Dorkas Reinacher-Harlin

Dorkas Reinacher-Härlin , née Dorkas Dorothea Härlin (born February 7 or February 8, 1885 in Gruibingen , Württemberg ; † December 27, 1968 in Stuttgart ) was a German ceramist. From the 1920s she created widely acclaimed vessels and figurative works in clay and was a representative of the Werkbund idea of ​​enriching handicraft with art.

Life

Dorkas Härlin was the daughter of the evangelical pastor and India missionary Emmerich Härlin and his wife Anna (née Nast). She attended the higher girls' school in Esslingen . This was followed by a pottery apprenticeship in Besigheim from 1912 to 1913 . From 1913 to 1916 she was trained at the Stuttgart School of Applied Arts and in 1916 and 1917 at the Vienna School of Applied Arts, a. a. in the ceramics class with Michael Powolny ; in Vienna she also studied decorative painting with Johannes Itten . From 1917 to 1919 she attended the ceramic college in Landshut. From 1919 to 1924 she worked as a master student for the head of the ceramics department of the Stuttgart School of Applied Arts, Hans von Heider . In 1920 she was appointed to the board of the German Werkbund . It was during this time that designs for the majolica factory in Karlsruhe, including tiled stoves, were made.

The portrait painter Käte Schaller-Härlin was her older sister.

In Stuttgart, Dorkas Härlin came into a circle of friends that included Oskar Schlemmer , Paul Hindemith and other artists of the avant-garde at the time ; In 1923 she married the poet Eduard Reinacher (1892–1968), whom she met there.

In 1924 Dorkas Reinacher-Härlin was appointed head of the ceramics class at the Cologne factory schools by Martin Elsaesser . Until 1929 she taught there - supported by the ceramicist and master distiller Georg Roth (who continued to work at the factory schools for over 40 years) - among other things, structural ceramics, free turning on the potter's wheel and decoration techniques . Later she ran her own workshop in Aichelberg . From 1941 to 1944 she lived in Strasbourg and then until 1951 in Ludwigshafen on Lake Constance . In old age she returned to Stuttgart.

As a trademark, she used an intricate, stylized DH .

literature

• Reinacher-Harlin, Dorcas . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 4 : Q-U . EA Seemann, Leipzig 1958, p. 40 .
• E. Gaertner: Ceramic in the shape of time. In: The Form. 4th year, 1929, issue 8, pp. 201–205.
• Gisela Reineking von Bock: Ceramics of the Twentieth Century (Germany). Munich 1979, ISBN 3-87405-118-8 , pp. 266f, 338

Web links

• Short biography