Composition

Early Life and Artistic Training

Hans Dumler enters the scene in 1922, born in Cologne, Germany. His formal engagement with visual design begins in 1939 at the Cologne Schools of Applied Arts. This training provides the technical foundation for a career defined by precision and form. The years following this initial instruction lead him toward a deeper academic pursuit in the aftermath of the decade's upheavals.

Between 1947 and 1948, the focus shifts to the Academy of Fine Arts in Munich. It is here that Dumler enters the orbit of Franz Nagel. The relationship evolves from student to master student, a transition that carries significant weight in his development. He does not merely observe; he serves as an assistant to Nagel, working closely within the studio environment to refine his technical command.

Professional Career and Recognition

The mid-century period marks a significant shift in his trajectory. Between 1953 and 1954, a scholarship from the French state facilitates a residency in Paris. This period of study abroad precedes his 1955 induction into the "Neue Gruppe." His presence in the German art scene gains formal momentum in 1965 when the City of Munich awards him the "Förderung der Malerei" (Promotion of Painting).

His professional standing continues to solidify through the following decades. From 1971 to 1975, he is represented by Galerie Günther Franke in Munich, a venue known for hosting major international figures. Based in Utting, he establishes himself as a significant figure in the Bavarian art landscape. His career remains active through various exhibitions, including a notable presentation at the Munich City Museum in 1997.

Artistic Works and Techniques

Dumler’s practice shifts between the tactile and the two-dimensional. In the early 1980s, he moved into three-dimensional forms, producing terracotta figures. These pieces took on vase-like shapes, finished with layers of color and lacquer. His focus often turned toward the living, capturing the essence of men, women, and animals. As a dedicated lover of cats, he frequently dedicated space in his work to these animals, which he once kept in large numbers.

The canvas and the print provide the primary sites for his visual investigations. He worked with acrylic on canvas, as seen in a piece from 1998. His compositions range from the figurative to the more abstract, including the work titled Abblendlicht. In other instances, he utilized serigraphy to translate his imagery, such as the 1999 color serigraph Sitting female nude with gray stockings.

• Sitting female nude with gray stockings, 1999
• Abblendlicht

Exhibitions and Public Presence

The public record of Dumler’s presence in the art world spans decades, moving from institutional recognition to localized displays. In 1997, the Munich City Museum hosted an exhibition of his work from July 18 to September 14. This period marked a significant moment of institutional visibility for his output. Beyond these formal museum settings, his paintings and figures find their way into various spheres, held within private, state, and municipal collections.

Later exhibitions continued to place his work in the public eye through specific regional venues. In 2021, Raum B1 in Utting served as a site for his work. This was followed by another exhibition at the same venue, Raum B1, in 2023. The artist's reach extended to Freising as well, where Galerie 13 featured his work in January 2022. These exhibitions maintain a connection to the Bavarian landscape where he lived and worked.