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1914. Oil on cardboard. 33 x 41cm. Signed and titled verso: Münter. Bauernhaus bei Regen. Framed.

On verso the gummed label of Galerie Gunzenhauser, Graphisches Kabinett.

Estate-No. B136.

In the artist's work books the painting is listed under the title "Dahlien im Glas auf
hellgrün". The painting is included in the catalogue raisonné of paintings by Gabriele Münter published by the Gabriele Münter- und Johannes Eichner-Stiftung.

In 1914 Gabriele Münter lived through several changes. Until the summer she lived - as in the years before - with Kandisky in Murnau where they received befriended artists, went hiking and painted. In July however, they hurriedly fled to Switzerland which Kandinsky as an "enemy alien" had to leave for Russia at the end of the year while Münter moved to Scandinavia in the following year. The painting "Bauernhaus im Regen" was created at the end of the highly productive and innovative Murnau period. She later wrote about that time: "More and more I was able to comprehend clarity and simplicity of this world. It was especially during the föhn that the mountains appeared as a strong ending to picture, black-blue. That was the colour I loved most". The light of the Alpine foreland contributed to freeing her perception as well as her painting style and allowed Gabriele Münter to create those paintings which made her the most important female expressionist apart from Paula Modersohn-Becker. From the end of the 1930s to the beginning of the 1940s Gabriele Münter painted above all florals. These still lives denote a period when she lived in Murnau again, but after numerous experiences and voyages which had strongly marked. Being banned from exhibiting by the Nationalsocialists in 1937 she had to retire into private life. In the solitude of Murnau she found her way back to her roots, could devote herself to her sujet and maintain the composition which were so important to her.