Reverse glass painting and Der Blaue Reiter
How traditional craftsmanship influenced artists involved in Der Blaue Reiter.
Who was der Blaue Reiter?
Der Blaue Reiter [The Blue Rider] was an association of artists from various countries that was active in Munich. It put on two exhibitions and published an almanac of the same name. Artists working as part of Der Blaue Reiter are now considered important trailblazers for modern art of the 20th century.
Blue Horse I (1911) by Marc, FranzStädtische Galerie im Lenbachhaus und Kunstbau
Among the contributors were artists who are now known worldwide, such as Gabriele Münter, Wassily Kandinsky, Franz Marc and August Macke. Elisabeth Epstein, Maria Franck-Marc, Arnold Schönberg, Jean Bloé Niestlé and Alexander Sacharoff were also members of der Blaue Reiter.
In May 1912, Wassily Kandinsky and Franz Marc published the "Der Blaue Reiter" almanac.
It depicted artworks from different times and cultures—antique reliefs next to children's drawings, East Asian art next to works of art made by the Blaue Reiter collective, non-European art next to medieval wood carvings from Europe.
Woodcut for the almanac "The Blue Rider" by Wassily KandinskyStädtische Galerie im Lenbachhaus und Kunstbau
There were also images of a total of twelve Bavarian reverse glass paintings, which came from the private collections of the artists involved with der Blaue Reiter or from their immediate circle.
In the period around 1900, countless European artists were interested in objects of folk lore and regional folk art. Their search for supposedly original environments are evident in their collections, such as the one made up of reverse glass paintings compiled by Gabriele Münter and Wassily Kandinsky.
Reverse glass painting has been practised in Germany since the 14th century. This elaborate painting technique developed into a much more modest version over three hundred years, particularly in Southern Germany and Austria. Because reverse glass paintings could be made through a division of labour, and therefore in a series, they became a popular and inexpensive mass-produced item, distributed by peddlers or sold at markets called Dults. This is where Gabriele Münter bought her first pictures.
During her time in Murnau, Gabriele Münter learned the technique for reverse glass painting from Heinrich Rambold.
St. George by Heinrich RamboldStädtische Galerie im Lenbachhaus und Kunstbau
Rambold (1872–1953) first registered a business for "selling hand-made glass murals" in 1906. He predominantly painted traditional reverse glass images for tourists. He largely focused on depictions of saints and votive pictures from the 19th century, but also created his own designs in expressive colors
With Rambold I saw that and how it could be done—and I was in Murnau—and as far as I know, I was the first one in the whole district to take glass panes and make something out of them. First copy—then make your own different version. […] I was enchanted by the technique and how perfectly it worked, and always told K. about it—until he started doing it as well and then made a lot of glass pictures. Gabriele Münter, Note for Johannes Eichner from February 10, 1933
It was also Gabriele Münter who introduced other members of Der Blaue Reiter to this elaborate technique.
Imaginary Bird and Black Panther (1911) by Wassily KandinskyStädtische Galerie im Lenbachhaus und Kunstbau
For the artists involved in Der Blaue Reiter, the characteristic technique of painting on the back of glass became particularly significant as an experimental painting technique, since it did not follow any academic rules or guidelines.
Riverscape and Angler (1911) by August MackeStädtische Galerie im Lenbachhaus und Kunstbau
The simple black contours and bold colors were an expression of her original feeling. This way of painting fulfilled her desire for new, individual, and more abstract ways of expressing herself.
Even experienced artists like Kandinsky found the reverse glass technique challenging. His first reverse glass painting "Mit gelbem Pferd [With Yellow Horse]" from 1909 seems two-dimensional as it lacks contours. Unlike paintings, these must be applied as a first layer when painting on glass.
With a Yellow Horse (1909) by Wassily KandinskyStädtische Galerie im Lenbachhaus und Kunstbau
Kandinsky quickly became experienced, however, and as a result his paintings became more playful, smaller, and more multi-layered. He also used glossy paper as a background, which was not otherwise used in folk art.
Saint George II
This work by Kandinsky highlights how the artist continued to develop his own type of reverse glass paintings. The contours are clearer, the colors brighter. For reverse glass paintings, the layers of paint are applied in reverse order compared to other works.
Rowing (1912) by Wassily KandinskyStädtische Galerie im Lenbachhaus und Kunstbau
Kandinsky partly used modern materials for his reverse glass works. In "Rudern [Rowing]," created in 1912, he used wavy tin and aluminium foils as a background. In 1910, aluminium foil was developed in Switzerland and used as a packaging material for cigarettes, chocolate, and biscuits. Kandinsky made use of its wavy surface, which looks like a moving water surface.
Resurrection (Last Judgement) (1911) by Wassily KandinskyStädtische Galerie im Lenbachhaus und Kunstbau
Between 1909 and 1918, Kandinsky created a total of fifty or so pieces out of glass, and showed three of them at the first Blaue Reiter exhibition in 1911/12. From the very beginning, he designed his own themes, but also created religious designs.
Lots of folk reverse glass paintings, especially from the Oberammergau area, also have a painted frame. Münter and Kandinsky also used their own frames for the pieces, and painted them.
Two Girls in a Landscape (1911) by August MackeStädtische Galerie im Lenbachhaus und Kunstbau
In August Macke's "Drei Mädchen in einer Barke [Three Girls in a Barque]" from 1912 we can see floral and vegetal tendrils surrounding water.
In certain parts of the picture, we can see that the paint is peeling away. It is extremely difficult to restore reverse glass paintings, because the paint is applied to the glass and cannot be separated from it without causing damage. Because of how fragile they are, the majority of reverse glass paintings are no longer permitted to leave the Lenbachhaus and are not loaned out.
The first reverse glass paintings made by Paul Klee looked very different to those made by Der Blaue Reiter. His "Bestie, ihr Junges säugend [Beast Nursing Her Young]" is more reminiscent of an etching.
There are around fifty reverse glass paintings in the Lenbachhaus collection. Some were made by painters from Der Blaue Reiter, others were made by less well-known artists whose names we don't know. A large number of these works can be seen in the Blaue Reiter exhibition. The majority of these works have been digitalized and can be found in the Lenbachhaus online collection.
City Gallery in Lenbachhaus and Munich Art Building
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