabriele Münter: as an artist and a beloved person. Their separation was an extremely painful experience that deeply affected Münter. As her teacher, Kandinsky recognized her extraordinary talent early on. “You are hopeless as a pupil – you can’t be taught anything. You have everything by nature,” he writes early in a letter to Gabriele Münter.

Most noteworthy, iving together also meant working together. In the foreground of this relationship, however, he certainly stood as the central figure. Even though she herself was also a successful artist during her lifetime, who was perceived independently with her works.

During their years together, Münter also portrayed Kandinsky many times. Some of these paintings can be seen in the Cologne exhibition. They show Kandinsky sitting at the table, having tea, or with some pastries. Or in engaged conversation with the artist Erma Bossi. Kandinsky seems to explain something with a great gesture, Bossi is listening. Over the years, Gabriele Münter actually “processed” this scene in a whole series of pictures.

Many of her motifs are very clear, sometimes even appearing kind of „conventional” today. On the other hand, there is also something mysterious among her pictures, such as, for example, the „Listeners”. Four women sitting comfortably in a row, on soft armchairs and sofas, with two exotic masks hanging on the wall above them. They listen. What or whom they listen to, however, is not shown. A lecture? A radio show?

Unfortunately not presented as an original in Cologne, there is a small interior painting by Münter (about 1910), which is exhibited in Murnau. It shows the (at that time still) beloved man Kandinsky in the background, behind a half closed door, in their bed room. It is the view into their kitchen in Murnau. In the foreground of the picture, there are only his big shoes.

Gabriele Münter. Painting without digression

The Cologne exhibition shows Gabriele Munter’s well-known works, such as the portrait of Marianne von Werefkin or a Boy’s head, the canoe trip with Kandinsky, the landscape with the hut in the sunset. Just to name a few. Many of the works in the mono show, are to be seen for the first time (again) after a long time, as the meticulous Gabriele Münter had packed them away for many years. So, there is a lot to discover. Why don’t you go to Cologne and experience a really worthwhile seeing mono show in Museum Ludwig? Furthermore, the extensive exhibition is accompanied by a film that also presents Gabriele Münter’s house, the „Russenhaus“ (=„Russian House“) in Murnau. In addition, by the way,  the carefully prepared exhibition catalogue is also worth reading. Since it explains Gabriele Münter’s work with many illustrations and arranges it thematically. Gabriele Münter, Painting without digression.