Kallmünz—Light-Green Mountains, Wassily Kandinsky
Wassily Kandinsky
Kallmünz—Light-Green Mountains
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Wassily Kandinsky

Kallmünz—Light-Green Mountains, 1903

23.5 x 32.8 cm
Physical Description
Oil on pre-primed canvas, mounted on cardboard
Inventory Number
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection
On display, 1st upper level, Modern Art, room 15


About the Work

Kandinsky spent the summer of 1903 in Kallmünz in the Upper Palatinate. There he carried out numerous oil studies in the open air, for example ‘Kallmünz—Light-Green Mountains’. He captured his impression of nature with short, pastose strokes of the brush. His resolute painting style betrays his close study of the work of Vincent van Gogh and introduces rhythm to the landscape. The abbreviated dabs of paint applied one next to the other in mosaic-like manner account for the almost abstract quality of the lower half of the composition.

About the Acquisition

The Städel Museum has the photographer, psychotherapist, philanthropist, and long-time Frankfurt resident Ulrike Crespo (1950–2019) to thank for more than ninety works ranging from classical modernism to American pop art. The paintings, drawings, and prints by Wassily Kandinsky, Otto Dix, Oskar Schlemmer, Max Ernst, Jean Dubuffet, Cy Twombly, and others originally belonged to the holdings of her grandfather, the Darmstadt-based industrialist Karl Ströher (1890–1977), who amassed an extensive art collection after World War II.

Work Data

Basic Information

Kallmünz—Light-Green Mountains
Period Produced
Object Type
Physical Description
Oil on pre-primed canvas, mounted on cardboard
Label at the Time of Manufacture
Signiert unten rechts in Rot: KANDINSKY
Captions Added Later
Verso auf dem Karton bezeichnet oben links (mit blauem Farbstift): Kandinsky [unterstrichen] München / Kallmünz b. Regensburg; mittig links (mit violettem Farbstift): N 40 [unterstrichen]; unten mittig (mit Bleistift): Caissete [um 180 Grad gedreht]
Verso auf dem Karton mittig rechteckiges Etikett des Malkartonverkäufers: Franz Dury / Abtheil. A: Mal- und Zeichnen-Utensilien, Farben und Papiere, / Technische Bedarfsartikel / Abtheil. B: Bildereinrahmungen und Passe-partouts / Telephon 2055 [Blume] München [Blume] Telephon 2055 / Ecke Akademie- u. Amalienstr. 50 c [Blume] Werkstätten: Adalbertstraße.; oben rechts mit Schreibmaschine beschriftetes Etikett: Kandinsky, Wassily [unterstrichen] / 1866 - 1944 / Kallmünz b. Regensburg / 1902 / Öl a. Hartfaserplatte

Property and Acquisition

Städel Museum, Frankfurt am Main
Picture Copyright
Public Domain
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection

Work Content

Motifs and References


  • 25H landscapes
  • 2 Nature
  • 25H213 river
  • 61D(DEUTSCHLAND) geographical names of countries, regions, mountains, rivers, etc. (DEUTSCHLAND) (DEUTSCHLAND)
  • 61E(KALLMÜNZ) names of cities and villages (KALLMÜNZ)
  • 61D(BAYERN) geographical names of countries, regions, mountains, rivers, etc. (BAYERN) (BAYERN)
  • 22C4 colours, pigments, and paints
  • 22C4(GREEN) colours, pigments, and paints: green
  • 0 Abstract, Non-representational Art

Research and Discussion


Object History
Heinz Berggruen (1914-2007)
Gutekunst und Klipstein, Bern (79. Auktion), 29. April 1955 (unverkauft) [2]
zurück an Heinz Berggruen, Paris
verkauft an Karl Ströher, Darmstadt, 1955
an seine Witwe Katharina Ströher
an die Enkelin Ulrike Crespo (1950-2019), Frankfurt am Main, 1982
Vermächtnis an das Städelsche Kunstinstitut, Frankfurt am Main, 2019.


Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

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  • the date on which it changed hands

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