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Galerie Thomas

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Galerie Thomas

GALERIE THOMAS und GALERIE THOMAS MODERN a. von Pablo Picasso, Max Ernst und Joan Miró.

Die Galerie Thomas
Vor 50 Jahren von Raimund Thomas im Jahr 1964 gegründet, avancierte die Galerie Thomas in der Maximiliansstraße 25 bald zu einer erstklassigen Adresse für Moderne Kunst und gehört heute zu den international führenden Vermittlern von Werken des Deutschen Expressionismus und der Klassischen Moderne. In den ersten Jahren stand die Avantgarde im Mittelpunkt des Galerieprogramms mit

Ausstellungen von Gotthard Graubner, Yves Klein, Joseph Beuys und Dieter Roth sowie in den 1980er Jahren mit den ‘Neuen Wilden’ aus Berlin und der italienischen ’Transavanguardia’. Aber auch Werke von Paul Klee, Wassily Kandinsky, Alexej von Jawlensky und Lyonel Feininger werden präsentiert, sowie Einzelausstellungen u. Die Galerie Thomas Modern
In der Türkenstrasse 16 widmet sich die Galerie Thomas Modern der Präsentation von avancierten jüngeren Künstlern der heutigen Moderne. Dazu gehören Arbeiten namhafter Künstler der Pop Art, wie etwa Andy Warhol, Jim Dine oder Robert Indiana und Künstler der US-Nachkriegskunst und der Abstract American Art, wie beispielsweise Sam Francis oder Joan Mitchell. Darüber hinaus vertritt die Galerie Thomas Modern individuelle Positionen etablierter deutscher Künstler nach 1945 mit Arbeiten von Georg Baselitz, Anselm Kiefer, Gerhard Richter und Sigmar Polke. Internationale Künstler der jüngeren Szene, wie beispielsweise Peter Halley oder Marc Quinn, runden das Programm ab.

20/12/2024

🎄✨ Season’s Greetings from Galerie Thomas ✨🎄

We wish you a joyful Christmas filled with love, peace, and cherished moments with your dear ones. May you find relaxation and enjoy a happy beginning to the new year 2025.

Warm regards,
Galerie Thomas

Bernd Zimmer
"Wasserfall Zwieselstein,“ 1983
Acrylic on canvas
250 x 205 cm (98.4 x 80.7 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024 © VG Bild-Kunst, Bonn, 2024

18/12/2024

Lin Felton, known as QUIK, was one of the few New York graffiti artists to transition successfully into gallery and museum spaces during the 1980s. His work is characterized by distinctive satirical and bold comic imagery, which goes beyond mere tagging to explore both social and personal themes.

Central to his artistic focus are the racial inequalities in American society, which he conveys through cynical juxtapositions of popular cartoon characters, pin-up girls, and graffiti lettering.

QUIK gained widespread recognition following the iconic ”Beyond Words“ exhibition in 1981 at the Mudd Club, where he showcased his work alongside artists like Jean-Michel Basquiat and Keith Haring. Over the past three decades, his art has been featured in numerous exhibitions.

QUIK
”Blends,“ 1983
Spray paint on canvas
137 x 268 cm (53.9 x 105.5 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024

16/12/2024

David LaChapelle stands as one of the most widely published photographers globally. His distinct compositions, vibrant color choices, and imaginative storytelling culminate in surreal artworks that captivate and challenge viewers, leaving a profound impact.

His creative influence spans across various media, including music videos, films, and stage projects. Many of his photographic and cinematic works have become defining symbols of 21st-century American culture.

According to The New York Times, LaChapelle is poised to shape the future of photography, much like Richard Avedon did before him. Avedon himself remarked that among those crafting surreal imagery, it is LaChapelle who has the potential to become the Magritte of the genre.

David LaChapelle
”Earth Laughs In Flowers: Deathless Winter,“ 2008-2011
C-print
101,6 x 67,7 cm (40 x 26 5/8 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024 © David LaChapelle, 2024

13/12/2024

Otto Mueller, a prominent figure in German Expressionism, developed a unique painting style marked by two-dimensional simplicity and subdued, earthy tones. Unlike many of his contemporaries, who emphasized intense emotion, Mueller sought to achieve a serene and harmonious interplay of form, color, and contour, setting his work apart within the Expressionist movement.

Mueller’s personal emotions are most vividly captured in his lithograph “Polish Family”. In this work, the man symbolizes Mueller himself, while the young woman—his pupil and lover, Irene Altmann—holds a newborn child. Altmann, the daughter of an orthodox Jewish father, faced familial opposition to her relationship with Mueller, a non-Jew. The piece conveys Mueller’s inner conflict, blending painful longing with a deep undercurrent of fear.

“When I am with the person I love,” Mueller once said, “I am overwhelmed by the fear that they will be taken from me. Without them, I would be completely lost.”

Otto Mueller
”Polnische Familie“ (Polish Family), 1920/21
Lithograph on copperplate paper
Illustration: 26 x 19 cm (10.2 x 7.5 in.)
Sheet: 38 x 28.8 cm (15 x 11.3 in.)

For more information regarding the artist and the featured artwork, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024

12/12/2024

“Nu tenant un miroir,” evoking the aesthetic of Roman and Egyptian statuary, exemplifies Picasso’s profound connection to classical art. Produced during his Pink Period, it predates the groundbreaking “Les Demoiselles d’Avignon” (1907).

This drawing served as a preparatory study for the oil painting “La Toilette” (1906), which depicts a clothed woman alongside a n**e figure holding a mirror. Fernande Olivier, Picasso’s muse and partner at the time, modeled for both the drawing and the painting.

Pablo Picasso
”Nu tenant un miroir,“ 1906
Pen and ink drawing
25.4 x 17.5 cm (10 x 6.9 in.)

For more information regarding the artwork, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024 © Succession Picasso I VG Bild-Kunst, Bonn, 2024

11/12/2024

Chris “Daze” Ellis’ career began in the late 1970s during the golden age of subway graffiti. He first gained recognition for his vibrant and dynamic works on subway cars, blending bold colors, intricate lettering, and figurative elements.

By the early 1980s, his transition to gallery spaces brought his art to a broader audience, making him a pivotal figure in the evolution of graffiti from urban streets to the global art world.

Daze’s work bridges the raw energy of street art with fine art sensibilities, exploring themes of urban life, social issues, and personal expression. His paintings have been exhibited internationally in galleries and museums, including the Museum of Modern Art, NY, and the Ludwig Collection.

Chris Daze Ellis
“Murder (at midnight),” 1983
Spray paint on canvas
168 x 137 cm (66.1 x 53.9 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024

10/12/2024

✨ Still searching for the perfect gift?

Discover timeless treasures at our Winter Sale Exhibition, featuring captivating works by Stephan Balkenhol, Joseph Beuys, Enzo Cucchi, Martin Disler, Marc Quinn, Mel Ramos, Norbert Tadeusz, and many more.

Whether you’re looking to enrich your personal collection or find a thoughtful holiday gift, now is the time to bring home that masterpiece you’ve always envisioned.

We look forward to welcoming you at our gallery space in Munich.

📍 Galerie Thomas, Türkenstraße 16, Munich
📅 Monday – Friday 10am – 5pm

09/12/2024

Stephan Balkenhol has consistently upheld the use of representational figures and traditional materials, such as wood and bronze, despite shifting expectations about the role of sculpture in Modern Art.

The central theme of his work is the human form. His sculptures - freestanding figures, heads, or reliefs carved from roughly hewn wood - are painted in simple colors and range from smaller-than-life to larger-than-life scales. Though they appear natural, they do not convey any specific traits or narratives about the individuals depicted.

Rather than telling a story, Balkenhol captures the diversity of human physiognomy. His figures are presented in relaxed, unexpressive postures, devoid of dramatic gestures. They exude a quiet detachment, standing as calm witnesses to an era where haste and restlessness have lost their significance.

Stephan Balkenhol
”Mann mit grünem Hemd und schwarzer Hose“ (Man with Green Shirt and Black Pants), 2005
Wood, painted
235 x 62 x 42 cm (92.5 x 24.4 x 16.5 in.)

The artwork is part of our ”Winter Sale“ exhibition, currently showcased at our Munich gallery.

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024 © VG Bild-Kunst, Bonn 2024

06/12/2024

A-One, the artistic pseudonym of Anthony Clark, stands as a pivotal figure in the history of American graffiti and contemporary art. Profoundly influenced by the cultural dynamism of Black America and his friendship with Jean-Michel Basquiat, A-One cultivated a distinctive aesthetic characterized by a fluidity and looseness that distinguished him from contemporaries such as DAZE.

A key member of the “Tag Master Killers” collective, alongside luminaries like Rammellzee, Toxic, and Delta 2, A-One was instrumental in elevating graffiti from subcultural practice to a recognized form of artistic expression. His contributions to the genre were solidified through his participation in landmark exhibitions, including a seminal 1982 show in the South Bronx, and the 1984 Venice Biennale, where he was notably the youngest artist to exhibit.

His life and art remain emblematic of the transformative power of graffiti as a medium, challenging conventions and expanding the boundaries of contemporary artistic discourse.

A-One (Anthony Clark)
”Remarkable TFP,“ 1984
Spray paint on aluminium plate / 2 parts
each 300 x 150 cm (118.1 x 59 in.) / together 300 x 300 cm (118.1 x 118.1 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024

05/12/2024

A visionary in modern abstraction, Eduard Micus‘ artistic journey began in the 1940s under the guidance of Marburg painter Reinhard Schmidhagen. He refined his craft at the Stuttgart Academy of Art, studying with the legendary Willi Baumeister, where he first introduced his signature dividing line in 1952.

By 1962, Micus evolved this approach with "Coudragen"- seams integrated into his works - showcasing his innovative spirit. His career reached a pivotal moment in 1967 when he represented Germany at the 6th Biennale of San Marino, exhibiting alongside icons like Gerhard Richter and Günther Uecker.

In the 1980s, Micus broke new ground with bold collages of colored paper on canvas, reimagining the possibilities of panel painting. By 1989, he embraced wood as a medium, creating his acclaimed ”material paintings“ - a perfect synthesis of texture and abstraction.
Eduard Micus
”Strip I. Coudrage 118-121,“ 1968
acrylic on canvas, four parts
each 175.5 x 67.5 cm (69.1 x 26.6 in.)

The artwork is part of our ”Winter Sale“ exhibition, currently showcased at our Munich gallery.

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024

03/12/2024

Blade, hailed as the ”King of Graffiti,“ is a pivotal figure in the evolution of contemporary street art. Renowned for painting over 5000 New York City trains between 1972 and 1982, his groundbreaking work redefined graffiti as an art form, blending bold characters, dynamic letterforms, and imaginative abstraction.

By transforming trains into moving canvases, Blade captured the spirit of a generation, creating a visual diary that resonated beyond the streets. His influence extends globally, with works exhibited in prestigious institutions like the Whitney Museum and MOCA, solidifying his legacy as a pioneer who bridged street art and fine art.

Blade
”Invise scene production one,“ 1984
Spray paint on canvas
181 x 332 cm (71.3 x 130.7 in.)

For more information, please click on the link in bio or contact us via DM or at [email protected]

Courtesy of Galerie Thomas, Munich 2024 © BLADE, 2024

02/12/2024

Nam June Paik’s sculpture ”Game Byter“ belongs to a series of ”robots“ in which Paik created largely anthropomorphic figures by assembling television screens, playback devices, furniture, cameras, and other technological components.

Through these works, Paik juxtaposes tradition with modernity and nature with culture, while underscoring the transformative impact of media on both individual and collective perceptions of the world.

In an era where many people interact with their surroundings and communicate primarily through mobile devices, Paik’s critique of modern civilization—embodied in this ”Cyborg“ constructed entirely from media receivers—feels remarkably prescient and deeply relevant.

Nam June Paik
”Game Byter,“ 1994
Metal, Lasermax, three television sets
Height 123 cm ( 48.4 in.)
Width 84 cm (33 in.)

The artwork is part of our „Winter Sale“ exhibition, currently showcased at our Munich gallery.

For more information, please click on the link in bio or contact us via DM or at [email protected]
Courtesy of Galerie Thomas, Munich 2024 © VG Bild-Kunst, Bonn 2024

Adresse

Munich

Öffnungszeiten

Montag	09:00 - 18:00
Dienstag	09:00 - 18:00
Mittwoch	09:00 - 18:00
Donnerstag	09:00 - 18:00
Freitag	09:00 - 18:00
Samstag	10:00 - 18:00

Telefon

+498929000860

Webseite

http://www.galerie-thomas.de/

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