.jpg?w=1)
拍品专文
Das grüne Tal entstand um 1925/26, nach der Rückkehr der Familie Müller aus Davos-Frauenkirch im Herbst 1925. Albert Müller wendet sich wieder der ihm vertrauten Landschaft des Mendrisiotto zu. Für ihre expressive Wiedergabe wählt er die harten Farbkontraste Rot-Blau sowie Komplementärfarbkontraste Grün-Rot, so wie er sie im Sommer bei Ernst Ludwig Kirchner auf dem Wildboden erprobt hatte. Eine Weiterentwicklung der Palette der Sommermonate wird erkennbar, was diese Landschaftsdarstellung zu einem wichtigen eigenständigen Beitrag Müllers für den Schweizer Expressionismus macht. Blau und Rot werden aufgehellt und neben die unverdünnten Primärfarben gesetzt. Mit sichtbaren, zum Teil kurzen Pinselstrichen gibt Müller die Natur wieder. Farbflächen, die den Duktus immer noch erkennbar lassen, schieben sich übereinander und ineinander, so dass Himmel und Erde im Bild verzahnt werden. Der Horizont bleibt unsichtbar. Bildvordergrund und Hintergrund bilden zusammen eine Fläche, auf der Albert Müller das grüne Tal gesetzt hat.
Das grüne Tal was painted circa 1925/26, that is after the return of the Müller family from Davos-Frauenkirch in the autumn. Albert Müller turned again to the familiar landscape of Mendrisiotto. He chose the hard colour contrasts of red and blue as well as the complementary colours green and red for their expressive impact, such as he had experimented with during the summer with Ernst Ludwig Kirchner at Wildboden. A development of his palette during the summer months is in evidence, which makes this landscape an important and singular contribution to Swiss Expressionism on the part of Müller. The blue and red are lightened and set alongside the undiluted primary colours, in which the artist's hand is still recognisable, push against each other, overlapping and merging, so that heaven and earth are dovetailed together in the picture. The horizon remains invisible. The picture foreground and background together form one surface, across which Albert Müller has placed the green valley in a diagonal.
Das grüne Tal was painted circa 1925/26, that is after the return of the Müller family from Davos-Frauenkirch in the autumn. Albert Müller turned again to the familiar landscape of Mendrisiotto. He chose the hard colour contrasts of red and blue as well as the complementary colours green and red for their expressive impact, such as he had experimented with during the summer with Ernst Ludwig Kirchner at Wildboden. A development of his palette during the summer months is in evidence, which makes this landscape an important and singular contribution to Swiss Expressionism on the part of Müller. The blue and red are lightened and set alongside the undiluted primary colours, in which the artist's hand is still recognisable, push against each other, overlapping and merging, so that heaven and earth are dovetailed together in the picture. The horizon remains invisible. The picture foreground and background together form one surface, across which Albert Müller has placed the green valley in a diagonal.