Villa colony Gern
The villa colony Gern is a villa colony in Munich . It stands as a group of buildings under monument protection .
location
The villa colony is located in the district of the same name in the 9 Neuhausen-Nymphenburg district north of the Nymphenburg Canal between Klugstrasse, Waisenhausstrasse and Gerner Strasse.
Villa colony according to the architect's plan
In view of the rapid population growth in Munich during the “ Gründerzeit ” from 1870 onwards, the engineer and master builder Jakob Heilmann founded a new urban development project in 1892 in Nymphenburg-Gern, a suburb to the west of Munich and accentuated by Nymphenburg Palace : Gern (Nymphenburg-Gern) - Munich's historical architectural jewel. It developed into a high-ranking artists 'quarter, which in the visual arts had a diverse relationship with the Dachau artists' colony .
In order to realize his reform ideas, Jakob Heilmann built the first middle-class row house settlement in Munich in 1892 with his “Family Houses Colonie Nymphenburg-Gern”. With this he also wanted to alleviate the housing shortage of the artists who flocked to Munich in large numbers, which rose to become the leading German and international art metropolis. Almost 50 of the total of 280 corner houses, multiple spouses or row houses planned by him were intended for visual artists and equipped as a studio villa or with a row house studio in various sizes: an artist colony from the drawing board was created in the aesthetically very attractive quarter despite the relatively simple architecture. Heilmann's concept was very successful. Soon around 80 painters, sculptors, graphic artists, caricaturists and art professors lived and worked here. “Munich shone”, right down to the idyllic suburb of Gern. The naming of the streets took this development into account. From the incorporation in 1899, the now entitled city of Munich emphasized the artists' quarter with painter names. In the style of the time, particularly Italian “classics” such as Tizian, Tiepolo, Tintoretto, Canaletto, but also Böcklin were selected. Neither the great artist princes like Lenbach or Stuck nor Schwabing bohemians moved into the modern, dignified "Colonie" , but i. A. already solidly situated artists and professors at the art academy .
Böcklinstrasse 24-30
Gerner Strasse 50
Magdalenenstrasse 2-12
Wilhelm-Düll-Strasse 15-21
Artist in the villa colony Gern
Painter of the "Munich School": Gladly between Barbizon and Dachau
It was above all a number of painters from the Munich School who preferred to continue the scenic charms of Nymphenburg. The representatives of the modern style of open-air painting, as it had started from the "painter's colony of Barbizon", an idyllic village near Paris, since 1850, sought to see and express the reality of nature in the open air in natural light. In Bavaria, Dachau was the best-known artist colony, which at that time began to reach a high point in "Munich landscape painting" with the painters Adolf Hölzel , Ludwig Dill and Arthur Langhammer . Gladly attracted not only with the motivational nature of the picturesque quarter, but also formed the attractive middle between the rural Dachau artists' colony and the city center, so it was also well connected to the art and exhibition business in Munich. Gern's most famous painter was Philipp Röth (1841–1921), who moved to Schwabing in 1871, 1888 to Dachau and 1894 to Gern at Böcklinstraße 29 after a three-year stay in Barbizon. Even when he died, he was considered “one of the best landscape painters of the pre-Impressionist period” and his “atmospheric landscapes” hang not only in the Munich Pinakothek , but also in the Dachau picture gallery . Other well-known names are, for example, Julius Adam the Younger (1852-1913), Böcklinstraße 25, as well as Röth's house, the motif-specialized "Katzenraffael" from the Munich painting dynasty, the etcher and graphic artist Peter von Halm (1854-1923) Malsenstrasse 66–68, or the painter and graphic artist Anna Klein .
Sculptor in Gern: Mathias Gasteiger
There was also a special connection between the most famous of the sculptors Gerns and the Dachau artists' colony. Mathias Gasteiger (1871–1934) had his first studio for a long time in Schwabing, but also taught from 1896 in the summer (together with Julius Exter ) in his own painting and sculpture school near Dachau and was in close contact with artists there such as Hölzel and Dill . In 1902 the young couple Mathias and Anna Gasteiger moved from Dachau to Holzhausen am Ammersee , where the artists' association “ Die Scholle ” grouped around them. Almost at the same time they moved their Munich (main) residence from Schwabing to Gernn near, as Gasteiger had been running an exhibition for modern grave sculptures at the Westfriedhof since 1906 and built a house on the corner of Waisenhausstrasse and Klugstrasse in 1919. The Gasteigers were also the social center of the Gerner celebrities and created links between the artist colonies Dachau, Gern and Holzhausen. Both the “Sommerlandhäuschen” (1908) in the English landscape park on the Ammersee (now a museum) and the magnificent Gerner Villa (not preserved) with studios, exhibition rooms, and show gardens for fountains, garden sculptures or models were self-designed and designed, exquisite artist domiciles in historicizing or art nouveau . Gasteiger created a number of monumental sculptures. One of the most popular of his monuments in Munich, however, is the group of fountains "Satyrherme mit Knabe", with which Gasteiger became famous as early as 1895 after a tangible scandal about the unstylized "naked" boy: the so-called " Brunnenbuberl " at Karlstor . Art critics judged that a number of cheerful, ironic sculptures by Gasteiger were reminiscent of caricatures by Heine or Gulbransson in Simplicissimus .
Caricaturist wasp nest Gladly: Th. Th. Heine and colleagues
Above all, four of the best cartoonists from the famous sharp-pricked satirical magazine Simplicissimus preferred the caricaturists' Gerner "Wespennest": Th. Th. Heine, Bruno Paul , Rudolf Wilke and Karl Arnold . Thomas Theodor Heine (1867–1948) moved to Schwabing in 1889, painted open-air pictures in Dachau for three years in the style of the “Munich / Dachau School” and in 1901 acquired a corner studio house with a garden in Klug- / Böcklinstrasse. A (second) house was added later in Dießen am Ammersee , not least because of the proximity of the Gasteiger couple, where many Simplician people like Olaf Gulbransson and Ludwig Thoma frequented and celebrated. Thöny had settled next door. Heine shaped the artistic level of the magazine, for whose cover he designed the heraldic animal, the red bulldog. Together with Arnold and Gulbransson he was the longest time employee of the "Simpl". In 1933, Heine, who was of Jewish descent, went into exile in Sweden; his Gerner house was demolished in 1969.
Like Heine, Bruno Paul (1874–1968) joined the “Simplicissimus” as early as 1897 and moved to Gerner Strasse in 1901 (then 4, now 32). He wanted to live close to the city, but “without having to live in a tenement”. As early as 1906 Paul moved to Berlin for a second, brilliant career as an innovative designer and interior designer. The third Simpl caricaturist, also in the team since 1897, was perhaps the only Bohémien Gern's Rudolf Wilke (1874–1908). He moved into a simple apartment on Wilhelm-Düll-Strasse. Not only did the critical Heine consider Wilke to be the most talented of the Simpl crew until his untimely death. Thanks to the close friendship between Wilke and Ludwig Thoma, who also became an employee of “Simpl” in 1899, there is a whole chapter in Ludwig Thoma in Gern .
Karl Arnold (1883–1953), who had been a student of Stuck at the Munich Art Academy from 1901 and in the same painting class as Kandinsky and Klee , also moved to Wilhelm-Düll-Strasse . Arnold moved from Schwabing to Gern and in 1917 to Neuhausen. He remained an employee until the provisional end of “Old Simpls” in 1944. A colleague as an illustrator, although working for the more traditional magazine “Fliegende Blätter”, was also Friedrich Wahle (1863–1931), who lived on Klugstrasse. The portrait painter and graphic artist Gerhardt Hentrich (1892–1973) was born almost a generation later, but worked on the (new) “Simpl”. When he came to Munich to study at the academy in 1912, he stayed in the studio building at Tizianstrasse 91 until his death. He drew for "Fliegende Blätter", "Die Jugend", "Phosphor" and "Simplicissimus", which was revived in 1954 (13 years later, it was finally discontinued).
Writers in Gern: From Bierbaum to Rosendorfer
The many artists, some of whom were professionally networked, such as the Simplicianer, drew visitors to Gern. Ludwig Thoma was a particularly long and frequent guest in Gern, partly "on business" as a Simpl colleague, partly as a member of the sociable Gasteiger group and as a (sports) friend of Rudolf Wilkes.
The important Bavarian narrator Lena Christ (1881–1920) really took up residence (at Wilhelm-Düll-Strasse 5) with her family from 1912 to 1914, then moved restlessly to various quarters in Gern and Neuhausen until shortly before her suicide. The successful autobiography of her unhappy childhood "Memories of a Superfluous" was published in 1912 shortly before she moved into the modest attic apartment in Gern on the mediation of Ludwig Thomas, who valued her storytelling skills. For her part, Lena Christ wrote “Lausdirndl stories” in 1913 in the style and model of Thomas. Gerner experiences or milieus found no expression in her work; that was her residence, not her world. In her material need, she forged the signatures of pictures and took poison after the discovery. The desperate woman said goodbye to her "honored patron" Thoma with one last letter.
Otto Julius Bierbaum (1865–1910) had already chosen a row house in Gern because of the living comfort , and he was also a writer at “Simplicissimus” like Thoma. Bierbaum was editor of the Art Nouveau-influenced Berlin art magazine “ Pan ” and in 1903 wrote the first (autobiographical) car travel book in German literature, “A sensitive journey in the automobile”. He had developed the then bold expedition plan in the Nymphenburg Palace Park . When he moved from Gerner Straße (today 32) to Nymphenburg, temporarily to Wotanstraße, in 1901, his colleague Bruno Paul was his successor, who primarily inquired about the modern equipment with gas and dry storage.
Nymphenburg-Gern, on the other hand, created literary traces in the works of its residents Manfred Bieler and Herbert Rosendorfer . Gern's heyday as an artists' colony was long gone after the changes resulting from the First World War , but much of its special flair as a residential area remained. Manfred Bieler's (1934–2002) novel “Der Kanal” (1978) is a love and marriage thriller with lots of local color around a precious centerpiece by the Nymphenburg Porcelain Manufactory , which reproduces the entire palace canal and in which a breaking lime tree figure ties the exciting knot. The best-known Gerner by choice among the writers is the lawyer Herbert Rosendorfer (born 1934). From 19 to 19 he lived on the corner of Gerner Strasse and Nördliche Auffahrtsallee. Much from the beautiful area, which Rosendorfer valued very much, and some of its residents are more or less encoded in Rosendorfers work, such as in the satirical novel "Das Messingherz" (1979). The Gern Canal Bridge , which at that time was, so to speak, Rosendorf's view and was located on his doorstep, plays a “supporting” role in the time-critical satirical novel “ Letters in the Chinese Past ” (1983) , which was widely circulated a million times . Here is the “contact point” of the time travel machine with which an experimenting Mandarin from 10th century China “mislandes” at the castle canal and gives the author the most smug perspectives on the supposedly “advanced” present: “The future ... is an abyss ".
Individual evidence
- ↑ Villenkolonie Gern ( Memento of the original from November 11, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. at the Bavarian State Office for Monument Preservation.
- ↑ Steigenberger 2005, p. 5
literature
- Heinrich Habel, Helga Hiemen: Munich . In: Bavarian State Office for Monument Preservation (ed.): Monuments in Bavaria - administrative districts . 3rd improved and enlarged edition. tape I.1 . R. Oldenbourg Verlag, Munich 1991, ISBN 3-486-52399-6 , p. 56 ff .
- Helmut Friedel (Ed.): Th.Th. Heine. The Simplicissimus Bite. Gallery in the Lenbachhaus, Munich 2000.
- Dorothea von Herder: 100 years of villa colony Gern. Festschrift. Munich 1992.
- Ludwig Horst: Bruckmann's Lexicon of Munich Art. Munich painter in the 19th and 20th centuries Century. , Vol. 1-6, Munich 1993.
- Catalog for the exhibition in the Pinakothek der Moderne, Munich 2002: Bruno Paul. Simplicissimus.
- Catalog for the exhibition in Nymphenburg Castle 1985/86: Mathias and Anna Gasteiger. From an artist's life in 1900. Publishing House "Bayer country," Dachau 1985th
- Ute Seebauer: At the channel of the blue bells, artist colony and royal castle. Nymphenburg-Gern. Experienced city history. With 60 images and a route plan for hiking afterwards. EOS-Verlag, St. Ottilien, first edition 2006, 3rd edition 2007.
- Helmuth Stahleder : Of course. Time travel to old Munich. Munich 2010.
- Thomas Steigenberger: Of course. History - architecture - monument preservation. Munich 2005.
Web links
Coordinates: 48 ° 9 ′ 44 ″ N , 11 ° 31 ′ 35 ″ E