• Toni Stadler<br>Rückenakt (nude from behind), 1967<br>(above left)<br>• Emil Schumacher<br>Blauer Kopf (blue head), 1969<br>(above right)<br>• Horst Antes<br>Ohne Titel (untiteled), 1960<br>(below left)<br>• Heimrad Prem<br>Sich erneuernde Göttin (self-renewing goddess), 1964 <br>(below right)

Along with his own artistic endeavors, Lothar Fischer began early on to look into the works of other artists as well as cultures and to collect them. Here his interest was always the sculptural form, which, in his opinion, was the true expression of an artwork, developing impulsively, emotionally, and naturally. In the course of the years, a very personal collection accumulated, which contains about 300 works, amongst them sculptures, paintings, and paper works especially from German artists of the 1960s, 1970s, 1980s, and 1990s as well as non-European art works. Lothar and Christel Fischer seldom obtained works through galleries. The lion’s share of objects came as a gift or were traded with artist friends. During the collaboration of the Munich artists collective SPUR, it was common to trade artworks amongst each other. The works in the collection of Lothar and Christel Fischer have substantially gone over into the foundation’s inventory and are presented continuously in coordination with works of the founder and under consideration of thematic reference to the temporary exhibitions.

Today, Heimrad Preims major canvas “Weg” (“Path”) from 1959 or “Sich erneuernde Göttin” (“Self-renewing Goddess”) from 1964, which was created at the same time as Fischer’s sculpture “Sich Wiederholende” (“The Repeatress”), are in the collection. Also, Helmut Sturms Canvas “Musik” (“Music”) from 1957, which has striking echoes of Wassily Kandinsky’s works, is a present from the painter to the sculptor. HP Zimmer added the dedication “for Christel and Lothar” to a sheet “Ohne Titel” (“Untitled”) in 1963. Fischer’s esteem for the creations of his teacher Heinrich Kirchner (1902 – 1984) is evidenced by the collection inventory as well as the close relationship to Toni Stadler (1888 – 1982). The collection inventory from the 1990s is especially enriched through works of his former Berlin students such as Christina von Bitter (*1968), Christian Ebert (*1971), Menno Fahl (*1967), Friedemann Grieshaber (*1968), Claudette Griffiths (*1957), Klaus Hack (*1966), Azade Köker (*1949), Ruth Loibl (*1959), Stephan Oppermann (*1959), Kristina Redeker (*1963), Rüdiger Schöll (*1957), Erol Uysal (*1963), Sati Zech (*1958) and Pomona Zipser (*1958). No matter if made of wood, clay, bronze, iron, wire or paper, these works exemplarily visualize how naturally Fischer could pass on his experience to younger artists. Despite the diversity of the sculptures, paintings, and paper works of the collection, all works of German art of the 1960s, 1970s, 1980s, and 1990s show in an individual yet exciting way the artistic motivation and expressional language of each and every artist. This personal collection illustrates once again the basic concept of Fischer: “To educate does not mean to copy” (“Bilden heißt nicht abblilden”).