Lithografie / Kreidelithografie , 19,7 x 29,7 cm
Holzschnitt , 28,0 x 37,5 cm
Otto Mueller
Among his fellow Expressionist painters, Otto Mueller was a Romantic, a longing artist who conjured up a paradisiacal primal state in his paintings, in which man and nature are united in harmony. This is exemplified by the mostly female nudes, which merge with the landscape in an unforced and unconventional manner. Pale natural tones of Earth, Green, Grey-blue and dull Orange illuminate the sometimes sweeping, sometimes angularly contoured surfaces with quiet humility.
curriculum vitae
| 1874 | born in Liebau in the Riesengebirge (Giant Mountains) |
| 1890-1894 | Apprenticeship as a lithographer in Görlitz |
| 1894-1896 | Studies at the Königliche Akademie der Bildenden Künste in Dresden |
| 1896/1897 | Travelling to Switzerland and Italy together with Gerhard Hauptmann |
| 1899 | Return to Dresden |
| 1900-1903 | Stay in the Riesengebirge (Giant Mountains) |
| 1903/1904 | Stay in Laubegast and Rockau near Dresden and friendship with Paula Modersohn-Becker |
| 1905 | Marriage to Maschka Meyerhofer |
| 1906/1907 | Stay in Mittel-Schreiberhau in Silesia |
| 1908/1909 | Moves to Berlin, where he becomes friends with Emil Orlik, Wilhelm Lehmbruck and Rainer Maria Rilke |
| 1910 | Founding and exhibition of the Neue Sezession Berlin, member of the artists' group Brücke |
| 1911 | in Berlin collaboration with Ernst Ludwig Kirchner and Max Pechstein |
| 1912 | Exhibition at the Kunsthütte Chemnitz |
| 1914 | Exhibition at the Galerie Gurlitt in Berlin |
| 1916-1918 | Conscription for military service in the First World War, armoured soldier, military hospital stay and Landsturm |
| 1919 | Exhibition at Paul Cassirer in Berlin |
| Appointment as professor at the Academy of Art in Wroclaw | |
| 1922 | Marriage to Elsbeth Lübke |
| 1930 | Marriage to Elfriede Timm |
| died in Breslau |
There is no sense of defiance or provocation in his paintings. They lack the vehemence and sensationalism, the ecstasy and excitement that characterised some of the works of his fellow artists at the time. (...) His poetic depictions retain a dreamy undertone, that lyrical element which, with its muted sensitivity, loves the quiet nuances.
Künstlergruppe Brücke, Berlin: Henschelverlag 1984
