If fear would be a shape, it could look like this: A blobby Monster, the lead hangs heavy at the feet of his fallen victim and drags it into the abyss with a rubber-like stretching Arm. There are early drawings of Alfred Kubin, the place in the weird light of psychological depths, thus exposing the most Fascinating count, which has created in 1877 in what was then Bohemia, litoměřice-born artist. Carefully, his pen and ink dashed lines absurd operations, demonstrating the horrors of nightmarish visions: tiny, powerless giant hybrid monsters delivered, nasty, naked bodies sucking swirl or a strict black Rider, the rocking horse tent on sharp cradle knives, human body and cut. Disaster of the soul to be the title of the dramatic scenes, Goya’s “Desastres della guerra”, to which you remember sometimes.

The Surrealists would have had their bright joy on such leaves were not formed, but in the years around 1900. The idea of Sigmund Freud’s “interpretation of dreams” could have played, scattered to prove that Kubin las works of the father of psycho-analysis until much later. No, although Kubin literature such as Edgar Allan PoE was later appointed Illustrator of great horror, these early works of his own head births, free of Max Klinger, the the broken a Student of the Munich Academy of art in 1899 saw a set of etchings. They set off, he wrote, “the overthrow of visions of black-and-white images” – powered by Drive and impotence ideas, tantalizing memories of an overly strict father and the first sexual experience with a Pregnant woman who seduced him as a boy.

With Kubin’s disturbing visions begins in Munich’s Lenbachhaus exhibition, explores its Connections to the circle of artists of the Blue rider, and some new knowledge serve: was Forget, for example, that in 1904, were issued by none other than Kandinsky, Kubin for the first time, in Munich, the progressive artists ‘ Association Phalanx, with a positive effect, not least on the buyer. Kubin joined the New Association of Munich artists, and the avant-garde, left of the branch to Kandinsky and Münter, under Protest, and the Blue rider was founded, had in the meantime married, and after Zwickledt in upper Austria and moved Kubin immediately Post with the request for accession.


Visible similarities, one looks almost in vain. Only Paul Klee, the excited Kubin as yet almost unknown artist, leaves him lasting stylistic traces – and a bit too Lyonel Feininger, the Kubin, is also a new finding, the Blue rider. Kubin experimenting hardly with painting, he remains convinced of the signatories; black sting from its leaves from those of the expressionists of friends, the work in the paper, the potency of color as an expression of the carrier force and to simplify the Form of struts.

The Match was different from what Kubin also as a writer. In 1909, he sets out with his novel “The other side” and in a very short time a major work of fantastic literature, Stefan Zweig was thrilled, Franz Kafka suggested it to several novels. The massive story is, nomen est omen, of a mad world beyond the reality. That Kubin, such as the blue rider, believed in a spiritual Dimension, the Spiritual in art, was their proximity.

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as well As personal friendships were and how great is the mutual interest in the work, show the exchange of letters know the display cases in the by Annegret Hoberg, curated the exhibition and fill in the excellent catalogue for the most part for the first time are published. The Lenbachhaus owns a unique archive holdings to Alfred Kubin: acquired in 1971 by the passionate decades-long Use of the artist’s collection, Hamburg-based lawyer and pharmacist Kurt Otte, summing it up with tens of Thousands of objects of art, letters, photos, documents, texts and more the largest collection of the artist in a German Museum. Fascinated you, what Kubin in may 1910 clairvoyant of Kandinsky reads: “Dear friend, you must feel, by and large, Yes, wonderful, because, according to the abstract side, you have opened up a whole new art option, and stand today as most, and quite unique. I feel in your Work the urhaft long-past things his wife, the mysterious vibrations of future spiritual possibilities.“