Eduard Daelen

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The author of the festival "Holland's heyday" painter Eduard Daelen as Rembrandt (1912)

Eduard Adolf Daelen (born March 18, 1848 in Hörde ; † May 9, 1923 in Düsseldorf ) was a German painter and writer . For many of his writings he used the pseudonyms Ursus teutonicus , Angelo Demon , Edu Daelen-Bachem and Michel Bär . He gained fame primarily through his first biography about Wilhelm Busch , which he wrote in 1886.

Life

Eduard Daelen was born the son of a senior engineer. Although he would much rather study art, he was first forced to study mechanical engineering. For this purpose, he was enrolled at the trade school in Barmen from 1863 to 1865 and at the trade academy in Berlin from 1867 to 1868. It was not until the fall of 1868 that he entered the elementary class with Andreas Müller at the Düsseldorf Art Academy , but left again in the fall of 1869 "because he was not able to get a place in the Antikensaal". Therefore, he first went to the Berlin Academy of Art, and until 1875 to the Munich Art Academy, where Otto Seitz and Wilhelm von Diez were his teachers. After a short stay in Rome, he settled in Düsseldorf in 1875. From 1877 to 1923 he was a member of the Malkasten artists' association and chairman of the local association of the General German Art Cooperative . He was also a member of the Orient Academic Artists' Association , the Laetitia artists' group and the Düsseldorf Writers' Association . In 1900 he was the initiator of the Goethe Association . In Erkrath-Hochdahl near Düsseldorf , Eduard-Daelen-Straße was named after him.

activity

Portrait of Kaiser Wilhelm I - Great Berlin Art Exhibition 1893 (catalog illustration)

Daelens painting is assigned to the Düsseldorf and Munich schools . He dealt with the activities of the Düsseldorf School in numerous pictures and writings. His style of painting can be described as "realistic", but he also incorporated influences from impressionism in his coloring and application of paint. He had financial success above all with portraits, e.g. B. the German Emperor Wilhelm I or Otto von Bismarcks for local and public clients. In addition, he also created compositions that seem “surreal”, such as megalomania (1891), Ash Wednesday (1892), or The Clown , an allegory of “contemporary art excesses” (1892), as well as landscapes and numerous other portraits. After the outbreak of the First World War, "patriotic" works such as u. a. the painting The German Eagle. Battle of the Germanic eagle with the Gallic rooster , Des Weltbrands Licht !, Allegory of the world war or With iron calm. The "German Michel" leaning on a sword, the blade of which is inscribed "Siegfried", stands upright in front of a dragon . He was also involved with appeals, posters and war postcards.

Eduard Daelen wrote art reviews, among other things, which appeared in various papers under the pseudonyms Ursos teutonicus and Angelo Demon . In them he occasionally used a language that bordered on insults. In addition, he published titles such as Das Hohe Lied vom Bier , Schüttle dich, Germania! , Sketches from the Rhine , Triumph der Hansa , biographies (including about Eduard Bendemann , Wilhelm Camphausen , Carl Müller , Eduard Steinbrück and Benjamin Vautier the Elder ) for the Allgemeine Deutsche Biographie , poems as well as festival and strolling pieces for performance in the artists' association Malkasten. He was editor and co-author of the art volumes The Beauty of Women , 280 photographic open-air studies by Ed Büchler, J. Agélou, G. Plüschow and E. Schneider (with Paul Hirth), Stuttgart, Schmidt 1905, The Beauty of the Human Body , with 322 painterly Nude studies based on nature (with contributions by Gustav Fritsch, Josef Kirchner et al.), Stuttgart, Kunstverlag Klemm & Beckmann 1905, as well as Naked Beauty. A book for artists and doctors , with 336 artistic nude studies based on photographic recordings (with the help of Dr. Gustav Fritsch, Professor of Anatomy at the University of Berlin and J. Paar), Stuttgart, Hermann Schmidt 1907.

Eduard Daelen and Wilhelm Busch

As a vehement anti-Catholic he was of the opinion that he had found a like-minded person in Wilhelm Busch. The anti-clerical picture stories by Wilhelm Busch such as Die pious Helene , Saint Anthony of Padua and Father Filucius seem to point to this. When Daelen's work On Wilhelm Busch and its Meaning appeared, however, both Wilhelm Busch and his circle of friends were embarrassed. In the bizarre laudation, Eduard Daelen equated Wilhelm Busch with greats like Leonardo da Vinci , Peter Paul Rubens and Gottfried Wilhelm Leibniz and quoted uncritically from a non-binding correspondence with Busch. He described the author Busch as the "archetype of the genuinely German folk spirit" and the "embodiment of the mythical ancestor Teut". The pious Helene , who from today's point of view mainly caricatures religious hypocrisy and dodgy civic morality, saw Daelen as an attack on "female mischief, curiosity and vanity as well as the always speculative sophistication in spite of all laziness and narrow-mindedness".

The literary scholar Friedrich Theodor Vischer , who found not only a respectful appreciation of Busch but also some critical remarks in his essay On Newer German Caricatures , Daelen attacked in long tirades as "literary bigwigs" and accused him of the "eunuchenid ​​of the dried up Philistine". One of the first to respond to Daelen's biographical attempt was the literary historian Johannes Proelß . His essay, which appeared in the Frankfurter Zeitung , contained a number of incorrect biographical data and was the reason for Wilhelm Busch to comment on himself in the same newspaper. Busch felt embarrassed by the biography and was of the opinion that the denigration of Kaspar Braun went too far. He also found the treatment of his relationship with Johanna Keßler, which had strongly encouraged him in his Frankfurt years, indiscreet and tasteless illuminated.

Work selection

Cozy round in the park of the old Düsseldorf Malkasten (noon in Malkasten-Park) , 1896 (black and white illustration)
Kürtenhof in Düsseldorf-Flingern , by Eduard Daelen (1914)
Open secret at the confessional , painting from the estate
  • Motif from Tivoli , 1875
  • Evening mood on the Hintersee , 1877
  • Self-portrait , 1880; Düsseldorf, city museum
  • Homage to Kaiser Wilhelm I , 1880; formerly Oberhausen town hall
  • Mars imperator - Venus imperatrix , 1888
  • Megalomania , 1891
  • Ash Wednesday , 1892
  • The clown , allegory of "contemporary art excesses", 1892
  • Portrait of a bearded gentleman (Karl Heinrich Wedigen) , 1895
  • Cozy round in the park of the old Düsseldorf Malkasten , 1896
  • Portrait of City Councilor Peter Hubert Knops , 1908; formerly Museum Siegen
  • In the Düsseltal , 1914
  • Open secret at the confessional , estate

Fonts

  • The “Jägerhof Park” case. An alarm call in dire need . Düsseldorf undated Manuscript: Malkasten-Archiv, Düsseldorf.
  • Fools. The most wonderful miracle story of our century. By Michel Bär (d. I. Eduard Daelen). Düsseldorf 1879.
  • The view into the hereafter . With CM Seyppel . 1880.
  • The failure. Funny Swiss trip . 1881.
  • Shake yourself, Germania . Düsseldorf 1881.
  • No spoilsport or: You are always comfortable! Allegorical stage consecration festival for the opening of the winter twin bowling alley in the Malkasten in Düsseldorf on 11.11.1882 . Düsseldorf 1882.
  • To the virgin! A fun trip to Switzerland, which four cheerful boys have recently undertaken . 1882.
  • Bismarck. A vision . With 90 illustrations. Oberhausen and Leipzig 1882.
  • From the carelessness. Bismarckiads in rhyme and picture . Oberhausen and Leipzig 1883.
  • The high song of beer . Imagination. Düsseldorf 1884.
  • The founding of Pempelfort or scandal and love. Humorous comedy by Ursus Teutonicus . Düsseldorf 1884.
  • Bang and Fall. Festival . 1885.
  • The eleven commandments of marriage. A humorous one . 1885.
  • Festival to celebrate the 70th birthday and 50th anniversary of Andreas Achenbach as a painter in the Malkasten, September 28th, 1885 . Düsseldorf 1885.
  • About Wilhelm Busch and its importance. A funny polemic . Dusseldorf. Bagel 1886.
  • The cheerful voter, or do not be amazed! . Around 1887.
  • On the history of fine arts in Düsseldorf . In: Contributions to the history of the Lower Rhine . Volume 3, Düsseldorf 1888, p. 296 ff. ( Digitized version )
  • Shake yourself, Germania! Armored Bismarck sonnets by a frank . Düsseldorf 1891.
  • Sketches from the Rhine. From E. Daelen's study portfolio . Spaarmann, Styrum and Leipzig 1894.
  • Brutus, are you sleeping? A reminder to the art city of Düsseldorf . Düsseldorf 1896.
  • Mars and Venus or their latest victory. Anniversary foreplay stag party joke stroll in one act . Artists' Association Malkasten; 50th Foundation Festival. Düsseldorf 1898.
  • A double wedding. Festival for the 50th anniversary of the paint box on July 3rd, 1898 . Düsseldorf 1898.
  • From the history of the artists' association “Malkasten”  : to celebrate its fiftieth anniversary; 1848-1898 . - Düsseldorf: Bagel, 1898. Digitized edition of the University and State Library Düsseldorf .
  • The peace festival in Pempelfort. Satyr game to celebrate the turn of the century . Düsseldorf around 1900.
  • Mask redoubt of the artists' association Malkasten. Düsseldorf, February 24, 1900: "Triumph of the Hansa". Düsseldorf 1900.
  • Appeal to the Düsseldorf artists to form a Goethe Association. Presented at the General Assembly of Düsseldorf Artists on April 23, 1900 . Düsseldorf 1900.
  • The new art exhibition building in Düsseldorf . Düsseldorf 1901/02.
  • A peace plan. Design for a festival for the large industrial and art exhibition . Düsseldorf 1902.
  • Cheek is trump! or who is laughing? A satyr play for the international art exhibition by Angelo Demon . Düsseldorf 1904.
  • Paint box humor. The secret or parlor and gallows . Düsseldorf, after 1905.
  • Balance of the international. With a contemporary request from Angelo Demon . Stuttgart 1905.
  • La moralité du nu . Klemm & Beckmann, Berlin 1906
  • Holland's heyday. Festival, Malkastenredoute, Düsseldorf, February 17, 1912 . Düsseldorf 1912.
  • For the Monistentag in Düsseldorf, September 6th, 1913 . Three poems. 1913.
  • Laetitia, much better sound !. In: Velhagen & Klasingsmonthshefte 28.3 (May / Aug. 1914).
  • Poem on the death of the painter Ernst Bosch on March 22, 1917. In: Düsseldorfer Generalanzeiger, March 26, 1917.
  • World superpower press, for the Great Berlin Art Exhibition in 1917 . Düsseldorf 1918.
  • From fishing village to cosmopolitan city. A revelation of the cosmopolitan city . Düsseldorf 1918.
  • The prerogative of the youth. A fun game . Düsseldorf 1919.
  • The naked Maja. The comedy of the revolution in 3 acts . Düsseldorf 1920.
  • German spring. Free confessions from Edu Daelen-Bachem and Emma Lucas-Boeddinghaus . Düsseldorf 1920.
  • The cross. A novel from Düsseldorf's past . Manuscript, n.d.; Düsseldorf, Malkasten Archive.

literature

  • Friedrich von Boetticher : painter works of the 19th century. Contribution to art history I-1. Dresden 1891.
  • Daelen, Eduard . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 8 : Coutan-Delattre . EA Seemann, Leipzig 1912, p. 258 ( Textarchiv - Internet Archive ).
  • General artist lexicon. Lives and works of the most famous visual artists , prepared by Hermann Alexander Müller, edited by Hans Wolfgang Singer. Literary Institute Rütten & Loening, Frankfurt / Main 1921; Volume V, Supplements.
  • Dressler's art manual 1930.
  • Daelen, Eduard . In: Hans Vollmer: General Lexicon of Fine Artists of the XX. Century . Volume 5, Supplements. EA Seemann, Leipzig 1961.
  • Emanuel Bénézit (ed.), Dictionnaire Critique et Documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs de tous les temps et de tous les pays , vol. 3, 1976.
  • Michaela Diers: Wilhelm Busch, life and work. dtv 2008, ISBN 978-3-423-34452-4 .
  • Joseph Kraus: Wilhelm Busch. 17th edition. Rowohlt, Reinbek 2007, ISBN 978-3-499-50163-0 .
  • Gudrun Schury: I wish I were an Eskimo. The life of Wilhelm Busch. Biography . Aufbau-Verlag, Berlin 2007, ISBN 978-3-351-02653-0 .
  • Eva Weissweiler : Wilhelm Busch. The laughing pessimist. A biography . Kiepenheuer & Witsch, Cologne 2007, ISBN 978-3-462-03930-6 .
  • Berndt W. Wessling : Wilhelm Busch - philosopher with a pointed pen . Wilhelm Heyne Verlag, Munich 1993, ISBN 3-453-06344-9 .
  • Hans Paffrath (Ed.): Lexicon of the Düsseldorf School of Painting 1819–1918. Volume 1: Abbema – Gurlitt. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1997, ISBN 3-7654-3009-9 , pp. 254-256 (fig.).

Web links

Wikisource: Eduard Daelen  - Sources and full texts
Commons : Eduard Daelen  - Collection of images, videos and audio files

Individual evidence

  1. ↑ student lists; Art Academy Düsseldorf, library
  2. ↑ Weissweiler, p. 304
  3. ↑ Weissweiler, p. 304.
  4. ↑ Kraus, p. 71
  5. ↑ Busch wrote to him, among other things, on the subject of stupidity : "Sometimes, but not so heartily, you laugh at yourself if you catch yourself doing something moderately stupid by feeling even more clever than yourself." From: Wilhelm Busch: Letter to Eduard Daelen, Jan. 16 [18] 86. Quoted from: Busch, Wilhelm, Complete Letters. Volume I: Letters 1841 to 1892, Hanover 1968, p. 266.
  6. ↑ Weissweiler, pp. 308, 309.
  7. ↑ Wessling, p. 180
personal data
SURNAME Daelen, Eduard
ALTERNATIVE NAMES Teutonicus, Ursus; Demon, Angelo
BRIEF DESCRIPTION German painter and writer
DATE OF BIRTH March 18, 1848
PLACE OF BIRTH Hear
DATE OF DEATH May 9, 1923
Place of death Dusseldorf