Catalogue entry: Sun Bath

Artist

Julius Exter

Born in Ludwigshafen, Germany

Early Life, Family and Training

Born in Ludwigshafen on 20 September 1863, Julius Exter emerged from a family of merchants. His upbringing was shaped by a domestic environment where creative inclinations ran in the blood; his brother, August Exter, would eventually find his own calling as an architect. This early foundation in a commercial household provided a stable backdrop for a young man destined for the visual arts.

The path toward formal training began in Mannheim, where he first commenced his education. However, it was his move to Munich that would define his professional trajectory. In 1881, Julius Exter enrolled at the Academy of Fine Arts, Munich, a decision that placed him at the center of a shifting German artistic landscape. It was within these academic walls that he began to refine the technical skills required for his dual pursuits as both a painter and a sculptor.

Artistic Style and Movements

Exter’s creative evolution was marked by a steady departure from the rigid structures of historicism. He moved toward the lively, expressive use of color that would eventually define his mature period. This transition saw him move away from traditional academic constraints and toward the sensibilities of expressionism. His experimentation with various techniques and pigments resulted in a visual language that shared a close affinity with the Der Blaue Reiter group.

Among his contemporaries, he earned the moniker "prince of colours" for his ability to manipulate the palette. His subject matter remained focused on the essential forms of the natural and human world, primarily through landscapes and portraits. He also frequently explored figure compositions and nudes, applying his evolving sense of color to the human form. His involvement in the Secession movement, founded in 1892, placed him at the center of these shifting aesthetic currents in Munich.

Circle, Rivals and Pupils

During his formative years at the Academy of Fine Arts in Munich, Exter found a significant companion in Franz von Stuck. This friendship helped shape his early trajectory as he moved through the academic circles of the city. His artistic orbit expanded as he became associated with Franz Marc and the Der Blaue Reiter group, aligning himself with the shifting currents of modernism that were redefining German expressionism.

In 1902, Exter sought a different environment for his creative practice, acquiring a farmhouse in Chiemsee. This location became more than a private retreat; he established a painting school at the farm that attracted attention from across Europe. His presence in the region allowed him to cultivate a specific community of practitioners, fostering a space where technique and color could be explored away from the rigid structures of the city.

The influence of his teaching was felt through several notable students who went on to establish their own artistic identities. Among those who studied under his guidance were the sculptor Eva Eisenlohr and Karl Friedrich Lippmann. These connections ensured that his approach to form and composition continued to circulate through the artistic landscape of the era.

Later Years, Death and Legacy

The personal landscape of Exter’s later life was marked by significant shifts. In 1898, he married the pianist and painter Judith Anna Köhler, a union that produced two children who would both pursue artistic paths. However, this chapter of his life concluded in 1917 when the couple divorced. He eventually returned to Munich, though his connection to the Chiemsee region remained a central part of his identity.

In 1902, he acquired a farmhouse in Übersee-Feldwies by the Chiemsee, which served as both his private residence and a well-known painting school. It was here that he spent his final years. He died at his home in Übersee in 1939 from heart failure. Following his death, his daughter Judith ensured his estate was preserved by donating it to the State of Bavaria in exchange for a life annuity.

Today, the home he established in Übersee-Feldwies functions as a museum and gallery. His creative output remains accessible to the public through various collections, including works displayed in the Prelacy Wing of the Augustinian monastery in Herrenchiemsee.

Museum

Lenbachhaus

On show in Munich, Germany

The History and Origins of Lenbachhaus

The Lenbachhaus is located in Munich, Germany, within the Kunstareal district. The building was established in 1887. Originally designed as a private residence, the structure was built for the painter Franz von Lenbach. It functioned as a villa before its transition into a public institution. The city of Munich acquired the property in 1924. Following this acquisition, the museum opened to the public in 1929.

The institution's development is tied to the evolution of the building from a domestic space to a municipal gallery. The site has undergone several stages of expansion and renovation to accommodate its growing collections. These changes have allowed the museum to house works from the 19th century through to contemporary art. The history of the site reflects the broader cultural shifts in Munich during the early 20th century.

The Architecture of the Historic Villa

The building originated as a Florentine-style villa for the painter Franz von Lenbach. Gabriel von Seidl designed the structure between 1887 and 1891. The architecture reflects the specific tastes of a successful portrait painter, maintaining an intimate scale that distinguishes it from larger public institutions. This domestic character remains a defining feature of the site.

The museum underwent several structural changes over the decades. Hans Grässel managed expansions between 1927 and 1929. Later, the 1972 extension was demolished to make way for a new building. In 2009, the latest wing was closed to the public to facilitate a significant expansion and restoration project led by Norman Foster. This modern addition features a facade clad in metal tubes that subtly shift in color over time, creating a dialogue between the historical villa and contemporary design.

The Blue Rider Art Collection

The Lenbachhaus holds the largest collection of works by the Blue Rider artists. This group, which sought to develop an increasingly abstract visual language, was founded by Wassily Kandinsky, Franz Marc, Gabriele Münter, Alexej von Jawlensky, and Marianne von Werefkin. Their shared belief in a spiritual dimension of art informed the diverse formal modes of expression found within the collection.

The movement's presence in Munich was established through early exhibitions. The group mounted its first exhibition at Galerie Thannhauser in the winter of 1911. A second exhibition followed in the spring of 1912 at Galerie Goltz. These gatherings helped define the group's trajectory from the nascent modernism of early oil studies to the more developed works of the period.

The collection includes significant paintings that illustrate the evolution of the movement. Notable examples include:

Blue Horse I, 1911 - Marc Franz Moritz Wilhelm

Murnau with church 1, 1910 - Wassily Wassilyevich Kandinsky

Rose Garden, 1920 - Paul Klee

Masterpieces of the Museum Collection

The collection is anchored by the works of the Blue Rider group. Wassily Kandinsky’s explorations of abstraction are central to this assembly, alongside the symbolic animal paintings of Franz Marc. Gabriele Münter and August Macke are also represented, providing insight into the shared aesthetic of this movement. These works reflect a departure from traditional representation toward a new visual language.

Beyond the Blue Rider, the museum holds significant pieces by members of the Munich Secession. The holdings include thought-provoking sculptures and installations by Joseph Beuys. The museum also preserves the output of significant Munich artists, such as Jan Polack and Christoph Schwarz, which provides a foundation for the later modern movements on display.

Blue Horse I, 1911 - Marc Franz Moritz Wilhelm

Rose Garden, about 1920 - Paul Klee

Salome, 1906 - Franz Ritter von Stuck

Childhood Friends, about 1855 - Spitzweg, Carl Friedrich

Family von Lenbach, 1903 - Franz Seraph von Lenbach

Major Donations and Artistic Legacies

The depth of the collection is largely defined by significant contributions from the artists themselves. In 1957, Gabriele Münter provided the institution with 1000 Exponate. This substantial gift fundamentally shaped the museum's holdings, ensuring that the visual language of the Blue Rider movement remained central to the permanent collection. The donation included approximately 330 of Wassily Kandinsky's watercolors and drawings, alongside 90 oil paintings by her partner. These works provide a direct link to the creative processes of the early 20th century.

Beyond the Münter donation, the museum maintains a significant presence of works by other key figures of the era. The collection includes various pieces by August Macke and Alexej von Jawlensky. These additions allow for a continuous study of the evolution of abstraction and the development of the Munich school of painting. The presence of these works ensures the institution remains a primary site for examining the transition from traditional representation to modern expression.

Blue Horse I, 1911 - Marc Franz Moritz Wilhelm

Rose Garden, 1920 - Paul Klee

Botanical Theater, 1934 - Paul Klee

Salome, 1906 - Franz Ritter von Stuck