Anna Maria Strackerjan

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Anna Maria Strackerjan (born February 23, 1919 in Oldenburg ; † March 4, 1980 in Oldenburg) was a German sculptor .

biography

Anna Maria Strackerjan was born on February 23, 1919 in Oldenburg, the daughter of Eva Strackerjan, nee. Rabeling (1892–1968) and Friedrich Strackerjan (1887–1974). From 1937 to 1938 she did a book trade apprenticeship in Hamburg with Kurt Sauke (1895–1970). At that time she lived with Alice Sauerlandt (1880–1972) and met Emil Nolde there, among others . In 1938 and 1939 she continued her book trade apprenticeship in Berlin. In 1939 he began studying with Emmy Stalmann at the Art School of the West in Berlin. In 1939 and 1940 she studied with the sculptor August Waterbeck (1875–1947) in Hanover. From 1940 to 1944 she studied at the Academy of Fine Arts in Munich with Richard Knecht (1887–1966).

On September 10, 1941, her brother Huno (* 1922) fell in Kruglowa on the Dnjpr. In 1947 she worked as a handicraft teacher at German Youth Activities in Munich. In 1948 she worked as a film sculptor at the Bavaria Ateliers in Geiselgasteig and as a handicraft teacher at the US military college at the Munich headquarters .

In 1950 she began studying with Kurt Helbig (August 15, 1897 - May 25, 1951) in Stockholm . Helbig was a member of the left-wing cartel of German intellectual workers. At the beginning of 1933 he emigrated to Denmark as a politically persecuted person, and from there did illegal work. In 1935 he came to Sweden through personal contacts. Here he worked as a freelance artist.

After Helbig's suicide in 1951, Strackerjan returned to Oldenburg, where she worked as a freelance sculptor. Anna Maria Strackerjan lived at Marschweg 92 until the 1970s, and then at Moltkestraße 4–5 until her death. She had her studio at the beginning of the 1950s on Mühlenstrasse, then on Ritterstrasse, and since around 1970 in the house at Kleine Kirchstrasse 9.

As an artist personality, Anna Maria Strackerjan was formative for the cultural life of the city of Oldenburg, in the 1950s to 1970s her studio was a meeting point for art friends and colleagues.

Anna Maria Strackerjan died on March 4, 1980 after suffering from cancer for a long time . Her grave in the Oldenburg Gertruden cemetery is surrounded by the graves of her family. The grave of the artist Horst Janssen is only about 50 meters away .

Aftermath

  • A posthumous bronze cast of the shoe wax model by Anna Maria Strackerjan, donated by the art critic Jürgen Weichardt , was first awarded in 1999 as a cultural prize for the Oldenburg landscape . In 2002, the musicologist Gertrud Meyer-Denkmann (1918–2014), who was friends with Anna Maria Strackerjan, received the award . In 2009 the former director of the museums of the city of Oldenburg Ewald Gäßler was the winner.
  • In 2007/2008, the Oldenburg – Eversten e. V. suggested that the city of Oldenburg name a new street in the “ Eversten –West” development area after Anna Maria Strackerjan.

The work

Anna Maria Strackerjan's artistic work includes sculptures and drawings . A preliminary catalog raisonné includes 103 bronze sculptures, 24 plaster and iron sculptures, 34 portraits and 43 public commissions.

Her work has been known and appreciated in numerous exhibitions in museums and galleries beyond Oldenburg. The focus of her artistic work was on people - in their dignity and also in their vulnerability. Again and again she turned to topics from ancient mythology .

Anna Maria Strackerjans "Art lies at the intersection of topicality and tradition, not only in a sculptural-artistic but also in a literary way. It has the power to make real humanity and humanity visible behind reality." This was the judgment of the art critic Jürgen Weichardt as early as 1978 .

Exhibitions

Solo exhibitions

Participation in exhibitions

  • 1954–1966: Autumn exhibitions at the Kunstverein Hannover
  • 1954/1966 : BBK exhibitions in Braunschweig, Bremerhaven, Emden, Groningen, Hanover, Hildesheim, Oldenburg
  • 1957: Young West Art Prize , Recklinghausen
  • 1962: Galerie Seder, Paris
  • 1971: Marionette Theater Gallery, Mölln
  • 1973: BBK, Hanover-Herrenhausen
  • 1973: Free group BBK, Kunstverein Oldenburg
  • 1974: Young group BBK, Kunstverein Oldenburg
  • 1975: Art Prize of Böttcherstraße , Bremen
  • 1977: European Group of Art , Mainz
  • 1978: Museum village of Cloppenburg
  • 2000: Artothek of the City of Oldenburg - Mythical motifs

literature

  • Jürgen Weichardt : Kriemhild Flake, Ilse Willers, Anna Maria Strackerjan. Exhibition catalog. Kunsthalle Wilhelmshaven, 1973.
  • Herwarth Röttgen : Anna Maria Strackerjan - sculptures and drawings. Study gallery University of Stuttgart, 1978.
  • Jürgen Weichardt: Anna Maria Strackerjan - sculptures 1940–1978. Exhibition catalog. Galerie Centro Oldenburg, 1978.
  • Jürgen Weichardt: Anna Maria Strackerjan - drawings, sculptures. Exhibition catalog. Oldenburger Kunstverein, 1982.
  • Barbara Habermann: body housing - homage to Anna Maria Strackerjan. In: Traced Paths. Stadtmuseum Oldenburg, Isensee Verlag, Oldenburg 1995.

Texts

These statements of the artist about the creative process can be instructive about Anna Maria Strackerjan’s work:

“From an initially closed block with clearly defined contours , the sculptures are reduced to a skeleton , as symbols they become bearers of functions: sitting - standing - striding - lying down. They stand in the room like letters ( spectators , reading boys , men in conversation ).
The form changes. The individual figures become groups, a moving surface, with no single figure recognizable, just like a moving group crosses the street at a green traffic light ( walking couple , family , piggyback ). Gradually the moving surface begins to detach itself from the ground - it floats like rising smoke ( whoever carries , floating spirits ).
Now the form returns to volume, initially in the form of a small column built in three different blocks ( Sappho , Dance , Lament ). This is followed by the surface plump with inner tension in the realistic sculptures ( landlord , landlady ).
The inner tension, which is now increasing, begins to move the surface and finally to tear it apart ( philosopher , reclining woman , caryatid , figurehead ).
A new section begins with the torn shape, which becomes a hollow shape ( jacket , shirt in the wind ). Until then, the sculptures were molded in wax and cast in bronze . The shape that has now been torn open encourages a larger version, and a prefabricated material made of iron wire forms the framework for working in plaster of paris . The tension is heightened by the combination of these contrasting materials: wire mesh and plaster structure ( phoenix , bird , Icarus , Daphne , Orpheus and Eurydice , Nike ). The pathos of the representation is ironized by the fragility of the plaster structure.
The square iron is added as a third element, which gives the previously obtained shape a further contrast ( infanta , odalisque , Roman emperor ).
Back to working in wax, the same molding principle is used. The crusty structure of the surface in contrast to the stand, like impaled butterflies ( chess pieces in bronze). The last development leads to a combination of hollow form - structure - smoothness. The tension of the form is optimal ( clothes from a museum ). "

- Anna Maria Strackerjan : Plastic Form Changes 1940–1978.

Web links

personal data
SURNAME Strackerjan, Anna Maria
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH February 23, 1919
PLACE OF BIRTH Oldenburg
DATE OF DEATH March 4th 1980
Place of death Oldenburg