Adolf Des Coudres
Adolf Des Coudres (born June 2, 1862 in Karlsruhe , † September 21, 1924 in Fürstenfeldbruck ) was a German landscape painter .
Life
Education and style from the first few years
Adolf Des Coudres was born on June 2, 1862 in Karlsruhe. He came from a well-to-do, upper-class background. His father Ludwig Des Coudres (1820–1878) was a painter and professor in the classics of antiquity and painting at the Karlsruhe Art Academy . Father Ludwig Des Coudres did not support the artistic endeavors of his son Adolf, for whom it was only possible to start studying art after his father's death. At the age of 19, Adolf Des Coudres went to the art academy in his hometown in 1881, where he became a student of Gustav Schönleber (1851–1917). Schönleber became Adolf's most important teacher. He studied landscape painting with him from 1881 to 1890. In the first two to three decades, Des Coudres' artistic development was strongly influenced by Schönleber's painting and his circle. Des Coudres also received suggestions on study trips. Several times he went to “painters 'colonies”, especially the Gutach artists' colony in the Black Forest, where he met Franz Gräßel (1861–1948), Albert Kappis (1836–1914) and Hermann Dischler (1866–1935).
Karlsruhe time
After completing his studies, Adolf Des Coudres worked as a freelance painter in his hometown of Karlsruhe until 1909 and during this time he participated in various larger art exhibitions in Baden-Baden, Karlsruhe and Munich with his impressionistic landscape paintings. At that time he lived at Bismarckstrasse 75, and in 1891 he gave the “Atelierhaus Westendstrasse Karlsruhe” as the studio address. Just a few houses down there was another studio house in which the Karlsruhe School of Painting was founded as a private company around 1884 . In the years 1892 and 1893 Des Coudres showed paintings in the Munich Glass Palace , in which he processed his stay on the Baltic Sea in the artists' colony Ahrenshoop : Houses in the dunes (1892) and fishermen's houses on the Baltic Sea (1893). Pictures from two trips to Holland in the mid-1890s were also exhibited in the Munich Glass Palace. From 1891 to 1903 he was present with his paintings every year at major art exhibitions in the Munich Glass Palace.
Emmering and Fürstenfeldbruck
In 1910, Adolf Des Coudres moved to the municipality of Emmering in the Fürstenfeldbruck district and built a villa with studios for himself and his sister Luise at Emmeringer Straße 55. He lived in the neighborhood of his painter colleagues Franz Gräßel and Henrik Moor (1876–1940). They were all members of the Luitpold Group in Munich, which had existed since 1892 and was headed by Fritz Baer from 1907 to 1919. In 1910, 1911 and from 1916 to 1924 Des Coudres was again represented at the major art exhibitions in the Munich Glass Palace. In July 1914 he took part in the first Fürstenfeldbruck art exhibition. In 1915 his beloved sister Luise, who had accompanied him all his life and lived with him, died. In 1918 he decided to sell his villa and rent an apartment in the center of Fürstenfeldbruck, on the first floor of the so-called Bexenhaus (Schöngeisinger Straße 6). On November 3, 1921, he married Selma Plawneek, a painter who was 20 years his junior . Best man was the writer Hans Erich Blaich alias Dr. Owlglass . Their marriage lasted only three years, as Adolf Des Coudres died on September 21, 1924 in Fürstenfeldbruck. He and his wife Selma, who died in March 1956, have found their final resting place in the old Emmeringen cemetery.
plant
Adolf Des Coudres' coloring was based on the Karlsruhe School of Painting. Like his teacher Schönleber, Des Coudres used predominantly unmixed and only rarely bright colors. Earth tones predominate in the representation of nature; but also different gray values and a dark brick red are examples of Des Coudres' coloristic preferences. The gloomy shades of green, blue and gray also attracted him the most in nature. Strong color accents are rather rare in its early phase and mostly tied to certain objects or accessories. The arbitrary selection of the image details and the compositional patterns of Art Nouveau also show Schönleber's influence. Despite Des Coudres' relatively frequent study trips to the north or south of Germany or to neighboring countries, native landscapes remained his preferred motifs. Des Coudres mostly stayed with his subjects in the immediate vicinity of his respective places of residence, sometimes even depicting landscapes and things in close-up, often only in detail. Usually he chose very inconspicuous motifs, trees by small rivers, a few old houses, a small village. It all came down to the mood - an essential feature of the “paysage intime”. In some of Adolf Des Coudres' later works, a stylistic change is noticeable. The pictures move away from a very detailed, naturalistic-impressionistic style towards pictures that are given a largely expressive expression through their lively, impasto application of paint with a broad brush. In Des Coudres' work, architecture has been one of the most important motifs alongside nature since he was a student. In his early drawings and paintings, for example, there is a romanticizing “nostalgic” look for the picturesque, which is reflected in “insignificant” motifs such as bridges, stairs or backyards. Works that deal with breaks in modern times in terms of content or form remained numerically behind the harmonious pictorial motifs. In recent years, some more colorful, sometimes cheerful-looking subjects have been added - far removed from the rather dark and melancholy works of his earlier years. In the last creative period still lifes and interiors appear as new pictorial themes.
Works (selection)
- At the pond
- From the garden
- At the height
- It was a gray day
- Early spring
- Through the moor
- Great bridge
- Dog on sofa
- landscape
- Luise in the garden
- At St. Maergen
- Interior with bouquet of flowers
- Winter landscape
Exhibitions
- 1988: 12th painting exhibition painter in Bruck , Sparkasse Fürstenfeldbruck.
- 2008: Painter in Bruck - For the 125th anniversary of the Sparkasse , Sparkasse Fürstenfeldbruck.
- 2014: Selma and Adolf Des Coudres - An Unequal Artist Couple , Museum Fürstenfeldbruck.
literature
- Josef A. Beringer: Baden painting 1750–1920. Müller, Karlsruhe 1979, ISBN 3-7880-9623-3 (reprint of the Karlsruhe 1922 edition).
- Walter G. Well: Painter in the Fürstenfeldbrucker Land. Hirmer Verlag, Munich 1988, ISBN 3-7774-4970-9 .
- Angelika Mundorff: Adolf Des Coudres (1862–1924) - academic painter and family man . In: Angelika Mundorff, Eva von Seckendorff (eds.): Selma and Adolf Des Coudres. An unequal artist couple . Exhibition catalog of the Museum Fürstenfeldbruck, 2014.
Web links
Individual evidence
- ↑ Angelika Mundorff: Adolf Des Coudres (1862-1924) - academic painter and family man. In: Angelika Mundorff, Eva von Seckendorff (eds.): Selma and Adolf Des Coudres. An unequal artist couple. Exhibition catalog of the Museum Fürstenfeldbruck, 2014.
- ^ Letter from Selma to Hans Peter Des Coudres, April 5, 1955, private property
- ↑ Biographical Notes - Adolf Des Coudres, In: Angelika Mundorff, Eva von Seckendorff (Eds.): Selma and Adolf Des Coudres. An unequal artist couple. Exhibition catalog of the Museum Fürstenfeldbruck, 2014.
- ↑ Angelika Mundorff: Adolf Des Coudres (1862-1924). Academic painter and family man
- ↑ Biographical Notes - Adolf Des Coudres, In: Angelika Mundorff, Eva von Seckendorff (Eds.): Selma and Adolf Des Coudres. An unequal artist couple. Exhibition catalog of the Museum Fürstenfeldbruck, 2014, p. 127.
- ↑ About the work: Angelika Mundorff: Adolf Des Coudres (1862–1924) - academic painter and family man. In: Angelika Mundorff, Eva von Seckendorff (eds.): Selma and Adolf Des Coudres. An unequal artist couple. Exhibition catalog of the Museum Fürstenfeldbruck, 2014.
| personal data | |
|---|---|
| SURNAME | Coudres, Adolf Des |
| BRIEF DESCRIPTION | German landscape painter |
| DATE OF BIRTH | June 2, 1862 |
| PLACE OF BIRTH | Karlsruhe |
| DATE OF DEATH | September 21, 1924 |
| Place of death | Fürstenfeldbruck |