Carl Martin von Stegmann

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Portrait of Carl von Stegmann, Karl Jäger , Nuremberg, 1882, oil on canvas, Germanisches Nationalmuseum in Nuremberg.

Carl von Stegmann (also Karl, * 1832 in Eisenach ; † May 28, 1895 in Nuremberg ) was a German architect , lithographer , art historian and museum director.

architect

From 1864 Stegmann was in charge of the construction of the Neues Museum in Weimar under the direction of Carl Heinrich Ferdinand Streichhan, which was designed by the Prague architect Josef Zítek . As an architect, he also designed the school building opposite the Neues Museum at Rathenau-Platz 3 in Weimar, which was built from 1868 to 1871. The Stegmannsche Haus in Weimar is not the only one in this striking exterior that was based on Stegmann's plans. Referred to as "Köglers house" building looks in the draft in elevation this strikingly similar. But it was not carried out in Munich .

Publicist and lithographer

Stegmann published - mainly during his time in Weimar - various large master works for the arts and crafts, some of which he also provided with his own lithographs. After a study visit to Rome in 1855/1856, he began in the early 1860s with a collection of ornaments from the Italian Renaissance (1861), followed in the same year by a work on designs for tombs, an “ornament school” and templates for ornaments “Greek and Roman styles ". A volume with “Drawings for shop windows, goods displays and shop fronts” appeared in 1884. In 1866, together with F. Jaede, he opened his “Atelier for Architecture and Applied Arts” in Weimar, through which he published the weekly Kunst und Gewerbe from 1867 . After he left Weimar in 1884 the “Handbook of the Art of Fine Art according to its Full Extent” was published. As a co-author, he started in 1885 with the publication of a panel on the architecture of the Renaissance in Tuscany , which he did not live to see completed in 1896. His son Hans Stegmann and his co-author Heinrich von Geymüller continued to publish further volumes, not without conflict.

Museum director

Poster for the "International Exhibition of Works from Noble Metals and Alloys" in Nuremberg 1885, Germanisches Nationalmuseum in Nuremberg.
Plate, Tsukamoto Gisaburô, Japan, around 1885, enamelled copper, Germanic National Museum in Nuremberg.

When Stegmann was unsuccessful with his application for the position of director of the New Museum in Weimar - the construction of which he had directed - he reoriented himself. He applied with 26 competitors for the newly created director position of the Bavarian Industrial Museum in Nuremberg, which was advertised in 1871. When it turned out that the favored curator of the Vienna Museum of Art and Industry Jacob von Falke was out of the question for the position, they decided on Stegmann. On January 1, 1872, he was appointed to the Bavarian Trade Museum in Nuremberg , of which he was thus founding director. He brought his weekly Kunst und Gewerbe with him, which could then function directly as a publication medium for the new museum. As the first director, he built up the collections and departments of the trade museum, but also took on a variety of other tasks. He planned and carried out the renovation and relocation of the trade museum to the former Café Noris at Königsstrasse 3 in Nuremberg, curated several traveling exhibitions and coordinated the participation of Bavarian companies in several world exhibitions and international shows, among others. a. 1876 ​​in Philadelphia, 1879 in Sydney, 1880 in Melbourne or 1883 in Amsterdam. He also succeeded in bringing about a merger of the Bavarian trade associations. He initiated the Bavarian state exhibitions, which took place in 1882, 1896 and 1906 with great success. As early as 1879 he founded a committee to organize the show in 1882, the entire planning of which was taken over by the trade museum and which was officially opened on May 15, 1882 in the presence of Prince Luitpold of Bavaria . 2414 exhibitors were able to present themselves on a 200,000 m² area, today's Nuremberg City Park . The exhibition attracted two million visitors, and the profit for the trade museum came to 420,348 marks. Against the background of this great success, it is not surprising that Stegmann planned another major exhibition just three years later. The "International Exhibition for Work from Precious Metals and Alloys" opened in June 1885. A new building had been erected specifically for the exhibition, which was later to house the permanent exhibition of the trade museum. However, this construction in particular caused massive problems due to the sandy subsoil near the Pegnitz. The necessary reinforcement of the foundations caused the construction costs to skyrocket. Nevertheless, the exhibition was a success in view of the large number of national and international exhibitors, the large number of objects on display and almost a quarter of a million visitors. The metal objects from Asia were particularly impressive, the enamel work by 22 different manufacturers particularly stood out. Despite this success, the financial result at the end of the show in September 1885 was disastrous. The original sum for the construction increased by 103,000 marks and the lottery that was held also had a hard impact with a deficit of 50,000 marks. In addition to this financial imbalance, Stegmann was also viewed increasingly critically as a director within the administrative board. He had given the museum too strong an art-historical and handicraft character; the promotion of handicrafts and industry did not take place to the planned extent. Lothar von Faber , one of the museum's main financiers, accused Stegmann of being “far removed from practice” and lacking personal experience in the technical and practical area. Stegmann had lost sight of important areas of activity of the museum, such as the acquisition of current, innovative industrial products, contacts to industry or the intensification of the educational program, and was therefore - in addition to the financial situation - more intense with regard to the content of the museum to be conveyed Exposed to criticism. In 1887 they separated from Stegmann, followed by Theodor von Kramer . Stegmann retired, but stayed in Nuremberg. He operated the publication of his panels on Tuscan architecture of the Renaissance until his death in May 1895. The collection of the Bavarian Industrial Museum, which he built up, is now on permanent loan in the Germanic National Museum in Nuremberg .

literature

  • Silvia Glaser: 150 years of the Bavarian Industrial Museum in Nuremberg. Publishing house of the Germanisches Nationalmuseum , Nuremberg 2019.
  • Landesgewerbeanstalt Bayern (ed.): The LGA's trade museum in the Germanic National Museum. Nuremberg 1989.
  • Peter Budig: 150 years of LGA. Edited by the Landesgewerbeanstalt Bayern. Nuremberg 2019.
  • Art. Stegmann, Carl von . In: General Artist Lexicon - International Artist Database - Online. Edited by Andreas v. Beyer, Bénédicte Savoy and Wolf Tegethoff.
  • Art. Stegmann, Karl von. In: Nürnberger Künstlerlexikon, Vol. 3. Ed. By Manfred H. Grieb. De Gruyter Saur, Berlin 2007. Sp. 1479.

Individual evidence

  1. http://e-pub.uni-weimar.de/opus4/frontdoor/index/index/year/2009/docId/1409 Kerstin Vogel: Carl Heinrich Ferdinand Streichhan architect and chief construction director in the Grand Duchy of Saxony-Weimar-Eisenach 1848 to 1884 , Diss. Weimar 2009, Vol. 1: Text, p. 148.
  2. https://mediatum.ub.tum.de/?id=999190
  3. http://www.omnia.ie/index.php?navigation_function=2&navigation_item=%2F2048436%2Fitem_ZZ2WBRZHW7FGI33BLIZ5YHGOD3VNEU3T&repid=1
  4. Stegmann's short biography
  5. http://worldcat.org/identities/viaf-784744/
  6. ^ Georg Germann, Josef Ploder: Heinrich von Geymüller (1839–1909). Architectural researcher and architectural draftsman For the exhibition in the Basel University Library September 5 to November 14, 2009 and in the Graz University Library December 3, 2009 to February 12, 2010, Basel, F. Reinhardt, 2009, ISBN 978-3-7245-1621-7 . ( limited preview in Google Book search)
  7. ^ Silvia Glaser: 150 Years of the Bavarian Industrial Museum in Nuremberg. Publishing house of the Germanisches Nationalmuseum , Nuremberg 2019.
  8. ^ Art. Stegmann, Carl von . In: General Artist Lexicon - International Artist Database - Online. Edited by Andreas v. Beyer, Bénédicte Savoy and Wolf Tegethoff.
  9. ^ Peter Budig: 150 years LGA. Edited by the Landesgewerbeanstalt Bayern. Nuremberg 2019.
  10. ^ Silvia Glaser: 150 Years of the Bavarian Industrial Museum in Nuremberg. Publishing house of the Germanisches Nationalmuseum , Nuremberg 2019.
  11. http://archiv.ub.uni-heidelberg.de/artdok/3038/1/Eser_Historisches_Kunsthandwerk_2002.pdf