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Bruno Goller, Der Kleiderschrank

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Bruno Goller, Der Kleiderschrank - Bild 1 aus 2
Bruno Goller, Der Kleiderschrank - Bild 2 aus 2
Bruno Goller, Der Kleiderschrank - Bild 1 aus 2
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Bruno Goller, Der Kleiderschrank
Öl auf Leinwand. 85,5 x 65,5 cm. Gerahmt. Unten rechts braun signiert 'Bruno Goller'. - In guter Erhaltung.

Provenienz
Direkt vom Künstler erworben; Privatsammlung Rheinland

Ausstellungen
Hannover 1958 (Kestner-Gesellschaft), Bruno Goller, Kat. Nr. 17 (auf dem Keilrahmen mit dem Etikett); Wuppertal 1964 (Kunst- und Museumsverein), Bruno Goller. Gemälde, Kat. Nr. 9; Sao Paulo 1965 (VIII Bienal de Sao Paulo, Exposição Alemã), Bruno Goller, Kat. Nr. 1 mit Abb. S. 15 (auf dem Keilrahmen mit dem Etikett); Düsseldorf 1969 (Städtische Kunsthalle). Bruno Goller, Kat. Nr. 12 (auf dem Keilrahmen mit dem Etikett); Düsseldorf 1986 (Kunstsammlung Nordrhein-Westfalen), Bruno Goller. Werke aus sechs Jahrzehnten, Kat. Nr. 11 mit Farbabb. S. 31 (auf dem Keilrahmen mit dem Etikett)

Literatur
Anna Klapheck, Bruno Goller (Monographien zur rheinisch-westfälischen Kunst der Gegenwart Bd. 10), Recklinghausen 1958, mit Abb. S. 38; Volker Kahmen, Bruno Goller, Düsseldorf 1981, S. 43, Nr. 27 mit Abb. S. 120

Bruno Goller stand mit seiner stillen, aus dem alltäglichen Kontext entnommenen und zu zeitlosen Chiffren abstrahierten Bildwelten abseits der Kunstströmungen seiner Zeit. Der II. Weltkrieg markierte eine Zäsur für ihn. In den Nachkriegsjahren knüpfte er an seine früheren Motive an, fand jedoch mit einem vorwiegend brauntonigen Kolorit zu einer wärmeren Farbstimmung. Eine kubistisch aufgebrochene Formensprache führte nun zusammen mit Inspirationen aus der mittelalterlichen Buchmalerei zu einem vermehrten Einsatz ornamentaler Elemente.
Mitte der 1950er Jahre wurde Werner Schmalenbach auf den Künstler aufmerksam. Die von ihm 1958 ausgerichtete Retrospektive in der Kestner-Gesellschaft Hannover war die erste große Einzelausstellung Gollers und machte ihn einem breiteren Publikum bekannt.
„Der Kleiderschrank“, der einen bildfüllenden Einblick in sein Innenleben bietet, ist eines der bekanntesten und am häufigsten ausgestellten Gemälde der Nachkriegsjahre, auch in der Retrospektive wurde es gezeigt. Volker Kahmen schrieb dazu: „Weniger mittelalterlich, nur die Gewandfalten zeigen solche Anklänge, und doch von jener Ornamentalisierung ergriffen, ist das Bild 'Der Kleiderschrank', 1947; eingebunden in den gegenständlichen Bezug der Schrankleisten machen sich dort die Schmuckbänder, zu einem fast physiognomischen Ausdruck gesteigert, immer selbständiger.“ (Kahmen, a.a.O., S. 43). Neben diesen lebendig ausgeführten Möbeldetails sind es die von Diagonalen dominierten Stoffdrapierungen der Kleidungsstücke, die dem Stillleben eine ungewöhnliche Dynamik verleihen.
Bruno Goller, Der Kleiderschrank
Oil on canvas. 85.5 x 65.5 cm. Framed. Signed 'Bruno Goller' in brown lower right. - In very good condition.

Provenance
Acquired directly from the artist; private collection, Rhineland

Exhibitions
Hanover 1958 (Kestner-Gesellschaft), Bruno Goller, cat. no. 17 (label to stretcher); Wuppertal 1964 (Kunst- und Museumsverein), Bruno Goller. Gemälde, cat. no. 9; Sao Paulo 1965 (VIII Bienal de Sao Paulo, Exposição Alemã), Bruno Goller, cat. no. 1 with ill. p. 15 (label to stretcher); Düsseldorf 1969 (Städtische Kunsthalle). Bruno Goller, cat. no. 12 (label to stretcher); Düsseldorf 1986 (Kunstsammlung Nordrhein-Westfalen), Bruno Goller. Werke aus sechs Jahrzehnten, cat. no. 11 with col. ill. p. 31 (label to stretcher)

Literature
Anna Klapheck, Bruno Goller (Monographien zur rheinisch-westfälischen Kunst der Gegenwart vol. 10), Recklinghausen 1958, with ill. p. 38; Volker Kahmen, Bruno Goller, Düsseldorf 1981, p. 43, no. 27 with ill. p. 120

With his quiet pictorial worlds removed from their everyday context and abstracted into timeless and secret symbols, Bruno Goller stood outside the artistic currents of his time. The Second World War marked a turning point for him. In the years following the war, he built on his earlier motifs, although he moved to a warmer chromatic mood with a predominantly brownish colour scheme. A formal idiom featuring a cubist rupturing of form became combined with inspiration derived from medieval manuscript painting, leading to an increased use of ornamental elements.
In the mid 1950s the artist drew the attention of Werner Schmalenbach. The retrospective he presented at the Kestner-Gesellschaft in Hanover in 1958 was Goller’s first major solo exhibition and introduced him to a broad audience.
In “Der Kleiderschrank” a wardrobe occupies the entire canvas to offer a glimpse into its inner life: this work is one of Goller’s best known and most frequently exhibited paintings from the post-war years and was also shown at the retrospective. Volker Kahmen writes: “The painting ‘Der Kleiderschrank’, 1947, is less medieval – only the folds of the drapery display echoes of this – but it is nonetheless enthralled with that ornamentalisation; incorporated into the objective context of the wardrobe’s moulding, the ornamental bands are heightened to the point of an almost physiognomic expression and become increasingly autonomous” (Kahmen, op. cit., p. 43). In addition to these vibrantly realised details of the furniture, it is the dominant diagonals of the drapery formed by the clothing which provide this still life with its unusual dynamism.
Bruno Goller, Der Kleiderschrank
Öl auf Leinwand. 85,5 x 65,5 cm. Gerahmt. Unten rechts braun signiert 'Bruno Goller'. - In guter Erhaltung.

Provenienz
Direkt vom Künstler erworben; Privatsammlung Rheinland

Ausstellungen
Hannover 1958 (Kestner-Gesellschaft), Bruno Goller, Kat. Nr. 17 (auf dem Keilrahmen mit dem Etikett); Wuppertal 1964 (Kunst- und Museumsverein), Bruno Goller. Gemälde, Kat. Nr. 9; Sao Paulo 1965 (VIII Bienal de Sao Paulo, Exposição Alemã), Bruno Goller, Kat. Nr. 1 mit Abb. S. 15 (auf dem Keilrahmen mit dem Etikett); Düsseldorf 1969 (Städtische Kunsthalle). Bruno Goller, Kat. Nr. 12 (auf dem Keilrahmen mit dem Etikett); Düsseldorf 1986 (Kunstsammlung Nordrhein-Westfalen), Bruno Goller. Werke aus sechs Jahrzehnten, Kat. Nr. 11 mit Farbabb. S. 31 (auf dem Keilrahmen mit dem Etikett)

Literatur
Anna Klapheck, Bruno Goller (Monographien zur rheinisch-westfälischen Kunst der Gegenwart Bd. 10), Recklinghausen 1958, mit Abb. S. 38; Volker Kahmen, Bruno Goller, Düsseldorf 1981, S. 43, Nr. 27 mit Abb. S. 120

Bruno Goller stand mit seiner stillen, aus dem alltäglichen Kontext entnommenen und zu zeitlosen Chiffren abstrahierten Bildwelten abseits der Kunstströmungen seiner Zeit. Der II. Weltkrieg markierte eine Zäsur für ihn. In den Nachkriegsjahren knüpfte er an seine früheren Motive an, fand jedoch mit einem vorwiegend brauntonigen Kolorit zu einer wärmeren Farbstimmung. Eine kubistisch aufgebrochene Formensprache führte nun zusammen mit Inspirationen aus der mittelalterlichen Buchmalerei zu einem vermehrten Einsatz ornamentaler Elemente.
Mitte der 1950er Jahre wurde Werner Schmalenbach auf den Künstler aufmerksam. Die von ihm 1958 ausgerichtete Retrospektive in der Kestner-Gesellschaft Hannover war die erste große Einzelausstellung Gollers und machte ihn einem breiteren Publikum bekannt.
„Der Kleiderschrank“, der einen bildfüllenden Einblick in sein Innenleben bietet, ist eines der bekanntesten und am häufigsten ausgestellten Gemälde der Nachkriegsjahre, auch in der Retrospektive wurde es gezeigt. Volker Kahmen schrieb dazu: „Weniger mittelalterlich, nur die Gewandfalten zeigen solche Anklänge, und doch von jener Ornamentalisierung ergriffen, ist das Bild 'Der Kleiderschrank', 1947; eingebunden in den gegenständlichen Bezug der Schrankleisten machen sich dort die Schmuckbänder, zu einem fast physiognomischen Ausdruck gesteigert, immer selbständiger.“ (Kahmen, a.a.O., S. 43). Neben diesen lebendig ausgeführten Möbeldetails sind es die von Diagonalen dominierten Stoffdrapierungen der Kleidungsstücke, die dem Stillleben eine ungewöhnliche Dynamik verleihen.
Bruno Goller, Der Kleiderschrank
Oil on canvas. 85.5 x 65.5 cm. Framed. Signed 'Bruno Goller' in brown lower right. - In very good condition.

Provenance
Acquired directly from the artist; private collection, Rhineland

Exhibitions
Hanover 1958 (Kestner-Gesellschaft), Bruno Goller, cat. no. 17 (label to stretcher); Wuppertal 1964 (Kunst- und Museumsverein), Bruno Goller. Gemälde, cat. no. 9; Sao Paulo 1965 (VIII Bienal de Sao Paulo, Exposição Alemã), Bruno Goller, cat. no. 1 with ill. p. 15 (label to stretcher); Düsseldorf 1969 (Städtische Kunsthalle). Bruno Goller, cat. no. 12 (label to stretcher); Düsseldorf 1986 (Kunstsammlung Nordrhein-Westfalen), Bruno Goller. Werke aus sechs Jahrzehnten, cat. no. 11 with col. ill. p. 31 (label to stretcher)

Literature
Anna Klapheck, Bruno Goller (Monographien zur rheinisch-westfälischen Kunst der Gegenwart vol. 10), Recklinghausen 1958, with ill. p. 38; Volker Kahmen, Bruno Goller, Düsseldorf 1981, p. 43, no. 27 with ill. p. 120

With his quiet pictorial worlds removed from their everyday context and abstracted into timeless and secret symbols, Bruno Goller stood outside the artistic currents of his time. The Second World War marked a turning point for him. In the years following the war, he built on his earlier motifs, although he moved to a warmer chromatic mood with a predominantly brownish colour scheme. A formal idiom featuring a cubist rupturing of form became combined with inspiration derived from medieval manuscript painting, leading to an increased use of ornamental elements.
In the mid 1950s the artist drew the attention of Werner Schmalenbach. The retrospective he presented at the Kestner-Gesellschaft in Hanover in 1958 was Goller’s first major solo exhibition and introduced him to a broad audience.
In “Der Kleiderschrank” a wardrobe occupies the entire canvas to offer a glimpse into its inner life: this work is one of Goller’s best known and most frequently exhibited paintings from the post-war years and was also shown at the retrospective. Volker Kahmen writes: “The painting ‘Der Kleiderschrank’, 1947, is less medieval – only the folds of the drapery display echoes of this – but it is nonetheless enthralled with that ornamentalisation; incorporated into the objective context of the wardrobe’s moulding, the ornamental bands are heightened to the point of an almost physiognomic expression and become increasingly autonomous” (Kahmen, op. cit., p. 43). In addition to these vibrantly realised details of the furniture, it is the dominant diagonals of the drapery formed by the clothing which provide this still life with its unusual dynamism.

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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