|
Willy Fick
Wilhelm Peter Hubert Fick (February 7, 1893 – October 3, 1967), called Willy Fick, was a German graphic artist born in Cologne. He belonged to the Dada movement, and in 1919 became a founding member of the artist circle called Stupid, together with Heinrich Hoerle, Angelika Hoerle (1899–1923), who was the sister of Willy Fick and the wife of Heinrich Hoerle, Anton Räderscheidt, his wife Marta Hegemann, and Franz Wilhelm Seiwert. Fick was a Cologne dadaist from 1916 until 1923 and a scholarship student of Jan Thorn-Prikker at the Cologne School of Applied Arts /Kölner Werkschulen from 1928 until 1931. Duesseldorf art agent Johanna Ey represented his Weimar period works. Many works were destroyed by bombing in World War II but preserved in archival photographs in the Rheinisches Bildarchiv / Rhineland Picture Archive. Fick painted and cartooned until his death in Canada in 1967. Early life Wilhelm Peter Hubert Fick was the third child of cabinet maker Richard Fick of Massow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cologne
Cologne ( ; german: Köln ; ksh, Kölle ) is the largest city of the German western States of Germany, state of North Rhine-Westphalia (NRW) and the List of cities in Germany by population, fourth-most populous city of Germany with 1.1 million inhabitants in the city proper and 3.6 million people in the Cologne Bonn Region, urban region. Centered on the left bank of the Rhine, left (west) bank of the Rhine, Cologne is about southeast of NRW's state capital Düsseldorf and northwest of Bonn, the former capital of West Germany. The city's medieval Catholic Cologne Cathedral (), the third-tallest church and tallest cathedral in the world, constructed to house the Shrine of the Three Kings, is a globally recognized landmark and one of the most visited sights and pilgrimage destinations in Europe. The cityscape is further shaped by the Twelve Romanesque churches of Cologne, and Cologne is famous for Eau de Cologne, that has been produced in the city since 1709, and "col ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Otto Freundlich
Otto Freundlich (10 July 1878 – 9 March 1943) was a German painter and sculptor of Jewish origin. A part of the first generation of abstract painters in Western art, Freundlich was a great admirer of cubism. Life Freundlich was born in Stolp, Province of Pomerania, Prussia. His mother was a first cousin of the writer Samuel Lublinski. Otto studied dentistry before deciding to become an artist. He went to Paris in 1908, living in Montmartre in Bateau Lavoir near to Pablo Picasso, Braque and others. In 1914 he returned to Germany. After World War I, he became politically active as a member of the November Group. In 1919, he organized the first Dada - exhibition in Cologne with Max Ernst and Johannes Theodor Baargeld. In 1925, he joined the Abstraction-Création group. After 1925, Freundlich lived and worked mainly in France. In Germany, his work was condemned by the Nazis as degenerate and removed from public display. Some works were seized and displayed at the infamo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degenerate Art
Degenerate art (german: Entartete Kunst was a term adopted in the 1920s by the Nazi Party in Germany to describe modern art. During the dictatorship of Adolf Hitler, German modernist art, including many works of internationally renowned artists, was removed from state-owned museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", un-German, Freemasonic, Jewish, or Communist in nature. Those identified as degenerate artists were subjected to sanctions that included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art. ''Degenerate Art'' also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of 650 modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. While m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Max Ernst
Max Ernst (2 April 1891 – 1 April 1976) was a German (naturalised American in 1948 and French in 1958) painter, sculptor, printmaker, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism in Europe. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage (surrealist technique), frottage—a technique that uses pencil rubbings of textured objects and relief surfaces to create images—and Grattage (art), grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. Ernst is noted for his unconventional drawing methods as well as for creating novels and pamphlets using the method of collages. He served as a soldier for four years during World War I, and this experience left him shocked, traumatised and critical of the modern world. During World War II he was designated an "undesirable forei ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cahiers D'art
''Cahiers d'Art'' is a French artistic and literary journal founded in 1926 by Christian Zervos. ''Cahiers d'Art'' is also an eponymous publishing house which has published many monographs on artists living in France in the first half of the twentieth century. Publications include the definitive catalogue of works by Pablo Picasso, ''Pablo Picasso par Christian Zervos'', in 33 volumes, with over 16,000 images. ''Cahiers d'Art'' carries no advertising and is published on an irregular schedule. History The journal, founded by the art critic Christian Zervos in Paris at 14, rue du Dragon in 1926, was published with an interruption from 1941 to 1943, until 1960. The first post-war issue was dated 1940–1944 and focused on poets and writers from the Resistance, including Vercors. ''Cahiers d'Art'' also published selections from poet Paul Éluard's ''Open Book I'' (1940) and ''Open Book II'' (1942). After World War II, the psychoanalyst Jacques Lacan was invited by Zervos to publis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Querschnitt
''Der Querschnitt'' () was an art magazine published by German art dealer Alfred Flechtheim between 1921 and 1936. The magazine was based in Berlin. According to Erika Esau, the magazine "represented the politically detached aspirations of the aesthetically attuned of the Western world. Lightheartedly snobbish, the magazine's inclusions of works by anyone who was anybody in the Weimar period and its unorthodox graphic and literary style qualifies it as an avant-garde publication." ''Der Querschnitt'' was seen as a German counterpart of the American magazine ''The Dial'' by some. In 1924, Ernest Hemingway published his poem "The Soul of Spain With McAlmon and Bird the Publishers" in ''Der Querschnitt'' where he directly attacked ''The Dial''. Hermann von Wedderkop Hermann von Wedderkop (1875–1956) was a German writer. He also served as editor of the art magazine '' Der Querschnitt''.Brooker, Peter, et al. (eds.The Oxford Critical and Cultural History of Modernist Magazines: V ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Maria Davringhausen
Heinrich Maria Davringhausen (21 October 1894 – 13 December 1970) was a German painter associated with the New Objectivity. Davringhausen was born in Aachen. Mostly self-taught as a painter, he began as a sculptor, studying briefly at the Düsseldorf Academy of Arts before participating in a group exhibition at Alfred Flechtheim's gallery in 1914. He also traveled to Ascona with his friend the painter Carlo Mense that year. At this early stage his paintings were influenced by the expressionists, especially August Macke. Having lost his left eye during his adolescence, Davringhausen was exempted from military service in World War I.Rewald, Sabine, Ian Buruma, Matthias Eberle, Metropolitan Museum of Art (2006). Glitter and Doom: German Portraits from the 1920s'. New York: Metropolitan Museum of Art. p. 60. From 1915 to 1918, he lived in Berlin where he became part of a group of left-wing artists that included Herwarth Walden and John Heartfield. In 1919 he had a solo e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Konrad Adenauer
Konrad Hermann Joseph Adenauer (; 5 January 1876 – 19 April 1967) was a Germany, German statesman who served as the first Chancellor of Germany, chancellor of the Federal Republic of Germany from 1949 to 1963. From 1946 to 1966, he was the first leader of the Christian Democratic Union (Germany), Christian Democratic Union (CDU), a Christian democratic, Christian-democratic party he co-founded, which became the dominant force in the country under his leadership. A devout Roman Catholic and member of the Catholic Centre Party (Germany), Centre Party, Adenauer was a leading politician in the Weimar Republic, serving as Mayor of Cologne (1917–1933) and as president of the Prussian State Council (1922–1933). In the early years of the Federal Republic, he switched focus from denazification to recovery, and led his country from the ruins of World War II to becoming a productive and prosperous nation that forged close relations with France, the United Kingdom and the United States ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gottfried Brockmann
Gottfried Waldemar Brockmann (1903 – 1983) was a German artist, educator, publisher, and served as a cultural advisor for the city of Kiel, Germany. He taught at Muthesius Academy of Art in Kiel. Early life and education Gottfried Brockmann was born on 19 November 1903 in the Lindenthal district in Cologne, Germany. He was the son of painter Hans Waldemar Brockmann. He did a two-year apprenticeship in architecture, followed by a two-year apprenticeship in decorative painting which he completed in 1922. Between 1922 and 1925, he was active within the Cologne Progressives movement. Brockmann attended Düsseldorf Art Academy (German: Kunstakademie Düsseldorf) from 1926 to 1932, studying under Heinrich Campendonk. Career In the early 1930s, he was a member of the board of the "Rheinische Sezession", which emerged from the Young Rhineland. In 1932, he married sculptor Marianne Reunert. He started teaching the foundation courses at Düsseldorf Art Academy, after graduation in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cologne Progressives
The Cologne Progressives was an art movement and were an informal group of artists based in the Cologne and Düsseldorf area of Germany. They came together following the First World War and participated in the radical workers' movement. History The group was founded by Gerd Arntz, Heinrich Hoerle and Franz Wilhelm Seiwert. The group related their attitude to art to their political activism. As :de:Wieland Schmied, Wieland Schmied put it, they "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ".Wieland Schmied: "Neue Sachlichkeit. Der deutsche Realismus der zwanziger Jahre", in: ''Kritische Grafik in der Weimarer Zeit'', Op. cit., p. 21. As cited in: ''August Sander 1876–1964''. Lange, Susanne, p. 108. They originated Figurative Constructivism. Other artists and designers associated with this g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neue Sachlichkeit
The New Objectivity (in german: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the ''Kunsthalle'' in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism. Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
