Sun Bath

Early Life, Family and Training

Born in Ludwigshafen on 20 September 1863, Julius Exter emerged from a family of merchants. His upbringing was shaped by a domestic environment where creative inclinations ran in the blood; his brother, August Exter, would eventually find his own calling as an architect. This early foundation in a commercial household provided a stable backdrop for a young man destined for the visual arts.

The path toward formal training began in Mannheim, where he first commenced his education. However, it was his move to Munich that would define his professional trajectory. In 1881, Julius Exter enrolled at the Academy of Fine Arts, Munich, a decision that placed him at the center of a shifting German artistic landscape. It was within these academic walls that he began to refine the technical skills required for his dual pursuits as both a painter and a sculptor.

Artistic Style and Movements

Exter’s creative evolution was marked by a steady departure from the rigid structures of historicism. He moved toward the lively, expressive use of color that would eventually define his mature period. This transition saw him move away from traditional academic constraints and toward the sensibilities of expressionism. His experimentation with various techniques and pigments resulted in a visual language that shared a close affinity with the Der Blaue Reiter group.

Among his contemporaries, he earned the moniker "prince of colours" for his ability to manipulate the palette. His subject matter remained focused on the essential forms of the natural and human world, primarily through landscapes and portraits. He also frequently explored figure compositions and nudes, applying his evolving sense of color to the human form. His involvement in the Secession movement, founded in 1892, placed him at the center of these shifting aesthetic currents in Munich.

Circle, Rivals and Pupils

During his formative years at the Academy of Fine Arts in Munich, Exter found a significant companion in Franz von Stuck. This friendship helped shape his early trajectory as he moved through the academic circles of the city. His artistic orbit expanded as he became associated with Franz Marc and the Der Blaue Reiter group, aligning himself with the shifting currents of modernism that were redefining German expressionism.

In 1902, Exter sought a different environment for his creative practice, acquiring a farmhouse in Chiemsee. This location became more than a private retreat; he established a painting school at the farm that attracted attention from across Europe. His presence in the region allowed him to cultivate a specific community of practitioners, fostering a space where technique and color could be explored away from the rigid structures of the city.

The influence of his teaching was felt through several notable students who went on to establish their own artistic identities. Among those who studied under his guidance were the sculptor Eva Eisenlohr and Karl Friedrich Lippmann. These connections ensured that his approach to form and composition continued to circulate through the artistic landscape of the era.

Later Years, Death and Legacy

The personal landscape of Exter’s later life was marked by significant shifts. In 1898, he married the pianist and painter Judith Anna Köhler, a union that produced two children who would both pursue artistic paths. However, this chapter of his life concluded in 1917 when the couple divorced. He eventually returned to Munich, though his connection to the Chiemsee region remained a central part of his identity.

In 1902, he acquired a farmhouse in Übersee-Feldwies by the Chiemsee, which served as both his private residence and a well-known painting school. It was here that he spent his final years. He died at his home in Übersee in 1939 from heart failure. Following his death, his daughter Judith ensured his estate was preserved by donating it to the State of Bavaria in exchange for a life annuity.

Today, the home he established in Übersee-Feldwies functions as a museum and gallery. His creative output remains accessible to the public through various collections, including works displayed in the Prelacy Wing of the Augustinian monastery in Herrenchiemsee.