The Quiet Hand of a Painter
Conrad Pfau was born in Bad Wimpfen and spent much of his life moving between the studios of Strasbourg, Düsseldorf, and Munich. He was the son of the painter Wilhelm Pfau, a man who taught at the Realschule Wimpfen. This early proximity to the craft shaped his path. After studying in Strasbourg and Düsseldorf, he arrived at the Munich Academy of Fine Arts in October 1913. There, he became a student of Peter von Halm and Carl von Marr. His hands learned the precision of etching and the weight of oil on canvas, developing a way of working that favored a tonal approach, much like the style of Wilhelm Leibl.
The years of the first World War left their mark on him. He was wounded during the conflict and returned to Munich to focus more heavily on painting. His work began to find its place in the public eye, appearing in the Munich Art Exhibition at the Glaspalast in 1927. By the late 1930s, his presence in the Great German Art Exhibition at the Haus der Deutschen Kunst was regular, with twenty-three paintings appearing across six exhibitions between 1938 and 1943.
Subjects and Surfaces
His subjects were often found in the stillness of a room or the quiet of a landscape. He painted portraits of women, such as a young woman in a green traditional costume in 1920, and a lady in 1944. These works were often signed and dated, carrying the physical evidence of his hand. He also turned his attention to the landscape, capturing views like the one of Dürnstein in the Wachau. His technique relied on the careful application of oil, whether he was working on a small canvas or a larger portrait.
Beyond the canvas, Pfau was a graphic artist. He produced numerous etchings and complete suites of prints. His output was not limited to large-scale paintings; he also produced postcards, some of which bear his own signature. His life eventually took him to Würzburg and Bad Kissingen, where he resided from 1941, before returning to Munich. He died in Munich in 1954.
Q&A
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