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©
Carmen Thyssen Collection
Wilhelm Trübner

Lake Starnberger

1911
Oil on canvas.
40 x 50.2 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.64
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
In 1907 Trübner began his series of paintings of terraces and the shoreline along Lake Starnberg near Munich. These are luminous representations of cheerful and natural scenes executed with great creative feeling. A wealth of colour, the simplest of lines and a strong feeling for space are combined in these bold and effective paintings.

This little study of Lake Starnberg dates from 1911. Compared to Castle Grounds in Lichtenberg there is an evident development, moving away from the use of colour which was still picturesque in concept to a type of colouring with stronger constructive modelling, from muted harmonies with flowing movements to a tighter, more forceful unity of colour. The modulation of tones in the Castle Grounds in Lichtenberg has given way to the modulation of colour in Lake Starnberg. The paintings are lighter, and at the same time simpler and more spacious. The palette still consists of harmonious greens, blues and yellow/browns. But it is lighter, and there is also a simplification of style and more force in the colours.

Lake Starnberg is divided into a calm, still right-hand half, in which everything-meadows and water-is treated with very broad layers of the brush as simply and quietly as possible, and a left-hand side with the three beech trees. If the trees were not there, a strict arrangement of parallels would be the only element remaining: strips of grass, a path, meadow, water, the opposite shore, the sky. Some representations of Lake Starnberg are arranged solely around this strip and are reminiscent of the parallelism of the landscapes painted by the Swiss Ferdinand Hodler at about the same time. However, this comparison immediately reveals the difference between the two artists. In contrast to Hodler's works, Trübner does not aim to symbolise anything or point to anything hidden. As in his earliest works, Trübner's works are "pure painting", even though the stylistic means had changed in the course of his artistic development.

Wilhelm Trübner wrote in his article "The Understanding of Art Today", published in 1892: "Any motif is interesting and even the least important has enough to offer for someone who is interested; in fact, the simpler the object the more interesting and perfect I can present it in painting and colour. Everything depends simply on how I present it, and not on what I present". In the same text, however, and with regard to the financial aspect, Trübner complained about the preference given to French, Dutch and Spanish paintings, i.e. foreign ones, in the acquisition policies of museums and collectors of his day.

In 1911, the year in which this study of Lake Starnberg was painted, the purchase of Van Gogh's Poppy Field by the Bremen Art Gallery aroused general indignation. Trübner was among the signatories of the text "A protest by German artists". A little later that year, as a reaction to this, a compilation of declarations about modem art by collectors, artists and museum directors was published entitled "Fighting for art. The answer to 'A Protest by German artists'". It is characteristic of Trübner's contradictory nature that he also supported this counter-protest.

In 1903 the painter received an Honorary Professorship from the Karlsruhe Kunstakademie. He became nationally renowned in 1906 through the so-called "exhibition of the century" in the Berlin Nationalgalerie where several of his paintings were shown. At that time the Nationalgalerie already owned three of Trübner's most important works. The Nationalgalerie had not only purchased the first paintings by Manet, Cézanne and Liebermann to enter a German museum, but it was also the first museum to acquire a painting by Wilhelm Trübner.

However, it was the first exhibition which the Baden Kunstvereing organised in Karlsruhe in 1911 on the occasion of Trübner's 60th birthday, that brought home the entire range of this artist's varied oeuvre to an interested public.

Angelika Wesenberg

20th CenturyPaintingOilcanvas
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Lake Starnberger. El lago de Starnberg, 1911
Lake Starnberger
Wilhelm Trübner

©

Carmen Thyssen Collection

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Lake Starnberger. El lago de Starnberg, 1911
Lake Starnberger
Wilhelm Trübner

©

Carmen Thyssen Collection

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