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Adalbert HolzerWettersteinkamm - The blue of the mountains -1923
1923
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About the Item
Adalbert Holzer (1881 Munich - 1966 Munich). Wettersteinkamm. Watercolour, 29 x 34.5 cm (visible size), 37.5 x 43 cm (frame), signed and dated at lower right 'ADALBERT HOLZER [19]23'.
Framed behind glass. Frame shows signs of wear.
- The blue of the mountains -
About the artwork
The Wetterstein ridge is revealed to the viewer from a gentle, snow-covered hill. In contrast to conventional depictions of mountains, the painting is composed entirely of shades of blue, which condense into the blue-grey of the rock or fade into the white of the snow. As a complementary colour to the blue, Holzer virtuously activates the ochre ground. The uniform yet exciting polarity of the colours emphasises the massive majesty of the mountains and at the same time underlines the special character of the Wetterstein ridge. Holzer transferred the translucency of glass painting, in which he was originally trained, to watercolour and developed a pictorial language related to the art of Ferdinand Hodler, which earned him the nickname 'Master of Blue' and led to the appreciation of his watercolours in particular.
About the artist
After an apprenticeship as a stained glass painter at the Kunstgewerbeschule, Adalbert Holzer studied at the Munich Art Academy under Carl von Marr from 1904. Early on, however, Holzer was drawn to the mountains to paint. With his artist friend Otto Bauriedl, he repeatedly went into the mountains and mastered difficult ascents, such as the first ascent of the north face of the Spritzkar. From 1904, Holzer worked as a freelance artist, producing contributions inspired by Giovanni Segantini and Fritz Baer for the 'Jugend', the 'Jugendblätter' and the 'Leipziger Illustrierte'. Later he concentrated more and more on the mountain world and contributed pictures to the 'Deutsche Alpenzeitung', the 'Mitteilungen des Deutschen Alpenvereins' and the 'Bergkamarad'.
Holzer regularly took part in exhibitions at the Munich Glaspalast and, in 1912, at the Great Art Exhibition in Berlin.
"His ink, brush and pen drawings capture the mountain's personality with a few concise strokes, leaving room for artistic sensitivity. He achieves particular mastery in his watercolours and paintings in oil and tempera".
Josef Weingärtner
"A striking and outstanding strength of Holzer's is revealed in his ink drawings. Here every outline, every shadow is limited to the essential and characteristic, and no superfluous brushstroke detracts from the overall effect".
Fritz Schmitt
Selected Bibliography
Fritz Schmitt: Dem Bergmaler Adalbert Holzer zum Gedenken. In: Mitteilungen des Deutschen Alpenvereins 19,5 (September 1967), S. 123-124.
Erwin Georg Hipp: Adalbert Holzer. Maler der Berge und Bergsteiger, Leoni am Starnberger 2008.
GERMAN VERSION
Adalbert Holzer (1881 München - 1966 München). Wettersteinkamm. Aquarell, 29 x 34,5 cm (Sichtmaß), 37,5 x 43 cm (Rahmen), rechts unten signiert und datiert „ADALBERT HOLZER [19]23“.
Hinter Glas gerahmt. Rahmen mit Gebrauchsspuren.
- Das Blau der Berge -
zum Werk
Von einer sanften schneebedeckten Anhöhe aus offenbart sich dem Betrachter der Wettersteinkamm. Im Gegensatz zu konventionellen Gebirgsdarstellungen ist das Bild nur aus Blautönen aufgebaut, die sich zum Blaugrau des Felsgesteins verdichten oder zum Weiß des Schnees aufhellen. Als Komplementärfarbe zum Blau aktiviert Holzer auf virtuose Weise den ockerfarbenen Malgrund. Die einheitliche, aber dennoch in sich spannungsreiche Farbpolarität bringt die massive Majestät der Berge zum Aufleuchten und stellt dabei zugleich den besonderen Charakter des Wettersteinkamms heraus. Holzer hat das Durchscheinende der Glasmalerei, in der er ursprünglich ausgebildet worden war, ins Aquarell übertragen und eine der Kunst Ferdinand Hodlers verwandte Bildsprache entwickelt, die ihm den Beinamen ‚Meister des Blaus‘ eingetragen und zur Wertschätzung gerade seiner Aquarelle geführt hat.
zum Künstler
Nach einer Lehre als Glasmaler an der Kunstgewerbeschule studierte Adalbert Holzer ab 1904 an der Münchner Kunstakademie als Schüler Carl von Marrs. Schon früh zog es Holzer jedoch in die Berge, um dort zu malen. Mit seinem Künstlerfreund Otto Bauriedl ging er immer wieder ins Gebirge und bewältige schwierige Besteigungen, so den Erstdurchstieg der Spritzkar-Nordwand. Ab 1904 als freischaffender Künstler tätig, schuf Holzer an Giovanni Segantini und Fritz Baer inspirierte Beiträge für die ‚Jugend‘, die ‚Jugendblätter‘ und die ‚Leipziger Illustrierte‘. Später konzentrierte er sich zusehends auf die Bergwelt und lieferte unteren anderem für die ‚Deutsche Alpenzeitung‘, die ‚Mitteilungen des Deutschen Alpenvereins‘ und den ‚Bergkamarad‘ Bildbeiträge.
Holzer beteiligte sich regelmäßig an den Ausstellungen im Münchner Glaspalast und 1912 an der Große Kunst-Ausstellung in Berlin.
„Seine Tusch-, Pinsel- und Federzeichnungen erfassen mit einigen prägnanten Strichen den Berg in seiner jeweiligen Persönlichkeit und lassen dem künstlerischen Empfinden Raum. Besondere Meisterschaft erreicht er in den Aquarellen und in den mit Öl- und Temperafarben ausgeführten Gemälden.“
Josef Weingärtner
„Eine auffallende und überragende Stärke Holzers offenbart sich in seinen Tusche-Pinsel-Zeichnungen. Hier ist jeder Umriß, jeder Schattenauf das Wesentliche und Charakteristische beschränkt und kein überflüssiger Pinselstrich beeinträchtigt die Gesamtwirkung.“
Fritz Schmitt
Auswahlbibliographie
Fritz Schmitt: Dem Bergmaler Adalbert Holzer zum Gedenken. In: Mitteilungen des Deutschen Alpenvereins 19,5 (September 1967), S. 123-124.
Erwin Georg Hipp: Adalbert Holzer. Maler der Berge und Bergsteiger, Leoni am Starnberger 2008.
- Creator:Adalbert Holzer (1881 - 1966, German)
- Creation Year:1923
- Dimensions:Height: 11.42 in (29 cm)Width: 13.78 in (35 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438212326362
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