Bernhard Hoetger

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Bernhard Hoetger around 1924 on a photograph by Nicola Perscheid

Bernhard Hoetger (born May 4, 1874 in Hörde (now a district of Dortmund ), † July 18, 1949 in Interlaken ) was a German sculptor , painter , architect and artisan of Expressionism .

Life

Education and Paris years

Bernhard Hoetger - son of a blacksmith in Hörde - completed an apprenticeship as a stonemason in Detmold from 1888 to 1892 , followed by years of traveling . From 1895 to 1897 Hoetger was the technical director of the workshop for church art of Franz Goldkuhle in Wiedenbrück . Because of the harsh artisan tone, he referred to this period as his years of labor and slave labor . After studying at the Düsseldorf Art Academy as a student of Karl Janssen, he stayed in Paris from 1900 to 1907 , where Maillol and Rodin influenced him. This influence made Hoetger an expressionist . In 1906 he made the acquaintance of Paula Modersohn-Becker in Rodin's studio , who told him about the Worpswede artists' colony . Later Hoetger also dealt with the works of Gaudí .

In 1905 Bernhard Hoetger and the concert pianist Helene Natalie Haken (1880–1967), called Lee, married.

Darmstadt artists' colony

"Spring" relief

In 1909 Hoetger was appointed to the Darmstadt artists' colony and appointed professor. Around 1912 he was working on the construction of the Darmstadt plane tree grove for the fourth exhibition of the artists' colony on Mathildenhöhe in 1914. The preparatory work took place in Florence, most of this material was destroyed.

In the so-called “plane grove” a cycle of sculptures has been preserved, which depicts the light and shadow sides. These are the embodiments of the good and bad qualities of human beings, which Hoetger grouped on either side of a central Buddha figure , the laughing and the sleeping side.

Another work within the framework of the artist colony is the “Löwentor”. The six expressive, slightly abstracted stone lions originally stood on pairs of stone pillars designed by Albin Müller , the whole of which formed the main gate to the 1914 exhibition on Mathildenhöhe. While the pairs of pillars were reused as the gateway to the university stadium, Müller designed six new high brick pillars for the lions, which were erected in 1926/1927 at the entrance to Rosenhöhe Park .

There are also four monumental colored reliefs with the titles “Sleep”, “Resurrection”, “Spring” and “Summer”, large stone vases and a fountain with three female figures, which symbolize the water cycle. Individual figures stand in niches between vegetal trellis walls. A figure in honor of Paula Modersohn-Becker shows a reclining mother with a toddler. Other additions are silver lions and bronze leopards at the entrance to the plane tree grove.

In Darmstadt, Bernhard Hoetger found support from the Wuppertal banker August von der Heydt and from Grand Duke Ernst Ludwig von Hessen-Darmstadt .

Bernhard Hoetger. Bonze des Humors (1914), Worpswede.

Worpswede

After Bernhard Hoetger had three studios in Fischerhude near Bremen in 1913 , he moved to Worpswede in 1914, inspired by Paula Modersohn-Becker during the Paris period . Here, under his leadership, “Kaffee Worpswede” was created, where he initially exhibited his own works of art.

In 1915 Hoetger bought a house with land in the village, the Brunnenhof: he expanded the building into a spacious and representative residential and studio building. He also designed the park with works from his cycle of light and shadow . In pairs he set up the casts of the titles Anger , Vengeance , Panther and Silver Lion . The art historian Wolfgang Saal believes that in the design of the “Brunnenhof” in 1915 he recognizes a “… concretion of Hoetger's longing for the sun…”, which was also continued in architectural designs. The sculpture Der Schreitende Jüngling is a symbol for this: "... the young man of a coming time strides in the distance in the sun garden with his arm raised ..." supports Hoetger's thesis of the sun orientation during the renovation of the house and the design of the garden. Already in the program of the Darmstadt plane tree grove from 1911 to 1914 this “longing for the sun” - an important part of many religions - is announced. Hoetger tried to document an ideological synthesis composed of elements from different religions and cultures. Just as Hoetger artistically processed the sculpture of many epochs and styles, so he filtered out from the religions and philosophies of the world what he considered essential.

Niedersachsenstein

After selling the Brunnenhof, Bernhard Hoetger built his second residence in Worpswede on the southern slope of the Weyerberg - Hinterm Berg 14 - between 1921 and 1922. The creative house is now located in the walk-in work of art, which faces exactly south . Using the materials from the surrounding area, Hoetger created a unique building whose unusual atmosphere can still be experienced today by visitors.

In 1922 Hoetger executed the memorial for the First World War , the 18-meter-high brick monument Niedersachsenstein, in Worpswede . Another work is the gravestone of Paula Modersohn-Becker that he designed between 1916 and 1919 in the Worpswede cemetery.

The Brunnenhof burned down in 1923. The garden with numerous sculptures, which was later named Hoetger Garden in honor of the artist, has been preserved and restored .

Böttcherstrasse

Entrance to Böttcherstrasse. Lichtbringer , facade relief by Hoetger, April 1936

Bernhard Hoetger made the acquaintance of the Bremen merchant Ludwig Roselius , from which the task of his life arose: the redesign of the Bremen Böttcherstrasse . Among other things, he created an expressionist masterpiece on the east side of the small connecting street between Markt and Weser in 1930/31 - the Atlantis House . In the Paula Modersohn-Becker Museum located there , some of his sculptures are available, including a. the "striding one". (see also Böttcherstraße (Bremen) #sculptures, reliefs, fountains )

Other works

Traces of Hoetger's work can also be found in other places. 1912/1913 created Hoetger for by architect Otto Ingold (1883-1943) built Volkshaus Bern four in stone cast figures that represent the source of power of the people, and in 1915 the oversized Waldersee monument , which in Hannover on the edge of Eilenriede was set up and is a listed building.

Hermann Bahlsen was an early sponsor of Hoetger, who in 1916/1917 had him plan an entire district ( TET city ) with a factory, administration buildings and apartments for around 17,000 employees, but which was not implemented due to the First World War.

In 2018, after more than 80 years, a statue of Hoetger, which was hidden as a precaution and thus saved from the Nazis, depicting the TET goddess , was found and placed in its traditional place at the Bahlsen headquarters in Hanover.

After 1933

Like his patron Ludwig Roselius, Hoetger sympathized with National Socialism and became a member of the NSDAP . He tried to win the party for his art, which was influenced by the völkisch-Nordic world of ideas, but did not succeed. His work has been considered degenerate since Adolf Hitler's speech at the Nuremberg Nazi Party Congress in 1936 . Hoetger was expelled from the party. From 1934 he lived in Berlin . Bernhard Hoetger was a member of the German Association of Artists .

In 1943 Hoetger fled Berlin via the Giant Mountains and Upper Bavaria to Switzerland, where he died in 1949. His grave is in Dortmund's Ostenfriedhof .

Honors

  • Berlin memorial plaque, Gollanczstrasse 40 in Berlin-Frohnau

  • Löwentor Darmstadt (pillar by Albin Müller)

  • Waldersee monument on the edge of the Eilenriede in Hanover

  • Friedrich Ebert Monument in Dortmund-Hörde

  • Young man's sculpture “Der Tag” in the Leipzig South Cemetery

  • Café Worpswede

  • Sculptures in the exhibition “Worpswede 1920–1930” at Fritz Netzel, Worpswede, April 1963

  • Café Winuwuk in Bad Harzburg

  • Sculpture “Schreitende”, Paula Modersohn Becker Museum in Bremen

  • Paula Modersohn-Becker's grave monument (1907) in Worpswede

Exhibitions

Publications

  • Memories of Paula Modersohn . In: The tide. Niederdeutsche Heimatblätter 6th vol., Issue 7, July 1929, pp. 267–273.

literature

  • Maria Anczykowski (Ed.): Bernhard Hoetger. Sculpture, painting, design, architecture. Hauschild, Bremen 1998, ISBN 3-931785-77-7 .
  • Wolfgang Beeh:  Hoetger, Bernhard. In: New German Biography (NDB). Volume 9, Duncker & Humblot, Berlin 1972, ISBN 3-428-00190-7 , p. 370 f. ( Digitized version ).
  • Ralf Dorn: Between Egyptomania and architecture parlante - Bernhard Hoetger's TET city design for Hermann Bahlsen . In: Hannoversche Geschichtsblätter 66, 2012, pp. 67–90.
  • Ingo Kerls: Bernhard Hoetger. Crafts 1906 to 1935. Dissertation University of Bremen 2007.
  • Ingo Kerls: Hoetger, Bernhard . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 74, de Gruyter, Berlin 2012, ISBN 978-3-11-023179-3 , p. 42.
  • Katja Lembke (editor and author): Hannovers Nefertiti. The portraits of Sent M'Ahesa by Bernhard Hoetger ( NahSichten - Eine Schriftenreihe des Landesmuseum Hannover ). Hanover 2012, ISBN 978-3-7954-2627-9
  • Ludwig Roselius (Ed.): Bernhard Hoetger. 1874-1949. His life and work. Published on the occasion of the 100th anniversary of his birthday. Hauschild, Bremen 1974.
  • Wolfgang Saal: Bernhard Hoetger. An architect of North German Expressionism. Dissertation Philosophical Faculty of the University of Bonn 1989.
  • Arn Strohmeyer : Art under the sign of the Germanic ancestors and the rebirth of Germany: Ludwig Roselius and Bernhard Hoetger , in: Strohmeyer / Artinger / Krogmann: Landscape, Light and Low German Myth. The Worpsweder art and the national socialism , VDG, Weimar 2000, ISBN 3-89739-126-0 , page 43-110
  • Albert Theile : Bernhard Hoetger (= monographs on Rhenish-Westphalian contemporary art 17, ZDB -ID 1444926-2 ). Aurel Bongers, Recklinghausen 1960.
  • Eugen Thiemann: Bernhard Hoetger , with an introduction by Bernd Küster . Worpsweder Verlag, Lilienthal 1990, ISBN 3-922516-89-0 .
  • Hoetger, Bernhard . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 17 : Heubel – Hubard . EA Seemann, Leipzig 1924, p. 225-227 .
  • Hoetger, Bernhard . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 2 : E-J . EA Seemann, Leipzig 1955, p. 460-461 .
  • Dieter Tino Wehner: Bernhard Hoetger. The pictorial work 1905 to 1914 and the total work of art Platanenhain. VDG, Alfter 1994, ISBN 3-929742-25-X (also: Dissertation University of Zurich 1993).

Web links

Commons : Bernhard Hoetger  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b Bernhard Hoetger . In: Werner Kloos: Bremer Lexikon . Hauschild, Bremen 1980.
  2. ↑ Sigrid Russ: The Venus and the lottery company . Biographical information
  3. ↑ biography. Big art show Worpswede
  4. ↑ diedrichshof.de
  5. ↑ worpswede.de ( Memento from May 4, 2014 in the Internet Archive )
  6. ^ Karen E. Hammer: Vogeler - Roselius - Hoetger. A triumvirate between friendship and artistic acceptance. In: Heimat-Rundblick. History, culture, nature . No. 102, 3/2012 (autumn 2012), pp. 12-14.
  7. ↑ Four sandstone figures for the Volkshaus Bern
  8. ↑ HAZ from June 6, 2018: Lost statue of the TET goddess is back
  9. ↑ kuenstlerbund.de: Ordinary members of the German Association of Artists since it was founded in 1903 / Hoetger, Bernhard ( Memento from March 4, 2016 in the Internet Archive ) (accessed April 1, 2016)
personal data
SURNAME Hoetger, Bernhard
BRIEF DESCRIPTION German sculptor, painter and artisan of Expressionism
DATE OF BIRTH May 4, 1874
PLACE OF BIRTH Hear
DATE OF DEATH July 18, 1949
Place of death Interlaken , Switzerland