As of: February 10, 2024, 4:02 p.m
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The exhibition is thanks to him: Andreas Hoelscher donated the works of Mathilde von König-Tardif to the Tutzinger Museum.
© Andrea Jaksch
Exhibition on Mathilde von König-Tardif shows impressive characters from yesteryear.
Tutzing
– A must-see: This is what the exhibition on Mathilde von König-Tardif in the Tutzing local museum should actually be titled.
With the painter's “Panopticon of Society around 1900” an absolute treasure is on display until May 19th, which offers everything: quality, discovery character, local reference and also a cross-connection to the Buchheim Museum in Bernried.
Mathilde Freifrau von König-Tardif (1872-1929) was the first wife of Leo von König, to whom the large exhibition in the Buchheim Museum is currently dedicated.
It runs until April 7th.
While his opulent oil portraits can be seen there, the Tutzinger Museum focuses on Mathilde's small works, which fit the rooms perfectly and have never been seen before.
This show is thanks to Andreas Hoelscher: Mathilde's daughter Yvonne and her husband, the painter Walter Becker, lived in Tutzing from 1938.
The childless couple's inheritance went to their friendly Hoelscher family.
For the exhibition, the curator brought out gems and also made contacts with the family in France.
Mathilde Tardif, born in Marseille in 1872, met Leo von König at the Académie Julian in Paris.
They married in 1907 and Leo adopted Yvonne.
From then on a life began in an upper middle class and intellectual circle.
They divorced in 1920, and despite Leo's wedding to his student Anna, the couple remained close.
Until Mathilde committed suicide in his parents' home in 1929 and was soon forgotten as an artist - even by the family.
It wasn't until 2021 that the first solo exhibition was dedicated to her - now Tutzing follows.
Now this woman reveals her aesthetic and critical spirit in her pictures: the bigoted clergy, the ragged poor, the Sunday joys of the little man or the mother-in-law dragon are studied in an idiosyncratic mixture of iridescent color surfaces and precise drawings.
Contrasts, broken color mixtures shine out of the dark, clearly defined and therefore effective even in small format.
The roots lie in Art Nouveau, the clarity and the fine, curved lines contrast with the modern flatness.
“The boss” with her red hair pulled up and her bust revealing her pointy-nosed character with her chin thrust forward: a masterpiece with the wit of a caricature.
“The Conjuration” of the stooped little girl by the tall, sheltered, dark and towering clergy is in no way inferior in composition, contrasts and sarcasm.
The range of topics extends from flirtatious little ones to the crowd of clergy, from the epitome of madness to the retirement home series, from hypocrisy to funerals.
In contrast to the late, naive landscape scenes, which sold well and secured livelihoods, these sheets may have offended some people.
It's a shame that this painter no longer saw any meaning in her existence so early on - because posthumously her works prove the meaningfulness of the painting of a great expert on society and people.
Freia Olive