Carl Vinnen
Carl Vinnen (born August 28, 1863 in Bremen , † April 16, 1922 in Munich ) was a German painter . As a writer, he carried the pseudonym Johann Heinrich Fischbeck .
Life
Until 1886
Carl Vinnen was born on August 28, 1863 as the son of the shipowner Johann Christoph Vinnen and his first wife Jenny Friederike, b. Westenfeld was born in Bremen. His mother died in 1870. His brother, five years his junior, was the shipowner and politician Adolf Vinnen . After finishing school, Vinnen worked for some time in his father's company at the request of his parents.
1886 to 1893
At the age of 23, Carl Vinnen began studying with Heinrich Lauenstein and Hugo Crola at the Düsseldorf Art Academy and took private lessons with Eugen Dücker . From 1888 he continued his studies in Karlsruhe . Carl Vinnen was influenced by his teacher Arnold Böcklin in his choice of motifs , he concentrated on melancholy landscape painting.
In Düsseldorf, Vinnen met Fritz Mackensen and Otto Modersohn in the artist association “ Tartarus ” . In the summer of 1889, the two of them visited him for a few weeks on his father's estate in Easter village, where Vinnen lived (today a district of Beverstedt ). At this time, Mackensen and Modersohn founded the Worpswede artists' colony about 25 kilometers from Easter village . During later mutual visits to Worpswede and Osterndorf, Vinnen also made the acquaintance of Hans am Ende , Fritz Overbeck (1892), Heinrich Vogeler (1894) and Paula Modersohn-Becker . In addition to friendships with fellow painters of the same age, Vinnen also maintained contact with the elderly writer Hermann Allmers . Otto Modersohn's diary entries document disputes about artistic points of view between Vinnen and Modersohn during this time.
1893 to 1908
Although Carl Vinnen never lived in Worpswede, he was and is perceived as a member of the Worpswede artist community. Vinnen and his Worpswede colleagues founded the Worpswede Artists' Association in 1894 in order to better present and market their art to the public. The commercial training and organizational talent of Carl Vinnen turned out to be useful. Now his large-format (280 × 200 cm) oil painting Tranquility was shown on a day in the early spring in a joint exhibition by Worpsweder in the Bremen Kunsthalle . This exhibition in Bremen brought only criticism and little recognition for the Worpswede artist community. In 1895 he was praised by a critic on the occasion of the large exhibition of the Munich Secession in the Munich Glass Palace as the “leader of the young artists from Worpswede”; Vinnen was unable to take part in the exhibition because of a riding accident. Vinnen's preference for large picture formats and particularly bright colors in his landscape pictures is striking. But not all Worpswede colleagues liked Vinnen's style; For example, in 1894 Fritz Overbeck expressed himself very critically in a letter to Otto Modersohn about Vinnen's picture of calm on an early spring day . On the other hand, Vinnen's method of showing cut birch trunks in the foreground of his paintings was also taken up by his Worpswede friends in their own pictures.
He was one of the preferred selection of contemporary artists that the "Committee for the Procurement and Assessment of Stollwerck Pictures" suggested to the Cologne chocolate producer Ludwig Stollwerck to commission them with drafts.
Carl Vinnen owned a studio on the family's estate in Easter village . In order to be able to easily paint snowy landscapes in winter, Vinnen had a heated studio car built with large windows; for painting animals, he set up an animal model stable with horses and cattle on the estate. Vinnen employed his own "paint boy" who produced the paint for him. In the area around Easter village, at that time a heathland , he not only painted, he also rode and hunted. There was no material shortage, Carl Vinnen could afford to travel: In Europe to Scandinavia, France, Spain, Holland, Belgium and Italy, but also to Asia and Africa. During a stay on the Belgian coast, Carl Vinnen was inspired by Belgian landscape painters to use even more intense colors. The use of strong cobalt blue, for example, was characteristic of Vinnen's night landscapes.
In 1902, the poet Rainer Maria Rilke wrote a book with monographs from Worpswede artists. In addition to Mackensen, Modersohn, Am Ende, Overbeck and Vogeler, Rilke also wanted to describe Vinnen in his work. Carl Vinnen declined an essay about himself, despite requests from Rilke. Vinnen no longer saw the Worpswede artists at their previous level and in literary reviews the danger of "uncritical admiration". Rilke could not convince Vinnen and so the book was only published with monographs by artists who also lived in Worpswede. Vinnen also got engaged to Anna Lagemann in 1902, and the wedding did not follow until many years later. In 1903 Vinnen received a small gold medal at the Great Berlin Art Exhibition .
Carl Vinnen became an early member of the German Association of Artists, founded in 1903 . His name can be found in the catalog of the third exhibition in Weimar as early as 1906.
1908 to 1912
Carl Vinnen broke away more and more from the Worpswede artist community. After Overbeck and Modersohn had left Worpswede, Vinnen decided in 1908 to move from Easter village to Cuxhaven . Now the focus was on maritime motifs in the Impressionist style. In 1911, Carl Vinnen and many other German artists signed a protest against the alleged infiltration of French art into German art collections. The occasion was the acquisition of the painting The Poppy Field by Vincent van Gogh by the museum director Gustav Pauli for the Kunsthalle Bremen . In a warning that was published in the Bremer Nachrichten , Vinnen spoke out against a “great invasion of French art,” which, in Vinnen's opinion, meant that German artists lost large sums of money on the German art market. Vinnen turned against the French avant-garde , against Fauvism and described the Expressionists as decadent and inferior. There he turned against the rediscovery of El Greco and its reassessment by Meier-Graefe . Vinnens article was to initiate a polemic captured publication "A protest of German artists. With an introduction by Carl Vinnen ”in 1911. In response, the Piper Verlag published the brochure“ Im Kampf um die Kunst ” in July 1911 . The controversy became known as the Bremen Artists' Dispute .
1912 to 1922
Before the First World War , Carl Vinnen moved entirely to Munich, where he had long had a second home. In 1919 Vinnen married his long-time partner Anna Lagemann. No children grew out of this relationship. Shortly after the marriage he suffered a stroke, on April 16, 1922 he died in Munich from the consequences of another stroke. His urn is in the private cemetery of the Vinnen family in Easter village.
Works (selection)
painting
- Bremen in the 17th century (colossal painting (6.40 m × 2.50 m) in the ballroom of the Bremen town hall )
- Rest on an early spring day (1893)
- Birch grove in autumn (1893)
- Path into the Moor (1900)
Printed matter
- Under the pseudonym Johann Heinrich Fischbeck: A natural history or brief outline of the life of the main wild animals in the Duchy of Bremen ; Publishing house Eugen Diederichs, Jena 1899
- Quousque tandem in: A Protest by German Artists. With an introduction by Carl Vinnen , pp. 2–16, Eugen Diederichs Jena 1911 DNB .
literature
- Hans Wohltmann: Vinnen, Carl , in: Otto Heinrich May (ed.): Niedersächsische Lebensbilder , Vol. 5, 1962, p. 305.
- Almuth Sayk zu Jeddeloh: Carl Vinnen . Catalog for the exhibition at Barkenhoff Worpswede, 1995 Ed .: Barkenhoff-Stiftung Worpswede. Worpsweder Verlag, Lilienthal, ISBN 3-89299-150-2
- Almuth Sayk zu Jeddeloh: Studies on the life and work of Carl Vinnen (1863-1922) with special consideration of the "Protest of German Artists" of 1911 . Dissertation University of Bonn 1986
- In the fight for art: the answer to the protest of German artists , with contributions from German artists, gallery managers and writers. R. Piper, Munich 1911 ( digitized UB Heidelberg , digitized archive.org ).
- Vinnen, Carl . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940, p. 394 .
Web links
- Literature by and about Carl Vinnen in the catalog of the German National Library
- Carl Vinnen at artfacts.net
Individual evidence
- ^ Carl Vinnen: 1886–1888 KA (H. Lauenstein, H. Crola); until 1888 PU (E. Dücker) , in artists of the Düsseldorf School of Painting (selection, status: November 2016)
- ↑ Martina Albert in Nordsee-Zeitung from September 15, 2016, page 19, "Artists with rolling studios"
- ↑ Lorenz, Detlef: Reklamekunst um 1900. Artist lexicon for collecting pictures, Reimer-Verlag, 2000
- ^ Letter of congratulations from Rainer Maria Rilke to Carl Vinnen on September 6, 1902
- ↑ s. List of members in the catalog of the 3rd German Artist Association Exhibition , Weimar 1906. P. 58: Vinnen, Carl, painter, Gut Osterndorf, Post Beverstedt in Hanover. online (accessed May 25, 2016)
- ↑ see illustration at commons
- ^ Franz Marc to August Macke April 12, 1911
- ↑ Martina Albert in Nordsee-Zeitung from September 15, 2016, page 19, "Artists with rolling studios"
- ↑ Picture with panorama of Bremen . In: Lasdin . Senate Chancellery Bremen. Retrieved March 15, 2010.
| personal data | |
|---|---|
| SURNAME | Vinnen, Carl |
| ALTERNATIVE NAMES | Fischbeck, Johann Heinrich (pseudonym) |
| BRIEF DESCRIPTION | German painter |
| DATE OF BIRTH | August 28, 1863 |
| PLACE OF BIRTH | Bremen |
| DATE OF DEATH | April 16, 1922 |
| Place of death | Munich |