Items Similar to Landschaft bei Naunhof
Want more images or videos?
Request additional images or videos from the seller
1 of 5
August Wilhelm DresslerLandschaft bei Naunhof1933
1933
About the Item
August Dressler is one of the painters of the New Objectivity. He is one of the lesser-known artists of the Weimar era, but he too, like his famous contemporaries Georg Grosz, John Heartfield, and Otto Dix, was committed to social and political issues.
The Berliner-of-choice defied stubbornly the summary classification. Dressler acted truthfully to his origin, temperament and insight as an individual who presents his bond as obligation, who takes his program as template and his slogan as abomination. Only few painters of his generation restrain so inconspicuously from the revolutionary storm and new trends that found its most effective expression in Expressionism of ” the Bridge” group and in the mystical works of the ‘Blue Rider’. Dressler’s self-imposed isolation is based neither on his capriciousness nor is it intentional – it is simply one of the inner necessities of his artistic existence.
One does not do justice to his work, if one tries to interpret only the visible facts, the artistic or the technical qualities in Dressler’s works. This painter lived his destiny with a stubbornly determined consequence of his fate: the pictures are nothing else than the graphic metaphors of the ‘introverted gaze’. He experienced grief and loneliness already during his youth. Dressler learns early about the shadow side of human existence – it becomes the basis of the way he perceived the world. ” I cannot separate myself from what has established me ” – there was a very immediate connection and solidarity between the painter and his personal experiences (l’art pour l’art attitude). Thus Dressler identifies himself with those embodiments of petty-bourgeois narrowness, with those disappointed and abandoned, with those who appreciate simple joys of life and those with quiet hopes.
In his works the figurative language wins through its ability to depict and objectify feelings without words. Dressler does not paint to be modern or original. His way of perception is essential in a solid sense; he focuses on things, elements, and events that reflect a piece of life.
The closeness to the object and the attachment to the figure remain unchanged in Dressler’s oeuvre. One is tempted, looking at his works of five decades, to speak rather than about development but more of unfolding. The thematic inventory is from the beginning artist’s credo and basic motive: the form is added as the answer of the painter. It is Dressler’s personal preference not to correct reality nor to imitate it – his realism brings form and content, sensation and insight to life in a forceless manner.
Dressler feels, thinks and arguments his works on a more general level; his work is not an illustration of social misery or individual depravity. This “realist of the sharper tone” painterly transcends the limitations of genre and folklore; his “petty-bourgeois everyday life” is neither enclosed in the poor man’s pathos nor in the oh-human ecstasy. “Who controls the keyboard of nature”, proclaims Dressler, “can play in their own ways”.
Source: Delp’sche Verlagsbuchhandlung München (Ed.), August Willhelm Dressler, Munich 1970.
- Creator:August Wilhelm Dressler (1886 - 1970, German)
- Creation Year:1933
- Dimensions:Height: 32.49 in (82.5 cm)Width: 25.99 in (66 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU1782212787902
August Wilhelm Dressler
Wilhelm August Dressler is one of the painters of the New Objectivity (...) and was committed to social and political issues. The Berliner-of-choice defied stubbornly the summary classification. Dressler acted truthfully to his origin, temperament and insight as an individual who presents his bond as obligation, who takes his program as template and his slogan as abomination. Only few painters of his generation restrain so inconspicuously from the revolutionary storm and new trends that found its most effective expression in Expressionism of ” the Bridge” group and in the mystical works of the ‘Blue Rider’. Dressler’s self-imposed isolation is based neither on his capriciousness nor is it intentional – it is simply one of the inner necessities of his artistic existence. One does not do justice to his work, if one tries to interpret only the visible facts, the artistic or the technical qualities in Dressler’s works. This painter lived his destiny with a stubbornly determined consequence of his fate: the pictures are nothing else than the graphic metaphors of the ‘introverted gaze’. He experienced grief and loneliness already during his youth. Dressler learns early about the shadow side of human existence – it becomes the basis of the way he perceived the world. ” I cannot separate myself from what has established me ” – there was a very immediate connection and solidarity between the painter and his personal experiences (l’art pour l’art attitude). Thus Dressler identifies himself with those embodiments of petty-bourgeois narrowness, with those disappointed and abandoned, with those who appreciate simple joys of life and those with quiet hopes. In his works the figurative language wins through its ability to depict and objectify feelings without words. Dressler does not paint to be modern or original. His way of perception is essential in a solid sense; he focuses on things, elements, and events that reflect a piece of life.
The closeness to the object and the attachment to the figure remain unchanged in Dressler’s oeuvre. One is tempted, looking at his works of five decades, to speak rather than about development but more of unfolding. The thematic inventory is from the beginning artist’s credo and basic motive: the form is added as the answer of the painter. It is Dressler’s personal preference not to correct reality nor to imitate it – his realism brings form and content, sensation and insight to life in a forceless manner.
Dressler feels, thinks and arguments his works on a more general level; his work is not an illustration of social misery or individual depravity. This “realist of the sharper tone” painterly transcends the limitations of genre and folklore; his “petty-bourgeois everyday life” is neither enclosed in the poor man’s pathos nor in the oh-human ecstasy. “Who controls the keyboard of nature”, proclaims Dressler, “can play in their own ways”. Source: Delp’sche Verlagsbuchhandlung München, August Willhelm Dressler, Munich 1970.
About the Seller
No Reviews Yet
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1973
1stDibs seller since 2022
5 sales on 1stDibs
- ShippingRetrieving quote...Ships From: Wien, Austria
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- PiranBy Heinrich KrauseLocated in Wien, 9If one tries to describe Heinrich Krause’s almost one-century work in a few words, one recognizes an artist who, despite continuously changing artistic trends, remains faithful to ce...Category
Early 1900s Modern Landscape Paintings
MaterialsCanvas, Oil
- CourtyardLocated in Wien, 9Pötsch was an artist of the Austrian interwar period whose oeuvre can be found between moderate Expressionism and realistic tendencies. With his loosely and dynamically placed brushs...Category
1910s Modern Interior Paintings
MaterialsOil, Canvas
- ParisBy Edgar ChahineLocated in Wien, 9The oil painting by Edgar Chahine shows an alley in Paris in a playful and romantic way. The evening atmosphere is generated by the contrast of cool and warm colours. The alley is on...Category
1920s Modern Landscape Paintings
MaterialsCanvas, Oil
- SanremoBy Filippo De PisisLocated in Wien, 9Filippo De Pisis, Sanremo, 1938, Oil on Canvas, 35.5 x 27 cm. Signed lower right.Category
1930s Modern Landscape Paintings
MaterialsCanvas, Oil
- Schneelanschaft / Snowy landscapeLocated in Wien, 9The artwork is signed and dated on the lower right and provided with sticker verso. The frame is a golden showpiece. Provenance: Private collection SwedenCategory
1940s Modern Landscape Paintings
MaterialsOil, Canvas
- Camino a la ExtinciónBy Eduardo RocaLocated in Wien, 9Since the beginning of his career, Roca has moved with a high level of technical skill, a feel for light and color in the – at first glance – classic genres of landscape, still life ...Category
2010s Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- House on the Water, Oil Painting by Jacques PergelLocated in Long Island City, NYArtist: Jacques Pergel, French Title: House on the Water Year: 1968 Medium: Oil on Canvas, signed and dated lower right Size: 24 x 36 in. (60.96 x 91.44...Category
1960s Modern Landscape Paintings
MaterialsOil, Canvas
- Vintage Mid-Century Winter Landscape Oil Painting - CrispLocated in Bristol, GBCRISP Size: 46.5 x 54.5 cm (including frame) Oil on canvas A captivating and serene winter landscape, executed in oil in 1998. In this snow-filled composition, a lush forest is dep...Category
1990s Modern Landscape Paintings
MaterialsCanvas, Oil
- Mid Century Modern Shore Bird and LakeBy Louise Miller ClarkLocated in Soquel, CABeautiful study of a shore bird by a lake by Louise Miller Clark (American, 20th Century). Signed "Louise Miller Clark" with pallet and two brushes, lower right. Unframed. Image, 24...Category
1940s Modern Landscape Paintings
MaterialsCanvas, Oil, Cardboard
- Vintage Mid-Century Swedish Coastal Seascape Oil Painting - Watching the WavesLocated in Bristol, GBWATCHING THE WAVES Size: 66 x 58 cm (including frame) Oil on Canvas An expressive and beautifully textured mid-century seascape composition, painted in oil onto canvas. Executed i...Category
Mid-20th Century Modern Landscape Paintings
MaterialsCanvas, Oil
- Santorini Landscape from Ia - Painting Blue White Green YellowBy Krasimira MihailovaLocated in Sofia, BG"Santorini, landscape form Ia " is an modernist painting by Maestro Krassimira Mihaylova. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : U...Category
2010s Modern Landscape Paintings
MaterialsCanvas, Oil
- Santorini. View from the café-bar Tera Painting Blue White Green YellowBy Krasimira MihailovaLocated in Sofia, BG"Santorini. View from the cafe-bar in Terra" is an modernist painting by Maestro Krassimira Mihaylova. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporar...Category
2010s Modern Landscape Paintings
MaterialsCanvas, Oil