LA GUMMFLUH PEINTE PAR CUNO AMIET

 

CUNO AMIET (1868-1961)
La Gummfluh 2,457m)
Suisse

La montagne
La Gummfluh (2,457m) est un sommet des Préalpes vaudoises rattachées aux Alpes bernoises. Il s'agit du point culminant de la chaîne montagneuse située au sud du Pays-d’Enhaut. Le sommet se trouve à la frontière entre le canton de Vaud et le canton de Berne. Sa face Nord est très abrupte avec un massif essentiellement composé de roches calcaires. Au pied de la Gummfluh se trouve la réserve naturelle de la Pierreuse où vivent de nombreux bouquetins et chamois. Le nom de la montagne viendrait de Gumm (la « vallée ») et fluh (le « pic »).

Le peintre
Cuno Amiet est un peintre suisse qui manifeste un talent pour la peinture dès le collège. Il reçoit une première formation artistique auprès de Frank Buchser, à Feldbrunnen (canton de Soleure), qui lui donne occasionnellement des cours de peinture. En 1886, il part étudier à l'Académie de Munich où il rencontre Giovanni Giacometti. En 1888, il se rend à Paris avec ce dernier. Les deux amis s'inscrivent à l'Académie Julian. S'inspirant de la vie de Paul Gauguin, Cuno Amiet passe une année à Pont-Aven en 1892, où il rencontre les disciples du maître et découvre également les œuvres de Vincent van Gogh. ll y rencontre également Armand Seguin qui l’initie à la gravure. Durant son séjour en Bretagne, il pose les bases de son art de coloriste. En 1893, Cuno Amiet retourne en Suisse. En 1897, il fait la connaissance de Ferdinand Hodler, avec qui il a été l’un des plus illustres représentants du courant symboliste en Suisse. L'année suivante, il se marie avec la fille d'un riche aubergiste, Anna Luder. En 1898, il s'installe avec elle dans une maison à Oschwand (canton de Berne). Ce village bernois d'Oschwand devient un centre de création et de villégiature artistique dès 1908. Il entretient des contacts étroits avec l'étranger, participant notamment avec Ferdinand Hodler à la Sécession de Vienne en 1904. Il expose à Dresde en mai 1905. Il y connaît les jeunes peintres expressionnistes qui fondent la même année le groupe artistique d'avant-garde Die Brücke. En septembre 1906, il est formellement invité à rejoindre Die Brücke, ce qu'il accepte. Cela a permis à Cuno Amiet de participer à des expositions collectives à l'étranger.  Lors de l'incendie du Palais de verre à Munich en 1931, Cuno Amiet perd une partie de son œuvre. Depuis les années 1920 jusqu'à sa mort en 1961, survenue à Oschwand alors qu'il est très âgé, Amiet se voue en priorité à des paysages joyeux et idylliques.En plus des œuvres de chevalet, Amiet a aussi exécuté des peintures murales et des gravures. Par sa maîtrise de la couleur, il a imprimé, après Ferdinand Hodler, une nouvelle impulsion à la peinture suisse. Cuno Amiet fut membre de la Commission fédérale des beaux-arts (1911-1915 et 1931-1932) et du Moderner Bund (1912). En 1919, il fut nommé docteur honoris causa de l'université de Berne. Il siégea également à la commission de la Fondation Gottfried Keller (1934-1948) et à la commission du musée des beaux-arts de Berne (1935-1948).

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2023 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

THE STOCKHORN PAINTED BY CUNO AMIET

 CUNO AMIET (1868-1961),

The Stockhorn (2,190 m - 7, 185ft) 

Switzerland

In Stockhornette, 1931 oil on cardboard, Private collection

The mountain
The Stockhorn (2,190 m - 7, 185ft) is the highest peak in the Stockhorn range., in the Bernese Oberland (Switzerland). The striking Stockhorn summit is immediately noticeable when you drive through the Gürbetal or the Aare valley towards the Bernese Oberland. Since it consists of an almost vertical rock plate, it appears wide or pointed depending on the angle.
The Voralpenkette is about 13 km long and separates the Simmental in the south of the Stockental in the north in OSO / NNW direction. It begins at Reutigen , where the Simme leaves their valley and separates the described chain from the Burgfluh, respectively from the sneeze. The first striking peak is the Simmenfluh (1,422 m), which shapes the region with its massive appearance. After the Simmenfluh, the ridge drops slightly again and soon turns into a broad ridge, the Alp Heiti. From Stockental a second ridge climbs up, overlooking the previous ridge and the Alp. The Nüschleten (1,987 m), the Lasenberg (2,019 m) and the Solhorn (2,017 m) are the three highest elevations on this ridge section to the Stockhorn, which then expires in the Straitligrat. To the north of the Stockhorn is the broad Walalpgrat (1,920 m), the beginning of the last ridge section of the Stockhorn chain.This is followed by the Möntschelenspitz (2,020 m ), the Hohmad (2,075 m), the Stubenfluh (2,004 m) and the Chrummenfadenfluh (2,074 m ). The latter is actually already part of the Gantrisch group , which is adjacent to the Stockhorn chain in the NNW.
In the Stockhorn area there are several climbing gardens for sport climbers. 120 routes in 12 sectors offer difficulty levels from 2 to 7 in compact limestone rocks around the summit and at the intermediate station.
In 1974, an extensive cave system was discovered in the area around the Oberstocken Alp.

The painter
Cuno Amiet was a Swiss painter, illustrator, graphic artist and sculptor. As the first Swiss painter to give precedence to colour in composition, he was a pioneer of modern art in Switzerland.
After studies with the painter Frank Buchser, he attended the Academy of Fine Arts Munich in 1886–88, where he befriended Giovanni Giacometti. In 1888-92, Giacometti and Amiet continued their studies in Paris, where Amiet studied at the Académie Julian under Adolphe-William Bouguereau, Tony Robert-Fleury and Gabriel Ferrier.
Amiet created more than 4,000 paintings, of which more than 1,000 are self-portraits. The great scope of his work of 70 years, and Amiet's predilection for experimentation, make his œuvre appear disparate at first – a constant, though, is the primacy of colour. His numerous landscape paintings depict many winter scenes, gardens and fruit harvests. Ferdinand Hodler remained a constant point of reference, although Amiet's artistic intentions diverged ever further from those of Hodler, whom Amiet could and would not match in his mastery of monumental scale and form.
While Amiet took up themes of expressionism, his works retain a sense of harmony of colour grounded in the French tradition. He continued to pursue mainly decorative intentions at the beginning of the 20th century, but his late work of the 1940s and 50s is focused on more abstract concepts of space and light, characterised by dots of colour and a pastel brilliance.

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2019 - Wandering Vertexes...

by Francis Rousseau 

DER NIESEN PAINTED BY CUNO AMIET

CUNO AMIET (1868-1961)
Der Niesen  (2, 362m - 7,749ft)

Switzerland

 1. In  Thunersee mit Niesen, 1931 oil on canvas

2.  In Thunersee mit Niesen, 1932, watercolor

The mountain 

The Niesen (2, 362m - 7,749ft)  is a mountain of the Bernese Alps in Switzerland. It overlooks Lake Thun, in the Bernese Oberland region, and forms the northern end of a ridge that stretches north from the Albristhorn and Mannliflue, separating the Simmental and Kandertal valleys. The literal translation of the German word "Niesen" is  "sneeze", but the Niesen because of its shape, is often called The Swiss Pyramid. Administratively, the summit is shared between the municipalities of Reichenbach im Kandertal, to the south-east, and Wimmis, to the west and north. Both municipalities are in the canton of Bern. The summit of the mountain can be reached easily by using the Niesenbahn funicular from Mülenen (near Reichenbach). The construction of the funicular was completed in 1910. Alongside the path of the Niesenbahn is the longest stairway in the world with 11,674 steps. It is open only once a year to the public for a stair run.
The literal translation of the German word Niesen is sneeze. Because of its shape, the Niesen is often called the Swiss Pyramid.  Since the 18th century, the Niesen was the subject of a number of paintings which will all be published in this blog, one by one. The Ferdinand Holder's paintings are the two first ones to have been published. The Niesen was also the subject of a number of paintings by Paul Klee, in which it was represented as a quasi-pyramid.

The painter 
Cuno Amiet was a Swiss painter, illustrator, graphic artist and sculptor. As the first Swiss painter to give precedence to colour in composition, he was a pioneer of modern art in Switzerland.
After studies with the painter Frank Buchser, he attended the Academy of Fine Arts Munich in 1886–88, where he befriended Giovanni Giacometti. In 1888-92, Giacometti and Amiet continued their studies in Paris, where Amiet studied at the Académie Julian under Adolphe-William Bouguereau, Tony Robert-Fleury and Gabriel Ferrier.
Amiet created more than 4,000 paintings, of which more than 1,000 are self-portraits. The great scope of his work of 70 years, and Amiet's predilection for experimentation, make his œuvre appear disparate at first – a constant, though, is the primacy of colour.  His numerous landscape paintings depict many winter scenes, gardens and fruit harvests. Ferdinand Hodler remained a constant point of reference, although Amiet's artistic intentions diverged ever further from those of Hodler, whom Amiet could and would not match in his mastery of monumental scale and form.
While Amiet took up themes of expressionism, his works retain a sense of harmony of colour grounded in the French tradition. He continued to pursue mainly decorative intentions at the beginning of the 20th century, but his late work of the 1940s and 50s is focused on more abstract concepts of space and light, characterised by dots of colour and a pastel brilliance.