On the verso:

[1927 | Walter Gasch Leipzig C.1 | Robert Schumann 12b |” Atlantis” | Keim Mineral Colours | Do not varnish! | Protect from dust and moisture! | For subsequent cleaning: Simply rinse it thoroughly with warm water and then allow it to dry.]

 

Walther Gasch occupies an interesting position within the German art scene of the early Novecento. His training at the Academy of Fine Arts in Dresden brought him into contact with such masters as Emanuel Hegenbarth, Oskar Zwintscher, Gotthardt Kuehl and Richard Müller, who influenced his style, which was characterized by a strong realism, detailed attention to surface rendering and a refined use of colour.

His style lies halfway between academic painting and a pictorial realism that could recall the “Neue Sachlichkeit” (New Objectivity) movement, although Gasch always maintained a more traditional imprint than the exponents of the latter current. In addition, his work as a restorer and antiquarian allowed him to assimilate elements of ancient painting techniques. Gasch combined accurate realism with Symbolist and Romantic elements, especially in his portraits and allegorical scenes. The human figures in his works are distinguished by an idealized elegance and a marked theatricality. However, his main interest seems to have lain in landscapes, characterized by unreal light and a dreamlike atmosphere. In his compositions, the colours have an intense, saturated appearance, with particular care in the rendering of the light, which helps to create an evocative engaging effect.

In recent years, the antiques market has shown renewed interest in his works. A justifiable interest not only in view of the high quality of his paintings but also for his particular technique which involved the use of Keim mineral colours, a type of silicate-based paint developed in the 19^th century by Adolf Wilhelm Keim. This technique, known as silicate paint, is particularly appreciated for its resistance and ability to chemically integrate with the mineral substrate on which it is applied, giving a velvety, mineral appearance, with vibrant colours but without an artificial sheen. As the artist himself indicated on the back of the painting, it is imperative not to varnish it, due to the fact that the addition of a protective film would compromise the colour’s ability to breathe, since it must remain permeable to vapour. Using this technique for a painting on a portable support is quite unusual, as silicate paint was traditionally applied to wall surfaces. This makes Gasch's technique even more interesting and experimental.

The style of the painting Atlantis presented here could be described as “visionary realism with fantastical elements”.  The painting offers an enchanted vision of the sea, wrapped in a surreal light that transforms the scene into a dream suspended between reality and imagination. From the top of a cliff, the gaze opens onto a placid boundless sea. In the foreground, tall cypresses with dense dark foliage like silent sentinels form a backdrop, a detailed and fantastic vegetation made up of shapes and colours quite out of the ordinary. Above the horizon, an imposing, light-filled cloud dominates the sky, swelling outwards with an almost sculptural volume. Its presence is hypnotic. Its changing shape seems to suggest evanescent figures.

The atmosphere of the painting is suspended between the real and metaphysical, evoking the feeling of a landscape that exists only in memory or dreams. The air seems dense with mystery, and the silent immense sea invites viewers to lose themselves in a timeless journey.

The work was painted in 1927. The painting Evening atmosphere on the Tyrrhenian Sea, dates back to the same year, a work which, for its format, subject and atmosphere, can be considered a pendant to the painting presented here.