Albert Buesche

Albert Buesche (born around 1895; died probably 1976) was a German art historian . He was an art critic for the Tagesspiegel and president of the German-French Society in Berlin.

Life

Teaching

Albert bushes worked as teacher at the French Gymnasium in Berlin worked. In 1920 he received his doctorate in Hamburg with a thesis on the dramaturgy of August Graf von Platen , then became a director in various German theaters and lecturer in Paris . There he visited the writer André Gide in 1932 . When the DAAD branch in Paris attempted to show German theater plays such as Faust I and Hanneles Himmelfahrt , the artistic direction as well as the preparation and implementation were up to Buesche. Even if it was only about student theater performances, he claimed in 1933 that he was doing cultural propaganda together with the head of the DAAD branch Hans Göttling : “The goal: to arouse respect and understanding, participation and sympathy in the other people. For France, even more than for other countries, the way of performing art is the main consideration. "

Occupation officer in Paris

During the German occupation in Paris , Buesche was a lieutenant in the Wehrmacht and a NSDAP / AO member. As a "connoisseur of French literature and culture" he was hired by Rudolf Sparing in 1941 as a theater critic for the Pariser Zeitung . He was friends with the sculptor Arno Breker and wrote the introduction to the catalog for the Breker exhibition, which took place in the Musée de l'Orangerie in Paris in 1942 . At that time Buesche lived in the 7th arrondissement of Paris , next to the Galerie de Beaune (in the rue de Beaune ), where he met the painter Roger Toulouse and presented himself as "Antinazi". He had campaigned with Otto Abetz ( NSDAP ) for the poet Max Jacob , who died in the Drancy assembly camp in 1944 and whom he had visited in Saint-Benoît-sur-Loire .

Activity as a propagandist

Editorial building of the Pariser Zeitung in the Rue Réaumur in the 2nd arrondissement (Paris)

Albert Buesche had been a theater critic and department head of the cultural section of the Pariser Zeitung since 1941, features correspondent for the Reich and also frequently published articles on art and music in the quarterly issues of the Paris German Institute . In it he had shown himself to be a “good expert on the literary scene” and “clearly tried to pretend cultural normality and to adapt to the usual tone of feature pages”, for example in his 1944 review of Jean Anouilhs Antigone, in which “the representative of the occupying power clearly stylized as police officers or militiamen as representatives of Creon's state power as gangsters ”, without mentioning“ the possible political meanings ”. In 1943 he had emphasized the cathartic role of the theater, which enabled the safe expression of political feelings - a view that "probably inspired" the security police to write a similar report.

Albert Buesche showed "a certain independence" from official German cultural policy. The propaganda squad found his discussion of the “ Iphigenia ” guest performance in 1942 “extremely embarrassing” and Wilhelm Knothe (NSDAP) considered his comments in French about Gerhart Hauptmann's “ Rose Bernd ” in French “rather inappropriate in terms of cultural policy”, according to Kathrin Engel: Buesche's view According to him, “the so-called remelting of German poetry by the 'French character' would be necessary, because he saw it as a step towards Europeanism in the future. In this imagination, German and French culture were equal partners, whose encounter formed the preliminary stage to an intellectual Europeanism. Such thoughts were not compatible with the so-called victory of German culture over French, pursued by the National Socialists ”.

According to Buesche, the "limits of understanding" are fruitful for contact between the two peoples, which is why one should openly acknowledge these limits. It is perfectly natural that, for example, Jean Racine should alienate the German audience. With this, Buesche excludes belief in a supranational world and in a universalistic culture and, like Karl Epting (NSDAP), the founder and director of the German Institute, shows himself to be a supporter of so-called "cultural studies", which has been the dominant teaching since the mid-twenties in German philology .

According to the special leader for the literary policy of the occupying power, Gerhard Heller , Buesche would have been "an enemy of official opinions" at that time. Like Heller, however, he was a member of the NSDAP and a propaganda department that only practiced “liberal” censorship for strategic reasons. The music critic for the Paris newspaper Heinrich Strobel also tried to put Buesche u. a. "To be freed from the accusation of National Socialist work ethics" and to justify its work with the "commitment for France and for an understanding between the two peoples", which, however, "certainly corresponded to the political intentions of the German occupiers, since successful German cultural work and propaganda without collaboration and certain consideration for the needs of the occupied country could not be realized. "

post war period

From September 15, 1944, Buesche was editor of the Reich , then art and television critic for the Berlin Tagesspiegel. He was elected President of the Franco-German Society in Berlin on January 29, 1951 and was one of the advocates of Rudolf Belling's return . Buesche reported on Belling in several reports, some from Istanbul : “The man who left his home country so consistently in 1937 because he was unwilling to reveal his artistic convictions long ago deserved to be officially recalled.” Buesche also tried that To highlight typical “Berlin art”. He singled out Renée Sintenis , Hannah Höch , who lives like a “hermit”, and the “bold and uncompromising painter Jeanne Mammen ” as particularly worthy of admiration .

Albert Buesche died a few years before his wife, the actress Ursula Krieg .

Fonts (selection)

• Platen's dramaturgy, the poet's relationship to drama and the stage (Hamburg dissertation, printed in excerpt from Hanover 1920).
• “The museum question”, in: Das Kunstblatt, vol. 11, 1927
• “Picture and wall. Where to put the pictures! ”, In: Das Kunstblatt, January 1929
• “A visit to André Gide.” [?], 1932.
• "Goethe in French eyes". BerlTgbl. May 5, 1935
• “The book in the service of Franco-German intellectual exchange.” In: University and abroad. 13th 1935
• “Arno Breker. Introduction and guidance through the exhibition in the Orangery des Tuileries ”, in: Arno Breker. Exhibition in the Orangery (exhibition catalog, Orangerie des Jeu de Paume, Paris), Paris 1942, pp. 19–20.
• “'Iphigenie' in German, guest performance of the Bavarian State Theater in Paris”, in: Pariser Zeitung, April 16, 1942.
• “Breker exhibition in Paris”, in: Germany-France. Quarterly journal of the German Institute , I-3/1943
• "Limits of understanding, Gerhart Hauptmann's" Rose Bernd "in French", in: Pariser Zeitung, January 26, 1943
• “'Rose Bernd' in Paris. Mirroring German Poetry in a French Character ”, in: Dt. Ukraine-Ztg, Lemberg, March 26, 1943
• “A strange liberator” [Rez. von Sartre's Die Flies], Pariser Zeitung, June 9, 1943
• “The Parisian and his theater. Discussion on romantic pieces ”, in: Das Reich, September 12, 43.
• “A downfall with hope. "Sodom and Gomorrah" premiered by Jean Giraudoux ", in: Das Reich, 7 November 1943
• “Claudel's» Seidenschuh «.” In: Das Reich 51 / 19. 12. 1943
• “Wanderer between two wars: on the death of Jean Giraudoux.” Paris newspaper. February 1, 1944.
• “Those on watch play cards forever [Rez. by Jean Anouilh's 'Antigone'] ”in: Pariser Zeitung, February 16, 1944
• "How it was. Still no obituary for Paris. ”In: Das Reich No. 39 of September 24, 1944.
• “Young French Art”, in: Germany-France, Issue 8/1944, pp. 50–62
• "Gyges and his ring in Odéon, historical drama in a historical situation", in: Pariser Zeitung, May 23, 1944
• “An appeal to reason. Four years of interaction between German-French cultural work. ”In: Das Reich No. 1/1945
• "On the way to the poetic - highlights on the film events of the last few months", in: Das Reich No. 6, February 11, 1945
• “The work of Willi Baumeister; Adolf Showcase of the Rosen Gallery ”, autumn 1945
• "Fantastic Art, Catalog Gallery Gerd Rosen", Berlin 1947
• "An architect in time: On Bruno Paul's seventy-fifth birthday", Tagesspiegel (January 19, 1949)
• “Obituary for Bernhard Hoetger.” In: Tagesspiegel, July 28, 1949
• “The loss of the center. To an investigation of modern art ”, in: Tagesspiegel. Literature Journal, No. 35 (August 28, 1949)
• “Before a fourth renaissance?”, In: Tagesspiegel, January 6, 1950
• "Max Bense, Contours of a Intellectual History of Mathematics," Vol. 2 In: Tagesspiegel No. 63, March 4, 1950
• "Exhibition Karl Hofer," in: Tagesspiegel, June 27, 1950
• “Painting the Radiations. Paintings by Trökes - watercolors by Feininger. ”In: Tagesspiegel, July 7, 1951.
• "Living must be" learned ", in: Der Tagesspiegel, August 9, 1951
• "Return to the total work of art: exhibitions Moore und Heiliger", in: Tagesspiegel September 11, 1951
• “In the fog of speeches. The all-German Werkbund conference in Berlin ”, in: Tagesspiegel, October 27, 1951
• “Building and construction. After a tour of the exhibition “Capital city Berlin under construction” ”, in: Tagesspiegel, April 27, 1952.
• “Black and pink in painting. To a book by Karl Hofer. ”In: Tagesspiegel, December 7, 1952
• Berlin-Paris. Contributions to the developing Europe, ed. by Albert Buesche (With the support of the French military government in Berlin, edited by the German-French Society), Berlin-Schöneberg 1952
• “Karl Hofer tells” (review of “Memories of a Painter”). In: Tagesspiegel, May 3, 1953
• “Painter, teacher, organizer - Ahlers-Hestermann seventy years old.” In: Tagesspiegel, July 15, 1953
• “Time dictated. Exhibition Karl Hofer. “In: Tagesspiegel September 13, 1953
• “Painting of pure vision. On Karl Hofer's 75th birthday. ”In: Tagesspiegel October 11, 1953
• “To be viewed from a distance. Theodor Werner's "Untitled Picture" in the corridor of the university hall, "in: Der Kurier, Berlin, February 3, 1955
• “Art talk?” In: Der Kurier (Berlin), March 25, 1955
• “From total school pupil to total submission.” In: Tagesspiegel, January 14, 1957
• "The portrait. Renee Sintenis ”in: Hans Erman (Ed.): Berlin in the mirror. Berlin, 1958.
• "Eichendorff illustration at the turn." In: Almanach Aurora, Eichendorff-Jahrbuch, Würzburg 1960.
• "Eichendorff and the restoration of the Marienburg", Aurora, Eichendorff-Almanach, 21 (1961)
• “Only light exists.” In: Tagesspiegel, October 1, 1961
• "Harmony of the image of man for the glory of creation" in: Tagesspiegel, December 1961.
• "It was not a ghost, but reality" [Rez. from: Wulf, Die Bildende Künste], in: Tagesspiegel, March 10, 1963
• “Art as a whole. Friedrich Ahlers-Hestermann 80 years old ”, in: Tagesspiegel July 17, 1963
• “Porcelain is everyone's achievement” in: Tagesspiegel September 19, 1963
• “A new look at impressionism” in: Tagesspiegel, October 2, 1963
• “A rock in the wolf stomachs of our time. On Otto Dix's exhibition in the Kongreßhalle Berlin 1963 ”, in: Tagesspiegel, October 13, 1963.
• "A Berlin plant: Hannah Hoech near Nierendorf", in: Tagesspiegel, November 13, 1964
• “A revolutionary from Lower Saxony”, in: Tagesspiegel, January 22, 1965
• "Four Ford Scholarship Holders", in: Tagesspiegel, July 9, 1965
• “Ancient art never leaves us”, in: Tagesspiegel, November 7, 1965.
• “How it was - what happened. The rebirth in the visual arts. ”In: Tagesspiegel, 26./27. September 1965 (Fig .: "Karl Hofer - the outstanding personality of Berlin art life after 1945" in front of the painting)
• “Hofer in his totality. Memorial exhibition in the Academy of the Arts. ”In: Tagesspiegel, November 11, 1965
• “Harp and starry mantle. Melchior Lechter graphics in the art library. ”In: Tagesspiegel, December 11, 1965.
• "In Memoriam Max Pechstein, for the 85th birthday," in: Tagesspiegel, December 31, 1966
• "Erotic Mysterium" in: Tagesspiegel, June 14, 1967
• "Dreams in black and pink, exhibition of the Rudolf Springer gallery", in: Tagesspiegel, October 4, 1967.
• “Nimbus of misery. Käthe Kollwitz exhibition at the Academy of Arts ”, in: Tagesspiegel, December 16, 1967
• “A first tour. Neue Nationalgalerie. ”In: Tagesspiegel, September 13, 1968
• “The return of Orlik.” In: Tagesspiegel, October 14, 1970
• "The moderate and the expressionists, Max Kaus bei Pels-Leusden," in: Tagesspiegel, April 22, 1973.

Web links

• Literature by and about Albert Buesche in the bibliographic database WorldCat

Individual evidence

1. ↑ Albert bushes: Platen dramaturgy, the poet's relationship with drama and stage. Printed in excerpt from Hanover 1920. Quoted from Fritz Redenbacher: Platen Bibliography. 2nd, up to 1970 , supplemented edition, Hildesheim 1972 (first Erlangen 1936), p. 90.
2. ↑ Ingrid Galster (ed.): Sartre devant la presse d'Occupation: Le dossier critique des Mouches et Huis clos , Rennes 2005, pp. 339f.
3. ↑ Albert Buesche: “A visit to André Gide.” [?], 1932. PDF
4. ↑ Dr. Hans Göttling and Dr. Albert Buesche to RMVP, Department VII, draft for art events of the Paris branch of the German Academic Exchange Service Winter 1933/34, copy, September 6, 1933. Quoted from Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 93 : “The origins of these initiatives therefore go back to the time before 1933, which suggests that their motivation is more likely to have been rooted in the desire to expand the area of ​​responsibility of the branch and not in the principle of cultural propaganda in the To pursue the meaning of the 'new Germany'. "
5. ^ François Pédron: Max Jacob, le fou de Dieu. Paris 2008, p. 125.
6. ↑ Manuela Schwartz: “'A sunken world'. Heinrich Strobel as a critic, music politician, essayist and speaker in France (1939-1944) “In: Isolde v. Foerster, Christoph Hust, Christoph-Hellmut, Mahling (eds.): Music research, fascism, national socialism. Papers from the Schloss Engers conference (March 8-11, 2000), Mainz 2001, pp. 291–318, here 304.
7. ^ Andreas Laska: Presse et propagande allemandes en France occupée: des Moniteurs officiels (1870-1871) à la Gazette des Ardennes (1914-1918) et à la Pariser Zeitung (1940-1944), Munich, Herbert Utz Verlag-Wissenschaft, 2003 , P. 262.
8. ↑ Rainer Heckel: “The other Breker. Commitment to the Politically Persecuted ”. In: Rudolf Conrades (Ed.): Put up for discussion: the sculptor Arno Breker, accompanying volume to the exhibition, Schwerin (3rd edition) 2006, p. 155.
9. ↑ Patricia Sustrac: “Arrestation. La mort de Max Jacob. "In: Association des Amis de Max Jacob :" Buesche fréquentait la galerie en voisin. "
10. ^ Roger Toulouse in: André Peyre: Max Jacob quotidien . Paris 1976, p. 107: "Le marchand de tableaux [Georges Maratier], qui connaissait mes attaches avec la Resistance, me signala que Buesche était antinazi et bien introduit auprès de l'ambassadeur Abetz."
11. ↑ Olga Rosenbaum: "Max Jacob: The Integrity of the Writer." In: Nicole Thatcher, Ethel Tolansky (Ed.): Six Authors in Captivity: Literary Responses to the Occupation of France during World War II. Bern: Lang, 2006, Pp. 85-110, here 90 ; Moishe Black / Maria Green in: Ders. (Ed.): Hesitant Fire: Selected Prose of Max Jacob, Nebraska 1991, p. 226 ; Annie Marcoux, Didier Gompel-Netter (eds.) In: Max Jacob: Les propos et les jours: Lettres 1904-1944. Paris 1989, p. 521; Maria Green (ed.) In: Max Jacob: Lettres à Michel Manoll, 1937-1944, Mortemart: Rougerie, 1985, p. 161, note 1: “Ce protecteur mystérieux est probablement Albert Buesche, officier allemand antinazi”. Roger Toulouse in André Peyre: Max Jacob quotidien . Paris 1976, p. 108f .: “Ses bureaux étant truffés de micros, nous parlâmes de peinture. Buesche me glissa un billet dans la main. Il me donnait rendez-vous in a restaurant. […] En apprenant la nouvelle, Buesche était défait: 'Encore une sottise des hitlériens. C'est scandaleux. ' Il entreprit sans tarder une démarche auprès d'Otto Abetz, european convaincu. Celui-ci devait signer le bon d'élargissement. ”Letter from Albert Buesche to Roger Toulouse of March 4, 1944 in: Max Jacob: Lettres à Roger Toulouse. 1937-1944. (Ed. By Patricia Sustrac, Christine Van Rogger-Andreucci) Troyes 1992, p. 101: "J'ai fait la démarche dont je vous avais parlé et on m'a dit que votre ami a bonne chance."
12. ^ Andreas Laska: Presse et propagande allemandes en France occupée: des Moniteurs officiels (1870-1871) à la Gazette des Ardennes (1914-1918) et à la Pariser Zeitung (1940-1944), Munich, Herbert Utz Verlag-Wissenschaft, 2003 , P. 262.
13. ↑ Manfred Flügge: Jean Anouilh's "Antigone". Symbolic figure of the French dilemma 1940-1944. A contribution to theater history, 3rd edition Rheinfelden and Berlin 1995, p. 213: "In terms of style, this also corresponds to the other articles by Buesche in this newspaper or elsewhere." Albert Buesche: "Those on watch play cards forever." In: Pariser Zeitung, February 16, 1944: "There are suspicious individuals standing at attention in criminal-looking rubber coats and felt hats worn like a gang."
14. ↑ Albert Buesche: “The Parisian and his theater. Discussion on romantic pieces ”, in: Das Reich, September 12, 1943. Quoted from Ingrid Galster (ed.): Sartre devant la presse d'Occupation: Le dossier critique des Mouches et Huis clos , Rennes 2005, p. 22.
15. ↑ The chief of SIPO and SD Berlin - Secret! October 25, 1943. Quoted from Ingrid Galster: “Le théâtre de Sartre devant la censure (1943-1944).” In: Cahiers de l'Association internationale des études francaises, 2010, n ° 62, pp. 395-418, here 418.
16. ↑ Ingrid Galster: “Le théâtre de Sartre devant la censure (1943-1944).” In: Cahiers de l'Association internationale des études francaises, 2010, n ° 62, pp. 395–418, here 417 ; Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 318.
17. ↑ Albert bushes: "Iphigenia 'in German, guest performance by the Bavarian State Theater in Paris", in: Paris newspaper, 16 April. 1942.
18. ↑ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 310.
19. ↑ Albert bushes: "limits of understanding, Gerhart Hauptmann, Rose Bernd 'in French", in: Paris newspaper, January 26, 1943.
20. ↑ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 316.
21. ↑ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 318 : “With his critical reflections, Buesche questioned the conceptual foundations of the German cultural propaganda pursued here, which explains the annoyance of Knothes. However, Knothe agreed with Buesche's criticism. "
22. ↑ Kathrin Engel: German cultural policy in occupied Paris 1940–1944: Film and Theater, Munich 2003, p. 317.
23. ↑ Eckard Michels: The German Institute in Paris 1940-1944: a contribution to the Franco-German cultural relations and the foreign cultural policy of the Third Reich, Stuttgart 1993, p. 22.
24. ↑ Ingrid Galster (ed.): Sartre devant la presse d'Occupation: Le dossier critique des Mouches et Huis clos , Rennes 2005, pp. 339f.
25. ^ Ingrid Galster: "Le théâtre de Sartre devant la censure (1943-1944)." In: Cahiers de l'Association internationale des études francaises, 2010, n ° 62, pp. 395–418, here 418 ; Françoise Frégnac-Clave: Vichy France on Stage: The Polemic Use of Ancient Myths and Classic Tragedy , in: Domnica Radulescu, Maria Stadter Fox (ed.): The Theater of Teaching and the Lessons of Theater , Oxford 2005, p. 93.
26. ↑ Manuela Schwartz: “'A sunken world'. Heinrich Strobel as a critic, music politician, essayist and speaker in France (1939-1944) “In: Isolde v. Foerster, Christoph Hust, Christoph-Hellmut, Mahling (eds.): Music research, fascism, national socialism. Papers from the Schloss Engers conference (March 8-11, 2000), Mainz 2001, pp. 291–318, here 316.
27. ↑ Knut Hickethier: History of TV Criticism in Germany, Berlin 1994, p. 79.
28. ↑ Albert bushes (ed.): Berlin-Paris. Contributions to the developing Europe . With the support of the French military government in Berlin, ed. from the German-French Society, Berlin-Schöneberg 1952, p. 137; Notes et études documentaires , edition 1429, La Documentation Française, Paris 1949, p. 4.
29. ↑ Quoted from B. Dogramaci: Culture transfer and national identity. German-speaking architects, town planners and sculptors in Turkey after 1927, Berlin 2008, p. 38.
30. ^ Klaus P. Mader: Review of Art in Berlin - 1945 to today. In: Communications of the Association for the History of Berlin, Years 67–70, Berlin 1971–1974, p. 69.
31. ↑ Quoted from Gabriele Saure: "Art and women artists in the post-war period in Germany." In: Ortrun Niethammer (Ed.): Women and National Socialism. Historical and cultural-historical positions. Osnabrück: Rasch 1996, pp. 172–183, here 176: “[Buesche] deeply regretted that these women were so little present in art life and urged them to step out of their self-chosen isolation. Unfortunately, in his enthusiasm, he misunderstood the fact that at least Hannah Höch and Jeanne Mammen had withdrawn precisely because their art was not accepted. "
32. ↑ Weltkunst , 1985, vol. 55, p. 1143: “A married couple whose passion for collecting now, after Ms. Ursula Buesche also died, a few years after her partner, will benefit the jointly devised good cause: as a donation for the Berlin Zoo , the salable objects - baroque furniture to modern art - with claw feet 3000 DM (1200 DM). "

Remarks

1. ↑ Information according to DNB under Tp 1073524787 , uncertain