With a keen eye for the beauty of the Bavarian Alpine foothills, painters were drawn from the city to the countryside at the end of the 18th century to sketch their impressions of nature. The public followed the artists and excursions into the rural surroundings of Munich became popular. And Lake Chiemsee was particularly popular with everyone, and also became a fashionable subject for painters.

Johann Georg von Dillis (1759 - 1841), who painted a view of the Bavarian Sea in 1792, belonged to the first generation of Munich landscape artists, who were united by a non-academic view of nature.

Chiemsee painting experienced its first real heyday in the 19th century. In 1828, Max Haushofer (1811 - 1866) discovered the Fraueninsel as a painter's paradise. Unspoiled nature with lake and mountains, the picturesque Fraueninsel with its enchanted monastery, fishermen's huts and boathouses and the simple life of the farmers: Entranced by the magic of the place, Haushofer and his painter friends founded the "Frauenchiemsee artists' colony". Alongside Barbizon in France, it is one of the oldest artists' colonies in Europe - and will last for around a hundred years. For self-taught painters like Haushofer, Lake Chiemsee becomes a new home. Here they practiced drawing in front of nature and exchanged ideas - preferably at the "Zur Linde" inn. A wonderful place to debate, celebrate - or fall in love, like Max Haushofer, who marries Anna Dumbser, the innkeeper's daughter.

In 1836, the loosely organized community on Fraueninsel already had 26 painters, and as the mini island became a little cramped over time, the artists moved out: Around 1900, several artists built villas around Lake Chiemsee and converted farmhouses into studios. Pioneers of modernism also found their painter's corner on the lake. For example, Julius Exter (1863 - 1939) acquired the farmhouse "Zum Stricker" in Feldwies in 1902. His new artist's residence became the location of his painting school, which was renowned throughout Europe.

 

 

HIASL (MATHIAS) MAIER-ERDING
1894 Erding – 1933 München

CHIEMSEELANDSCHAFT

Öl auf Karton. 22 × 31,4 cm

LOT 86
SCHÄTZPREIS € 3.000 – 4.000

Der Blick auf Frauenchiemsee gehört zu den beliebtesten Motiven Hiasl Maier-Erdings. Dieses Gemälde, das bisher in der Literatur nicht bekannt ist, zeigt den Blick auf Frauenchiemsee, wobei Teile der Insel von einer Baumgruppe überdeckt werden. 

 

Given the preponderance of traditionalists who paint farmers and mountains on Lake Chiemsee, it may come as a surprise that there are also niches for modernist tendencies. In fact, artistic and social impulses emanate from the lovely province. Around 1900, the poet and painter Marie Haushofer (1871 - 1940), a granddaughter of Max Haushofer, became involved in the modern, bourgeois women's movement in Bavaria, which had been gaining a foothold in Munich since 1894 - working together with her stepmother Emma Haushofer-Merk, who was also one of the founders of Bavaria's first association of women writers. "Long live freedom, long live those who win. In battle the victory, in victory the man! And if he is defeated, he is our servant, we create our own rights!", Marie Haushofer formulates in her festival play "Zwölf Culturbilder der Frau", which presents the work of women through the centuries and shows how they rise to freedom and work. She propagates neither motherhood nor marriage as women's destiny, but (positively defined) work, active participation in society and solidarity among women. But men were still in charge, even in the field of art. From 1852 to 1919/1920, no women were admitted to study at the Munich Academy of Fine Arts. They could only receive artistic training at the "Ladies' Academy", founded in 1884, which was based at Barer Straße 21 and whose landscape class moved out to Seebruck on Lake Chiemsee in the summer, or at private painting schools such as those run by Julius Exter on Lake Chiemsee. And so, alongside artists, women artists also find their places of self-realization on Lake Chiemsee.

GREAT LAKE 

The idyllic Alpine foothills around Lake Chiemsee have been attracting artists for over 200 years. In the 19th century in particular, painters took easels and palettes out of their studios to draw in the open air. Detached from the constraints of the Munich art world and academic painting, they depicted landscapes and people in the best plein air manner, founded artists' colonies and took part in exhibitions that made Lake Chiemsee and its painters famous throughout Europe.

After the First World War, the "Frauenwörther" artists' group continued the painting tradition of the "Frauenchiemsee artists' colony". Lake Chiemsee came back into fashion as an alternative to the city, also among young artists who turned their backs on Munich. These mostly conservative, sometimes monarchist-minded artists upheld the tradition of the Chiemsee painters and the Munich School, mainly depicting landscapes and rural subjects. One of them was Hiasl Maier-Erding, who founded the "Frauenwörther" in the fall of 1920 with his painter friends Constantin Gerhardinger, Thomas Baumgartner and Alfred Haushofer. The name was chosen to distinguish themselves from the exhibitions planned on the neighboring Herreninsel. The aim of the loose group is to hold summer sales exhibitions on Fraueninsel from 1921. A jury decides who can take part - and the requirement is clear: they want to show works that contain "the spirit of the Chiemsee", i.e. depict the Chiemsee or characters from the Chiemgau region. It is significant that it is mainly "traditional" works in the tradition of the Leibl circle that make it into the Frauenwörth exhibitions. "New art movements" are referred to Herrenchiemsee or Prien, where Chiemgau artists - almost at the same time as the Frauenwörthers - came together to form the "Wave" group, whose modern visual language set them apart from the traditionalist painting of the Frauenwörthers.

After Maier-Erding's early death in 1933, no co-founder of Frauenwörther was appointed as his successor, but Hermann Groeber, at the time one of the most prominent figures in Munich's artistic community, a professor at the academy and Thomas Baumgartner's teacher there, among others.

Thanks to their permanent local presence, the Frauenwörthers became firmly established in the cultural life of Lake Chiemsee over time. Their works characterize the landscape of Lake Chiemsee and the lives of its people in an almost documentary manner - until 1960, when the group held its last exhibition.

To this day, the artistic landscape of Chiemgau is extremely lively, which is also ensured by local initiatives such as the Kulturförderverein Prien am Chiemsee e. V. (Prien am Chiemsee Cultural Promotion Association). Lovers of art and culture will find museums, galleries and events around Lake Chiemsee that entice visitors with an exciting mixture of Alpine tradition and vibrant modernity. The spectrum ranges from country museums to modern exhibition centers such as the Lokschuppen in Rosenheim. And artists at Lake Chiemsee continue to seek and find inspiration in the great outdoors. LS/AL

 


In 1907, at a young age, Hiasl Maier-Erding moved from his hometown of Erding to Prien on Lake Chiemsee. There, the son of an innkeeper's family completed an apprenticeship as a decorative painter, in 1911 he went to the School of Arts and Crafts, and a year later to the Academy in Munich. At the beginning of the First World War, Maier-Erding was drafted into the "Schweren Reiter", a cavalry unit of the Bavarian army, and documented the life of soldiers in several paintings - not without irony. With these works, which were already being reproduced during the war, the artist made a name for himself beyond Bavaria.

After the war, Maier-Erding returned to Lake Chiemsee, this time to Gstadt. There he was supported by Joseph Wopfner (1843 - 1927), one of the last painters of the "Chiemsee artists' colony". After Wopfner's death, Hiasl Maier-Erding took on his central role in the Chiemsee art scene. He is extremely popular there because of his pithy, honest and cheerful nature. Numerous anecdotes have been handed down about the self-confident Bavarian ("Meine Buida san Praliné").

Maier-Erding himself describes his artistic style succinctly: "I can only paint in dialect". This narrows the view of his work a little, but is nevertheless quite accurate, as Maier-Erding's work is characterized by motifs from Lake Chiemsee and rural scenes. His character heads are expressive and his colorful landscapes are almost impressionistic.

Hiasl Maier-Erding died of kidney inflammation in 1933 at the age of 38. He leaves behind over 600 works. For his work and the promotion of art, Hiasl Maier-Erding was made an honorary citizen of the municipality of Frauenchiemsee at the age of 33 - shortly after his death, the town of Erding bestowed the same honor on him. L S

 


HIASL (MATHIAS) MAIER-ERDING
1894 Erding – 1933 München

„DER HUBER-BAUER MIT DER PFEIFE“

Öl auf Leinwand. 73 × 65,5 cm

LOT 85
SCHÄTZPREIS € 1.000 – 1.500

 


Hermann Groeber is considerably older than Hiasl Maier-Erding and other "Frauenwörthers". He also differs from most of the others in the group in his background: born in Wartenberg in 1865, he is a child of Lake Chiemsee. A native Bavarian who speaks freely. He went to the Munich Academy relatively early on and became a student of Nikolaus Gysis, Wilhelm von Lindenschmit the Younger and Ludwig von Löfftz. Groeber studied the art of Rembrandt and other Dutch artists in detail. He also worked as an illustrator for the magazines "Jugend" and "Simplicissimus". Study trips took him to Holland, Italy and Paris. From 1907 he was a lecturer in nude painting at the academy, and in 1911 Groeber was appointed full professor, a post he held until his death in 1935. From 1923, Groeber regularly took part in exhibitions organized by the "Frauenwörther", and in 1933 he became its chairman.

In contrast to almost all Frauenwörth artists, Groeber's work is not only in the tradition of Wilhelm Leibl. Rather, his works are impressionistic in character and are also somewhat reminiscent of the works of Fritz von Uhde. Basically, Groeber's talent is revealed in the painting of people, whether as portraits or in genre scenes.

As an enthusiastic fan of plein air painting, he does not look for motifs and models in the city, but in the countryside of Upper Bavaria. Lake Chiemsee in particular, Groeber's home, is a constant source of inspiration for him.

 

Hermann Groeber is described as a sociable person. Legends surround the academy parties of his class. In the 1920s, there were repeated celebrations in his honour at Lake Chiemsee, with Maier-Erding organizing a party there for Groeber's 60th birthday. LS

 

 


HERMANN GROEBER
1865 Wartenberg (Obb.) – 1935 München

OBERBAYRISCHES MÄDCHEN MIT SPIEGEL

Öl auf Holz. 48 × 42 cm

LOT 94
SCHÄTZPREIS € 1.200 – 1.500

 

 


HERMANN GROEBER
1865 Wartenberg (Obb.) – 1935 München

MUTTER MIT IHREN KINDERN

Öl auf Leinwand. 112 × 85 cm

LOT 90
SCHÄTZPREIS € 800 – 1.000

 

 


HERMANN GROEBER
1865 Wartenberg (Obb.) – 1935 München

BEI DER BROTZEIT

Öl auf Leinwand. 53 × 64 cm

LOT 89
SCHÄTZPREIS € 1.000 – 2.000

 

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