Bettina Feistel-Rohmeder

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Bettina (Maria Hannchen) Feistel-Rohmeder (born August 24, 1873 in Heidenheim ; † February 3, 1953 in Karlsruhe ) was a German painter , art critic and Nazi art ideologist.

Life

Bettina Rohmeder studied painting in Dachau with Adolf Hölzel and Ludwig Dill and at the Stuttgart School of Applied Arts with Johann Vincenz Cissarz and Bernhard Pankok . In 1896 she married the businessman Arthur Feistel. From 1903 to 1907 she also studied art history with Henry Thode in Heidelberg . In 1909 she founded the “Mannheimer Werkstätten für Kunst und Handwerk” and then in 1912 she moved to Switzerland.

After her return she lived in Dresden , where she founded the "German Art Society" in 1920 together with the painting professor Richard Müller . In 1927 their "intelligence service" followed, which appeared until 1938 and was Feistel-Rohmeder's mouthpiece. From 1932 to 1934 she acted as chief editor of the quarterly magazine “Deutsche Bildkunst”, from which in 1934 - after the Deutsche Kunstgesellschaft moved to Karlsruhe in November 1933 - the magazine “Das Bild” emerged, which was published by CF Müller Verlag until 1944. In 1951 Feistel-Rohmeder tried to re-establish the German Art Society under the name "German Art Association".

plant

Feistel-Rohmeder was shaped by the ethnic and anti-Semitic ideas of her father, a teacher. Thode's aversion to contemporary and especially French art such as Impressionism also shaped her understanding of art. Around 1905 she became an art critic for the Heidelberger Tagblatt and exhibited at the Heidelberger Kunstverein at the same time. In her first book on female patricians, she already represented a ethnic-racial image of man. The "German Art Society", whose most famous members included Paul Schultze-Naumburg and Hans Adolf Bühler , Hans Thomas ' pupil , became the collecting basin and mouthpiece of the nationalist-racist opponents of all avant-garde art. On the other hand, they advocated “real” German art and defamed expressionism in particular . Its members therefore also organized the first exhibition “degenerate art” , with which modern art was pilloried. With her book “Im Terror des Kunstbolshevismus”, a collection of her earlier art reviews, Feistel-Rohmeder, who no longer made a career in the hierarchies of the Nazi state, tried to put her achievements in the fight against “un-German” art into perspective.

Works

  • The portrait of a woman in the Venetian Renaissance. Leipzig: Friedrich Rothbarth 1905
  • In the terror of art Bolshevism. Document collection of the "German Art Report" from the years 1927-33. Karlsruhe: Müller 1938

literature

  • Joan L. Clinefelter: The German Art Society and the Battle for "Pure German Art". 1920-1945. Ann Arbor, Michigan 1995
  • Christoph surcharge: "Degenerate Art". Exhibition strategies in Nazi Germany. Worms: Wernersche Verlagsgesellschaft 1995. ISBN 3-88462-096-7
  • Joan L. Clinefelter: Artists for the Reich. Culture and Race from Weimar to Nazi Germany. Oxford: Berg 2005. ISBN 1-84520-201-5
  • 1938. Art, artists, politics. Exhibition catalog Jewish Museum Frankfurt, ed. by Eva Atlan, Raphael Gross, Julia Voss. Göttingen: Wallstein, 2013. ISBN 978-3-8353-1412-2

Web links

Individual evidence

  1. ↑ Award, p. 370.
  2. ↑ Joan L. Clinefelter: Artists for the Reich, pp 7-23.
  3. ^ Cara Schweitzer, in: 1938. Art, Artists, Politics, p. 92.
personal data
SURNAME Feistel-Rohmeder, Bettina
ALTERNATIVE NAMES Feistel-Rohmeder, Bettina Maria Hannchen (full name)
BRIEF DESCRIPTION German painter and publicist, Nazi art ideologist and activist
DATE OF BIRTH August 24, 1873
PLACE OF BIRTH Heidenheim
DATE OF DEATH 3rd February 1953
Place of death Karlsruhe