Adolf Erbslöh

from Wikipedia, the free encyclopedia
Adolf Erbslöh: Self-portrait , oil on canvas 1928. On loan from the Von der Heydt Museum , Wuppertal

Adolf Erbslöh (born May 27, 1881 in New York , † May 2, 1947 in Irschenhausen ) was a German painter . Together with Marianne von Werefkin and Alexej Jawlensky , he initiated the foundation of the New Munich Artists' Association (NKVM) , from which the "Blue Rider" later emerged.

life and work

Artistic beginnings

Erbslöh came from a family of merchants from Barmen . His grandfather was a co-founder of the Julius and August Erbslöh company in Barmen, his father was a co-owner of the export company Dieckerhoff, Raffloer & Co. and spent 15 years in New York until he and his family returned to Barmen in 1887. Erbslöh attended the secondary school in Barmen. During this time he drew "Heads [...] according to Gyps", plants "according to nature" or " Bismarck (after Lenbach )". His friendship with his distant cousin Oscar Wittenstein (1879–1918) dates from his school days . After graduating from secondary school, he began business training in Barmen.

Studied in Karlsruhe and Munich

In 1901 he began studying at the Karlsruhe Academy . His teachers were Ernst Schurth (1848–1910) and Ludwig Schmid-Reutte (1862–1909). He had been friends with Alexander Kanoldt and Georg Tappert since studying in Karlsruhe .

In 1904 he moved into a joint apartment with Wittenstein in Munich and continued his art studies in 1905 at the academy there with Ludwig von Herterich . Until 1906, when he was in Harburg an der Wörnitz , his drawings were still "shaped by the realistic style of the 19th century." In connection with this discipline, it is noteworthy that Erbslöh also used objectively realistic drawings throughout his life, in addition to stylistic drawings, which has the character of a diary through its labeling and dating. Courbet , Marées and Leibl are seen as stimuli for further development in the art of Erbslöh. In 1907 Erbslöh married his second cousin Adeline Schuchard, daughter of Hugo Schuchard , at his castle in Calenberg near Warburg .

New artists' association Munich

Erbslöh had been in contact with Marianne von Werefkin's “pink salon” since autumn 1908 . Together with her and Alexej Jawlensky , before Christmas 1908, he developed the idea of ​​founding the “Neue Künstlervereinigung München” (NKVM). Gabriele Münter , Wassily Kandinsky and Kanoldt were initially not involved in the company. On January 22, 1909, the founding charter of the NKVM was drawn up. In the NKVM, which had set itself the goal of “organizing art exhibitions in Germany and abroad”, Erbslöh initially acted as secretary. His college friend Kanoldt, who had meanwhile also settled in Munich, joined the NKVM in the course of the year. Likewise his friend Wittenstein, who meanwhile studied music, literature and philosophy at the Munich University.

In 1909, Erbslöh organized his first solo exhibition in his hometown of Barmen, organized by Richart Reiche at the Barmen Art Association . The Barmer Zeitung reported on this occasion on June 12, 1909, very openly about one of his female portraits: “Its author was looking forward to giving his compatriots at home this unusual surprise, because a face with yellow cheeks, Green nasal shadows, green pupils and wavy hair that reproduces all the colors of the rainbow in broad dots should also be quite unusual in the old dyer's town of Barmen. ”The discussion on the exhibition clearly shows that Erbslöh then practiced the painting style of the Neo-Impressionists and the Pointillists .

1909, participation in the 1st exhibition of the NKVM

The 1st exhibition of the NKVM took place from December 1st to 15th in the modern gallery Heinrich Thannhauser in Munich. Erbslöh took part in it with three works. The painting with the title “March Sun” is shown in the exhibition catalog and has been preserved. Stylistically, it shows that Erbslöh's painting is in a state of upheaval. Compared to the earlier dots and ticks, flat and linear elements are gaining in importance. It is very clear from his interiors , nudes or still lifes that he was under the stylistic influence of Jawlensky. He himself “named Jawlensky in 1931, along with van Gogh and Cézanne, as one of the three artists who had set the trend for his work.” He systematically built many of his pictures on the legalities of the basic and complementary colors, to which he sometimes used the non-color pair black and white added.

It was thanks to his mediation that the NKVM received its first museum exhibition in the museum in Elberfeld in April 1910 , which was then continued in the Kunstverein Barmen .

1910, participation in the 2nd exhibition of the NKVM

Adolf Erbslöh, girl with a red skirt , oil on cardboard, 1910. Art and Museum Association in the Von der Heydt-museum, Wuppertal

In May 1910 Erbslöh traveled to Paris, accompanied by Pierre Girieud , a friend of Werefkin and Jawlensky, to see the artists Georges Braque , André Derain , Kees van Dongen , Paco Durrio , Henri Le Fauconnier , Pablo Picasso , Georges Rouault , Henri Rousseau , Invite Maurice de Vlaminck and Seraphim Soudbinine (1870–1944) to the second exhibition of the NKVM. At the time when Franz Marc was still struggling to “get out of the arbitrariness of color”, he found words of admiration for Erbslöh's painting on December 2nd: “Erbslöh's new things are brilliant.” The 2nd exhibition of the NKVM took place from 1st to on September 14th also in the Galerie Thannhauser. Erbslöh took part in it with five papers. The painting entitled “Tennis Court” is shown in the exhibition catalog and has survived.

Organizer for the participation of the NKVM at the New Secession Berlin

One owes much to Erbslöh for an exhibition constellation that has received far too little attention in art history. Erbslöh was personally invited to the third exhibition of the New Secession by his college friend from Karlsruhe, Georg Tappert , the first chairman of the New Secession in Berlin. With the wellbeing of the NKVM in mind, he decided not to take part, but ensured that the entire NKVM could take part in its fourth exhibition from November 18, 1911 to January 31, 1912 in Berlin. Erbslöh had already discussed participation with Tappert in March. On April 1st, he vouched for high-ranking exhibits: "In the interest of our mutual endeavors for the new art, we will send our best works to your exhibition in Berlin." As agreed, the works of the two most important progressive German artist groups were also presented together , those of the "Brücke" painters and those of the NKVM, some of whom had, delicately, converted to the exhibition of the Der Blaue Reiter editorial team in Munich in December.

"The Last Judgment / Composition V"

When there were various disagreements in the NKVM, Kandinsky resigned from the chair on January 10, 1911, but did not resign from the association. Erbslöh was then elected first chairman, Wittenstein his deputy, and Kanoldt the post of secretary. Kandinsky and Franz Marc had been planning an intrigue for a long time to leave the NKVM and to blame the unsuspecting members. This should be possible because Kandinsky intended to submit an abstract picture to the jury in December. It should go down in history with the title “The Last Judgment / Composition V” . Because of its size of over four square meters, this would violate the statutes of the NKVM and would therefore be rejected by the jury. As early as August 6, it can be proven that Kandinsky was working on the implementation of his plan, because on that day he wrote to Münter: “I paint and paint now. Lots of sketches for the Last Judgment. “On August 10, Marc was convinced to his friend August Macke that the project would work. Because he wrote to him that he and Kandinsky foresaw "a horrible argument" that would lead to a "split" in the NKVM. A secession was already emerging at this point . On September 8th, Marc confirmed his intention by speaking of a "quick funeral of the association". On October 30, Kandinsky's and Marc's counter-exhibition had long been a done deal and scheduled. Your correspondence shows that Heinrich Campendonk was supposed to be part of the first exhibition of the “Blauer Reiter”: “Campendonk does fabulous things. I [would] like to show something of him in the [catalog of the] bl. [Auen] rider [s] and exhibit it in December! "

On December 2, 1911, the NKVM jury met, chaired by Adolf Erbslöh. When Kandinsky submitted “The Last Judgment / Composition V” without a jury , “the question arises: how big? About 4 square meters !!! Is against the statutes drawn up by Kandinsky himself, as a result falls under the jury [...] and ..... fails, ”said Maria Franck , Marc's partner at the time. Bechtejeff justified his rejection: “I don't understand it,” as Maria Franck quoted him in her letter of December 3, 1911 to August Macke. Neither Kandinsky nor Marc made an attempt to explain the picture to him, not even Werefkin, who described it as a “wonderful work”. By deceiving their colleagues, Kandinsky, Marc and Münter succeeded in parting with the NKVM without losing face and staging the first “Blauer Reiter” exhibition. Kandinsky boasted with malice in a two-page letter from 1938 to Galka Scheyer about the coup.

1911, organization of the 3rd exhibition of the NKVM

Adolf Erbslöh, House in the Garden , oil on cardboard, 1912. From the Heydt Museum, Wuppertal

In 1911 Erbslöh took part in the third Sonderbund exhibition in Düsseldorf, which was also taken over by the Barmer Hall of Fame . The third exhibition of the NKVM took place from December 18 to January 1, 1912, also in the Thannhauser Gallery. Erbslöh was its organizer and participated in it with seven works. The painting entitled "Landscape" is shown in the exhibition catalog. It was a representation of a mountain near Brannenburg , which may have been lost. In terms of style, an innovation became noticeable during this period: “Erbslöh made the forms of Cubism subservient. Geometry permeates the abundance, splits and fills it out and tames it with a contour. "

Around 1911 Erbslöh founded the Flugzeugwerk Deutschland in Munich and the Luftschiffbau-Gesellschaft Veeh mbH together with Wittenstein. For financial reasons they soon had to give up the company.

The new picture

In 1912 Erbslöh took part in the large " Sonderbund Exhibition of West German Art Friends and Artists" in Cologne. In the NKVM publication Das Neue Bild , written by the art historian Otto Fischer , Erbslöh was included with two illustrations and four plates. Fischer wrote about the status of his painting at the time: “The impression that an overview of the entire work makes today is uniform and full of promise. It is the impression of an unintentionally logical and beautiful development. Here are acts of content and grandeur, here are landscapes of clear structure and strong feeling. Nature is nowhere deserted, but everywhere increased to the mighty. "

In 1913 he became a member of the Munich New Secession artist group . a. Jawlensky, Bechtejeff, Paul Klee , Kanoldt, Karl Caspar , Heinrich Campendonk , Max Beckmann , Karl Hofer , Oskar Kokoschka , Alfred Kubin , Emil Nolde and Max Pechstein also belonged. In the following year he was one of the 24 artists who were presented in Adolf Hölzel's so-called "Expressionist Hall" as part of the art exhibition in Stuttgart organized by the Association of Art Friends in the countries on the Rhine .

In the first World War

Adolf Erbslöh: Montigny (Houses in the French city of Montigny destroyed during World War I), around 1916. Oil on canvas. Lingenauber Collection, Monaco

In 1915 Erbslöh was drafted into the military. He was a soldier in Flanders and France. On August 5, 1916 he wrote: “I will be coming to the 95th Inf. Reg. (Located near Verdun ), where I am supposed to be used as a war painter with the regimental staff . ”On September 23, he added in a letter:“ Since there is no official position as a war painter for a non-commissioned officer who is limited to war uses, I am here as a kind of Assistant clerk employed (the child must have a name). ”His drawings from the field show portraits of his war comrades, forests and houses that were shot up. The colors of his oil paintings from that time have lost their earlier vividness, they are noticeably dull and pale.

After the First World War

After the war, Erbslöh returned to Munich in 1919. In 1920 he had the entry of the NKVM in the Munich register of associations deleted. In September 1919 he went on a trip with his wife through Westphalia , where he drew saints, crucifixes and Madonnas in churches and museums. In the early 1920s he turned to the New Objectivity , which can be understood as a reaction to the emotionally charged painting of Expressionism. He reintroduced the “illuminating light” that was so frowned upon by the Expressionists in his painting. With the sunlight and its shadow he modeled landscapes and gave the architecture back the third dimension. It appears as a reflection on surfaces of water, on glasses or the human eye. Important stages in his painterly development can be seen in his pictures from these years. Originating from Expressionism, this explains the rich colors, which often follow Van Gogh's law of primary and complementary colors. His cubist painting echoes in the crystalline forms that he gave houses, roofs, church towers and tree tops.

In 1931, on the occasion of his 50th birthday, the Kunstverein Barmen held the last major solo exhibition in his lifetime. In the exhibition catalog, he explained the Bergische landscape from his point of view as a painter: “I see a more or less unconscious memory of the colors of the Wupperstadt in their simultaneously bright and heavy colors. (The purple and blue black of the slate houses, the lush green of the shutters, the red factory chimneys in front of black-gray clouds and the yellow-green of the summer trees that shines twice against such a background). "

In 1932 Erbslöh planned together with Kanoldt a kind of retrospective of the NKVM with their colleagues from the pre-war period for 1934. The occasion for a 4th exhibition of the NKVM was the 25th anniversary of the foundation. The show was to take place in the Munich Art Association and last from May 1934 to June 15, 1934. The intention was to show works by the former members that had been created both in Munich and recently. Erbslöh and Kanoldt were no longer able to realize the exhibition idea because after the Nazis came to power, painting was ostracized as degenerate, and not just by members of the former NKVM .

From 1933 exhibitions became impossible for him. He retired to private life in Irschenhausen in Bavaria, but remained connected to his former companions and friends, in particular Alexander Kanoldt, Walter Riezler and Alexej Jawlensky. For the latter he gave the funeral oration at the cemetery of the Russian Orthodox Church in Wiesbaden in 1941 .

Erbslöh died on May 2, 1947 at the age of 66 in Irschenhausen. Walter Riezler gave the funeral speech. Erbslöh's daughter, the painter and wood sculptor Inge Erbslöh, managed and looked after her father's artistic estate until her death.

reception

In 1992 the Von der Heydt Museum in Wuppertal dedicated a large commemorative exhibition to him, as a result of which the heirs of Erbslöh donated part of the legacy of his works on paper to the museum.

Quote

“ The artist forms what he imagines. His ideas are the children of his imagination, the source of all creativity. Just as we, to speak with Kant and Schopenhauer, build the world in which we live from our a priori forms of perception space, time and causality, so the artist creates his own imagination out of his imagination ... "

“ ... The great artist will always find the form that corresponds to his ideas, that is, the form he needs, and so the form becomes an expression of his inner being, a symbol of his being. The work of art is design, imagination that has become form. This is how it speaks to our senses, it becomes communication, language. To the language of the spirit and the heart, to the means to express the deepest and most powerful, the most tender and intimate, to let the unspeakable become loud. A statue by Phidias, a fugue by Bach, a picture by Rembrandt, a symphony by Mozart: isn't it the form that reveals the imagination of its creators, isn't it their form that became the mysterious language of their minds? "

Works (selection)

  • Still life , 1908
  • Nude with a garter belt , 1909
  • Girl in a Red Skirt , 1910
  • Tennis court , 1910
  • Bouquet of flowers , 1910
  • Brannenburg , 1911
  • Summer , 1911
  • House in the Garden , 1912
  • Suspension railway , 1912
  • Desenberg , 1915
  • Kirchdorf , 1921
  • The dancing trees , 1921
  • Positano , 1923
  • Camellia , 1924

Paintings in public collections

  • Bautzen: Museum Bautzen
  • Bremen: Kunsthalle
  • Chemnitz: Gunzenhauser Museum
  • Dresden: State Art Collections
  • Düren: Leopold Hoesch Museum
  • Düsseldorf: Kunstpalast
  • Hamm: Gustav Lübcke Museum
  • Iowa: The University of Iowa Museum
  • Jena: Jena Art Collection
  • Karlsruhe: State Art Gallery
  • Kochel: Franz Marc Museum
  • Cologne: Museum Ludwig
  • Monaco: Lingenarber Collection
  • Munich: Bavarian State Painting Collections
  • Munich: Municipal gallery in the Lenbachhaus
  • Münster: Westphalian State Museum
  • Murnau: Murnau Castle Museum
  • New Haven: The Yale University Art Gallery
  • Salzburg: Museum der Moderne Rupertinum
  • Wiesbaden: Museum Wiesbaden
  • Wiesbaden: Brabant Collection
  • Wuppertal: From the Heydt Museum

Fonts

  • Adolf Erbslöh: Fantasy and Form . In: Die Kunst , Bruckmann, Munich April 1929, p. 201 ff.
  • Adolf Erbslöh: About my work . In: Adolf Erbslöh 1881–1931 . Exhibition catalog. Art association in Barmen, Wuppertal 1931

literature

  • Otto Fischer: The new picture , publication of the Neue Künstlervereinigung München, Munich 1912
  • Erbslöh, Adolf . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 10 : Dubolon – Erlwein . EA Seemann, Leipzig 1914, p. 590 ( Textarchiv - Internet Archive ).
  • Adolf Erbslöh (1881–1947). Memorial exhibition . Exhibition catalog. Municipal Museum, Wuppertal 1950
  • Adolf Erbslöh. Memorial exhibition . Exhibition catalog. Modern Gallery Otto Stangl, Munich 1955
  • Lothar-Günther Buchheim : The Blue Rider and the “New Artists' Association Munich” , Buchheim, Feldafing 1959
  • Wolfgang Macke (eds.): August Macke / Franz Marc, Briefwechsel , Cologne 1964
  • Hans Wille: Adolf Erbslöh, 1881–1947 . With a catalog of the paintings. Art and Museum Association, Wuppertal 1967
  • Isabella Nadolny : Erbslöh . In: Isabella Nadolny: Allerlei Menschen , Munich 1967 (new edition under the title Through strange windows. Pictures and encounters . Munich 1989)
  • Erbslöh and his circle . Exhibition catalog. Abels Gallery, Cologne 1968
  • Hans Wille: The Westphalian sketchbook by Adolf Erbslöh . Westfalen, Vol. 52, Issue 1-4, 1974, pp. 81-95
  • Gerhard Wietek : Georg Tappert 1880–1957, A Pioneer of German Modernism 1880–1957 . Munich 1980
  • Adolf Erbslöh. Painting, drawing graphics . Exhibition catalog. Gustav-Lübcke-Museum, Hamm 1982
  • Hans Wille. Adolf Erbslöh. The graphic work . Exhibition catalog. Karl and Faber, Munich 1982
  • Hans Wille: Adolf Erbslöh . (Monograph). Recklinghausen 1982, ISBN 3-7647-0339-3
  • Klaus Lankheit (eds.): Wassily Kandinsky / Franz Marc, correspondence . Munich 1983
  • Hans Wille: Adolf Erbslöh, 1881 to 1947, drawings . Municipal Gustav-Lübcke-Museum Hamm, Hamm 1986
  • Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the German Empire and National Socialism . Wuppertal 1992
  • Hans Günter Wachtmann: To Erbslöh's paintings in the Von der Heydt Museum . In: Adolf Erbslöh, painting 1903–1945 . Exhibition catalog. From the Heydt Museum Wuppertal, Wuppertal 1992
  • Hans Wille: Pictorial tradition and the present in the work of Adolf Erbslöh . In: Adolf Erbslöh, painting 1903–1945 . Exhibition catalog, Von der Heydt-Museum Wuppertal, Wuppertal 1992
  • Andreas Erbslöh (ed.): Adolf Erbslöh in the family reports 1914–1918 . (Letters from the field). Family association Julius Erbslöh Wuppertal, Springe 1997
  • Annegret Hoberg , Titia Hoffmeister, Karl-Heinz Meißner: Anthology . In: The Blue Rider and the New Image, From the New Artists' Association Munich to the Blue Rider . Exhibition catalog. Städtische Galerie im Lenbachhaus, Munich 1999, p. 27 ff
  • Annegret Hoberg and Helmut Friedel (eds.): The Blue Rider and the New Image, From the Neue Künstlervereinigung München to the Blue Rider , exhibition catalog, Städtische Galerie im Lenbachhaus, Prestel, Munich 1999, ISBN 3-7913-2065-3 , page 276 -285
  • Antje Birthälmer: Adolf Erbslöh (1881–1947), From Expressionism to a New Feeling for Nature . Exhibition catalog. From the Heydt Museum Wuppertal, Wuppertal 2000
  • Bernd Fäthke : Marianne Werefkin , Munich 2001
  • Isabella Nadolny : Adolf Erbslöh , In: Through strange windows. Pictures and Encounters , Munich 2004 (2), ISBN 978-3-423-25217-1
  • Bernd Fäthke: Jawlensky and his companions in a new light , Munich 2004
  • Bernd Fäthke: Werefkin and Jawlensky with their son Andreas in the “Murnauer Zeit” . In: 1908–2008, 100 Years Ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau . Exhibition catalog. Murnau 2008
  • Brigitte Salmen, Felix Billeter: Adolf Erbslöh 1881–1947, catalog raisonné of the paintings . Ed .: Karl & Faber, Hirmer-Verlag, Munich 2016, ISBN 978-3-7774-2587-0
  • Sandra Uhrig, Christine Ickerott-Bilgic: Adolf Erbslöh. Painter, friend and sponsor . Exhibition catalog. Murnau Castle Museum, Murnau 2017, ISBN 978-3-9322-7653-8
  • Beate Eickhoff, Gerhard Finckh (ed.): Adolf Erbslöh: The Avantgardemacher . Exhibition catalog. From the Heydt Museum, Wuppertal 2017

Exhibitions

Solo exhibitions

Outdoor banner advertising on the facade of the Von der Heydt Museum , Wuppertal, for an Adolf Erbslöh exhibition with an excerpt from the painting Girl with a Red Skirt , 2017

Group exhibitions and participation in exhibitions

  • 1909: Sonderbund of West German art lovers and artists . Barmen
  • 1909/10: New Artists' Association Munich. 1st exhibition . Modern gallery Thannhauser Munich. Further exhibition stations: Moravian Art Association Brno, Elberfeld Municipal Museum, Barmen Hall of Fame, Louis Bock & Son Gallery Hamburg, Dusseldorf Municipal Art Hall, Wiesbaden Art Colony, Schwerin Grand Ducal Museum, Goldschmidt Art Salon, Ffm.
  • 1910: Sonderbund of West German Art Friends and Artists , Düsseldorf
  • 1910/11: New artists' association in Munich. 2nd exhibition . Modern gallery Thannhauser Munich. Further exhibition stations: Karlsruhe , Mannheim , Hagen , Berlin ( Paul Cassirer Gallery ), Dresden (Ernst Arnold art dealer) and Weimar
  • 1910/11: The Blade of Diamonds . December 1910 - April 1911, Jack of Diamonds. Moscow
  • 1911: Sonderbund of north-west German art lovers and artists . Municipal art gallery Düsseldorf . Further exhibition station: Barmen Hall of Fame (Kunstverein Barmen)
  • 1911: Art of our time in private ownership in Cologne . Kölnischer Kunstverein, Cologne
  • 1911/12: 4th exhibition of the New Secession , Berlin
  • 1911/12: New Artists' Association Munich. 3rd exhibition . Modern gallery Thannhauser Munich. Further exhibition stations: Kunsthaus Zürich, German Association of Artists, Kunsthalle Bremen, Mannheim,
  • 1912: New artists' association in Munich . Traveling exhibition in Breslau, Cologne, Ffm., Görlitz, Passau, Kunstverein Jena and Kunstverein Barmen
  • 1912: Sonderbund of West German art lovers and artists . At the Aachener Tor Cologne
  • 1912: German Association of Artists , Kunsthalle Bremen
  • 1912: Werner Dücker Collection, Düsseldorf . Art Association Barmen
  • 1912: First complete exhibition . Opening of the Galerie Goltz on Odeonsplatz Munich
  • 1912/13: New Artists' Association Munich . Barmen Hall of Fame (Barmen Art Association). Further exhibition station: Städtisches Museum Elberfeld
  • 1913: Collection exhibition , Kunstverein Jena
  • 1913: Exhibition of German city images . German Association of Artists. Mannheim
  • 1913: Elberfeld Museum Association . Elberfeld
  • 1913: Secession . Berlin
  • 1913: Galerie Miethke , Vienna
  • 1913: German Association of Artists . Kunsthalle Mannheim
  • 1913: Barmer Kunstverein , Barmen
  • 1913: Second complete exhibition . Galerie Goltz at Odeonsplatz Munich
  • 1913: opening catalog . Alfred Flechtheim Gallery. Dusseldorf
  • 1913: Permanent exhibition . Kunsthalle Bremen
  • 1913: Exhibition of the United Göttingen Art Friends . Goettingen
  • 1913: Ludwig Schames Art Salon . Ffm.
  • 1913: Adolf Erbslöh and Alexander Kanoldt . Folkwang Museum Hagen. Further exhibition station: Kunstverein Jena
  • 1913: 26th exhibition of the Berlin Secession . Berlin
  • 1914: Galerie Einst Arnold , Dresden
  • 1914: Stettiner Museum , Stettin
  • 1914: Kunsthalle Bremen, Bremen
  • 1914: Fritz Gurlitt Gallery , Berlin
  • 1914: Kölnischer Kunstverein , Cologne
  • 1914: Galerie Alfred Flechtheim “Düsseldorf
  • 1914: Galerie Neue Kunst - Hans Goltz , Munich
  • 1914: Leipzig
  • 1914: New Munich Secession, 1st annual exhibition . Munich
  • 1914: Bitterling, Degouve de Nuncques, Erbslöh, Thorel, Ury . Art Association in Hamburg
  • 1915: Munich Secession I. , Munich
  • 1915: Dresden
  • 1915: Munich Secession II. , Munich
  • 1915: Large art exhibition for the inauguration of the museum . New Municipal Museum Wiesbaden (Nassauischer Kunstverein Wiesbaden)
  • 1915: Munich painter . Barmen Hall of Fame (Kunstverein Barmen)
  • 1916: Munich New Secession. Zurich
  • 1916: Munich New Secession. Basel
  • 1916: Munich New Secession . Munich, 2nd exhibition. Further exhibition station: Kunstverein in Hamburg
  • 1916: Barmer Kunstverein , Barmen
  • 1916: Modern Gallery Thannhauser , Munich
  • 1917: New Munich Secession . Munich. Further exhibition station: Kunstsalon Ludwig Schames, Frankfurt a. M.
  • 1917: group exhibition . Gemäldegalerie Museum Wiesbaden, Wiesbaden
  • 1917: Galerie Caspari , Munich
  • 1917: New Munich Art . Hamburg, Kestner Society Hanover, Cologne
  • 1917: 3rd exhibition of the Munich New Secession . Munich
  • 1918: Ludwig Schames Art Salon , Frankfurt a. M.
  • 1918: New Religious Art , Kunsthalle Mannheim
  • 1918: Modern landscape painting , Erfurter Kunstverein, Erfurt
  • 1918: German art , Darmstadt
  • 1918: Erfurter Kunstverein , Erfurt
  • 1918: Artists' Association , Dresden
  • 1918: 4th exhibition of the Munich New Secession . Munich
  • 1918: Kunstverein Leipzig . Leipzig
  • 1918/19: Permanent exhibition , Kunsthalle Bremen
  • 1919: Newer Munich painting and graphics , Kunsthalle Bern
  • 1919: Expressionists . Reopening exhibition of Galerie Flechtheim Düsseldorf
  • 1919: 5th overall view and 54th exhibition . Galerie Goltz Munich
  • 1920: 6th exhibition of the Munich New Secession , Munich
  • 1920: German Association of Artists , Chemnitz
  • 1920: The Reimann Collection , Elberfeld Municipal Museum
  • 1920: Large art exhibition in Düsseldorf . Municipal Art Palace Düsseldorf
  • 1920: Summer Exhibition 1920 . Artists' Association Dresden
  • 1922: group exhibition . Municipal Picture Gallery Bochum
  • 1922: Barmer artist . Barmen Hall of Fame (Kunstverein Barmen)
  • 1922: Kunstverein Leipzig , Leipzig
  • 1922: Darmstadt
  • 1922: Paul Klee, Adolf Erbslöh, Szczecin artist . City Museum Stettin ( Pomeranian Association for Arts and Crafts Stettin )
  • 1922: Collective exhibition , Kunstsalon Ludwig Schames, Frankfurt a. M.
  • 1923: Modern Gallery Thannhauser , Munich
  • 1923: Kunstverein Barmen: Works from the collection . Barmen Hall of Fame (Art and Museum Association Wuppertal)
  • 1924: Collection of the Jena Art Association . Art Association Jena
  • 1924: Collective exhibition , Kunstsalon Ludwig Schames, Frankfurt a. M.
  • 1924: Barmer Kunstverein , Barmen
  • 1924: Kunstverein Leipzig, Leipzig
  • 1924: German painting for the last 50 years , Neue Staatsgalerie Munich
  • 1925: Collective exhibition , Barmer Kunstverein, Barmen
  • 1925: New Objectivity. German painting since Expressionism . Municipal art gallery Mannheim
  • 1925/26: New Objectivity , Chemnitz
  • 1926: Valpariso, Chile
  • 1926: Erfurter Kunstverein , Erfurt
  • 1926: Modern Gallery Thannhauser , Munich
  • 1926: The New Objectivity . Prinzessinnenschlößchen (Art Association Jena)
  • 1926: International art exhibition . Dresden
  • 1927: Munich New Secessin , Munich
  • 1928: Collective exhibition , Folkwang Museum Essen
  • 1928: Bochum
  • 1928: Municipal painting gallery , Dresden
  • 1928: Bremen
  • 1928: Erbslöh, Jaacks, Reichel . Art Association in Hamburg
  • 1928: Erbslöh, Faistauer, Greferath . Barmen Hall of Fame (Kunstverein Barmen)
  • 1929: Kunsthütte Chemnitz , Chemnitz
  • 1929: Newer works of art from Dresden's private collection . Saxon Art Association, Dresden
  • 1929: 15th summer exhibition of the Munich New Secession , Munich
  • 1931: Galerie Caspari , Munich
  • 1931: Bochum
  • 1932: Barmer Kunstverein , Barmen
  • 1941: Summer exhibition of Bergischer Künstler 1941 . Municipal Museum Wuppertal-Elberfeld
  • 1941/42: Winter exhibition of Bergischer Künstler 1941 . Barmen Hall of Fame (City of Wuppertal and Art Association Barmen)
  • 1947: Exhibition of expressionist painting . Municipal Museum Wuppertal-Elberfeld (Wuppertal Art and Museum Association)
  • 1949: The Blue Rider . House of Art Munich
  • 1950: The Blue Rider. Pioneers and contemporaries , Kunsthalle Basel
  • 1954: One hundred years of the Academy of Fine Arts . Karlsruhe Art Association
  • 1955: Acquisitions 1955 , Kunsthalle Bremen
  • 1957: Kunsthalle Bremen: Twelve years of reconstruction . Kunsthalle Bremen
  • 1958: Munich New Secession. Honor exhibition . Art Association Munich
  • 1958: Munich 1869–1958. Departure to modern art . House of Art Munich
  • 1959: hand drawings . Gallery Otto Stangl Munich
  • 1960: Les sources du XXe siècle - Les arts en Europe de 1894 à 1914 . Paris
  • 1961: German Expressionism , The Pasadena Art Museum, USA
  • 1962: 50 years ago: New artists' association, Der Blaue Reiter . Gallery Otto Stangl Munich
  • 1966: French Fauvism and German Early Expressionism : Musée National d'Art Moderne Paris. Further exhibition station: House of Art Munich
  • 1967: Master of Drawing in German 20th Century Art . Frankfurter Kunstverein, Frankfurt aM
  • 1967: Masterpieces of German Expressionism , Otto Stangl Gallery, Munich
  • 1968: Realism in painting in the 1920s . Art Association in Hamburg
  • 1969: Industry and technology in German painting , Wilhelm Lehmbruck Museum, Duisburg
  • 1969: The image of the city . Wallraf-Richartz-Museum, Cologne
  • 1970: The German Expressionists an their Contemporaries. 50 Years of Fantasy and Frenzy . Art gallery. University of Notre Dame, South Bend (USA)
  • 1971: German Expressionism . National Museum of Western Art, Tokyo (Japan)
  • 1973: The city. Image - shape - vision. European cityscapes in the 19th and 20th centuries . Kunsthalle Bremen
  • 1975: The Blue Rider and his circle. Paintings, watercolors, drawings, graphics . 24th art exhibition Villingen-Schwenningen
  • 1976: Plavi Jaha. The Blue Rider . Muzej Savremene Umetnosti, Belgrade
  • 1977: The November Group. Trends of the Twenties , Wedding Town Hall, Berlin
  • 1977: Munich painting 1892–1914 from the Secession to the Blue Rider . Hokkaido Museum of Modern Art. Exhibition stations: Sapporo, Tokyo, Fuduoka (Japan)
  • 1979: The twenties in Munich . Munich City Museum
  • 1980: Franz Marc . Municipal gallery in the Lehnbachhaus, Munich
  • 1981: Rheingarten Collection . Galerie Thomas, Munich
  • 1982: Kandinsky and Munich, Encounters and Changes 1996–1914 . Municipal gallery in the Lehnbachhaus, Munich
  • 1983: Alexej Jawlensky 1864–1941 . Municipal gallery in the Lehnbachhaus, Munich
  • 1983: Alexej Jawlensky. Drawing-graphic documents . Wiesbaden Museum
  • 1984: The West German Impulse 1900–1914 . From the Heydt Museum, Wuppertal
  • 1984: Naked in 20th Century Art . Sprengel Museum, Hanover
  • 1986: The Blue Rider . Art Museum Bern
  • 1986: The landscape. Masterpieces from the 16th to 20th centuries Century . Bielefeld art gallery. Further exhibition station: Kunsthalle Baden-Baden
  • 1986: Capolavori dell'espressionismo inglese. Dipinti 1905-1920 . Palazzo Medici Riccardi, Florence
  • 1987: Alexander Kanold 1881–1939. Paintings, drawings, lithographs . Museum of New Art, Freiburg im Breisgau. Further exhibition station: Von der Heydt Museum, Wuppertal
  • 1987: Prints in Germany 1900 - 1935 II . Gallery Bernd Dürr, Munich.
  • 1988: The landscape. Masterpieces from the 17th to 20th centuries Century . Museum of Turkish and Islamic Art, Istanbul. Further exhibition station: State Museum, Ankara (Turkey)
  • 1990: Vincent van Gogh and the Modern Age 1890–1914 . Folkwang Museum, Essen. Further exhibition station: Van Gogh Museum Amsterdam
  • 1990: Alfred Kubin 1877-1959 . Municipal gallery in the Lenbachhaus, Munich. Further exhibition station: Hamburger Kusthalle
  • 1992: Art Stories: Citizens, Images, Controversies . From the Heydt-Museum Wuppertal (Art and Museum Association Wuppertal) parallel exhibition in the Kunsthalle Barmen.
  • 1993: Expressionist Pictures . Käthe Kollwitz Museum, Berlin
  • 1996: Manet to van Gogh. Hugo von Tschudi and the struggle for modernity . National Gallery Berlin. Further exhibition station: Neue Pinakothek, Munich
  • 1996: The Expressionists. From departure to obstruction . Museum Ludwig, Cologne
  • 1996: Pierre Girieud et L'expérience de la modernité 1900–1912 . Musée Cantini, Marseille
  • 1997: Albert Bloch. An American Blue Rider . Municipal gallery in the Lenbachhaus, Munich. Further exhibition locations: Nelson Atkins Museum, Kansas City, and Delaware Art Museum, Wilmington
  • 1998: From Waldmüller to Warhol. 19th and 20th century paintings . Museum Schloss Moyland, Bedburg-Hau (North Rhine-Westphalia)
  • 1998: The Blue Rider and its artists . Bridge Museum, Berlin. Further exhibition station: Kunsthalle Tübingen
  • 1998: Alexej von Jawlensky. Travel, friends, changes . Museum am Ostwall, Dortmund
  • 1998: “Galerie Meyer-Ellinger . Frankfurt a. M
  • 1998: Expressionism, painting and graphics . Belvedere Gallery, Vienna
  • 1999: Germany France. Dialogues of the arts in the XX. Century . Ludwig Museum in the Deutschherrenhaus, Koblenz
  • 1999: The Blue Rider and the New Image. From the Neue Künstlervereinigung München to the Blauer Reiter . Municipal gallery in the Lenbachhaus Munich
  • 2000: The Blue Rider . Kunsthalle Bremen
  • 2000: Alexander Kanold. Graphics and painting . Karlsruhe Art Gallery
  • 2000: Klausen artists' colony 1974–1914 . Klausen (South Tyrol)
  • 2000: Retour de Paris . File. From the Heydt Museum Wuppertal
  • 2000: Expressionismo Alemao (German Expressionists) . Traveling exhibition of the Von der Heydt Museum Wuppertal on the occasion of the 500th anniversary of the discovery of Brazil. Formerly the imperial palace Paco Imperial Rio de Janeiro ( Museu de Arte Moderna ). Further exhibition station: Museu Lasar Segall São Paulo
  • 2001: Private Treasures . Hamburger Kunsthalle
  • 2001: Expressionism . State Museum Schloß Gottorf, Schleswig
  • 2002: Marianne von Werefkin in Murnau . Murnau Castle Museum
  • 2004: Paradise regained. German Expressionism . Museum oft Modern Art, Ishøj (Denmark)
  • 2004: Kochel . Franz Marc Museum, Kochel
  • 2006: Lyonel Feininger. Early works and friends . From the Heydt Museum Wuppertal
  • 2007: Gartenlust. The garden in art . Belvedere Gallery, Berlin
  • 2008: The expressionist impulse: masterpieces from Wuppertal's large private collections . From the Heydt Museum Wuppertal
  • 2008: Jena Art Collection: The picture collection of the former Jena Art Association . Jena City Museum
  • 2009: Why I am not a conservative . Museum of Fine Arts, Leipzig
  • 2009: Fauves et expressionistes de van Dongen à Otto Dix . Marmottan Monet Museum, Paris
  • 2010: Landscape as a worldview . Kunsthalle Kiel. Further exhibition stations: Museum Wiesbaden, Chemnitz Art Collections, Bonnefanten Museum Maastricht
  • 2010: Kandinsky en Der Blaue Reiter . Gemeentemuseum The Hag
  • 2010: The spiritual in art. From the Blue Rider to Abstract Expressionism . Wiesbaden Museum
  • 2011: Liebermann's opponent. The New Secession and Expressionism . Max Liebermann House, Berlin. Further exhibition station: Landesmuseum Schloß Gottorf, Schleswig
  • 2011: Expressionism in the Rhine-Main area. Giersch Museum, Frankfurt a. M.
  • 2012: Alexej von Jawlensky (1864–1941) . Jena City Museum
  • 2012: Mission Moderne . Wallraf-Richartz-Museum Cologne and Fondation Corboud
  • 2012: Point systems . Wilhelm Hack Museum, Ludwigshafen
  • 2013: Erma Bossi. A search for clues . Murnau Castle Museum
  • 2014: Horizont Jawlensky as reflected in his artistic encounters 1900–1914 . Wiesbaden Museum
  • 2014/15: Expressionism in Germany and France. From Matisse to the Blue Rider . Kunsthaus Zurich . Further exhibition stations: Los Angeles County Museum of Art and Musée des Beaux-Arts de Montréal

Web links

Commons : Adolf Erbslöh  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Hans Wille: Adolf Erbslöh, 1881–1947 . Art and Museum Association, Wuppertal 1967, no p.
  2. ^ Gerhard Wietek: Georg Tappert 1880–1957, Ein Wegbereiter der Deutschen Moderne , Munich 1980, p. 9.
  3. ^ Academy of Fine Arts Munich: Matriculation books 1884–1920 , Matriculation number 2918 Adolf Erbslöh, from May 16, 1905.
  4. ↑ Antje Birthälmer: Adolf Erbslöh (1881–1947), From Expressionism to a New Feeling for Nature , exhibition catalog, Von der Heydt-Museum Wuppertal, Wuppertal 2000, p. 9, see: cat. No. 1–11.
  5. ^ Hans Wille: Adolf Erbslöh, 1881 to 1947, drawings . Municipal Gustav-Lübcke-Museum Hamm, Hamm 1986, p. 7 ff.
  6. ^ Hans Wille: Adolf Erbslöh, 1881 to 1947, drawings . Municipal Gustav-Lübcke-Museum Hamm, Hamm 1986, p. 7 ff.
  7. ^ Hans Wille: Adolf Erbslöh, 1881–1947 . Art and Museum Association, Wuppertal 1967, no p.
  8. ↑ Valentine Macardé: Le renouveau de l'art russe picturale 1863-1914 . Lausanne 1971, p. 135 f.
  9. ^ Hoberg / Hoffmeister: anthology . 1999, p. 29.
  10. ↑ Annegret Hoberg, Titia Hoffmeister, Karl-Heinz Meißner: Anthology . In: The Blue Rider and the New Image, From the New Artists' Association Munich to the Blue Rider , exhibition catalog. Städtische Galerie im Lenbachhaus, Munich 1999, p. 29.
  11. ↑ Kanoldt did not move to Munich until 1909, see: Museum für Neue Kunst Freiburg (Ed.): Alexander Kanoldt 1881–1939, paintings-drawings-lithographs . Exhibition catalog. Freiburg i. Br. 1987, p. 192 f.
  12. ↑ Birthälmer: Adolf Erbslöh (1881–1947), From Expressionism to a New Feeling for Nature . 2000, p. 157.
  13. ^ Becks-Malorny: The Art Association in Barmen 1866-1946 . 1992, p. 45.
  14. ^ Hoberg / Hoffmeister: anthology . 1999, p. 356.
  15. ↑ Hoberg / Friedel: The Blue Rider and the New Image . 1999, No. 16.
  16. ↑ Wachtmann: To Erbslöh's paintings in the Von der Heydt Museum . 1992, p. 44.
  17. ^ Becks-Malorny: The Art Association in Barmen 1866-1946 . 1992, p. 47.
  18. ^ Fäthke: Marianne Werefkin . 2001, p. 151.
  19. ^ Fäthke: Werefkin and Jawlensky with their son Andreas in the Murnau period . 2008, p. 57.
  20. ^ Hoberg / Hoffmeister: anthology . 1999, p. 358
  21. ↑ Hoberg / Friedel: The Blue Rider and the New Image . 1999, No. 100.
  22. ↑ Fäthke: Jawlensky and his companions in a new light . 2004, p. 150.
  23. ^ Wietek: Georg Tappert 1880–1957 . 1980, p. 31.
  24. ^ Hoberg / Hoffmeister: anthology . 1999, p. 39.
  25. ^ Annegret Hoberg: Wassily Kandinsky and Gabriele Münter in Murnau and Kochel 1902–1914, letters and memories . Munich 1994, p. 123.
  26. ^ Macke / Marc: Correspondence . 1964, p. 65.
  27. ^ Macke / Marc: Correspondence . 1964, p. 74.
  28. ↑ Hoberg / Friedel: The Blue Rider and the New Image . 1999, p. 364.
  29. ^ Kandinsky / Marc: Correspondence . 1983, p. 71.
  30. ^ Macke / Marc: Correspondence . 1964, p. 84.
  31. ^ Macke / Marc: Correspondence . 1964, p. 84.
  32. ^ Macke / Marc: Correspondence . 1964, p. 84.
  33. ↑ Printed in full with Kandinsky's handwritten signature in Bernd Fäthke: Alexej Jawlensky, heads etched and painted, Die Wiesbadener Jahre . Exhibition catalog. Galerie Draheim, Wiesbaden 2012, ISBN 978-3-00-037815-7 , p. 53 ff, fig. 54–55.
  34. ↑ Bernd Fäthke: Dirt on the stick, exciting facts about the history of the origin of the Blue Rider , HANDELSBLATT, 7./8. April 2000; ders .: Staging of a crash, news from the "Blauer Reiter" , WELTKUNST, 70th year, No. 13, November 1, 2000, p. 2218 f .; ders .: Marianne Werefkin , Munich 2001, pp. 173–178; ders .: Marianne von Werefkin, Of colors, shapes and lines . In: Marianne von Werefkin in Murnau, art and theory, role models and artist friends . Exhibition catalog. Murnau 2002, p. 32 f; ders .: Jawlensky and his companions in a new light , Munich 2004, p. 157 f; ders .: Werefkin and Jawlensky with their son Andreas in the “Murnauer Zeit” . In: 1908–2008, 100 Years Ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau . Exhibition catalog. Murnau 2008, p. 60 f.
  35. ^ Hoberg / Hoffmeister: anthology . 1999, p. 358.
  36. ↑ Hoberg / Friedel: The Blue Rider and the New Image . 1999, p. 363.
  37. ↑ Wachtmann: To Erbslöh's paintings in the Von der Heydt Museum . 1992, p. 49.
  38. ↑ Birthälmer: Adolf Erbslöh (1881–1947), From Expressionism to a New Feeling for Nature . 2000, p. 159.
  39. ↑ Fischer: The new picture. 1912, ill. Pp. 30–31, panels X – XIII.
  40. ↑ Fischer: The new picture. 1912, p. 30 f.
  41. ^ Karl-Heinz Meißner: Artist of the 'Neue Künstlervereinigung München' after 1914 at the 'Neue Münchner Secession' . In: Annegret Hoberg, Helmut Friedel (Ed.): The Blue Rider and the new picture exhibition catalog. Städtische Galerie im Lenbachhaus, Prestel Munich 1999, ISBN 3-7913-2065-3 , p. 330.
  42. ^ Museum of New Art Freiburg: Alexander Kanoldt 1881–1939, paintings – drawings – lithographs . Exhibition catalog, Freiburg i. Br. 1987, p. 193.
  43. ^ Exhibition catalog Art Exhibition Stuttgart 1914 , Kgl. Art building, Schloßplatz, May to October, ed. from the Association of Art Friends in the States on the Rhine, Stuttgart 1914, p. 49, cat. 429 (“The violet veil”, oil painting).
  44. ^ Andreas Erbslöh: Adolf Erbslöh in the family reports 1914–1918 . 1997, p. 13.
  45. ^ Andreas Erbslöh: Adolf Erbslöh in the family reports 1914–1918 . 1997, p. 15 f.
  46. ^ Fäthke: Marianne Werefkin . 2001, p. 66.
  47. ^ Becks-Malorny: The Art Association in Barmen 1866-1946 . 1992, p. 45.
  48. ^ Adolf Erbslöh: Letter to Otto Fischer from November 26, 1932 . In: Hilde Flory-Fischer: Otto Fischer, an art historian of the twentieth century, Reutlingen 1886 - Basel 1948. Reutlingen 1986, p. 38 f.
  49. ↑ Bernd Fäthke: Alexej Jawlensky, heads etched and painted, The Wiesbaden years . Exhibition catalog. Galerie Draheim, Wiesbaden 2012, ISBN 978-3-00-037815-7 , p. 35 ff.
  50. ↑ Adolf Erbslöh: Fantasy and Form . In: The art . Bruckmann, Munich April 1929, p. 20
  51. ↑ The painting was sold in Jena in June 1912 after it was shown at the 3rd exhibition at the NKVM. In 1967 his “whereabouts were unknown”, cf. Hans Wille: Adolf Erbslöh, 1881–1947 . With a catalog of the paintings, art and museums association, Wuppertal 1967, o. S., 2006 the painting reappeared at an auction
  52. ^ Brigitte Salmen, Felix Billeter: Adolf Erbslöh 1881–1947, catalog raisonné of the paintings , p. 255
  53. ↑ Publié à l'occasion de l'exposition - L'expressionnisme en Allemagne et en France. De van Gogh à Kandinsky. ( PDF, pp. 77, 87 and 277. ( Memento of the original from April 2, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ) @1@ 2Template: Webachiv / IABot / www.mbam.qc.ca
  54. ^ Los Angeles County Museum of Art / Zürcher Kunstgesellschaft (ed.): Expressionism in Germany and France. From Matisse to the Blue Rider. Exhibition catalog. Prestel, Munich 2014, ISBN 978-3-7913-5339-5 , p. 290
  55. ↑ Blade of Diamonds (Russian): Silver Age Silhouette . Moscow July 31, 2013
  56. ↑ Lempertz auction house: Lot 264. Auction catalog auction 1090, 2017.
  57. ↑ Lempertz auction house: Lot 264. Auction catalog auction 1090, 2017.
  58. ^ City of Bochum: Unjustifiably forgotten: The municipal picture gallery . Retrieved October 2, 2015
  59. ^ Masterpieces III, Works of German Expressionism. Exhibition catalog. Galerie Thomas, Munich 2007
  60. ↑ Bernd Dürr and Christine Kumm (editors): Prints in Germany 1900 - 1935 II . Exhibition catalog. Hofmann-Druck, Augsburg 1987
  61. ^ Los Angeles County Museum of Art / Zürcher Kunstgesellschaft (ed.): Expressionism in Germany and France. From Matisse to the Blue Rider. Exhibition catalog. Prestel, Munich 2014, ISBN 978-3-7913-5339-5 , pages 166, 265 and 290
  62. ↑ Unless otherwise specified, the list of exhibitions is based on the records of the “Von der Heydt Museum Archive”, accessed on January 31, 2015, the catalog “Von der Heydt Museum (Hrsg.): Adolf Erbslöh. Paintings 1903–1945 , Wuppertal 1992, ISBN 3-89202-017-5 ”, the museum catalog“ Uta Laxner-Gerlach, Von der Heydt-Museum (ed.): The paintings of the 20th century . W. Brockhaus KG, Wuppertal 1981 ”, p. 60, the“ Exhibition catalog Los Angeles County Museum of Art / Zürcher Kunstgesellschaft (ed.): Expressionism in Germany and France. From Matisse to the Blue Rider. Prestel, Munich 2014, ISBN 978-3-7913-5339-5 “, the information in: Brigitte Salmen, Felix Billeter: Adolf Erbslöh 1881–1947, catalog raisonné of the paintings . Ed .: Karl & Faber, Hirmer-Verlag, Munich 2016, ISBN 978-3-7774-2587-0 and on the publications listed in the bibliography as well as online publications from various art associations and galleries
personal data
SURNAME Erbslöh, Adolf
BRIEF DESCRIPTION German painter
DATE OF BIRTH May 27, 1881
PLACE OF BIRTH New York City
DATE OF DEATH May 2, 1947
Place of death Irschenhausen