Bernhard Nowak

Bernhard Nowak (stage name Cavon) (born May 4, 1904 in Aubing near Munich ; † July 29, 1985 in Berlin ) was a German painter , draftsman and graphic artist of the modern age and a culture editor of the GDR .

As a representative of the lost generation , Nowak attracted attention as a painter and graphic artist , but was so severely hindered in his artistic development by the requirements of the National Socialists that it was not possible for him to build on his earlier successes after the end of the war. In his private life, Nowak was active as an artist well into his old age and, in addition to drawings, graphics and gouaches in his late work, mainly collages that remained committed to his roots in New Objectivity .

Due to his commitment to cultural policy as the magazine's picture editor , as the head of the culture section of the Neue Berliner Illustrierte , as the artistic director of the satirical magazine Eulenspiegel and as the director of the poster archive of the Academy of Fine Arts Berlin , Nowak had a central influence on cultural life in the GDR .

life and work

youth

Bernhard Nowak was born in 1904 as the illegitimate son of the saleswoman Helene Nowak in Aubing and baptized as a Protestant. He spent the first years of his life with his foster parents Johann (upholstery worker) and Cäcilie Bauer in Munich before his mother brought him to Bad Reichenhall . She had opened her own travel souvenir and gallantry shop there after she had given up her job in the shop of Nowak's biological father, Antonio Luisi. He was born in Torre del Greco near Naples in 1866 as the son of wine growers and was later co-owner of the coral and jewelry stores A. and A. Luisi in Naples, Zurich , Berlin, Munich and Bad Reichenhall.

Nowak's mother Helene was born on March 22, 1872 in Berlin as the daughter of the carriage keeper in the royal stables Johann Nowak and his wife Elisabeth. Like her seven siblings, she attended elementary school and after her apprenticeship came around 1895 as a saleswoman at the A. and A. Luisi company in Berlin Friedrichstrasse, later to Munich and Bad Reichenhall. Her own business was founded in Bad Reichenhall in 1904, and others soon followed in Arco (South Tyrol), Bad Gastein, Bad Kissingen and Munich.

According to Nowak, the reason for the separation of his parents can be seen in the bigoted and conservative attitude of his father's strictly Catholic family.

In 1912 Helene Nowak married the retired Rittmeister. D. Ernst Schoenfeld, to whom Nowak could not establish any emotional connection. For him, the stepfather embodied the type of Wilhelmine officer who aroused a strong aversion to anything martial in Nowak because of the glorification of the military.

In 1914, Helene Nowak died at the age of 42 giving birth to her second child, who also did not survive. Schoenfeld transferred the guardianship of Nowak to his uncle Arnold Kratzert, who lived as a modeller and sculptor in Berlin, where Nowak moved when he was ten. Kratzert was with Elise Kratzert, geb. Nowak, the eldest sister of Nowak's mother, married. Nowak was introduced to art for the first time through Kratzert, who worked for well-known sculptors as a model maker in their studios.

From Christmas 1914 to Easter 1916, Bernhard Nowak attended the higher boys' school , Kurfürstendamm 59 in Berlin, and achieved respectable results despite his unfavorable living conditions.

In 1916 Nowak moved with his foster parents from Berlin to Bad Reichenhall, where Kratzert took over the main business from Helene Nowak, which he was able to save with difficulty during the First World War without any commercial training. Most of the other branches were closed, and Nowak's aunt Elise continued to run the store in Bad Gastein .

Nowak spent the years 1917 and 1918 in the Alpine Study and Education Center Matthaeum in Bad Reichenhall and went to school there.

In the first years after the war, Nowak continued his school days in Munich at Dr. Friedrich Ustrichschen continued his education , where he passed his Abitur in 1921 at the age of seventeen. In the same year Nowak met his future first wife Else Gisler, born on May 6, 1901, in Munich. 

education and study

From December 1921 to April 1922 Nowak attended the state-approved painting school, School for the Drawing Arts and Painting of Moritz Heymann in Munich, Türkenstrasse 52, financially supported by his aunt Elise. During this time, the first important artistic works were created, with which Nowak appeared under the pseudonym Cavon .

From 1922 until the Hitler putsch in 1923, Nowak was a member of the NSDAP for a short time , but he could not identify with its ideology. Rather, it was an act of rebellion against his biological father Antonio Luisi, who first contacted him at this time.

In the twenties Nowak received a commercial graphic training in Munich. On January 8, 1924, the son of Bernhard Nowak and Else Gisler, Helmut Wolfgang Nowak, was born out of wedlock.

In 1926 Nowak began studying at the Academy of Fine Arts in Munich , which he successfully completed in 1928.

During these years he made numerous trips: summer visits to his aunt in Bad Reichenhall, Vienna and Berlin as well as recreational and study trips to Northern Italy are documented by a number of pictures.

In the spring of 1927 Nowak spent some time as a student with a study group in Gardone Riviera , where numerous drawings were created.

On May 4, 1927 Nowak married Else Nowak, b. Gisler.

In 1928 Nowak was a member of the artists' association Die Independentigen in Munich, for which he was also involved.   

Artist grant in Salzburg

After successfully completing his art studies, Nowak applied for a scholarship from the Künstlerhaus in Salzburg , which was administered by the art association chaired by Moritz Stummer-Traunfels. Nowak received one of the 24 studios in the Künstlerhaus at Hellbrunner Straße 3, in which he was able to work creatively from 1929 to 1932. He took up his residence at Bergheimerstraße 37. He was soon given the office of secretary in the Central Association of Austrian Artists, chaired by Karl Reisenbichler . During this time, numerous commercial graphics were created (including for the Stiegl brewery , the tourist office and the Salzburg theater ). In addition to his own artistic activity, Nowak gave drawing and graphics lessons and had such prominent students as Heinrich Ferdinand von Habsburg and Veva Tončić . As an artistic employee of Reisenbichler, Nowak was involved in extensive orders for decorative wall paintings in Salzburg. During this time, the first drawings and word contributions for fiction magazines, daily newspapers and magazines were made. As a scholarship holder, Nowak regularly sent exhibitions in the Künstlerhaus as well as the annual exhibitions of the Central Association in Mirabell Palace .

Nowak received positive reviews of his artistic work as well as wide recognition in the art scene. Numerous press reviews testify to the high quality of Nowak's oeuvre, which was honored as the “painterly descendants of Toulouse-Lautrec ”.

Political hostility and anti-fascist work

Due to the increasing establishment of National Socialist ideas in Austria, Nowak, who advocated left-wing liberal politics, found himself exposed to more and more political hostility. Due to the participation in a collective exhibition in 1932, in which Nowak showed clear anti-fascist drawings and thus took a clear political position, the employee position in the central association was dismissed. During this time Nowak got to know the Austrian painter and graphic artist Slavi Soucek , who was a great support to him artistically and personally and with whom he had a lifelong friendship.

As his working conditions deteriorated, Nowak was finally forced to give up his artist existence in Salzburg.

Moved to Berlin and banned from working as an artist

In the late autumn of 1932 Nowak moved to Berlin and took up residence at Oranienburger Strasse 92. With a recommendation, he hoped for a job as a press draftsman at 12 o'clock newspaper . But this plan came to nothing when Adolf Hitler came to power on January 30, 1933.

To make matters worse, severe gastric bleeding forced Nowak to stay in the Virchow Hospital for several months . At the beginning of May 1933 he was dismissed and tried to gain approval as a full-time freelance artist and graphic artist, which he was refused. From 1933 to 1937 Nowak's life was determined by unemployment. As an Afü worker, he was assigned to the city building department as a laborer.

In addition, Nowak and his wife were again exposed to political hostility and reprisals from the National Socialists. Else Nowak had made herself available as a witness in a trial against Helmuth Klotz , who, among other things, vehemently criticized the National Socialist ideology through the publication of his pamphlet Der Fall Röhm . She had met Klotz while working as a secretary in Munich, and in the court proceedings confirmed his former NSDAP party membership, which the later Propaganda Minister Joseph Goebbels had vehemently denied. The result was intensified reprisals against Else Nowak, which she was mentally unable to cope with in the long run. At the age of 33, she committed suicide on June 4, 1934. In the same year, their son Helmut Wolfgang Nowak was handed over to the Potsdam Great Orphanage , a national political educational institution .

In 1936 Nowak's apartment in Oranienburger Strasse was given notice and he had to take up residence in an apartment at Ruppiner Strasse 5, which could not be described as humane.

In order to ensure his material survival, Nowak was forced to accept a number of illegal graphic jobs. He made the wall painting in the Hotel Lindeneck, designed greeting cards and painted pictures. Around this time he renounced the pseudonym Cavon , which marked his official end as a full-time painter.

Until the summer of 1937 Nowak was assigned to the municipal construction department as an unskilled worker, when he was finally placed in the statistical graphics house by the employment office . However, his precarious living and work situation meant that Nowak's health was badly damaged and he had to undergo a serious stomach operation in 1938.

After the outbreak of the Second World War, the graphic studio was downsized and Nowak was taken over by the relief organization for fine arts , where he was exhibition director from 1940 to 1941 , because of his artistic expertise . In this role, he curated retrospectives in Leipzig , Karlsbad , Prague , Kaiserslautern and Bamberg and used the opportunity to support Berlin and Salzburg artists (including two who were married to Jewish women) who were disadvantaged by the system by including their pictures in the exhibitions , sold and brokered orders.

During this time, numerous Hitler caricatures, collages and drawings were secretly created, which massively criticized Nazi politics.

On February 10, 1940, Bernhard Nowak married his second wife Ida Nowak, b. Krupkat, born on May 5, 1905. Their son Friedrich Nowak was born on March 19, 1940. The family's apartment was at 19 Weichselstrasse in Neukölln.

War effort

 On October 1, 1941, Nowak was drafted into the military. In 1942, his first son Helmut Nowak also had to take up military service and had been reported missing since April 1945.

During his entire war mission, Nowak was assigned to a flak measuring platoon and did not have to take part in any active military operations. He spent most of his time in German South Moravia and in Burgenland . During the military service, pictures were taken of the area of ​​operations, but also cheerful and lively work.

Towards the end of the war, in February 1945, Nowak was seriously wounded by an air raid, followed by long hospital stays. Since the Americans did not release any dismissals to the Soviet-occupied area after the end of the war, where Nowak believed his family was, they brought him back to Salzburg. 

Cultural and political engagement in Salzburg

Nowak took up residence at Pfeifergasse 4 in Salzburg. During this time, the friendship with Slavi Soucek deepened once again. In 1945 Nowak undertook numerous trips to the surroundings of Salzburg (Bad Reichenhall, Ruhpolding, Bad Gastein etc.), during which he made drawings and simply made colored pictures.

It was through Soucek that Nowak met Viktor Reimann , who, in his capacity as deputy editor-in-chief of the Salzburger Nachrichten, gave him the first opportunity to publish articles and drawings in the press. As a result, Reimann, Soucek, Nowak and a few others founded the weekly magazine Woge , which primarily dealt with current political and cultural events, but which also presented cultural workers from various fields or called them back to mind after the war. Soucek and Nowak were in charge of the studio editing, which was responsible for the cultural reporting and the illustrations. In addition to his real name, Nowak also published the pseudonym Bernd Idamann (= Ida's man ) for the first time .

 At first, Nowak was unable to establish contact with his family in Berlin. He had to get official approval for his stay in Salzburg on a monthly basis, which was possible without any problems for a while because of his employment with the Woge . But a political atmosphere quickly developed again after the war in Salzburg, in which there was no longer any room for so-called left-wing critical voices in the press. As a result, Nowak's residence permit was not renewed in October 1945, which is why he applied for repatriation on January 22nd . In May 1946 Nowak received permission to return to Berlin. 

Important actor in East Berlin's cultural policy

In the same month Nowak moved to Berlin, where families were reunited. Together with his second wife Ida and his son Friedrich Nowak took up residence at Weichselstrasse 19. He then worked as a draftsman for the T Tages Rundschau (the predecessor newspaper of Neues Deutschland ) under the editor-in-chief of the philosopher Wolfgang Harich and made graphic contributions for the Satirical magazine Ulenspiegel founded by Herbert Sandberg and Günter Weisenborn .

Nowak also found volunteer work at the central office for the collection and maintenance of works of art , which the Berlin magistrate had set up to take care of the recovery of unsecured cultural assets with unknown owners. In addition, the resurgent art trade should be officially monitored in order to come across works of art believed to be lost.

Another important activity was Nowak's collaboration with the magazine Frischer Wind , which was conceived as a satirical and humorous mass newspaper. He provided drawings, but also appeared as an author under the pseudonym Idamann (in the variant B. Idamann also as an ironic allusion to Biedermann ).

In the autumn of 1946 Nowak rose to head the culture department of the Neue Berliner Illustrierte NBI . This sheet acted

it was a high-circulation weekly magazine that reached a wide audience. The editor-in-chief at the time was Lilly Becher , the third wife of the writer Johannes R. Becher , the first president of the Kulturbund for the democratic renewal of Germany and later culture minister of the GDR. Among other things, Nowak was responsible for the selection of the fiction published in the form of serial novels. For this purpose he was in personal contact with recognized writers. Correspondence with Lion Feuchtwanger , FC Weiskopf and Stefan Heym is documented from this time.

As a result, Nowak joined the Kulturbund and in 1947 became a member of the art and literature trade union , which was organized in the Free German Trade Union Federation.

After the founding of the GDR, Nowak made a conscious decision in favor of the eastern zone and moved with his family to Friedrichshagen , where he took up residence at Müggelseedamm 276.

In 1952 Nowak joined the SED .

From 1948 onwards, Nowak undertook longer trips in the summer months, as evidenced by numerous drawings and gouaches: Scharmützelsee 1948, 1950, 1952, Spreewald 1953, Harz 1954, 1955,  Ahrenshoop 1956, 1959 (several short stays in between), Rügen 1959.

Nowak increasingly established himself as an artistically accomplished editor and specialist in cultural affairs. In 1954 he was appointed artistic director of the satirical magazine Eulenspiegel , which had replaced the fresh wind . In this capacity he was able to decisively shape the appearance of the magazine and also influence the direction of the content. Nowak succeeded in turning Eulenspiegel into an artistically respected product, for example by recruiting Kurt Klamann for the gallant paper popular with readers , Karl Schrader for the large-format grotesque and the almost eighty-year-old Fritz Koch-Gotha for regular collaboration. Nowak later helped famous illustrators such as Henry Büttner to get started.

However, the artistic director and draftsman Bernhard Nowak had to be sacrificed for the editorial team for political reasons. The reason for this was some caricatures by Harald Kretzschmar that were to be published in the 1957 New Year's Eve edition. All ministers of the GDR are shown, including the Deputy Prime Minister Walter Ulbricht , who prevented his likeness from being printed at the last moment. The editor-in-chief of the magazine, Heinz H. Schmidt , was so angry that he had himself photographed together with the Ulbricht caricature for the magazine Freie Welt . The consequence was his dismissal, which also affected his closest colleague Nowak. Immediately after his dismissal at Eulenspiegel , Nowak was offered the position of editor at the magazine Das Magazin , which, like Eulenspiegel , was housed in the house of the Volk und Welt publishing house at Glinkastraße 13/15 in Berlin-Mitte. Its editor-in-chief, Hilde Eisler, was the wife of Gerhart Eisler , a journalist who was very influential in the GDR , and Hanns Eisler's brother , who had become known as the composer of the national anthem. The magazine , a monthly magazine popular throughout the country, fell outside the scope of the uniformly controlled GDR press. Created as a result of the June riots of 1953, it was the task of the paper to cheer up the press landscape; of socialism should also prepare people pleasure. After a short period of employment as an editor, in which Nowak had among other things written an article about the artist Kurt Klamann on the occasion of his 50th birthday, he was promoted to picture director. In this role, Nowak was largely responsible for the external appearance of the magazine.

After more than twelve years in various editorial offices, Nowak accepted a call from the Akademie der Künste in 1959 , where he was offered a position as a research assistant. He built up the local poster archive, of which he became the first director. From 1960 Nowak published scientific articles for the academy.

From 1962 on, Nowak worked as a freelance art journalist and book author. As contractually agreed, he provided articles and drawings for Neue Werbung and wrote articles for the visual arts , the only art magazine in the GDR. During the entire duration of his journalistic activity, Nowak published drawings, satires, reviews and art criticisms in various publication channels, but above all for the Berliner Zeitung .

From 1962 Nowak also appeared as an art journalist and book author (monographs on Arno Mohr , Fritz Cremer , Henri Matisse and Ferdinand Georg Waldmüller, among others ).

From the 1940s onwards, Nowak only pursued his own artistic work in a private setting, but no less intensively for that reason.

In the late 1950s in particular, he created numerous colorful, strongly expressive pictures, while in 1960 and 1961 Nowak was almost exclusively concerned with female nudes. In his late work he mainly dealt with the collage.

Bernhard Nowak died on July 29, 1985 at the age of 81 in Berlin, where he is buried in the cemetery in Friedrichshagen . 

Collection history, estate situation and appreciation

During renovation work in the summer of 1997 in the former eastern part of Berlin, around 200 works on paper by Bernhard Nowak-Cavon were discovered that had been hidden in a folder, lying undetected on a floor. They were mostly colored, medium and small-format gouaches. The topics corresponded to a critical zeitgeist of the 1930s and 1940s. Biting political caricatures, milieu studies , expressive landscapes and erotic subjects emerged. These were well-preserved works on paper, which in their colourfulness and expressiveness are reminiscent of the works of George Grosz , Felix Müller and August Macke .

The high artistic quality of the sheets prompted a private art collector to buy the lot, although - even in the professional world - nothing more was known about the artist at the time. While the editor, draftsman and picture director Bernhard Nowak was highly regarded in the GDR, the artist Nowak-Cavon was quickly forgotten after his death in Berlin in 1985. This was probably due to the fact that his artistic estate was sold to private art collectors by employees in the commercial coordination department in the 1980s , thereby withdrawing it from public interest. In the meantime, through the commitment of the art collector and the acquisition of individual, scattered works, Nowak's entire oeuvre has essentially been reunited. The estate in the collection contains over 1,500 works of visual art, which are characterized by an impressive variety of styles and techniques ( silhouettes , drawings, gouaches, collages, including those in the style of Hannah Höch and photo report collages in the style of Franz Rohs , woodcuts), also numerous personal documents such as letters, photographs, certificates, press reviews, own publications (monographs, editorial texts, reviews) as well as sketchbooks, test prints, poster drafts, small graphics such as ex libris, printing blocks and poems as well as copies of correspondence with contemporary authors such as Lion Feuchtwanger , FC Weiskopf and Stefan Heym .

Since Bernhard Nowak remained loyal to art throughout his life and was always open to new currents and tendencies (although he always remained representational and avoided abstraction), his artistic work can be seen as representative of the development of 20th century art in Germany . Even if after the Second World War he consciously decided in favor of East Berlin and thus the form of government of the GDR as a communist alternative to fascism, he consistently opposed the requirements of socialist realism as an art form, which was only possible because he expressed his artistic passion in the Private used. Appreciated in a contemporary review as the “painterly descendants of Toulouse-Lautrec”, Nowak's artistic work is in the tradition of George Grosz , Otto Dix and Max Beckmann , but also borrows from Aubrey Beardsley and Max Ernst as well as from the 1940s with Käthe Kollwitz and Pablo Picasso , but without ever appearing epigonal. By developing an individual design language, Nowak's work clearly sets itself apart from its contemporaries and clearly bears an unmistakable signature.

Exhibitions

• Numerous participations in collective exhibitions in the Mirabell Castle and in the Künstlerhaus in Salzburg from 1929 to 1932.
• Bernhard Nowak's artistic work was presented at the 6th KunstNachtSelb 2006 (25.3. To 26.3.), As part of an exhibition by the Kunstverein Hof 2007 (6.9. To 3.10.) And in the form of a retrospective in the gallery in the Promenade Fürth 2009 (17.10 . until 18.12.) presented to the public for the first time.
• Works by Bernhard Nowak are also represented in the collection of the Willy Brandt House in Berlin and the Center for Ostracized Arts in Solingen.

Works

• Nowak, Bernhard: Fritz Koch-Gotha. Drawn Life , Eulenspiegel, Berlin 1956.
• Nowak, Bernhard: Models and motifs , unknowns from a friend , Das Magazin, issue 9, September 1957.
• Heinz Lüdecke (Ed.): Publication of the German Academy of the Arts with an introduction by Bernhard Nowak, Arno Mohr, Künstler der Gegenwart , VEB Verlag der Kunst, Dresden 1960.
• Nowak, Bernhard: Frans Masereel , VEB Verlag der Kunst, Dresden 1960.
• Nowak, Bernhard / Klemke, Werner: Publication of the German Academy of the Arts with an introduction by Bernhard Nowak, Werner Klemke, contemporary artists , VEB Verlag der Kunst, Dresden 1963.
• Nowak, Bernhard: Fritz Cremer , Henschel Verlag, Berlin 1965.
• Nowak, Bernhard a. a .: Artists and circus posters , Edition Leipzig 1976.
• Nowak, Bernhard: Henri Matisse , VEB Verlag der Kunst, Dresden 1979.
• Nowak, Bernhard: Ferdinand Georg Waldmüller . Painter and work , VEB Verlag der Kunst, Dresden 1981.

literature

• Eisler, Anette: Slavi Soucek , Verlag Galerie Welz, Salzburg 1998.
• Gebhardt, Manfred: The magazine in the GDR , Eulenspiegel Verlag, Berlin 2006.
• Gillen, Eckhart et al. a .: Art in the GDR , Kiepenheuer and Witsch, Cologne 1990.
• Jessewitsch, Rolf / Schneider, Gerhard: Discovered modernity. Works from the Gerhard Schneider Collection. Bönen: Verlag Ketteler, 2008, p. 506 (entry on Bernhard Nowak).
• Kaiser, Paul: Exhibition of performance and embodiment of ideas: The central art exhibitions in the GDR . In: Eugen Blume, Roland March (ed.): Art in the GDR. A retrospective of the Nationalgalerie , Berlin 2003, pp. 93 to 105.
• Kern, Karl: Cavon. Life and work of Bernhard Nowak. Biographical novel , edition promenade, Fürth 2017.
• Kretzschmar, Harald: Der Polterer und das Pikante , in: “Das Magazin”, Issue 8/1994, published on the occasion of the tenth anniversary of Nowak's death.
• Olbrich, Harald: Between Utopia and Satirical Ornament? New beginnings and ruptures in the GDR caricature of the 1950s . In: Ulmer Verein - Association for Art and Cultural Studies eV (Ed.): Critical Reports., Journal for Art and Cultural Studies, Issue 2/93, Jonas Verlag, Marburg.
• Schulz, Friedrich: Ahrenshoop . Artist Lexicon. Fischerhude: Verlag im Bauernhaus, 2001, p. 136 (entry on Bernhard Nowak).

Individual evidence

1. ↑ Bernhard Nowak used the pseudonym "Cavon", an anagram of his surname Nowak for his early work. Especially during the Salzburg period (from 1929 to 1932) he called himself 'Bernhard Nowak-Cavon' and signed his works with this artist name, which is also used in research and in the art trade.
2. ↑ ^{a b c d e f g h i j k l m n} Nowak, Bernhard: Short biography, written to the NBI editor-in-chief in May 1953.
3. ↑ Testimonials from July 14, 1917 and July 13, 1918.
4. ^ Confirmation of admission to the Academy of Fine Arts in Munich, issued in October 1926, signed by Moritz Heymann.
5. ^ Entry by Bernhard Nowak in the register book of the Academy of Fine Arts Munich 1926. Accessed on August 30, 2017 . 
6. ↑ ^{a b} Information read from Nowak's artistic work, from photos, from the artist's written notes, from letters. Included in the estate.
7. ↑ Membership card and receipt for the annual fee are available. Nowak designed a. a. Invitation cards for events of the Künstlerbund.
8. ↑ ^{a b} This emerges from a letter that Karl Reisenbichler sent to the chairman of the Berlin Gau in the Reich Association of Visual Artists on May 10, 1933, after Nowak had asked him to do so. This letter was also signed by the President of the Salzburg Art Association named Stummer-Traunfels.
9. ↑ Some letters and postcards to Nowak were sent to this address.
10. ↑ Postcards designed by Nowak for the Stiegl brewery, a brochure to support winter tourism in the Salzburg region and sketches for the stage design, etc. are available.
11. ^ Veva Tončić was a talented young artist who took drawing lessons from Nowak on the recommendation of the Habsburgs. The letter from Habsburg to Nowak is available (undated).
12. ↑ Exhibition posters and invitations were designed by Nowak himself and are available.
13. ↑ Press reports about him, exhibition reviews and reviews were collected by Nowak and are available.
14. ↑ ^{a b} Eisler, Anette: Slavi Soucek. Salzburg: Verlag Galerie Welz, 1998, p. 13, p. 23.
15. ↑ Police registration dated January 15, 1933 is available.
16. ^ Hotel Lindeneck at the intersection of Friedrichstrasse / Lindenboulevard. Photos of the wall design and drafts are available.
17. ↑ ^{a b c} Kretzschmar, Harald: Der Polterer und das Pikante, in: “Das Magazin”, issue 8/1994, published on the occasion of the tenth anniversary of Nowak's death.
18. ^ Address known from stamps on the back of several works from the period after 1940.
19. ↑ Evidenced by several painted pictures from the war mission a. a. from Podhradie, the Little Carpathians, the Freistein Castle and from Rust on Lake Neusiedl.
20. ↑ Nowak initially wrote many articles for the 'Salzburger Nachrichten'. These drawings, as well as the drawings that have been published, are documented.
21. ↑ All issues of the 'Woge', in which Nowak participated, were collected by him and are included in the estate along with letters to the editor to Nowak himself.
22. ↑ Permits from the City Office for Housing are available.
23. ↑ In October 1945 the residence permit was not extended for the first time, but Nowak was able to postpone the stay because of the employment with the 'Woge'.
24. ↑ Application for repatriation of January 22, 1946.
25. ↑ Approval dated May 7, 1946 to bring your own home furnishings, consisting of a suitcase and a package with drawing supplies, manuscripts and two suitcases with clothing and linen.
26. ↑ On Sunday, July 7, 1946, Nowak's drawing skills were praised in the 'Daily Rundschau' No. 155 (352). Signed: Ltz
27. ↑ ^{a b} Jessewitsch, Rolf / Schneider, Gerhard: Entdeckte Moderne. Works from the Gerhard Schneider Collection. Bönen: Verlag Ketteler, 2008, p. 506.
28. ↑ ^{a b} Schulz, Friedrich: Ahrenshoop. Artist Lexicon. Fischerhude: Verlag im Bauernhaus, 2001, p. 136.
29. ↑ When Nowak took over the NBI's culture department, many questions had to be answered again so shortly after the war: How can an illustrated magazine take up cultural issues? What role can humor drawing play? Does satire even have a place in dealing with social processes? There was lively discussion about the question of whether serial novels should be included in a magazine.
30. ↑ Address stamp with telephone number on works from this period and addresses on letters.
31. ↑ Images and drawings were created, some of which are date and commented on the front or back.
32. ↑ Prien, Enno: From good and bad times. Conversation with Harald Kretzschmar. Employee of Eulenspiegel since 1955, in: Eulenspiegel, special edition 50 years, p. 203 ff.
33. ↑ Gebhardt, Manfred: The naked woman under the counter. The magazine in the GDR. Berlin: Das Neue Berlin, 2002, p. 12 ff.
34. ↑ Das Magazin, Issue 9/1957, p. 44 ff.
35. ↑ Das Magazin: From issue 11/1957, recognizable in the imprint: Editor-in-chief: Hilde Eisler, picture editor: Bernhard Nowak u. a.
36. ↑ Eulenspiegel, June issue 1959. Category: Personal details: Bernhard Nowak on the occasion of his 55th birthday.
37. ↑ Nowak, Bernhard / Markschiess-von Trix, J .: Artists and circus posters. Leipzig: Edition Leipzig, 1976, inside of the cover.
38. ^ "Salzburger Volksblatt" of October 17, 1930
39. ^ Persecuted - ostracized - "degenerate". Works from the collection in the Willy Brandt House. Retrieved September 2, 2017 . 
40. ↑ https://www.edition-promenade.com/verlagsprogramm/cavon-bernhard-nowak/