Charles Crodel

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Charles Crodel with drawing pad together with his mother and brothers Heinrich and Richard, Marseille 1905 (Photo: Nadar , Marseille)

Carl Fritz David "Charles" Crodel (born September 16, 1894 in Marseille ; † November 28, 1973 in Munich ) was a German painter who became known for large-scale wall paintings and other works of art in interior design. He also made woodcuts and graphics and was a glass painter who worked in secular and sacred architecture. In addition, he created patterns for textile and other applied arts . During the time of National Socialism , many of his paintings were classified as so-called degenerate art and exemplarily destroyed as early as 1933. Crodel taught fine and applied arts as a university professor .

life and work

Life

Carl Fritz David Crodel, known as Charles Crodel, grew up in Marseille , Chemin du Roucas Blanc, as the son of the merchant and German consul there Carl Richard Crodel († 1914) and his wife Marie, née. Mengert on. His brothers were Heinrich (1897–1945) and Richard Crodel (1903–1944). Crodel experienced the opening of the Ernst Ludwig Kirchner exhibition by Botho Graef in 1914 . After graduating from school in Jena in 1914, he studied under Richard Riemerschmid at the Kunstgewerbeschule in Munich under the banner of the Deutscher Werkbund , where he created his first glass paintings and glass mosaics and lived in Schwabing.

His ancestors include the educator Marcus Crodel (* around 1487 in Weimar; † 1549 in Torgau) and the members of the Krodel family of painters from the circle of Lucas Cranach the Elder. Ä. His uncle Paul Eduard Crodel (1862–1928), called Schnee-und-Regen-Crodel , was trained at the Grand Ducal Art School in Weimar and was a co-founder of the Munich Secession and a role model for the young Crodel.

Jena and Berlin

The Jena art teacher Christoph Natter introduced him to the painter Elisabeth von Fiebig , who Crodel married in 1918. Since 1915 Crodel was enrolled at the University of Jena in the subjects of Classical Archeology and Art History, but he could only begin his studies after returning from the First World War. He was friends with the archaeologist Herbert Koch , Justus Bier and Erich Schott and was chairman of the Jena Art Association from 1920 to 1928 . In preparation for the Ernst Ludwig Kirchner exhibition in 1919/20, Crodel and Elisabeth Crodel wrote the graphic directory for Kirchner's Botho Graef Memorial Foundation and began setting up his own printing workshop. Like the graduates of the Weimar Bauhaus , Crodel acquired his apprenticeship certificate in lithography and printing from the Weimar Chamber of Crafts in 1921 after an apprenticeship in the Giltsch scientific printing company established by Ernst Haeckel and printed for his friend Gerhard Marcks . Crodel initially found recognition with his woodcuts , including the double portrait of Herbert Koch and Wilhelm Worringer from 1922, and with technically demanding lithographs and watercolors.

At the beginning of the 1920s he contributed a special issue and other woodcuts to the art magazine Kendung, published by Rosa Schapire in Hamburg ; In 1920 he took part in the Darmstadt exhibition on German Expressionism ; in 1923, Crodel's works were finally acquired by the Kupferstichkabinett of the Berlin National Gallery and the Kupferstichkabinett of the French National Library in Paris. Because of the pictures shown by Crodel in the Berlin Secession in 1923, the Berlin gallery owner Ferdinand Möller got in touch. Crodel's imagery went with the developments: It's tempting to compare these compositions with Carl Crodel's woodcut Bend In The Road (drawn the same year as Caligari, by the way), which also works with a simple line to mark a path, bisecting an empty town.

The early wall paintings from this period include works from 1924 in the University of Jena , the Fritz Krieger-Str. 4 in Jena (since 1928 Weimar Castle Museum ) and in 1925 the hospital on Schottenring in Erfurt .

Bauhaus collaboration

The exhibitions set up by Crodel for the Jenaer Kunstverein, his visits to the ceramic workshops of the Bauhaus on the Dornburg - recorded z. B. in his woodcut from 1921: The Dornburg ceramic workshop of the Weimar Bauhaus - the impression of his own exhibitions in Erfurt, Jena and Weimar led to permanent collaboration with Bauhaus students such as the ceramists Werner Burri , Thoma Grote and Marguerite Friedlaender , the architects Theo Kellner and Ernst Neufert and with Wilhelm Wagenfeld in the glass industry. Rudolf Baschant (gravure printing) and Walter Herzger (flat printing) became Crodels' printing assistants in Halle.

Halle and Berlin

Following a joint stay in Paris in 1926 with Gerhard Marcks and a visit to the Académie de la Grande Chaumière , the city of Halle appointed Crodel at the beginning of 1927 to teach painting and graphics at the Burg Giebichenstein School of Applied Arts . There Crodel built the workshops for wall painting and the graphic workshops for etching with the Bauhaus students Rudolf Baschant and lithography with Walter Herzger as employees. Nude drawing lessons and lectures on art history complemented his lessons. During his stay in Barcelona in 1930 he received the Albrecht Dürer Prize from the city of Nuremberg . A particular concern of Crodel was the continuation of the traditions of the modern age . In continuation of motifs Karl Friedrich Schinkel's murals for the new Kursaal extension in Bad Lauchstädt and the stage wall of the Goethe Theater , murals for the University of Halle (1928 the improvisations on life and death with motifs from the First World War and from the work of Francisco de Goya in the Burse zur Tulpe and in 1931 the Atalante race in the gymnastics room in the Moritzburg (Halle) , today the "Crodel-Halle" integrated into the new building, the painting of the new registry office of the city of Halle and, in addition to numerous private assignments, Crodel completed the 100 m² cardboard for the ceiling of the planned Magdeburg city hall and the cardboard for the music room of the Burse zur Tulpe (hall) for the jury-free art exhibition in Berlin and a mural at the German Building Exhibition in 1931. That year Crodel received the Villa Romana Prize and was in Florence.

Friendship with Gerhard Marcks

Mutual sponsorships, joint work exhibitions, mutual ownership of works and joint work range from the beginning of friendship to Crodel's death. Crodel painted the "Greek women", Marcks sat model for Crodel's mural "Race of the Atalante". Crodel's “Improvisations on Life and Death” together with the “Wandler” von Marcks formed a compositional unit. The house of Gerhard Marcks in Darß was decorated with a colored glass window by Crodel.

Double portraits of Crodel and Marcks can be found in the window work of the Katharinenkirche in Frankfurt and accompany the common work in the Kartäuserkirche St. Barbara in Cologne 1953 to 1959, in the Kaiser-Friedrich-Gedächtniskirche of the Interbau Berlin 1957 and the Nikolaikirche Heilbronn with paraments by Crodel and a crucifix by Marcks.

Cooperation with manufacturers

Immediately after Günther von Pechmann's move from Munich to Berlin in 1929, Crodel made contact with the Royal Porcelain Manufactory that had been prepared in Munich in 1928 . Together with Hermann Harkort as head of the Velten-Vordamm stoneware factory , Crodel made chimneys painted by hand using the colored glazes developed by Thoma Grote , also exemplarily in connection with wall paintings - for example for the Crodel house and the exhibition "Painters and Sculptors in Building", Berlin 1931. The wall chimneys with colored fireclay paintings were intended for export to the USA. In collaboration with Günther von Pechmann and his successor Nicola Moufang, Crodel worked like Marguerite Friedlaender for the Staatliche Porzellanmanufaktur Berlin , made porcelain fireplaces, painted traditional and refined technical porcelain. Renovation work on the Merseburg Cathedral led to the exploration of monumental glass painting.

Iconoclasm

As early as 1930, works by Barlach, Crodel, Dexel, Feininger, Kandinsky, Kirchner, Klee, Kokoschka, Lehmbruck, Marc, Marcks, Minne, Moltzahn, Schlemmer, Schmidt-Rottluff were being stored in the magazine, “that is, decisive contemporary German art”.

Crodel was dismissed from teaching and as workshop manager on March 28, 1933, in the early days of National Socialism . On May 30, 1933, his monumental works for the spa theater and spa facilities in Bad Lauchstädt , which he had just created in the Goethe year 1932 as part of the renovation of the spa facilities led by the provincial curator, by the Burg Giebichenstein School of Applied Arts under the direction of the architect Hans Wittwer , Publicly burned and completely destroyed by order of the National Socialist Governor Kurt Otto . The governor said to the provincial parliament:

“Everything will be done to erase the ugly traces in the provincial administration that the so-called modern art movement, misled by Jews, has left here and there. In the venerable Goethe Theater in Lauchstädt, I was indignant to discover that this space, sanctified by our great German poet, had been disguised in a hideous way by graffiti that had nothing to do with art. I have ordered that the cultural shame be wiped out immediately. The work is already in progress. The stage framing of the Goethetheater will be restored in the form that Goethe gave it. In this act of restoring the original condition of this sacred space, see the symbol that National Socialism completely wiped out everything foreign and bad from the cultural sites of the German people. "

From now on, Crodel's work was at the center of the art debates in Berlin and Halle. And Crodel's mural in the Weimar Castle Museum has not been seen since then.

In July 1933 the wall paintings of the Crodel class in the Margaretenkapelle of Burg Giebichenstein were destroyed and the work of the two printing workshops in the courtyard of Burg Giebichenstein was burned.

Crodel then went to Norway to see Edvard Munch , with whom he had corresponded as a board member of the Jena Art Association, and discussed with him the situation of art in the German Empire . A studio visit to Max Liebermann followed.

Again in the spring of 1936 the wall paintings in the Moritzburg (today: Crodel-Halle) and the Burse zur Tulip were destroyed.

Overview of the destruction in 1933 and 1936

  • May 30, 1933 Stage wall of the Goethe Theater in Bad Lauchstädt from 1932 ( Fresco-Secco ) as well as the wall painting in the Kursaal extension
  • Summer 1933 New construction of the registry office in Halle Süd, Ribeckplatz 3 from autumn 1929 (Fresco-Secco)
  • July 1933 Small hall of the Kurhaus in Bad Lauchstädt from 1932 (Pompeian wax technique)
  • July 1933 Destruction of the wall paintings of the Crodel class in the Margaret Chapel of Giebichenstein Castle and burning of the workshop work of the two printing shops of the Kunstgewerbeschule (lithography and etching)
  • Spring 1936 New Burse zur Tulpe of the University of Halle from 1930 (Fresco-Secco), improvisations about life and death in collaboration with Gerhard Marcks
  • Spring 1936 Atalante race , hall of the institute for physical exercise at the University of Halle in Moritzburg, created in 1931 (Fresco-Secco).

Until the wave of destruction in 1936 (destruction of the wall paintings in the University of Halle), Crodel was represented with three works in the New Department of the National Gallery Berlin in the Kronprinzenpalais . He showed another three oil paintings in July 1936 at the last exhibition of the Deutscher Künstlerbund in the Hamburger Kunstverein , which was forcibly closed by the Reichskunstkammer after ten days . The Degenerate Art campaign of 1937 recorded 30 works in the Angermuseum Erfurt alone, and a total of over 50 museum objects were destroyed.

New fields of work

As a result of the destruction of the plant and dismissal in 1933, Crodel looked for new job opportunities in cooperation with the church, post office and industry. His wife Elisabeth Crodel made tapestries based on his designs . In cooperation with the United Workshops for Mosaic and Glass Painting Puhl & Wagner in Berlin , mosaics , glass cuts and glass paintings were created, for example. B. for the private house of the gallery owner Ferdinand Möller built by Hans Scharoun , the country house of Gerhard Marcks or factory buildings by Ernst Neufert for the United Lausitzer Glassworks (VLG). There Crodel worked as a painter and decor designer with Wilhelm Wagenfeld and in Berlin with the State Porcelain Manufactory Berlin , for which Crodel created building-related works. By working with the of Hedwig Bollhagen founded HB workshops for ceramics that opened access to baukeramischen orders. This led the workshops and the United Lusatian Glass Works to an appreciation of industrial goods as an artistic achievement, as Wilhelm Wagenfeld noted in January 1938:

“Museums often hold exhibitions in which visitors are shown exemplary industrial products. In addition, the VLG glasses can also be highlighted as artistic achievements where the individual piece is to be shown. We have successfully offered the museums the Crodel glasses and the cut individual pieces from the experimental workshop. Individual glasses like those from Crodel are entrance tickets for us to participate in museum exhibitions. They are also striking because of their contrast to the other VLG glasses and therefore contribute a lot to a lively overall picture of our endeavors. "

Dresden, Berlin, Halle

In 1945, after the end of the Second World War , Crodel was appointed by Mart Stam to the Dresden University of Applied Arts . In April 1948, the University of Fine Arts in Berlin established the "Crodel Chair". In June 1951, Crodel's design for Cologne Cathedral received first prize. Until 1951, Crodel taught again at Giebichenstein Castle . His teaching activities, especially in Halle from 1927 to 1951, shaped the Hallesche Schule . In 1949 Fritz Löffler wrote : “A number of noteworthy talents are growing in Halle that grew out of the Giebichenstein school. As the head of the school, Crodel has a decorative talent who has a great wealth of imagination. ”This new beginning is also reflected in Crodel's collaboration with the Erfurt Angermuseum.

Munich, USA

On April 1, 1951, Crodel was professor at the Academy of Fine Arts in Munich , where he taught until his retirement in 1963.

Even after moving to Munich in 1951, Crodel completed ongoing building-related works (Mosaik, Kammer der Technik, 1952) and became a member of the newly founded German Werkbund and the German Künstlerbund . He exhibited in Halle and Altenburg, continued the collaboration with the HB workshops in Marwitz and the Office for Monument Preservation in Halle and a. for Erfurt, Halberstadt, Magdeburg and makes his colored glass windows in Quedlinburg and Weimar. In 1959, Crodel worked in Munich on designs for the Leipzig University Church of St. Pauli . A new “crodel school” was built in Munich. Crodel exhibited as a member of the New Group in the Haus der Kunst and as part of the German Association of Artists . The focus of the window works he carried out were in the art centers of Berlin, Hamburg and Frankfurt.

In addition, he taught as a visiting professor in the USA from 1958 to 1965 . Crodel was Visiting Professor of Painting at the University of Louisville (summer semester 1958, winter semester 1960–1961 and 1964–1965; initially mediated by his friend Justus Bier) and the Pennsylvania State University in the winter semester 1962–1963. The visiting professorships accompanied comprehensive one-man exhibitions of current works, including in the North Carolina Museum of Art , dealing with the new art movements corresponding to his conception of space. So Crodel was able to contribute to the emancipation of Afro-American art, visible in the exhibitions of his students Sam Gilliam and Bob Thompson.

The artist foundation for the Kreuzkirche in Bernterode Schacht , a district of Heilbad Heiligenstadt in the Eichsfeld district in Thuringia , held between 1959 and 1963 has a special status . Crodel painted the winged altar in Munich, the four colored glass windows in Ferdinand Müller's glass painting establishment in Quedlinburg . The work, which was carried out parallel to the stays in America, has been a listed building since 1966 .

The colored glass windows in Högby, Malexander, Mjölby and designs for Linköping Cathedral from the early 1970s form a separate group of works . Here Crodel tied in with his 1923 trip to Sweden to Östergötland .

Charles Crodel died on November 28, 1973 in Munich, he is buried with his wife in the Kröllwitz cemetery in Halle.

Summary

Charles Crodel was called early on as a painter pushing towards architecture. His building-related works are on the one hand “ proleptic ” spatial works of art built on abstract foundations , which on the other hand are concretized figuratively. The spatial work of art appears as if the architecture had anticipated it.

Crodel used structural methods of painting, distributions of areas that affect the space. The pictorial form of the triptych often used by Crodel, for example, sets spatial axes in the light effects of glass architecture. Surface distributions of small picture elements - in the manner of scattered flower patterns or through the scattered distribution of image fields - bind entire rooms in both incident and transmitted light of the glass architecture, because the designed surfaces are perceived as a whole and thus as the spatial delimitation of the architecture.

The iconographic concretization is also anticipated in the abstract structure and in the color composition. This is particularly easy to grasp with Crodel's watercolors and design sketches and also with his colored glass windows. The works are initially color compositions that only become concrete when they are overdrawn. In the case of the watercolor and the draft, it is easy to see that a primary color composition was applied first, and only in the second step did the meaningful drawing, which was already given in the color composition, follow. A basic feature of Crodel's imagery is the examination of the survival of art forms and traditions of the ancient imagery that flows into the typology and their afterlife in modern texts and in modern art. Crodel himself spoke of "pictorial symbols" based on Ernst Cassirer . Accordingly, his lectures on art history dealt with “ Thomas Mann as a painter”. Crodels work concentrated on architecture-bound works that encompass entire buildings - with space-binding, “textile” concepts of overall glazing and wall painting ( Katharinenkirche Frankfurt , Stadtkirche Friedberg ). In some cases, the overall typological concept of glass window works is supplemented by tapestries and enamel work. Since the 1960s, Crodel has succeeded in binding the glass architecture through new distribution concepts and in orienting it liturgically. Main church Sankt Jacobi (Hamburg) , St. Andreas (Braunschweig) , Kilian 's Church ( Heilbronn) , Sankt-Petri-Kirche (Magdeburg) . Crodel's pictorial work is completed in its colored glass architecture.

Crodel's endeavor to continue modernism without breaking with the art-technical traditions of Europe caught the interest of the monument conservation authorities (restoration of the spa facilities of Bad Lauchstädt together with Hans Wittwer , 1932), which Crodel incorporated into his teaching and thus from the connection of craft traditions and modern space requirements, the painter opened up the professional field of restoration.

An art-historical assignment of Crodels to the Lost Generation and Expressive Realism does not take sufficient account of the fact that Crodel was also effective with his architecture-related work at the same time in the great art centers of Berlin, Frankfurt, Hamburg and Munich and in both parts of Germany. Eberhard Ruhmer attributes Crodel to pure painting. In addition, through his collaboration with Hedwig Bollhagen and Wilhelm Wagenfeld , Crodel also achieved a lasting formal effect. Here, too, Crodel has expanded the artistic and technical possibilities of expression and shaped private living environments.

Memberships

Charles Crodel was u. a. Member of the Free Secession and the Berlin Secession , the working group of the Jury-Free Art Exhibition in Berlin, the German Association of Artists (1929 to 1936, then again from 1950) and of the German Work Association , the Academy of Arts in Berlin (1956) and the Neue Gruppe (Munich) , Member of the Association for Art History and since 1963 honorary member of the Academy of Fine Arts Munich , guest of the Villa Romana in Florence and 1968 guest of honor of the Villa Massimo in Rome.

The Carl-Crodel-Weg and the Crodel-Halle of the Moritzburg (Halle) remind of his time in Halle .

Portraits

Factory overview

Germany

Building-related works

Altars

Winged altar in the church in Mutzschen , winged altar in St. Marien (?) In Ronneburg (Thuringia) , winged altar in the Kreuzkirche Bernterode-Schacht , altar in St. Martin Berlin-Kaulsdorf (enamel), altar of the Resurrection Church in Minden (enamel), winged altar in St. Michael Limbach (Vogtland) . The first elderly emerged in the early twenties. For Crodel, the altar is a narrative pictorial form, corresponding to his triptychs (e.g. Martyrs and Environment , around 1960).

Stained glass

The stained glass had met while studying in Munich in 1914 with Richard Riemerschmid and in Halle in 1932 on the occasion of the renewal of the Crodel Merseburger cathedral in cooperation with the Stained Glass Manufactory Ferdinand Müller picked up again. The stained glass windows have been handcrafted and signed originals since the 1960s.

Ground glass

Ground glass columns (Detopak) with gold plating in the building of the Federal Ministry for the Post and Telecommunications in Bonn, 1954.

mosaic

Mosaic wall of the Kaiser-Friedrich-Gedächtniskirche in Berlin-Hansaviertel , mosaic wall of the Church of St. Martin in Berlin-Kaulsdorf , apse mosaic of the hospital chapel of the Sankt-Gertrauden-Hospital in Berlin-Wilmersdorf , two mosaic walls in the former entrance area of ​​the administration building of Schott AG , Mainz.

Wall painting

Crodels fundamental technical interest opened up again and again new painting materials. The experience of fresh excavation finds in Greece led to the examination of wax as a binding agent in wall painting.

Greece and the expulsion of the Turks from the Athenian Castle (1925) University of Jena , St. Martin 5.97 m × 4.60 m (1926), House for the Four Seasons in Erfurt (formerly Hospital on Schottenring), legend of the Erfurt well chapel , Weimar Castle Museum ( acquired by Wilhelm Köhler in 1927 , transferred from Jena to Weimar in 1928, removed in 1933, damaged in World War II, still unrestored behind a wall on the upper floor). Of the murals and paintings painted over in Bad Lauchstädt and Halle in 1933 and 1936 respectively. a. In the crodel hall of Moritzburg (Halle) only the improvisations of the Burse on the tulip have been restored so far . In 2014, the renovation of the Crodel Hall was planned for 2018 on the basis of a funding project by the German Federal Environment Foundation .

Ceramics
Overall glazing Mjölby Kyrka in Mjölby , Sweden
Choir glazing, St. Michael (Hildesheim) , 1965
Choir glazing, Herz-Jesu-Kirche (Sangerhausen) , 1961
Choir glazing of the main church St. Jacobi, Hamburg
Overall glazing, here choir glazing Kilian's Church in Heilbronn
Rood screen painting and side choir glazing Stadtkirche Friedberg , 1961/1962
Elisabeth window, Erfurt Cathedral , 1960

Industrial decor

United Lusatian Glass Works

In the artistic laboratories of the United Lausitzer Glaswerke, Crodel developed decors for the refinement of pressed glass with partially patented techniques. Etching and grinding processes, gilding and painting were used. The sample book of the United Lausitzer Glaswerke AG (1939) contained u. a. Etched filigree beakers of the quality brand “Rautenmarke” with the etched borders A 486, 487, 488: “The light decorative motifs by the painter Crodel-Halle encircle the glass like belts made of silvery threads. With these glasses we would like to prove that the etching techniques - if used correctly - can be beautiful. "

HB workshops for ceramics

The collaboration with HB-Werkstätten für Keramik developed from Crodels contact with the Velten-Vordamm stoneware factory and began parallel to his involvement in the United Lusatian Glass Works.

State Porcelain Manufactory Berlin

From Halle, Crodel started working with the Staatliche Porzellanmanufaktur Berlin (Rhedensche Vase in the Angermuseum, Erfurt) and developed decors for technical porcelain.

The textile work in collaboration with Elisabeth Crodel

There are tapestries Crodels in collaboration with his wife Elisabeth Crodel in church and museum property in Europe and the USA. In addition, Crodel designed tapestries and antependia , the latter e.g. B. for the Nikolaikirche (Heilbronn) . The University of Louisville and the Cultural History Museum Osnabrück in 1975 in the Dominican Church there presented extensive exhibitions of the textile work.

Portraits (selection)

Publications

  • Terrible story of the chicken and the chicken (from the Knaben Wunderhorn ) written and drawn by Carl Crodel. EA Seemann, Leipzig 1949 (signed and unsigned edition; rare, as it was banned and pulped shortly after publication in the course of the formalism dispute).
  • Pilgrimage to Edvard Munch 1934. In: Erhard Göpel : Edvard Munch. Self-portraits and documents. Hamburg 1955, pp. 54-61.
  • On Schwabing and the Schwabing pictures by Stevan Vukmanovic. In: Schwabing. A picture book painted by Stevan Vukmanovic. Munich March 1958.
  • Albert Ebert . In: Panorama 3, 1959, No. 5, p. 5.
  • Charles Crodel's (1894–1973) “Missed Speech”. Documents of a friendship between colleagues. In: Gerhard Marcks, 1889–1981: Retrospective. Munich 1989, p. 128f.
  • Exhibition opening. In: Urd von Hentig. Catalog raisonné 1952–1990. Heidelberg 1990, pp. 13-15.

List of buildings with works by Charles Crodel

Museums with works by Charles Crodel

estate

The written estate has been in the German Art Archive in the Germanisches Nationalmuseum since 1974 (including 20 diary volumes with drawings and larger watercolors ). Further holdings are in the Academy of the Arts in Berlin and the University of Louisville.

effect

Already in Jena, the Thuringian Group was formed around Crodel, who was a member of the board of the Jenaer Kunstverein and who brought the art associations of Central Germany together to form a network (exhibitions in Hamburg, among others). His work in Halle since 1927 was with his Berlin presence as a member a. a. associated with the Berlin Secession. Crodel had a lasting effect on the series-related decor development in the glass and ceramics industry, as well as the development of art in the GDR and painting in Munich. The inner-German border that existed at the time was also of no importance for his monumental works and exhibitions. Crodel's glass window work and building-related ceramics are among the most important modern paintings in Germany.

student

Crodel had an extensive group of students at Burg Giebichenstein Halle, which continued to exist in Paul Frankl's private apartment from 1933 to 1938 after Crodel's dismissal , presumably at the Städelschule in Frankfurt and after 1945 in Dresden, Berlin and Halle as well as at the Munich Academy and in the United States States at the University of Louisville, Kentucky and Pennsylvania State University. Crodel also taught at smaller institutions a. a. in Mannheim and at the Munich School for Costume Studies and Design Hermine von Parish .

Students were: Gerlach Gottfried Bommersheim , Kurt Bunge , Albert Ebert , Brigitte and Heinz Felsch , Fritz Freitag , Sam Gilliam , Eckard Heidrich , Irene Hein , Rudolf Heinrich , Urd von Hentig , Max Herrmann , Mahmoud Javadipour , Clemens Kindling , Otto Knust , Fritz Marutzky , Otto Müller , Karl Rödel , Hans Rothe , Helmut Schröder , Eberhard Schweigert , Jochen Seidel , Carl Helmut Steckner , Bob Thompson , Julius Tinzmann , Hubert Vogl , Stevan Vucmanovic , Hannes H. Wagner , Ricardo Wiesenberg , Hubert Wittmann and Klaus von Woyski .

Painting and literature

Crodel's understanding of pictorial signs opened up a glimpse of the similarities between literature and painting, which he conveyed in his lectures, for example, about Thomas Mann as a painter and deepened in friendly contacts with Hanna Kiel (1898–1988), for example . Accordingly, he also supported his students' path from painting to literature, for example with Walter Bauer and Julius Tinzmann .

literature

Catalog raisonnés

Monographs and Articles

  • Emil Utitz : Charles Crodel . In: Kunst und Künstler 29, 1931, pp. 419–422 ( digitized version ).
  • Crodel, Carl (Charles) . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 1 : A-D . EA Seemann, Leipzig 1953, p. 494-495 .
  • Charles Crodel. 1894-1973. Foreword by Alfred Hentzen, with contributions by Wolf-Dieter Dube, Doris Schmidt and Hans Kinkel. Bruckmann, Munich 1974, ISBN 3-7654-1615-0 (with a catalog raisonné by Crodels, pp. 9–11 Wolf-Dieter Dube : Thanks to Charles Crodel ).
  • Gisela Reineking von Bock: Master of German ceramics 1900–1950. Exhibition catalog, Cologne, Overstolzenhaus-Kunstgewerbemuseum der Stadt Köln, February 10 to April 30, 1978. Kunstgewerbemuseum, Cologne 1978, pp. 88–90.
  • Hans Kiessling: Painting Today. 127 artists and 127 color plates and short biographies from the Munich art scene from 1953–1978. A contemporary regional overview for collectors and enthusiasts . Langen-Müller, Munich a. a. 1979, ISBN 3-7844-1746-9 , pp. 42-45.
  • Erika Lehmann: “Basic question: Do I have to paint? Could I live without drawing…. ”On the life and work of Charles Crodel. In: Bildende Kunst 1979, pp. 16–21.
  • Hans Kiessling (ed.): Encounter with painters. Munich art scene 1955–1980. EOS, St. Ottilien 1980, ISBN 3-88096-081-X , pp. 156-159.
  • Wolfgang Hütt : Carl Crodel. Verlag der Kunst, Dresden 1981 ( painter and work ).
  • Hans Kiessling (ed.): Painter of the Munich art scene 1955–1982. EOS, St. Ottilien 1982, ISBN 3-88096-175-1 , pp. 74-79.
  • Erika Lehmann: Graphics, painting and handicrafts by Charles Crodel: environment, life and work. Dissertation. Halle / Saale 1984.
  • Cornelius Steckner : Charles Crodel. The graphic work. Ketterer, Munich 1985.
  • Matthias Arnold: Charles Crodel . In: Die Weltkunst, 58, 1988, pp. 1798–1801
  • Joachim Proescholdt: Your sky is like a carpet. Glass paintings by Charles Crodel in Frankfurt am Main. Kramer, Frankfurt am Main 1988, ISBN 3-7829-0362-5 .
  • Martina Rudloff, Cornelius Steckner: Gerhard Marcks and Charles Crodel. An artist friendship. 1921-1933. Gerhard Marcks Foundation, Bremen 1992, ISBN 3-924412-16-2 .
  • Katja Schneider : Giebichenstein Castle. The arts and crafts school under the direction of Paul Thiersch and Gerhard Marcks 1915 to 1933 (= Artefact 2). VCH, Weinheim 1992, ISBN 3-527-17725-6 .
  • Horst Ludwig: Munich painter in the 19th / 20th centuries Century. Volume 5: Achmann – Kursell. Bruckmann, Munich 1993, ISBN 3-7654-1805-6 , pp. 157-160.
  • Cornelius Steckner: Charles Crodel and Hedwig Bollhagen, the Dornburg, Giebichenstein Castle and the beginnings of the HB workshops. In: Mitteldeutsches Jahrbuch für Kultur und Geschichte, 16, 2009, pp. 151–164.
  • Marina Flügge (Ed.): Glass painting in Brandenburg. From the Middle Ages to the 20th century (= research and contributions to the preservation of monuments in the state of Brandenburg 1). Wernersche Verlagsgesellschaft, Worms 1998, ISBN 3-88462-200-5 .
  • Volker Frank: Crodel, Carl (Charles) . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 22, Saur, Munich a. a. 1999, ISBN 3-598-22762-0 , p. 283.
  • Cornelius Steckner (ed.): Hedwig Bollhagen - Charles Crodel. Letters and drawings (= BM series 3). Müller, Großpösna 2003, ISBN 3-9808809-0-7 .
  • Katharina Heider: From applied arts to industrial design. The Burg Giebichenstein art college in Halle (Saale) from 1945 to 1958. Publishing house and database for the humanities, Weimar 2010, ISBN 978-3-89739-672-2 .
  • Charles Crodel. With texts by Cornelius Steckner and Dorit Litt. Art gallery "Talstraße", Halle (Saale) 2012m ISBN 978-3-932962-70-7 .
  • Friederike Schuler: In the service of the community. Figurative wall painting in the Weimar Republic, Tectum Verlag, Marburg 2017, ISBN 978-3-8288-3768-3 .
Exhibition catalogs
  • Paintings and graphic work by Charles Crodel . Catalog of an exhibition of work by Charles Crodel presented by the University of Louisville, Allen R. Hite Institute, October 6–28, 1958 with texts by Justus Bier and Charles Crodel ( digital copy ).
  • Carl Crodel. Painting - graphics - handicrafts. Staatliche Galerie Moritzburg, Halle 1982, (Staatliche Galerie Moritzburg Halle, July 27 - October 10, 1982, Galerie am Fischmarkt Erfurt, December 19, 1982 to February 13, 1983), (therein: Volker Wahl : Carl Crodels early time in Jena 1909 to 1927 , pp. 7–13; Erika A. Lehmann: On the painterly work of Carl Crodel , pp. 13–17; Cornelius Steckner: The fate of Carl Crodel's work on the Goethe year 1932 in Bad Lauchstädt , pp. 19–22 , “Documents on the Lauchstädt case” , pp. 23–27; Heinz Schönemann: Carl Crodel and Hedwig Bollhagen. Ceramics , pp. 28–32); Editing: Jürgen Scharfe, design: Helmut Brade. Inserts: The exhibited works, pp. 1–13, Exhibitions, pp. 13–14, Bibliography, pp. 14–16.
  • Cornelius Steckner: Ch. Crodel. Art, craft, industry. Kulturamt der Stadt Hannover, 1983. (The publication was published for the Crodel exhibition in Hanover in 1983. It contains a chronicle of life and contributions by Karl Schefold, Katja Schneider, Margarete Jarchow and Cornelius Steckner.)
  • Charles Crodel on his 90th birthday. Paintings, watercolors, drawings; Duration of the exhibition 7. – 28. September 1984. Galerie Wolfgang Ketterer, Munich 1984.
  • Katja Schneider: Charles Crodel - arts and crafts. For the 100th birthday . Staatliche Galerie Moritzburg Halle, September 16 - November 27, 1994. Staatliche Galerie Moritzburg, Halle 1994, ISBN 3-86105-116-8 .

Web links

Commons : Charles Crodel  - collection of images, videos and audio files

Remarks

  1. This was also active as a marine biologist, F. Heydrich: Das Melobesien-Genus Paraspora . In: Communications from the Naples Zoological Station. Vol. 19, 1908, pp. 51, 56 ( digitized version ).
  2. ^ Portrait of a youth in 1905 with mother and brothers .
  3. Crodel owned the DWB yearbooks for 1913 and 1914 published by Eugen Diederichs in Jena.
  4. ^ Volker Wahl: Carl Crodels early time in Jena 1909 to 1927. In: Carl Crodel exhibition catalog . Halle and Erfurt 1982, p. 7.
  5. elected on May 15, 1920 and from March 5, 1922 deputy secretary until he was appointed to Halle in 1927.
  6. Documentation on the inventory of the Botho Graef Memorial Foundation of the Jenaer Kunstverein by Charles and Elisabeth Crodel ; see. Intoxication and disillusionment: the picture collection of the Jenaer Kunstverein , fate of a collection of the avant-garde in the 20th century, Jena 2008, p. 18f .; Hans Delfs (Ed.): Ernst Ludwig Kirchner, The entire correspondence. Zurich 2010, p. 286. Friends of Crodel, Annemarie and Wolf-Dieter Dube later tied in here.
  7. C. Steckner, The Surface Problem of Modernity. Worringer's slide show “Artistic seeing and looking with a special focus on sculpture” and his portrait (1922), in: N. Gramaccini and J. Rößler (eds.), Hundred Years “Abstraction and Empathy”. Constellations around Wilhelm Worringer. Paderborn: Fink, 2012 ( ISBN 3-77055-302-0 ), pp. 181–196.
  8. Volker Pirsich, publishers, presses and magazines of Hamburg Expressionism, Archive for the history of the book system 30, 1988, p. 231.
  9. The Cabinet of Dr. Caligari: Flogging Expressionism in the Movies ( Memento of March 9, 2012 in the Internet Archive )
  10. ^ Cornelius Steckner: Charles Crodel. The graphic work . Ketterer, Munich 1985, No. 141.
  11. On the occasion of the programmatic exhibition “Kunstgewerbeschule Halle” from May 12 to June 17, 1928 in the Neue Sammlung in Munich, Crodel showed his pictures of the four elements in collaboration with Günther von Pechmann , cf. Friederike Naumann-Steckner, Charles Crodel and ancient mythology. Antikenrezeption at Charles Crodel https://sites.google.com/site/charlescrodel/home/antikenrezeption/Crodel-Antikenrezeption.pdf
  12. Limited open competition with EU-wide application process Moritzburg Foundation Art Museum of Saxony-Anhalt Friedemann-Bach-Platz 5, 06108 Halle (Saale) http://www.competitionline.com/upload/downloads/xx/89_00461_prot.pdf .
  13. ^ Kurt Glaser: Jury-free art show . In: Kunst und Künstler 28, 1930, p. 75 (ill.) .
  14. ^ Charles Crodel, Am Strand (Lido), exhibited at the Munich Secession https://www.lempertz.com/de/kataloge/lot/943-1/24-charles-crodel.html
  15. ^ Martina Rudloff, Cornelius Steckner: Gerhard Marcks and Charles Crodel. An artist friendship. 1921-1933. Gerhard Marcks Foundation, Bremen 1992.
  16. The plaster sculpture "Greek Women" by Gerhard Marcks (1931). | 1. Retrieved August 3, 2020 .
  17. Friederike Schuler, In the service of the community - Figurative wall painting in the Weimar Republic, Marburg 2017, p. 499f.
  18. Schuler 2017, p. 494f.
  19. ↑ In 1931, Crodel showed a portrait of his colleague as a foreign member of the Berlin Secession: Ch. Crodel: Die Töpferin Marguerite Friedlaender. Berlin Secession, 64th exhibition: Artists among themselves. Painting. Plastic. April / March 1931, No. 9 (Art Service Publications No. 57).
  20. Rhedensche vase, painted by Crodel, Anger Museum Erfurt.
  21. Margarete Jarchow, Die Staatliche Porzellanmanufaktur Berlin (KPM) 1918 - 1938. Institution and Production, Diss. Hamburg 1984.
  22. ^ Das Kunstblatt 14, 1930, p. 379.
  23. ^ "Hitler looking at Goethe's skull. Retrieved on August 3, 2020 .
  24. ^ Measures taken by the governor in the Lauchstädter Goethe Theater; Magdeburgische Zeitung , June 1, 1933, No. 277, main edition
  25. Cornelius Steckner: Admonishing to Peace: Memory of the Iconoclasm of May 30, 1933 . In: burgintern 4, 2008, pp. 50–51.
  26. Peter Fiedler, Rainer Krauss (ed.): Attack on art. The fascist iconoclasm 50 years ago , Weimar 1988, p. 16.
  27. Cornelius Steckner: Art Policy 1930–1933 using the example of the painter Charles Crodel. In: Between Resistance and Adaptation. Exhibition catalog, Berlin 1978, p. 37ff. and: Cornelius Steckner, Charles Crodel in Halle 1927–1951 , in: Charles Crodel. Painting , Kunstverein Talstrasse, Halle 2012, pp. 2–14 with images of the works destroyed between 1933 and 1936.
  28. ^ Charles Crodel: Pilgrimage to Edvard Munch 1934. In: Erhard Göpel: Edvard Munch. Self-portraits and documents. Hamburg 1955, pp. 54-61.
  29. Art combustion - charlescrodel. Retrieved August 3, 2020 .
  30. [1]  ( page no longer available , search in web archives )@1@ 2Template: Toter Link / burgcom.burg-halle.de
  31. Fig. See: https://sites.google.com/site/charlescrodel/home/werkverzeichnis-baugebundener-werke
  32. Lost Art ( Memento from September 7, 2012 in the web archive archive.today )
  33. Annegrte Janda, Jörn Grabowski, Art in Germany 1905 - 1937. The lost collection of the Nationalgalerie in the former Kronprinzen-Palais, Berlin 1992, No. 50 - 52.
  34. 1936 banned images. Exhibition catalog for the 34th annual exhibition of the DKB in Bonn, Deutscher Künstlerbund, Berlin 1986, p. 36/37: Charles Crodel; Fig. Hühnervolk, 1934, 76 × 100 cm .
  35. Paul Ortwin Rave: Art dictatorship in the Third Reich. Hamburg 1949, p. 82.
  36. ^ United workshops for mosaics and glass painting Puhl & Wagner, Gottfried Heinersdorff ( Memento from June 26, 2006 in the Internet Archive ); Helmut Geisert, Elisabeth Moortgat (Red.): Walls made of colored glass. The archive of the United Workshops for Mosaic and Glass Painting Puhl & Wagner, Gottfried Heinersdorff. Exhibition from December 8, 1989 to January 21, 1990 in the Martin-Gropius-Bau. Berlinische Galerie, Berlin 1989, ISBN 3-927873-01-2 .
  37. Brigitte Klesse: Two glass windows by Charles Crodel for Ferdinand Möller. In: Kölner Museums-Bulletin 1997, No. 3, pp. 21–34.
  38. A series of etched and painted filigree beakers had the decorative designations C, R, O, D, E and L and, according to the price list, was sold individually in silver-colored gift boxes for 105 Reichsmarks; see Crodel glass .
  39. form + purpose
  40. ^ The work of art 5, 1951, p. 142: Tighter competition with Jakob Berwanger, Georg Meistermann, Wilhelm Teuwen and Heinrich Campendonk, who worked in Amsterdam. The first prize went to three artists, including Crodel.
  41. ^ Sabine Meinel: Karl Völker - Life and Work . Dissertation University of Halle 2008, p. 199ff. ( Digitized version ).
  42. After his release, Crodel continued his lessons in Paul Frankl's private apartment until he emigrated in 1938. a. The group of students presented in the Henning Gallery in Halle also held during the World War, cf. Cornelius Steckner, in: Charles Crodel. Painting. Halle (Saale) 2012, p. 19.
  43. Zeitschrift für Kunst 3, 1949, p. 280.
  44. Beate Klostermann: The special exhibitions of the Angermuseum from 1945 to 1962. An analysis of reception aesthetics, Diss. Erfurt 2007.
  45. He had already been asked in 1947 when the Royal School of Applied Arts in Munich , at which he had studied with Richard Riemerschmid in 1914, was merged with the academy.
  46. Crodel became a member on November 17, 1951, announced at the general meeting of the Bayerischer Werkbund on November 23, 1951.
  47. Large Art Exhibition Munich 1963. Süddeutscher Verlag Munich, official exhibition catalog 1963 (p. 107: Crodel, Carl, Munich: catalog no. 556–558. Painting class Winter 63 , oil, 30 × 54 cm; painting class in Pennstate , oil, 52 × 35 cm; The apocalyptic riders between Eva and Maria , oil, 80 × 130 cm).
  48. ^ Charles Crodel (1894–1973) papers ( Memento of December 1, 2005 in the Internet Archive )
  49. ^ Charles Crodel exhibit catalog, book, and postcards, 1949-1963. Retrieved August 3, 2020 .
  50. Cornelius Steckner: The surface problem of modernity. In: Hundred Years of "Abstraction and Empathy". 2012, pp. 181-197; Sam Gilliam: A study of different uses of solid forms in painting, Master of Arts Thesis, University of Louisville 1961.
  51. Bob Thompson 1937–1966 . Memorial Exhibition. Speed ​​Art Museum, Louisville 1971.
  52. Friederike Naumann-Steckner : Charles Crodel and ancient mythology. Antiques reception at Charles Crodel .
  53. ^ Rainer Zimmermann: Expressive Realism. Painting of the Lost Generation. Hirmer, Munich 1994, p. 361.
  54. Eberhard Ruhmer: Seeing and Understanding. Stylistics of German art up to the present, Berlin 1950, p. 74.
  55. ^ Catalog of the Deutscher Künstlerbund Cologne 1929. May – September 1929 in the State House. M. DuMont Schauberg, Cologne 1929 ( Crodel, Ch., Halle : p. 16; Fig. Langelinie in Copenhagen , p. 50).
  56. kuenstlerbund.de: Carl Crodel has participated in exhibitions since 1951 (accessed on March 7, 2016).
  57. ^ Deutscher Werkbund: Directory of Members April 1953, sv Crodel, Carl.
  58. Ruth Kiessling: The beginnings of the new group .
  59. On the first visit in 1932 Catalog: An Arcadia of Modernity? Neues Museum Weimar, 2005, p. 107.
  60. ^ Carl-Crodel-Weg .
  61. | Kulturstiftung Sachsen-Anhalt, press release No. 04/2014 from June 19, 2014, Moritzburg Art Museum: Good news for the Crodel-Halle!
  62. Martina Rudloff: Gerhard Marcks: The plastic work . Propylaea Publishing House. Frankfurt am Main u. a. 1977, ISBN 3-549-06620-1 , no.166.
  63. Eberhard Roters: The sculptor Waldemar Grzimek . Propylaen Verlag, Frankfurt am Main 1979, ISBN 3-549-06641-4 , No. 70.
  64. [2]
  65. Peter Fiedler, Rainer Krauss (Ed.), Attack on Art. The fascist iconoclasm 50 years ago, Weimar 1988, p. 16: Secco mural Erfurt legend.
  66. ^ Charles (Carl Fritz David) Crodel sur mural.ch - documentation en ligne de la peinture murale modern et contemporaine. Retrieved August 3, 2020 .
  67. Press release 4/2014 http://www.dome-schloesser.de/presse/pressemitteilungen-2014
  68. CRODEL series ( Memento from August 20, 2011 in the Internet Archive )
  69. ^ Charles Crodel: Crafts. Halle 1994, pp. 54-69.
  70. Crodel glass - charlescrodel. Retrieved August 3, 2020 .
  71. http://sites.google.com/site/charlescrodel/BC.pdf Documentation Hedwig Bollhagen and Charles Crodel, 2007
  72. ^ Margarete Jarchow: Die Staatliche Porzellanmanufaktur Berlin (KPM) 1918–1938. Institution and Production. Dissertation. Hamburg 1984.
  73. Charles and Elisabeth Crodel: Embroidered picture carpets. Hildegard v. Portatius: knotted tapestries. Exhibition catalog. Museum of Cultural History, Osnabrück 1975.
  74. ^ Cornelius Steckner: Charles Crodel. The graphic work. Ketterer, Munich 1985, No. 150.
  75. ^ Charles Crodel. Portrait of the poet Theodor Däubler . Los Angeles County Museum of Art . Retrieved October 14, 2018.
  76. Heinz Thiersch (Ed.): We just started. Works and essays by friends and students around Richard Riemerschmid on his 85th birthday. Munich 1953, ill. P. 7.
  77. ^ Cornelius Steckner: Charles Crodel. The graphic work. Ketterer, Munich 1985, No. 88.
  78. ^ "The new glazing of the church created by Charles Crodel in 1963 was completely removed again in the course of this renovation work." Daniel Parello, The Medieval Glass Paintings in Marburg and Northern Hesse, Berlin 2008, p. 69.
  79. 1857-2007. 150 years of ev.-luth. Church Annenstrasse. Berlin-Mitte, 2007, color illus. one of the windows from Crodel inside back cover.
  80. Archive link ( Memento from July 14, 2014 in the Internet Archive )
  81. PointsCoeur Berlin: DSC06853. February 7, 2013, accessed August 3, 2020 .
  82. vilmoskörte: St. Martin Berlin-Kaulsdorf. In: Vilmoskörtes Blog. October 22, 2008, accessed on August 3, 2020 (German).
  83. Fig. Yearbook for Christian Art. 1954: Window from a window cycle for an East Berlin church by Prof. Charles Crodel. Colored posture: angel white with red and green accents. Reason: yellow lenses with blue and gray indentations. The six plates, which appear almost black in the picture: Deep red flashed glass with ground glass. (Execution in 1951 by August Wagner, United Workshops for Mosaic and Glass Painting, Berlin-Neukölln). The executed colored glass windows are no longer detectable. Probably removed in the course of the Fomalism dispute in 1952.
  84. ^ Charles Crodel: o. T. (column cladding), 1954 | museum-der-1000-orte.de. Retrieved August 3, 2020 .
  85. Foundation disc Fausten, south window 5 .
  86. vagor.de - This website is for sale! - vagor Resources and Information. Retrieved August 3, 2020 .
  87. Falko Bornschein: The stained glass by Charles Crodel in the cathedral in Erfurt . Edition Leipzig, Leipzig 1999, ISBN 3-361-00502-7 .
  88. The three colored glass windows were made 1935–1936 (partly by Crodel himself) at August Wagner in Berlin on behalf of director Herbert Kunze ; removed from the museum in the course of the formalism dispute in 1952. The porcelain cabinet designed by Theo Kellner was destroyed in the course of the new museum expansion.
  89. Page no longer available , search in web archives:@1@ 2Template: Toter Link / www.howahlspies-restauratoren.de
  90. Joachim Proescholdt: Your sky is like a carpet. Glass paintings by Charles Crodel in Frankfurt am Main . Kramer, Frankfurt am Main 1988, ISBN 3-7829-0362-5 .
  91. Home - Dreikoenigsgemeinde. Retrieved August 3, 2020 .
  92. ^ Wilhelm Schlink : Color in Glass. In: Joachim Proescholdt (Ed.): St. Katherinen zu Frankfurt am Main. Frankfurt am Main 1981, pp. 189-213.
  93. Bernd Fischer, visual artist, painter, sculptor, Offenbach am Main. Retrieved on August 3, 2020 (German).
  94. Martina Jordan-Ruwe: Like a carpet of colored light. In: 125 years of St. Bonifatius Church. Life of the parish of Fulda-Horas from 1985 to 2010. 2010, pp. 42–47.
  95. ^ Eva Fitz: The medieval stained glass in Halberstadt Cathedral. 2003, Figs. 79, 80 (Marienkapelle) and 106 (Johannes window in the ambulatory).
  96. ^ Goose fountain Kröllwitz .
  97. ↑ The spatial art work Kilianskirche Heilbronn - charlescrodel. Retrieved August 3, 2020 .
  98. https://sites.google.com/site/charlescrodel/home/kilianskirche/Ch-Crodel-Fensterwerk-Kilianskirche.pdf?attredirects=0&d=1 Ch-Crodel-Fensterwerk-Kilianskirche.pdf
  99. Hildesheim Cathedral and St. Michael Monastery Church | Art and Culture | Unesco World Heritage Sites in Germany | Goruma. Retrieved August 3, 2020 .
  100. [3] ; [4] .
  101. total glazing .
  102. Mechthild Werner: The sewing table of Maria. Reflections on the glass windows by Charles Crodel in the Petrikirche in Magdeburg . In: Old and New Art Association for Christian Art in the Archdiocese of Paderborn and in the Dioceses of Fulda and Hildesheim 48, 2014, pp. 88–93.
  103. Pictures from Malexanders kyrka. Malexanders kyrka July 2012. In: kyrkokartan.se. Retrieved August 3, 2020 .
  104. Pictures from Mjölby kyrka. Eget photo. In: kyrkokartan.se. Retrieved August 3, 2020 .
  105. Holger Brülls: Shine lights. Contemporary art stained glass. 2014, ill. P. 11.
  106. Charles Crodel's window work. In: Friends of the Castle Church (ed.): Focus on the Castle Church. Issue No. 24, 2014/15, pp. 29–43.
  107. Archive link ( Memento from October 19, 2014 in the Internet Archive ) Interior view of the church
  108. Peter Fiedler, Rainer Krauss (Ed.), Attack on Art. The fascist iconoclasm 50 years ago , Weimar 1988, p. 16: Secco mural Erfurt legend .
  109. Collection of Graphothek .
  110. ^ Fine Arts Collection. Retrieved August 3, 2020 .
  111. Heinz Schönemann: The construction of a modern gallery in the Angermuseum by 1933 and its destruction during the time of fascism. In: Museum and the present. Halle 1986, pp. 39-41.
  112. Otto Heinz Werner, Guide to the Gifhorn Castle District Home Museum (1974) p. 12.
  113. ^ Staatliche Galerie Moritzburg Halle: Painting of the GDR 1945–1970. Inventory catalog 1. Hall 1987, p. 28.
  114. Peter Schöne, documentation on the investigation and conservation measures on the mural by Charles Crodel, Halle 2015 (under lock and key or inaccessible); https://www.dbu.de/OPAC/ab/DBU-Abschlussbericht-AZ-31440.pdf Practice-oriented tests for model decontamination due to anthropogenic mold colonization on plaster, wall paintings and natural stone in the Crodel Hall, the Moritzburg in Halle ( 2014-2016); Lilli Birresborn, studies on the effect of ionized air on binders and pigments. A method for the decontamination of microbiologically infected wall paintings, Potsdam 2017
  115. Brigitte Klesse, Two glass windows by Charles Crodel for Ferdinand Möller , Kölner Museums-Bulletin 3/1997, pp. 21 - 34 (formerly Ferdinand Möller house, built by Hans Scharoun ).
  116. ^ Paintings and graphic work by Charles Crodel. :: Hite Institute Exhibition Catalogs. Retrieved August 3, 2020 .
  117. ^ Collector Systems. Retrieved August 3, 2020 .
  118. ^ Stephanie d'Alessandro, James Deyoung, David Gordon, German Expressionist Prints. The Marcia and Granvil Sprcks Collection, Milwaukee, Wisconsin 2002, 87, no.47.
  119. Object catalog .
  120. Museum database .
  121. Museum database .
  122. Lost Collections - Open Questions ( Memento from September 15, 2007 in the Internet Archive )
  123. Page no longer available , search in web archives:@1@ 2Template: Dead Link / www.vmfa.mediaroom.state.va.us
  124. museum-digital: thuringia. Retrieved August 3, 2020 .
  125. inventory list ; Claus Pese: More than just art. The archive for fine arts in the Germanisches Nationalmuseum (= cultural-historical walks in the Germanisches Nationalmuseum 2). Hatje, Ostfildern-Ruit 1998. ISBN 3-7757-0783-2 , pp. 52-56, 82.
  126. ^ Art collection. Retrieved August 3, 2020 .
  127. UofL - Charles Crodel (1894-1973) papers ( Memento of 1 December 2005 at the Internet Archive )
  128. ^ Heinz Felsch - Vita | Gallery Old School Ahrenshoop. Retrieved August 3, 2020 .
  129. Man of Constant Color: SAM GILLIAM ABSTRACT ART COMES HOME FOR A RETROSPECTIVE. June 20, 2006, Retrieved August 3, 2020 (American English).
  130. ^ Statement by Charles Crodel. in: Bob Thompson (1937-1966) Memorial exhibit. Speed ​​Art Museum, Louisville, Kentucky 1971.
  131. Ch. Crodel: Zu Schwabing and the Schwabinger Bilder, in: Steva [n] Vucmanovic: Gemaltes Schwabing, [Munich 1964], o. P. Contains an overview of works and motif photos from Schwabing as well as a newspaper clipping documentation about Vucmanovic (1924-- 1995); see. Christian Schmidt: Stevan Vukmanovic. The "Utrillo von Schwabing", Landshut / Ergolding 1993.
  132. Page no longer available , search in web archives:@1@ 2Template: Dead Link / www.oocities.com
  133. ^ Art in the presidential office: watercolors by Charles Crodel .