{"secondaryobjectnumber":null,"periodterms":[],"creditline":"In loving memory of Frank and Peggy Taplin","caption":"Gabriele Münter (1877–1962; born Berlin, Germany; died Murnau (am Staffelsee), Germany), Kandinsky and Erma Bossi, 1910. Oil on board; 48.9 × 70.5 cm, 69.9 × 90.8 × 6.4 cm (frame). 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Oil on board; 48.9 × 70.5 cm, 69.9 × 90.8 × 6.4 cm (frame). In loving memory of Frank and Peggy Taplin (2012-21)","displaydate":"1910","medium":"Oil on board","media":[{"id":72765,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/2012-21","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":"Restricted","caption":"PUAM photo"}],"displayperiod":null,"extended_content":true,"campuscollections":"false","bibliography":[{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 222","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Jill Guthrie, ed., <em>In celebration: works of art from the Collections of Princeton Alumni and Friends of The Art Museum, Princeton University,&nbsp;</em>(Princeton, NJ: Princeton University Art Museum, 1997).","citation":"Jill Guthrie, ed., <em>In celebration: works of art from the Collections of Princeton Alumni and Friends of The Art Museum, Princeton University,&nbsp;</em>(Princeton, NJ: Princeton University Art Museum, 1997)., p. 270, fig. 234","date":1997,"id":852,"uri":"https://search.worldcat.org/title/231714876"},{"boilertext":"Anne Mochon, <EM>Gabriele Münter: between Munich and Murnau</EM>, (Cambridge, MA: Published for the Busch-Reisinger Museum, Harvard University, 1980).","citation":"Anne Mochon, <EM>Gabriele Münter: between Munich and Murnau</EM>, (Cambridge, MA: Published for the Busch-Reisinger Museum, Harvard University, 1980)., p. 41, cat. no. 37 (illus.)","date":1980,"id":5136,"uri":"https://search.worldcat.org/title/886467193"},{"boilertext":"\"Acquisitions of the Princeton University Art Museum 2012,\"&nbsp;<em>Record of the Princeton University Art Museum</em> 71/72 (2012-13): p. 105-132.","citation":"\"Acquisitions of the Princeton University Art Museum 2012,\"&nbsp;<em>Record of the Princeton University Art Museum</em> 71/72 (2012-13): p. 105-132., p. 119 (illus.)","date":2012,"id":2988,"uri":"https://www.jstor.org/stable/24416388"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1900-1945","dateend":1910,"depicted":[],"titles":[{"title":"Kandinsky and Erma Bossi","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"© 2013  Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn\r\n\r\n","objectnumber":"2012-21","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nThe early deaths of her parents left Gabriele Münter with the freedom and the means to live as she pleased at the age of twenty-two. After a year in Düsseldorf at the women’s counterpart to the all-male Art Academy and two years with relatives in the United States, she settled in Munich. In 1902 she entered the progressive, coeducational Phalanx School, where she studied still-life painting with the Russian expatriate Wassily Kandinsky and attended his summer classes in landscape painting in the Bavarian countryside. Although he had a wife in Russia, they entered into a relationship and lived as man and wife until the outbreak of World War I. During their travels, a stay in France (1906–7) coincided with the exhibitions of the Fauve artists, and the brightly colored works and &shy;simplified forms of Maurice Denis, Henri Matisse, and André Derain became important influences for them. </P>\r\nAfter their return to Munich, Münter purchased a house in the Bavarian village of Murnau that became a meeting place for the couple’s friends. This painting and a similar one in Munich show a seated Kandinsky taking tea or coffee with one of the women artists from their circle, Erma Bossi. Kandinsky seems to hold forth, while Bossi leans forward to listen to what must be a vehement statement — he raises his hand to make a point. With Kandinsky’s encouragement, Münter painted some of her most important works in this period, and his role as a mentor seems to be reflected in this image of him lecturing to a woman artist. The generalized forms and block-like colors may be related to Kandinsky’s growing abstraction in his landscapes, but Münter always retained her own figurative style and never followed Kandinsky into abstracted, musically inspired forms. She found inspiration instead in the regional folk art, especially reverse painting on glass, and in children’s drawings. Although Münter and Kandinsky were divided by the war, his return to Russia and remarriage to a second Russian wife, and an eventual bitter parting, Münter’s art always retained some of the lessons of her teacher and lover, interpreted in the light of her own particular genius. </P></SPAN>","remarks":null},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"The Munich artist Gabriele Münter and her fiancé, Wassily Kandinsky, were central figures in the Neue <SPAN lang=EN>Künstlervereinigung (New Artist’s Association), an avant-garde group organized by artists in 1909 to present exhibitions. Although the Association was active only through 1911, it represented a first step toward the better-known Der Blaue Reiter (Blue Rider) group, in which the same artists participated starting in 1912. Among their artistic principles were simplified forms and a heightened color palette, as seen here. Kandinsky gesticulates as he speaks with the artist Erma Bossi at the dinner table in Münter’s country house in Murnau, suggesting both the programmatic nature of the group’s beliefs and Kandinsky’s importance as a teacher and theorist.","remarks":"K4-6 Rotation June 2018"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"<span lang=\"EN\">\n<p align=\"LEFT\" dir=\"LTR\">\n<font color=\"#191919\" face=\"Calibri\"><font color=\"#191919\" face=\"Calibri\">Gabriele Münter [1];\n\n<p>\n\tPossibly transferred by her to Lehnbachgalerie, Munich, Germany, ca. 1957.\n</p>\n<p>\n\tPrivate collection by 1967. [2]\n</p>\n<p>\n\tAnonymous gift to Princeton University Art Museum, 2012.\n</p>\n<p>\n\tNotes:\n</p>\n<p>\n\t[1] According to Galerie Valentien, Stuttgart, Münter probably hid the painting in her home until at least 1945\n</p>\n<p>\n\t[2] Gabriele Münter: Gedächtnisausstellung zum 90. Geburtstag, Heidelberg Kunstverein, 1967. \n</p>\n</font></font></p><p>\n </p>\n</span>","remarks":"Alexandra Germer (McCrindle Intern 2023)"}],"datebegin":1910,"sortnumber":"2012   21","published_date":"2026-05-19 09:15:52.940971","objectid":65725,"dimensions":"48.9 × 70.5 cm (19 1/4 × 27 3/4 in.)\r\nframe: 69.9 × 90.8 × 6.4 cm (27 1/2 × 35 3/4 × 2 1/2 in.)","on_view":false}