Anneliese Langenbach
Anneliese Langenbach (born February 9, 1926 in Düsseldorf , † December 18, 2008 in Grevenbroich ; née Müller) was a German ceramist and sculptor .
Life
Langenbach came from a stonemason family and began her training at the age of fifteen at the free art school for painting and graphics in Düsseldorf, which was founded by Hans Carp . From 1943 she was trained as a craftsman by the wood sculptor Otto Bußmann. This training was a prerequisite for admission to the Düsseldorf Art Academy , where she began her studies in the class of Josef (Sepp) Mages with Günter Grass and Herbert Zangs when it reopened in early 1946 . In order to maintain her studio, she started her own business in 1947, but was able to continue to attend the academy because of the good contacts with professors Otto Pankok and Ewald Mataré . On a study trip to Paestum in southern Italy , financed by work on Rose Monday carriages , she found her own style through contact with archaic art and, typical for the Lower Rhine region , clay as a material. Her design principle was to bring archaic design in line with modernity.
After her first exhibitions in Düsseldorf and the Galleria Totti in Milan, she moved to Tönisberg via Krefeld in 1963 to a house built by her husband Claus Langenbach with a pottery workshop and kiln. Here she created numerous sculptures and fountains. To revive the Tönisberg pottery tradition of the 17th and 18th centuries, she initiated pottery courses in 1970 as part of the adult education center with up to 100 participants per week. In nearby Krefeld she again took part in the design of the carnival floats. In 1989 she left Tönisberg and moved to Krefeld. After the loss of her husband and two sons, she moved on to the Caritashaus St. Barbara in Grevenbroich in 1996. There she later passed on her art to her roommates. In 2003, the emergency stele was unveiled in Langwaden Monastery . Langenbach died in Grevenbroich in December 2008.
plant
Langenbach's artistic work is often executed in terracotta , but also in bronze . Her religious work was intended as a memorial or fountain for public space, as were the portraits for the foot drop stations in Tönisberg. In medieval tradition, her strong figures were often influenced by people around her. She felt the female, earth-bound, also emancipatory figures from her own strong stature; she also allowed people such as the Tönisberg pastor Wiegels ( Saint Francis ) and the Grevenbroich prior Ullmann to flow into her figures.
She repeatedly carried out commissioned work, winning the commission for the bear in Krefeld-Gartenstadt in a competition. She implemented smaller works in mini-series with models .
selection
- Bär, Krefeld-Gartenstadt, 1959
- Group of children playing ball, Krefeld-Königshof, 1962
- Saint Francis, Kempen-Tönisberg
- Pottery monument, Kempen-Tönisberg, 1986
- Relief in foot drop stations, Kempen-Tönisberg
- Fountain sculpture, Erckeninsel, Grevenbroich, 1987
- Thomas-More-Brunnen, Krefeld, 1987
- Energiebrunnen, Grevenbroich, 1987
- The basket weaver, Grevenbroich, 1991
- Frauenbrunnen, Cologne
- Emergency stele, Langwad, 2003
Awards
In 2000 she was honored by the Rhineland Regional Council for her artistic work with the Rhineland thaler.
literature
- Ulrich Ernenputsch, A child from the Lower Rhine , Die Heimat, magazine for culture and homeland care of the Lower Rhine, year 48 (1977)
- Margret Vieregge, Tönisberger Heimatblätter Volume 8 (2006)
Web links
Individual evidence
- ↑ Awarding of the Rhineland Taler. Retrieved November 13, 2009 .
| personal data | |
|---|---|
| SURNAME | Langenbach, Anneliese |
| ALTERNATIVE NAMES | Müller, Anneliese (maiden name) |
| BRIEF DESCRIPTION | German ceramist and sculptor |
| DATE OF BIRTH | February 9, 1926 |
| PLACE OF BIRTH | Dusseldorf |
| DATE OF DEATH | December 18, 2008 |
| Place of death | Grevenbroich |