Constantin Gerhardinger, born in Munich in 1888 as the illegitimate son of a washerwoman, experienced a hard and sad youth. In this respect, his path to becoming an artist was by no means predetermined. It is therefore all the more remarkable that he successfully applied to the Academy of Fine Arts in Munich in 1911. However, he not only acquired his knowledge there, but also through self-study. Carl Schuch (1846 - 1903) became his artistic role model - and he was not the only one to warm to the important Austrian painter at the time. Shortly before the outbreak of the First World War, there was a veritable "Schuch hype" in Munich, which also affected Gerhardinger. However, unlike other artists, his enthusiasm would remain lasting: Schuch influenced him for the rest of his life, as did Wilhelm Leibl (1844 - 1900). However, Gerhardinger's works are far more than mere references to his two idols. To a certain extent, he detached himself from them over time. His color palette became broader, his brushwork freer. And in the end, his works are almost on a par with those of his role models in terms of quality. This is particularly evident in his still lifes, with which Gerhardinger is probably most often associated. He remained true to this genre throughout the years.

However, the artist's canon of motifs is not limited to still lifes; landscapes are also a recurring theme for Gerhardinger. The spectrum ranges from pictures of the city of Munich to views of the Chiemgau region and paintings of the Upper Palatinate market town of Kallmünz, where Gerhardinger was often drawn for longer stays. Among his Munich works, the motifs of the Auer Dult stand out in particular, which he brings to the canvas in various views in different weather and light situations. Gerhardinger's figurative scenes are a theme in themselves. Portraits and nudes such as "My Models", the main work in this group of motifs (see pages 94/95), are highly regarded.

Constantin Gerhardinger enjoyed an astonishing career as an artist. In 1920, he founded the "Frauenwörther" artists' group with Thomas Baumgartner (who also painted a portrait of him in 1919) and Hiasl Maier-Erding. In general, the man is quite sociable. He can be charming and has a talent for inspiring the next generation. As early as the 1920s, he found a pupil in Erich Martin Müller who captured the pictorial essence of his teacher almost 1:1. 

 

 

As early as 1914, Gerhardinger took part in exhibitions with growing success and increasing price value. In the 1920s and 1930s, he celebrated many sales that made him famous and earned him a fortune. Successful, married to a Tengelmann daughter and residing in a stately villa, it was easy for him to say self-effacingly: "You know, when I look at a Titian, Rubens or Rembrandt, I'm nothing, I'm just an ordinary trouser-bruncher - sorry - yes, so clumsy, like an ant."

Constantin Gerhardinger mit Modell auf
Bärenfell.

From 1937 to 1942, Constantin Gerhardinger took part in the "Great German Art Exhibitions" in the specially built Haus der Kunst in Munich, where works representative of the art of National Socialism were shown. Gerhardinger was one of the big earners at these exhibitions and some of his paintings were bought by Hitler and Goebbels. Gerhardinger made a career in the art business of the Nazi regime, was appointed professor at the Munich Academy in 1939, but fell out of favor in 1943 because he refused to continue exhibiting at the Haus der Kunst for fear of air raids. From then on, he was labeled a defeatist and banned from his profession. 

As an artist, Gerhardinger benefited from the Nazi era, but a clear stance for or against the system can hardly be deduced from his painting - with the exception of one commissioned work. As a result, the painter remained largely true to his style of the 1920s, even during National Socialism. However, he contributed several works to exhibitions during the Nazi era that can be described as system art. After the end of the Second World War, Gerhardinger quickly returned to artistic life. He was one of the new founders of the Munich Artists' Cooperative and became its first president until 1965. In 1968, he received honorary citizenship from the city of Rosenheim on his 80th birthday. Gerhardinger comments: "Don't exaggerate, I already know what I can do, but I also know what I can't do." LS/AL

 

 

CONSTANTIN GERHARDINGER OCCUPIES A SPECIAL POSITION IN THE FAUSSNER COLLECTION, AS HE WAS A GOOD FRIEND OF THE FAUSSNER FAMILY AND THE GODFATHER AND NAMESAKE OF THE COLLECTOR HANS CONSTANTIN FAUSSNER. TOGETHER WITH BERNHARD HAUSER, THE FORMER PRESIDENT OF THE MUNICH ARTISTS' COOPERATIVE, HE WROTE THE CATALOG RAISONNÉ OF THE PAINTER'S WORKS.


THE ARTIST AND HIS MODELS


FEMALE NUDES FORM A SEPARATE GROUP OF WORKS IN CONSTANTIN GERHARDINGER'S OEUVRE. HE LIKES TO DRAPE HIS MODELS BETWEEN SHEETS OR OUTDOORS BY A LAKE. IN TERMS OF FORMAT, MOTIF AND HISTORY, OUR PAINTING "MY MODELS" IS THE MAIN WORK AMONG GERHARDINGER'S NUDES. 

 

 

 

CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

„MEINE MODELLE“. 1926

Öl auf Leinwand. 176 × 227 cm

LOT 146
SCHÄTZPREIS € 10.000 – 12.000

 

Provenance

Estate of the artist. - Städtische Galerie Rosenheim - According to tradition, transferred to the Hans Constantin Faußner Collection in an exchange transaction. - Hans Constantin Faußner Collection, Munich.

Literature

Meister, Jochen, Ein Blick für das Volk. Die Kunst für Alle. Katalog der Gemälde. Publikation zur gleichnamigen Ausstellung im Haus der Kunst, 14. Juni – 3. September 2006 (Online-Publikation Arthistoricum.com), München 2006, S. 16, Kat.-Nr. 15. – Wolf, Georg Jakob, Allgemeine Kunstausstellung im Münchener Glaspalast 1926, in: Die Kunst für alle: Malerei, Plastik, Graphik, Architektur, Heft 11, August 1926, S. 340–345. – Faußner, Hans Constantin/Hauser, Bernhard, Der Maler Constantin Gerhardinger – Der Versuch einer Dokumentation. München 1988, S. 34–45: Dort mit ausführlichen Berichten über das mediale Echo zu dem Gemälde.

Exhibitions

Galerie Heinemann München, Einzelausstellung Constantin Gerhardinger, 1926, Kat.-Nr. 1. – Kunsthandlung Schneider, Frankfurt (Main) 1927. – Städtische Galerie Rosenheim, Gedächtnisausstellung Constantin Gerhardinger, 1988, Kat.-Nr. 43. – Haus der Kunst München, Ausstellung „Die Kunst für Alle“, 2006, Kat.-Nr. 15. 

 

 

CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

STILLLEBEN MIT FRUCHTSCHALE. 1919

Öl auf Leinwand. 54 × 55 cm

LOT 134
SCHÄTZPREIS € 1.000 – 1.200

 

 

CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

ROSEN. 1923

Öl auf Leinwand. 47 × 56 cm

LOT 139
SCHÄTZPREIS € 800 – 1.000

 

 


CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

STIEFMÜTTERCHEN MIT GLAS. 1925

Öl auf Leinwand. 60 × 82 cm

LOT 143
SCHÄTZPREIS € 2.000 – 2.500

 

 


CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

IM LAMPENSCHEIN. 1925

Öl auf Leinwand. 50 × 35 cm

LOT 144
SCHÄTZPREIS € 1.500 – 2.000

 


FAVORITE PLACES


 

 

 

CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

AUF DER FRAUENINSEL. 1922

Öl auf Karton. 35 × 50 cm

LOT 137
SCHÄTZPREIS € 1.500 – 1.800

 

 

CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

STRASSENZEILE IN GIESING (?). 1925

Öl auf Leinwand. 37 × 48 cm

LOT 145
SCHÄTZPREIS € 1.000 – 1.500

 

 


CONSTANTIN GERHARDINGER
1892 München – 1962 Kreuth/Tegernsee

BEI KALLMÜNZ. 1930

LOT 150
SCHÄTZPREIS € 1.000 – 1.500

 

Kallmünz, 15 kilometers north of Regensburg in the Upper Palatinate, was Constantin Gerhardinger's favourite retreat. He affectionately called the place "Little Nest". Kallmünz became famous for his paintings, which is why he was made an honorary citizen there in 1969. Views of Kallmünz with its idyllic ensemble of castle ruins, rocks and the Naab river can be found in every period of Constantin Gerhardinger's work. Thanks to the realistic lighting, everything appears lively and approachable. There are also no signs of technical progress in such paintings - as in the present work, which shows the view of the castle and the entrance to the village from Holzheim am Forst, coming from the south-east. Kallmünz as an alternative to the metropolis. 

 

 

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