Carl Lambertz

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"Sports and play figure" (Carl Lambertz, Sporthallen Kronshagen , 1973, aluminum, color)

Carl Lambertz (born March 29, 1910 in Düsseldorf , † February 27, 1996 in Eckernförde ) was a German painter and graphic artist , who was particularly known in Schleswig-Holstein for his works .

Live and act

Lambertz grew up in Düsseldorf and began a three and a half year apprenticeship as a church painter in 1925 and worked as a painter's journey after completing his apprenticeship. He attended evening courses at the Düsseldorf School of Applied Arts and earned money for the desired academic studies by doing odd jobs (painting signs, wallpapering rooms, painting furniture in bright colors). The first pictures were taken.

He married for the first time in 1932 and met a group of politically active young artists in Düsseldorf: actors, set designers, writers, painters. He created illustrations against National Socialism for an illegal newspaper that was later printed in his studio.

He was arrested in 1935. In front of the Gestapo he simulated poor memory, so that he was taken to Cologne's infamous Klingelpütz , where he actually managed to be classified as not fully sane. While anti-fascist friends were being executed, he was declared unworthy of defense and got away with ten months of solitary confinement: a psychological burden that repeatedly broke through, consciously or unconsciously, in Lambertz's choice of subjects. More than anyone else, he had learned to look behind the smooth facades and scenes of an usurpatory world.

Convicted of treason, admission to the Düsseldorf Academy was actually not possible. In 1936, however, he applied to study at the State Art Academy in Düsseldorf with the picture “Blue Cart” and illustrations for the fairy tale by HC Andersen The Big and Little Klaus and was accepted.

From 1936 to 1941 he studied at the Düsseldorf Art Academy. Professors Heuser (until 1938) and Schmurr became his teachers. No one asked about the police clearance certificate, which is actually so important, during his entire studies. Traumatic anxiety states remained until the end of his life.

The Kunstverein Düsseldorf bought the first landscapes from Lambertz in 1941. Once again declared worthy of defense, he was drafted into the military and came to Schleswig-Holstein as a marine. During his absence, his studio in Düsseldorf was destroyed in a bomb attack in 1942 and almost all of his work was destroyed.

Lambertz settled in Schleswig-Holstein in 1946 as a freelance painter and graphic artist. The "Great Pietà" is created, also a chalk cycle about the tragedy of war. In 1949 he bought a piece of land on Wittensee and built a house on it. On trips to Yugoslavia (1949), Spain (1952) and the Orient (1958) he gathered important impressions that shaped his further art. In 1951, Lambertz succeeded Professor Parnitzke as chairman of the Schleswig-Holstein Association of Artists. From 1954 to 1965 was the time of his great still life (oil).

In 1956 he brought about the merger of the rival associations of artists and state professional associations ; He was a co-founder of Group 56 (together with Gerhart Bettermann , Gottfried Brockmann, Willy Knoop, Hanns Radau , Werner Rieger and Curt Stoermer ) in Schleswig-Holstein.

From 1959 to 1980 he taught at various adult education centers in Schleswig-Holstein and in 1962 began living and working with his friend, painter and graphic artist Maria Reese . In 1963 he was given a teaching position for life drawing at the Muthesius School of Crafts and Applied Arts in Kiel .

Further stages of his artistic and human development were:

  • 1967 Beginning of the ornamental style.
  • 1969–1970 First turn to the mechanical world. Colored zinc etchings, screen prints and etchings were created.
  • 1972 Second marriage to Maria Reese. Through her sister Renate, Lambertz became Gynter Mödder's brother-in-law .
  • 1973 Extension of the studio in Groß Wittensee , own exhibition possibility .
  • 1975 The mechanical style.
  • 1978 move in of the white grand piano, fulfillment of his musical dream.
  • 1980–1983 The deformation process of the environment showed up in his new "Bubble-Gum" pictures.
  • 1991 Wittenseer Engel
  • Numerous exhibitions at home and abroad.

On the occasion of the special exhibition on the 100th birthday of Carl Lambertz in 2010, Uwe Beitz wrote about his artistic development:

“What is expressed in the Wittensee landscapes of the late 1940s through moods and strange phenomena - peculiarly shaped trees and bushes or disturbing birds - becomes in the later work the well-known fantasy figures of their own imagery no longer copied from nature. He begins to experiment with shapes, colors and surfaces; the three-dimensional, illusionistic space increasingly merges into a surface layered in foreground, middle and background, and finally disappears completely before it returns as a surreal spatial construction in the 1970s. "

In 1996 Lambertz died in the Eckernförde district hospital.

Artistic judgment

One of the most important texts for characterizing his oeuvre comes from his second wife and artistic companion Maria Reese:

“A pessimist, a misanthrope - despite gloomy visions - he was not. With a respectful and friendly approach to life, Carl Lambertz realized his lifelong dream, his studio house, in Groß Wittensee in Schleswig-Holstein. In the Hitler dictatorship - Germany had lost more than her composure - Carl Lambertz survived torture and imprisonment. He was still able to study painting from 1936 to 1941 at the State Art Academy in Düsseldorf. Due to the quality of his work, he was accepted and was lucky not to be asked for a police clearance certificate. In the Second World War he moved to Eckernförde to join the navy, but after 1945 he made a new home in Northern Germany. His studio in Düsseldorf was bombed out, almost all of the pictures were burned. He succeeded in acquiring a plot of land at Wittensee and in 1949 began building a studio house, which he tirelessly expanded from 1973 with Maria Reese, his second wife, 32 years younger than him, and filled with pictures, and the last extension in 1993 planned and carried out. This ensemble became the stage of his life. There he let the ideas and conceptions come to life and painted until the end of his life, supported by Maria Reese, also a painter and draftsman. Not a picture that he didn't discuss with her, ask for her opinion. Carl Lambertz staged his pictures, played theater on the screen and the paper and let the protagonists appear on the screen. So he could tell his truth, on the open stage, high on the rope. He offered the picture as a mirror for knowledge. As a seer, he couldn't help being a warner and admonisher, but he still brought order and structure into the chaos, as it is in the theater. 1977, rather fearful, because the curious question 'What's under?', He later hoped for the great magician Merlin, not so much for self-responsibility. Aligned with reality, he played, he dreamed, he fantasized, transferred psychological things, implemented and equated. His pictures, never oversized, are of subtle design, also show theater in the theater to grasp the big in the small. He lets nature itself become a spectacle: 'The monsters live in the most beautiful landscape', 'The destroyed rainbow', which gives birth to one last dance while dying, whereas what he once exaggerated reorientates itself without complaint. In 1987 he painted 'Managers organize the deluge' or in 1986/87 'In ancient times, when people were like today, an artist in the land of Rutarap-Maney built an animal. Even the angels rejoiced and paid homage to him. People adored it very much too, so much that they made it the Golden Calf. Then the dark shadow angel came with the trumpet and blew the moon and sun away, away, away ... 'Carl Lambertz warned against the materialization, mechanization of man, against its deformation in the bubble-gum pictures. World events z. B. he commented in the picture 'What comes to my mind while reading the newspaper'. Selected newspaper sheets were used as the base for painting, and not just for this picture. Thoughts of the afterlife inspired him: Angels and devils play next to each other. In 1988–90 he designed the 'Metamorphosis of a Landscape' - whether it would then still be habitable for humans - which became the 'Day of Creation'. Carl Lambertz didn't talk nicely. It was uncomfortable. But his pictures are of a beautiful kind, against the horror, as he said, so that they do not immediately reveal themselves at first glance. We will always be entangled in the 'world circus'. His inner fullness, his soul from the pictures speaks, he is not dead. "

Award

Publications

  • Norbert Weber (ed.): Flower pictures by Maria Reese and Carl Lambertz with selected poems , Rendsburg: Claudius Kraft 1979, ISBN 3-922165-03-6
  • Home community Eckernförde (Ed.): Carl Lambertz. Time stood still and transformed the look. An illustrated book with text contributions , Eckernförde: Druckhaus Schwensen 1989, ISBN 3-9802327-1-9
  • Carl Lambertz: Butterfly, why are you wearing black? Autobiographical sketches , Kiel: Nieswand 1993 (edition x), ISBN 3-926048-69-7
  • Carl Lambertz: Waiting for Aphrodite. Mythical reflections are a huge force to confuse our souls , Leporello, Eckernförde 1995.

Picture galleries

Special exhibitions (posthumous)

literature

  • Gynter Mödder : Landscapes - Views. Pictures by Maria Reese and Carl Lambertz , Rendsburg: Claudius Kraft 1982, ISBN 978-3-922165-17-0
  • Bodo Heimann : On the topicality of myths. On the new phase in the work of Carl Lambertz , in: Yearbook of the home community Eckernförde 42 (1984).
  • Karl-Heinz Hoyer: Carl Lambertz. The artist and his work , Rendsburg: Claudius Kraft o. J. (1985), ISBN 3-922165-22-2
  • Gynter Mödder: Angels and Spirits. Presented in pictures by Carl Lambertz , Neumünster: Wachholtz 1991, ISBN 978-3-529-02719-2
  • Gynter Mödder: Time stood still and transformed the view. On the life and death of the painter Carl Lambertz , in: Yearbook of the home community Eckernförde 54 (1996) 9–22; Reprinted 2010 by Verlag Ralf Liebe, Weilerswist.
  • Maria Reese : My grief is expressed in pictures. Farewell to my husband, the painter Carl Lambertz , Stuttgart: Radius 2000, ISBN 3-87173-214-1
  • Berend Harke Feddersen: Schleswig-Holsteinisches Künstler-Lexikon , Niebüll: Videel 2005.

Web links

Notes and individual references

  1. ^ Karl-Heinz Hoyer: Carl Lambertz , p. 167
  2. ↑ http://www.autorenkreis-rhein-erft.de/renate-moedder-reese/index.php
  3. ↑ https://kirche-buensdorf.de/kapelle-gross-wittensee/
  4. ↑ A complete exhibition directory can no longer be reconstructed, as the artist only made sporadic records about it.
  5. ↑ museum collection sheet 2a "World Circus": landscapes , Lambertz special exhibition in 2010 at the Museum Eckernförde
  6. ↑ museum collection sheet 2b "World Circus": theater and circus images , Lambertz special exhibition in 2010 at the Museum Eckernförde
  7. ↑ Maria Reese: My grief is expressed in pictures , p. 166
personal data
SURNAME Lambertz, Carl
BRIEF DESCRIPTION German painter and graphic artist
DATE OF BIRTH March 29, 1910
PLACE OF BIRTH Dusseldorf
DATE OF DEATH February 27, 1996
Place of death Eckernförde