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 Max Gubler  (1896 - 1973)

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Lived/Active: Switzerland      Known for: still-lives, landscapes

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Ad Code: 3
AskART Artist
from Auction House Records.
CORNFIELDS, FIELDS IN WEININGEN, 1943
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

The following text was written and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:


Max Gubler was born in Zurich, Switzerland in 1896.  He learned painting from his brothers Eduard and Ernst after having started studying at a teachers' training college outside Zurich.  In 1918 he chose painting as a career and was helped financially by a Berlin dealer and a Swiss collector.  From time to time he worked as a picture restorer. 

He lived on the island of Lipart from 1923 to 1927 and from 1930 through 1937 he worked in Paris.  He matured into a competent, pleasing and prolific artist, painting in a style which varied from late-impressionist to late-expressionist.  He painted in the French rather then the German manner with preference for light pastel colors. 

Besides participating in many group exhibitions, including the Venice Biennial in 1952, large one-man shows at the Kunstmuseum, in Berne 1959 and in Berlin. A traveling show of his work visited Schaffhausen, the Hague, Munich, Bremen and elsewhere in Germany in 1962.  In 1953 he did illustrations for Hemingway's The Old Man and the Sea and these were exhibited in Chicago, Minneapolis, St. Louis, etc.   

Gubler was a sober, square-faced man with straggly grey hair and intense grey eyes.  Considering the length of his career and the size of his accomplishment, Gubler is amaxingly obscure. But critics were agreed on Gubler's genius.   

In the course of his climb to fame, Gubler refused to do anything for money.  He painted as he pleased, and only occasionally sold a canvas.  They lived from hand to mouth until the Swiss government granted him an annual $1000 subsidy and Swiss collectors had begun to find him.   

Sources include:   
Time Magazine, December 22, 1952   
The Oxford Companion to 20th Century Art, edited by Harold Osborne.



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