Gabriele Münter: Difference between revisions

Gabriele Münter
Gabriele Münter
	Gabriele Münter, c. 1903
Born	19 February 1877; Berlin, German Empire
Died	19 May 1962 (aged 85); Murnau am Staffelsee, Bavaria, West Germany
Known for	Painting
Movement	Expressionism

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Gabriele Münter (19 February 1877 – 19 May 1962) was a German expressionist painter who was at the forefront of the Munich avant-garde in the early 20th century.^[1] She studied and lived with the painter Wassily Kandinsky and was a founding member of the expressionist group Der Blaue Reiter.

Early life

Münter was born to upper middle-class parents in Berlin on 19 February 1877.^[2] Her family supported her desires to become an artist. Her father died in 1886. She began to draw as a child. As she was growing up, she had a private tutor. In 1897, at the age of twenty, Münter received artistic training in the Düsseldorf studio of artist Ernst Bosch and later at the Damenschule (Women's School) with artist Willy Spatz.^[3]

By the time she was 21 years old, both of her parents had died and she was living at home with no occupation. In 1898, she decided to take a trip to America with her sister to visit extended family. They stayed in America for more than two years, mainly in the states of Texas, Arkansas, and Missouri; six sketchbooks survive from Münter's period in America, depicting images of people, plants and landscapes.^[4] Both girls had inherited a large amount of money, allowing them to live freely and independently. Her childhood and early adulthood greatly impacted her future artistic career. She had a free and unrestricted life that was unconstrained by convention. Münter studied woodcut techniques, sculpture, painting, and printmaking.

In 1901, she attended the beginners' classes of Maximilian Dasio at the Damenakademie (Women's Academy) of the Münchener Künstlerinnenverein (Munich Women Artists's Association).^[3] Münter then studied at the Phalanx School in Munich, an avant-garde institution founded by Russian artist, Wassily Kandinsky.^[5] There, she attended sculpture courses taught by Wilhelm Hüsgen.^[3]

Münter studied outside the official art academies in Munich and Düsseldorf, because these were closed to women.^[5] At the Phalanx School, Münter was introduced to Post-Impressionism and the marking techniques of a palette knife and a brush. Her vivid colors and bold outlines were somewhat derived from Gauguin and from practitioners of fauvism whom she admired. Along with this, Münter was inspired by Bavarian folk art, particularly the technique of reverse-glass painting (Hinterglasmalerei in German).^[5]

Soon after she began taking classes, Münter became professionally involved with Kandinsky.^[6] This eventually turned into a personal relationship that lasted for over a decade.^[6] Kandinsky was the first teacher who had taken Münter's painting abilities seriously. In the summer of 1902, Kandinsky invited Münter to join him at his summer painting classes just south of Munich in the Alps, and she accepted.

At first I experienced great difficulty with my brushwork – I mean with what the French call la touche de pinceau. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife... My main difficulty was I could not paint fast enough. My pictures are all moments of life – I mean instantaneous visual experiences, generally noted very rapidly and spontaneously. When I begin to paint, it's like leaping suddenly into deep waters, and I never know beforehand whether I will be able to swim. Well, it was Kandinsky who taught me the technique of swimming. I mean that he has taught me to work fast enough, and with enough self-assurance, to be able to achieve this kind of rapid and spontaneous recording of moments of life.
— Gabriele Münter, Reinhold Heller, Gabriele Münter: The Years of Expressionism 1903–1920. New York: Presteverlag, 1997.

Work

Münter was heavily focused on German Expressionism, and she worked in various media, including a significant output in wood- and linocuts.^[4] She kept a journal and documented her journeys with a state-of-the-art camera. She was familiar with many of the more famous artists of the time; in one of her journals, she stated that she wanted to learn from the avant-garde artists in France. Münter and Kandinsky traveled together from 1903-1908. From 1906-1907, they spent time in Sèvres, a suburb of Paris. They both exhibited works in the Salon des Independents and the Salon d'Automne.^[7]^: 281

Münter was part of a small subgroup of artists active in transforming late Impressionist, Neo-Impressionist, and Jugendstil (or Art Nouveau) painting into the more radical, non-naturalistic art now identified as Expressionism. Early on, Münter developed a great interest in landscapes. Münter's landscape paintings employ a radical Jugendstil simplicity and suggestive symbolism with softly muted colors, collapsed pictorial space and flattened forms.^[8] She enjoyed exploring the world of children; using colorful prints of children and toys, Münter showed precision and simplicity of form in her rejection of symbolic content.

By 1908, her work began to change. Strongly influenced by Matisse and Fauvism, Gauguin, and van Gogh, Münter's work became more representative^[8] and she took refuge in the small Bavarian market town of Murnau, a village untouched by industrialization, progress, and technology. Münter bought a house and spent much of her life there. It was here, in Münter's landscape paintings, that she emphasized nature, imaginative landscapes and an opposition to German modernism.^[8] Münter's landscapes are unusual in their use of blues, greens, yellows, and pinks; and color plays a large role in Münter's early works. Color is used to evoke feelings: picturesque, inviting, imaginative, and rich in fantasy. In Münter's landscapes, she presents the village and countryside as manifestations of human life; there is a constant interaction and coexistence with nature.

Münter and Kandinsky's relationship affected Kandinsky's work. He began to adopt Münter's use of saturated colors and abstract expressionist style. Münter and Kandinsky traveled through Europe including the Netherlands, Italy, and France, as well as North Africa.^[9] It was during this time that they met Rousseau and Matisse. Münter and Kandinsky helped establish the Munich-based avant-garde group called the New Artists’ Association (Neue Künstlervereinigung). She contributed to a number of the most significant avant-garde exhibitions in Germany up till World War I.

In 1911 Münter was one of the first artists to exhibit with Kandinsky's German Expressionist group known as Der Blaue Reiter (The Blue Rider). She contributed six paintings to the first exhibition, and 14 to the second.^[7] Within the group, artistic approaches and aims varied amongst artists; however, they shared a common desire to express spiritual truths through art. They championed modern art, the connection between visual art and music, the spiritual and symbolic associations of color and a spontaneous, intuitive approach to painting in its move toward abstraction.

There is a transition in Münter's work from copying nature more or less impressionistically to feeling its content, abstracting, and drawing out an extract. There grew an interest in painting the spirit of the modern civilization, its social and political turmoil and its gravitation towards materialism and alienation. Münter noted that pictures are all moments of life: instantaneous visual experiences, generally rapid and spontaneous; her paintings each have their own identity, their own shape, and their own function.^[10]

For Münter, it is the use of color that expresses these ideas. The German Expressionists moved towards primitive art as a model of abstraction or non-representational, non-academic, non-bourgeois art.^[11] The German artist looked not for harmony of outward appearance, but for the mystery hidden behind the external form. He (or she) was interested in the soul of things, wanting to lay it bare.^[8]

Later years

White, two-story home with attic and a garden — Gabriele Münter's house in Murnau

When World War I began, Münter and Kandinsky relocated to Switzerland.^[12] In 1914, Kandinsky returned to Russia without her. Their relationship worsened due to mutual tensions and disappointments over his lack of commitment to marriage.^[9]^: 35–36 His marriage in 1917 to Nina Andreevskaya marked the end of Münter and Kandinsky's relationship.^[13] Subsequently, there was a period of inactivity in her art career. She returned a number of paintings and drawings to Kandinsky, and stored other pieces in a warehouse for many years. She resumed painting in the late 1920s after she had moved back to Germany with Johannes Eichner after the war.^[14]

In the 1930s, as tension started to grip Europe, and modernist movements were condemned in Germany by the Nazi government, she had all of the art work done by her, Kandinsky, and the other members of the Blaue Reiter transported to her house, where she hid them. In spite of her financial problems, she preserved them with care during World War II.^[9] Through several house searches, the pieces were never found.

On her eightieth birthday, Münter gave her entire collection, which consisted of more than 80 oil paintings and 330 drawings, to the Städtische Galerie in the Lenbachhaus in Munich. In 1956, Münter received a few awards such as the Culture Prize from the City of Munich. Münter's work was exhibited in the 1960s in the US for the first time and was shown at Mannheim Kunsthalle in 1961. When she was with Johannes Eichner, she still continued to represent the movement.

The Gabrielle Münter and Johannes Eichner foundation was established and has become a valuable research center for Münter's art, as well as the art that was done by the Blaue Reiter group. Münter lived the rest of her life in Murnau, traveling back and forth to Munich. She died at home in Murnau am Staffelsee on 19 May 1962.

In 2018, the Louisiana Museum of Modern Art of Copenhagen, Denmark, ran an exhibition from May to August with about 130 works by Gabriele Münter, many of which were being shown for the first time, in the artist's first comprehensive retrospective in decades.

Style

Münter's style evolved over the course of her career. Her early works from her days at the Phalanx school show an extensive use of the palette knife and a limited color range of yellows, greens and browns.^[4] Her subsequent landscapes, many of which were painted in Murnau, employed strong contours around a palette of blue, green, yellow, and pink, often with red for emphasis.^[4] Throughout her career, color continued to play a large role in her work.^[14] In the early 1920s, Münter painted portraits with the minimal line and compositional clarity valued in Neue Sachlichkeit circles of the day.^[15]

References

^ Laura, Itzkowitz (27 July 2018), "Unicorns, a Chef-Designed Bikini, and More Things T Editors Are Into Right Now", The New York Times, retrieved 29 July 2018
^ Haftmann, Werner (1966). Painting In The Twentieth Century. London: Praeger Publishers. p. 409. ISBN 978-0-27588-730-8.
^ ^a ^b ^c Behr, Shulamith (1997). Dictionary of Artists, Volume 2. London and Chicago: Fitzroy Dearborn Publishers. pp. 996. ISBN 1-884964-21-4.
^ ^a ^b ^c ^d Behr, Shulmamith (1997). Dictionary of Women Artists, Volume 2. London and Chicago: Fitzroy Dearborn Publishers. pp. 998. ISBN 1-884964-21-4.
^ ^a ^b ^c Heller, Nancy G. (1987). Women Artists. New York: Abbeville Press. pp. 118–120.
^ ^a ^b Hoberg, Annegret, and Long R.-C. Washton. "Wassily Kandinsky and Gabriele Munter." Art Journal. 55.3 (1996): 84. Print.
^ ^a ^b Harris, Ann Sutherland; Nochlin, Linda (1976). Women artists: 1550 - 1950. Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art. ISBN 978-0-87587-073-1.
^ ^a ^b ^c ^d Heller, Reinhold, Gabriele Münter: The years of Expressionism 1903-1920. New York: Presteverlag, 1997.
^ ^a ^b ^c Münter, Gabriele, Annegret Hoberg, Shulamith Behr, and Barnaby Wright. Gabriele Münter: The Search for Expression 1906-1917. London: Courtauld Institute Art Gallery, in association with Paul Holberton Pub, 2005. Print.
^ Bachrach, Susan. "A Comparison of the Early Landscapes of Münter and Kandinsky, 1902-1910." Woman's Art Journal 2 no. 1 (1981): 21-24.
^ Wye, Deborah, review of Desire in Berlin, by Ian Buruma. The New York Review of Books 55, no, 19 (2008): 1-4.
^ Behr, Shulamith (2003, January 01). "Münter, Gabriele". Grove Art Online.
^ Obler, Bibiana (2014). Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber. Yale University Press. p. 228. ISBN 0300195796.
^ ^a ^b Opfell, Olga S. Special Visions: Profiles of Fifteen Women Artists from the Renaissance to the Present Day. Jefferson, N.C: McFarland, 1991. Print.
^ Behr, Schulamith (1997). Dictionary of Women Artists. London and Chicago: Fitzroy Dearborn Publishers. pp. 999. ISBN 1-884964-21-4.

Sources

Behr, Shulmith, Movements in Modern Art: Expressionism. Cambridge University Press, 1999.

External links

[1] Laura, Itzkowitz (27 July 2018), "Unicorns, a Chef-Designed Bikini, and More Things T Editors Are Into Right Now", The New York Times, retrieved 29 July 2018

[2] Haftmann, Werner (1966). Painting In The Twentieth Century. London: Praeger Publishers. p. 409. ISBN 978-0-27588-730-8.

[:2-3] Behr, Shulamith (1997). Dictionary of Artists, Volume 2. London and Chicago: Fitzroy Dearborn Publishers. pp. 996. ISBN 1-884964-21-4.

[:1-4] Behr, Shulmamith (1997). Dictionary of Women Artists, Volume 2. London and Chicago: Fitzroy Dearborn Publishers. pp. 998. ISBN 1-884964-21-4.

[:0-5] Heller, Nancy G. (1987). Women Artists. New York: Abbeville Press. pp. 118–120.

[Hoberg,_Annegret_1996-6] Hoberg, Annegret, and Long R.-C. Washton. "Wassily Kandinsky and Gabriele Munter." Art Journal. 55.3 (1996): 84. Print.

[:3-7] Harris, Ann Sutherland; Nochlin, Linda (1976). Women artists: 1550 - 1950. Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art. ISBN 978-0-87587-073-1.

[Heller-8] Heller, Reinhold, Gabriele Münter: The years of Expressionism 1903-1920. New York: Presteverlag, 1997.

[Münter,_Gabriele_1917-9] Münter, Gabriele, Annegret Hoberg, Shulamith Behr, and Barnaby Wright. Gabriele Münter: The Search for Expression 1906-1917. London: Courtauld Institute Art Gallery, in association with Paul Holberton Pub, 2005. Print.

[10] Bachrach, Susan. "A Comparison of the Early Landscapes of Münter and Kandinsky, 1902-1910." Woman's Art Journal 2 no. 1 (1981): 21-24.

[11] Wye, Deborah, review of Desire in Berlin, by Ian Buruma. The New York Review of Books 55, no, 19 (2008): 1-4.

[12] Behr, Shulamith (2003, January 01). "Münter, Gabriele". Grove Art Online.

[13] Obler, Bibiana (2014). Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber. Yale University Press. p. 228. ISBN 0300195796.

[Opfell,_Olga_S_1991-14] Opfell, Olga S. Special Visions: Profiles of Fifteen Women Artists from the Renaissance to the Present Day. Jefferson, N.C: McFarland, 1991. Print.

[15] Behr, Schulamith (1997). Dictionary of Women Artists. London and Chicago: Fitzroy Dearborn Publishers. pp. 999. ISBN 1-884964-21-4.

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@@ Line 3: / Line 3: @@
 {{Use dmy dates|date=April 2017}}
 {{Infobox artist
-| name         = Gabriele Münter
+| name             = Gabriele Münter
-| image        = Csm G-64-891-1 Muenter-G-ONLINE 794173df26.jpg
+| image            = Csm G-64-891-1 Muenter-G-ONLINE 794173df26.jpg
-| image_size   =
+| image_size       =
-| caption      = Gabriele Münter, c. 1903
+| caption          = Gabriele Münter, {{circa|1903}}
-| birth_name   =
+| birth_name       =
-| birth_date   = {{birth date|df=yes|1877|2|19}}
+| birth_date       = {{birth date|df=yes|1877|2|19}}
-| birth_place  = [[Berlin]], [[German Empire]]
+| birth_place      = [[Berlin]], [[German Empire]]
-| death_date   = {{death date and age|df=yes|1962|5|19|1877|2|19}}
+| death_date       = {{death date and age|df=yes|1962|5|19|1877|2|19}}
-| death_place  = [[Murnau am Staffelsee]], [[Bavaria]], [[West Germany]]
+| death_place      = [[Murnau am Staffelsee]], [[Bavaria]], [[West Germany]]
-| field        = Painting
+| field            = Painting
-| training     =
+| training         =
-| movement     = [[Expressionism]]
+| movement         = [[Expressionism]]
-| works        =
+| works            =
-| awards       =
+| awards           =
-| spouse       =
+| spouse           =
 }}
 '''Gabriele Münter''' (19 February 1877 – 19 May 1962) was a German [[expressionist]] painter who was at the forefront of the [[Munich]] [[avant-garde]] in the early 20th century.<ref>{{Citation| last =Laura | first =Itzkowitz | title =Unicorns, a Chef-Designed Bikini, and More Things T Editors Are Into Right Now | work = [[The New York Times]] | date =27 July 2018 | url =https://www.nytimes.com/2018/07/27/t-magazine/regime-des-fleurs-unicorns-everything-is-alive-editors-picks.html | access-date = 29 July 2018}}</ref> She studied and lived with the painter [[Wassily Kandinsky]] and was a founding member of the expressionist group ''[[Der Blaue Reiter]].''
@@ Line 27: / Line 27: @@
 In 1901, she attended the beginners' classes of Maximilian Dasio at the Damenakademie (Women's Academy) of the Münchener Künstlerinnenverein (Munich Women Artists's Association).<ref name=":2" /> Münter then studied at the Phalanx School in Munich, an avant-garde institution founded by Russian artist, [[Wassily Kandinsky]].<ref name=":0">{{Cite book|title=Women Artists|last=Heller|first=Nancy G.|publisher=Abbeville Press|year=1987|location=New York|pages=118–120}}</ref> There, she attended sculpture courses taught by Wilhelm Hüsgen.<ref name=":2" />
-[[File:Photo - Gabriele Münter - Kallmünz Brücke - 1903.jpg|thumb|Gabriele Münter in [[Kallmünz]] 1903, carrying a freshly painted canvas.]]
+[[File:Photo - Gabriele Münter - Kallmünz Brücke - 1903.jpg|thumb|Gabriele Münter in [[Kallmünz]] in 1903, carrying a freshly painted canvas]]
-Münter studied outside the official art academies in Munich and Düsseldorf, because these were closed to women.<ref name=":0" /> At the Phalanx School, Münter was introduced to Post-Impressionism and the marking techniques of a palette knife and a brush. Her vivid colors and bold outlines were somewhat derived from [[Gauguin]] and from practioners of [[fauvism]] whom she admired. Along with this, Münter was inspired by Bavarian folk art, particularly the technique of [[Reverse glass painting|reverse-glass painting]] (''Hinterglasmalerei'' in German).<ref name=":0" />
+Münter studied outside the official art academies in Munich and Düsseldorf, because these were closed to women.<ref name=":0" /> At the Phalanx School, Münter was introduced to Post-Impressionism and the marking techniques of a palette knife and a brush. Her vivid colors and bold outlines were somewhat derived from [[Gauguin]] and from practitioners of [[fauvism]] whom she admired. Along with this, Münter was inspired by Bavarian folk art, particularly the technique of [[Reverse glass painting|reverse-glass painting]] (''Hinterglasmalerei'' in German).<ref name=":0" />
 Soon after she began taking classes, Münter became professionally involved with Kandinsky.<ref name="Hoberg, Annegret 1996">Hoberg, Annegret, and Long R.-C. Washton. "Wassily Kandinsky and Gabriele Munter." ''Art Journal''. 55.3 (1996): 84. Print.</ref> This eventually turned into a personal relationship that lasted for over a decade.<ref name="Hoberg, Annegret 1996" /> Kandinsky was the first teacher who had taken Münter's painting abilities seriously. In the summer of 1902, Kandinsky invited Münter to join him at his summer painting classes just south of Munich in the Alps, and she accepted.
@@ Line 36: / Line 36: @@
 == Work ==
 [[File:Wassily Kandinsky, 1903, The Blue Rider (Der Blaue Reiter), oil on canvas, 52.1 x 54.6 cm, Stiftung Sammlung E.G. Bührle, Zurich.jpg|thumb|Kandinsky's ''[[The Blue Rider (Kandinsky painting)|The Blue Rider]]'' (''Der Blaue Reiter''), 1903, private collection|alt=Painting of rider dressed in blue, on a white horse|left]]
-Münter was heavily focused on German Expressionism, and she worked in various media, including a significant output in wood- and linocuts.<ref name=":1" /> She kept a journal and documented her journeys with a state-of-the-art camera. She was familiar with many of the more famous artists of the time; in one of her journals, she stated that she wanted to learn from the [[avant-garde]] artists in France.
+Münter was heavily focused on German Expressionism, and she worked in various media, including a significant output in wood- and linocuts.<ref name=":1" /> She kept a journal and documented her journeys with a state-of-the-art camera. She was familiar with many of the more famous artists of the time; in one of her journals, she stated that she wanted to learn from the [[avant-garde]] artists in France. Münter and Kandinsky traveled together from 1903-1908. From 1906-1907, they spent time in [[Sèvres]], a suburb of Paris. They both exhibited works in the [[Société des Artistes Indépendants|Salon des Independents]] and the [[Salon d'Automne]].<ref name=":3">{{Cite book |last=Harris |first=Ann Sutherland |title=Women artists: 1550 - 1950 |last2=Nochlin |first2=Linda |date=1976 |publisher=Los Angeles County Museum of Art |others=Los Angeles County Museum of Art |isbn=978-0-87587-073-1 |location=Los Angeles}}</ref>{{Rp|page=281}}
 Münter was part of a small subgroup of artists active in transforming late Impressionist, Neo-Impressionist, and [[Jugendstil]] (or [[Art Nouveau]]) painting into the more radical, non-naturalistic art now identified as Expressionism. Early on, Münter developed a great interest in landscapes. Münter's landscape paintings employ a radical [[Jugendstil]] simplicity and suggestive symbolism with softly muted colors, collapsed pictorial space and flattened forms.<ref name=Heller>Heller, Reinhold, ''Gabriele Münter: The years of Expressionism 1903-1920''. New York: Presteverlag, 1997.</ref> She enjoyed exploring the world of children; using colorful prints of children and toys, Münter showed precision and simplicity of form in her rejection of symbolic content.
@@ Line 44: / Line 44: @@
 Münter and Kandinsky's relationship affected Kandinsky's work. He began to adopt Münter's use of saturated colors and abstract expressionist style. Münter and Kandinsky traveled through Europe including the Netherlands, Italy, and France, as well as North Africa.<ref name="Münter, Gabriele 1917">Münter, Gabriele, Annegret Hoberg, Shulamith Behr, and Barnaby Wright. ''Gabriele Münter: The Search for Expression 1906-1917''. London: Courtauld Institute Art Gallery, in association with Paul Holberton Pub, 2005. Print.</ref> It was during this time that they met [[Henri Rousseau|Rousseau]] and [[Henri Matisse|Matisse]]. Münter and Kandinsky helped establish the Munich-based avant-garde group called the [[New Artists’ Association]] ([[Neue Künstlervereinigung]]). She contributed to a number of the most significant avant-garde exhibitions in Germany up till World War I.
-In 1911 Münter was one of the first artists to exhibit with Kandinsky's German Expressionist group known as ''[[Der Blaue Reiter]]'' (The Blue Rider). Within the group, artistic approaches and aims varied amongst artists; however, they shared a common desire to express spiritual truths through art. They championed modern art, the connection between visual art and music, the spiritual and symbolic associations of color and a spontaneous, intuitive approach to painting in its move toward abstraction.
+In 1911 Münter was one of the first artists to exhibit with Kandinsky's German Expressionist group known as ''[[Der Blaue Reiter]]'' (The Blue Rider). She contributed six paintings to the first exhibition, and 14 to the second.<ref name=":3" /> Within the group, artistic approaches and aims varied amongst artists; however, they shared a common desire to express spiritual truths through art. They championed modern art, the connection between visual art and music, the spiritual and symbolic associations of color and a spontaneous, intuitive approach to painting in its move toward abstraction.
 There is a transition in Münter's work from copying nature more or less impressionistically to feeling its content, abstracting, and drawing out an extract. There grew an interest in painting the spirit of the modern civilization, its social and political turmoil and its gravitation towards materialism and [[Social alienation|alienation]]. Münter noted that pictures are all moments of life: instantaneous visual experiences, generally rapid and spontaneous; her paintings each have their own identity, their own shape, and their own function.<ref>Bachrach, Susan. "A Comparison of the Early Landscapes of Münter and Kandinsky, 1902-1910." ''Woman's Art Journal'' 2 no. 1 (1981): 21-24.</ref>
@@ Line 54: / Line 54: @@
 [[File:Staffelsee in Autumn.jpeg|thumb|''Staffelsee in Autumn'', 1923, [[National Museum of Women in the Arts]]]]
 [[Image:Muenter-Haus-Murnau.JPG|thumb|Gabriele Münter's house in Murnau|alt=White, two-story home with attic and a garden]]
-When World War I began, Münter and Kandinsky relocated to Switzerland.<ref>Behr, Shulamith  (2003, January 01). "Münter, Gabriele". ''Grove Art Online''.</ref> In 1914, Kandinsky returned to Russia without her.Their relationship worsened due to mutual tensions and disappointments over his lack of commitment to marriage.{{r|"Münter, Gabriele 1917"|pp=35-36}} His marriage in 1917 to Nina Andreevskaya marked the end of Münter and Kandinsky's relationship.<ref>Obler, Bibiana (2014). ''[https://books.google.com/books?id=Dis_AwAAQBAJ&pg=PA228 Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber]''. Yale University Press. p. 228. {{ISBN|0300195796}}.</ref> Subsequently, there was a period of inactivity in her art career. She returned a number of paintings and drawings to Kandinsky, and stored other pieces in a warehouse for many years. She resumed painting in the late 1920s after she had moved back to Germany with Johannes Eichner after the war.<ref name="Opfell, Olga S 1991">Opfell, Olga S. ''Special Visions: Profiles of Fifteen Women Artists from the Renaissance to the Present Day''. Jefferson, N.C: McFarland, 1991. Print.</ref>
+When World War I began, Münter and Kandinsky relocated to Switzerland.<ref>Behr, Shulamith  (2003, January 01). "Münter, Gabriele". ''Grove Art Online''.</ref> In 1914, Kandinsky returned to Russia without her. Their relationship worsened due to mutual tensions and disappointments over his lack of commitment to marriage.{{r|"Münter, Gabriele 1917"|pp=35-36}} His marriage in 1917 to Nina Andreevskaya marked the end of Münter and Kandinsky's relationship.<ref>Obler, Bibiana (2014). ''[https://books.google.com/books?id=Dis_AwAAQBAJ&pg=PA228 Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber]''. Yale University Press. p. 228. {{ISBN|0300195796}}.</ref> Subsequently, there was a period of inactivity in her art career. She returned a number of paintings and drawings to Kandinsky, and stored other pieces in a warehouse for many years. She resumed painting in the late 1920s after she had moved back to Germany with Johannes Eichner after the war.<ref name="Opfell, Olga S 1991">Opfell, Olga S. ''Special Visions: Profiles of Fifteen Women Artists from the Renaissance to the Present Day''. Jefferson, N.C: McFarland, 1991. Print.</ref>
 In the 1930s, as tension started to grip Europe, and modernist movements were condemned in Germany by the Nazi government, she had all of the art work done by her, Kandinsky, and the other members of the Blaue Reiter transported to her house, where she hid them. In spite of her financial problems, she preserved them with care during World War II.<ref name="Münter, Gabriele 1917"/> Through several house searches, the pieces were never found.
@@ Line 95: / Line 95: @@
 [[Category:19th-century German painters]]
 [[Category:20th-century German painters]]
-[[Category:20th-century German women artists]]
-[[Category:19th-century German women artists]]
 [[Category:Painters from Berlin]]
 [[Category:Artists from the Province of Brandenburg]]
 [[Category:German Expressionist painters]]
-[[Category:German women painters]]
 [[Category:People from Garmisch-Partenkirchen (district)]]
-[[Category:20th-century women painters]]
+[[Category:20th-century German women painters]]
+[[Category:19th-century German women painters]]

v t e Der Blaue Reiter
Leaders	Wassily Kandinsky Franz Marc
Artists	Albert Bloch David Burliuk Heinrich Campendonk Robert Delaunay Lyonel Feininger Natalia Goncharova Alexej von Jawlensky Paul Klee Alfred Kubin August Macke Gabriele Münter Arnold Schoenberg Marianne von Werefkin
See also Die Brücke Expressionism Der Blaue Reiter (painting)

v t e New Woman of the late 19th century (born before 1880)
19th-century feminism First-wave feminism Women's history
Artists	Louise Abbéma Elenore Abbott Nina E. Allender Sophie Gengembre Anderson Cornelia Barns Cecilia Beaux Enella Benedict Rosa Bonheur Jennie Augusta Brownscombe Julia Margaret Cameron Mary Cassatt Minerva J. Chapman Émilie Charmy Alice Brown Chittenden Elizabeth Coffin Emma Lampert Cooper Susan Stuart Frackelton Wilhelmina Weber Furlong Elizabeth Shippen Green Ellen Day Hale Laura Knight Anna Lea Merritt Elizabeth Nourse Violet Oakley Rose O'Neill Elizabeth Okie Paxton Emily Sartain Pamela Colman Smith Jessie Willcox Smith Annie Swynnerton Candace Wheeler Anne Whitney
Writers	Elizabeth Barrett Browning Mona Caird Kate Chopin Annie Sophie Cory Ella D'Arcy Ella Hepworth Dixon Maria Edgeworth George Egerton (Mary Chavelita Dunne Bright) Sarah Grand Amy Levy Olive Schreiner
Educators	Alice Freeman Palmer
Literature about the New Woman	Isabel Archer in Henry James's The Portrait of a Lady (serialized 1880–81) Elizabeth Barrett's Aurora Leigh (1856) Kate Chopin's The Awakening (1899) Victoria Cross' Anna Lombard (1901) Ella Hepworth Dixon's The Story of a Modern Woman Gustave Flaubert's Madame Bovary (1856) Henrik Ibsen's A Doll's House (1879) Henry Arthur Jones's The Case of Rebellious Susan (1894) Henry James' novella Daisy Miller (serialized 1878) Amy Levy's The Romance of a Shop (1888) George Bernard Shaw's Mrs. Warren's Profession (1893) George Bernard Shaw's Candida (1898) H. G. Wells' Ann Veronica (1909)

v t e Wassily Kandinsky
List of paintings
Paintings	The Blue Rider (1903) Das Bunte Leben (1907) Landscape with Red Spots (1913) Composition VI (1913) Composition VII (1913) Improvisation No. 30 (Cannons) (1911–1913) Ein Zentrum (A Centre) (1922) Auf Weiss II (Sur blanc II) (1923) Three Elements (1925) Upward (1929) Composition X (1939)
Theater	The Yellow Sound (1912)
Related	Aleksey Ivanovich Kandinsky (grandson) Gabriele Münter (partner) Neue Künstlervereinigung München Der Blaue Reiter Institute of Artistic Culture Bibliothèque Kandinsky Kandinsky Prize Wassily Chair

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