Anneliese Hager

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Anneliese Hager (* 11. February 1904 on Good Lindenhof , Złotów ; † 1. March 1997 in Korbach ) was a German poet of Surrealism , translator and art photographer, among other things, by their abstract photograms became known.

Life

From 1920 to 1922, Hager trained as a metallographer at the Lette Association's photography school in Berlin and was initially active as a photographer in the field of modern art in the 1920s. From 1922 to 1924 she worked as a technical assistant for microphotography at the Kaiser Wilhelm Institute in Berlin. In 1933 she moved to Aachen , where she lived in seclusion during the Nazi era. From 1935 on, Hager experimented with the photogram printing process under the influence of the works of László Moholy-Nagy and Man Ray . She moved to Dresden in 1940, where she came into contact with Edmund Kesting , among others . Her marriage to Rudolf Brauckmeyer in 1924, with three children, was divorced in 1943. When Dresden was bombed in February 1945, Hager lost all of her property. Their photograms were also lost.

After the Second World War , Hager lived with the painter Karl Otto Götz , whom she married in 1947. The couple lived in Königsförde near Hameln from 1945 to 1950 , initially in Frankfurt am Main from 1950 and later settled in Düsseldorf . With Götz, Hager was part of the CoBrA artist group from 1948 . In January 1950 she exhibited together with Götz in the Gerd Rosen gallery in Berlin . In 1951 she met Paul Celan , three years later she met André Breton and worked with Max Hölzer on his surrealist publications . The marriage with Götz was divorced in 1965. Hager moved from Düsseldorf to Lenggries in Upper Bavaria, lived in Krefeld from 1972 , later in Schmallenberg , Wiesbaden , and finally in 1993 in Korbach, where she died in 1997 at the age of 93.

Act

After completing her apprenticeship as a metallograph, Hager had initially worked in this profession and in this context dealt with microphotography before turning to the photogram printing process in 1935 . She used her surrealistic abstract photograms to illustrate her own poems, among other things. Even after the loss of all works in the bombing of Dresden, Hager experimented with the photographic printing process, especially during her years in Königsförde. Her photograms were close to the works of Gudrun Ahlberg and Jindrich Heisler , among others . They “aim more at the creation of new spaces, new targets of amazement, than at pure design. [...] It connects elements that were created purely by chance (flakes or grains are scattered on the light-sensitive paper) with others that were processed beforehand ( shredded paper whose ' arp-like ' shapes can be found on the paintings by KO Götz that were created at the same time) she was the “old master of the photogram” as early as the 1950s; Her photographic work of the 1920s also anticipated later developments in abstract expressionism. Hager was unable to exhibit or publish her photograms during the Nazi era. After 1945, “the withdrawn artist” only took part in a few exhibitions, and then mostly in connection with the artists' associations Meta , Rixes and CoBrA . Her works could be seen in the Museum am Ostwall in Dortmund .

Hager published poems at irregular intervals. She had already started poetry at the age of 16. In 1947 she wrote the surrealist prose poem The Red Clock , which was published in a limited edition in 1963 as a hand press. The illustrations came from her husband Karl Otto Götz. The volume of poetry White Shadow was also published as a limited hand press print in 1964 , which she illustrated with her own photograms. It was bound, signed and numbered in an original Hager's photogram, and was published in a total of 36 copies. She had already published in 1961 under the name Annelise Hager in the Belgian surrealist magazine Edda (No. 3 from March 1961). Hager's other poems appeared in the poetry album in 1970 and collected in 1991 under the title The Red Clock and Other Seals .

Die Zeit reviewed Anneliese Hager's work in 1992 and declared that “as a German surrealist she belongs to such a rare literary species that her texts - even the less successful ones - seem like bosons from a strange star and a buried avant-garde tradition call to mind, whose possibilities are still untapped. "

Hager translated numerous texts by French authors into German that were completely unknown in Germany, including works by Guillaume Apollinaire , Louis Aragon , Charles Baudelaire , André Breton , René Char , Robert Desnos , Alfred Jarry , Comte de Lautréamont , Claude Sadut and Marguerite Yourcenar .

plant

Poetry and photograms

  • The red clock. Prose poem 1947 - with lithographs by KO Götz. [Hand press printing by Klaus Burkhardt ]. Galerie Müller, Stuttgart 1963.
  • White shadows. Photograms. Poems . Klaus Burkhardt, Stuttgart 1964.
  • The red clock and other seals . Edited by Rita Bischof and Elisabeth Lenk. Arche, Zurich 1991, ISBN 978-3716021361 .
  • Made of atomized stones: texts by German surrealists . Anneliese Hager u. a. Rimbaud, 1995, ISBN 978-3-89086-845-5 .

Translations

  • Alfred Jarry: Haldernablou. Translation: Anneliese Hager-Götz. In: Accents . H. 1, 1962, pp. 36-55.
  • René Char: Claire. Theater in the countryside . S. Fischer, Frankfurt am Main 1967.
  • Robert Desnos: Robert Desnos. Selected texts, images, facsimiles, bio-bibliography . Luchterhand, Neuwied 1968.
  • Marguerite Yourcenar: The Black Flame . Kiepenheuer & Witsch, Cologne 1969. New edition: Deutscher Taschenbuch Verlag , Munich 2003, ISBN 978-3423130790
  • René Char: The sun of the waters. Drama for a painting of fishermen . S. Fischer, Frankfurt approx. 1970
  • Claude Sadut: Therese or The Submission . Gala, Hamburg 1971
  • Alfred Jarry: The old man from the mountains . Hanser, Munich 1972, ISBN 3-446-11563-3 . Translator: Anneliese Hager, Ludwig Harig , Eugen Helmlé , Klaus Völker .

literature

  • Hager, Anneliese . In: General Artist Lexicon . Volume 67: Haarer-Hahs. De Gruyter, Berlin and New York 2010, p. 457.
  • Édouard Jaguer : Surrealistic Photography. Between dream and reality . DuMont, Cologne 1982, ISBN 3-7701-1548-1 , p. 144.
  • Elisabeth Lenk: Anneliese Hager's fairy tale about the red princess. An initiation into poetry. In: Journal of Literary Studies and Linguistics. Vol. 24, 1994, H. 95, pp. 123-127, ISSN  0049-8653 .
  • Floris M. Neusüss: The photogram in the art of the 20th century . DuMont, Cologne 1990, ISBN 3-7701-1767-0 , pp. 302-303, 448, 487.
  • Anneliese Hager . In: Penelope Rosemont: Surrealist Women: an International Anthology . Continuum International Publishing Group, London 1998, pp. 261ff.

Web links

Individual evidence

  1. ↑ Lt. AKL; According to Penelope Rosemont: Surrealist women: an international anthology . P. 261, she was born in Dresden . There is also an indication that she was born in Posen (cf. lyrik.ch )
  2. ^ Neusüss, p. 448.
  3. ^ Markus Krause: Gerd Rosen Gallery - The Avant-garde in Berlin 1945–1950. Ars Nicolai, Berlin 1995, ISBN 3-89479-070-9 , p. 160.
  4. ↑ a b Jaguer, p. 144.
  5. ^ Penelope Rosemont: Surrealist Women: an International Anthology . Continuum International Publishing Group, London 1998, p. 261.
  6. ↑ a b AKL, p. 457.
  7. ^ Neusüss, p. 487.
  8. ↑ Anneliese Hager's work: Crumbled neckties jugs in Zeit Online , April 10, 1992
  9. ↑ Quoted from: Herbert Dickhoff: Jarry et la langue allemande. In: Europe. Jg. 59, 1981, H. 623/624, pp. 197-203, here: p. 202 ISSN  0014-2751
  10. ↑ New translation by Curd Ochwadt udT Sonne des Wasser . Lambert Schneider, Gerlingen 1994; again Charis, Hanover 2002
personal data
SURNAME Hager, Anneliese
ALTERNATIVE NAMES Hager-Götz, Anneliese; Hager, Annelise (French)
BRIEF DESCRIPTION German artist of surrealism
DATE OF BIRTH February 11, 1904
PLACE OF BIRTH Wielatowo , Złotów
DATE OF DEATH March 1, 1997
Place of death Korbach