Emil Heilbut

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Emil Heilbut (* 1861 in Hamburg ; † 1921 in Montreux ) was a German art collector and mediator, publicist and art critic . He made a significant contribution to the establishment of French impressionism in the German Empire .

Life

Emil Heilbut, the son of a Hamburg rabbi , initially worked as a painter in the Impressionist style; he was probably introduced to the Parisian art scene by his uncle, Uncle Ferdinand Heilbut (1826–1889) , who lived in France . He initially worked as an art collector and broker, occasionally as an art dealer .

Along with Carl Bernstein, Heilbut was one of the first collectors in Germany to own works of French Impressionism in the 1880s . Halibut called the earliest collection of paintings of Claude Monet in Germany his own, but gained to Paul Cezanne and James McNeill Whistler , with whom he as a member of the Art Association (1870-80) in preparation for the Great Art Exhibition of the Art Association in the Kunsthalle Hamburg corresponded.

Paul Cézanne: Landscape with Poplars, 1885–87, National Gallery (London)

Heilbut owned a. three paintings by Claude Monet . The works of the French Courbet , Corot , Rousseau and Millet were conveyed to the collectors Erdwin and Antonie Amsinck through Emil Heilbut. He had acquired a bust of Antonin Proust from Auguste Rodin . In 1895 he bought a pastel by Edgar Degas from Ambroise Vollard , and in 1900 three paintings by Paul Cézanne ( landscape with poplars , still life with apples and pears ) for 6,000 francs .

In 1889 Heilbut gave lectures on French art of the 19th century at the Weimar Art School and presented his Monet paintings to the public, which had a strong influence on artists such as Christian Rohlfs , Theodor Hagen and Ludwig von Gleichen-Rußwurm . So it came about that "Heilbut's conception of Monetscher's visual language triggered an important development boost within the Weimar School of Painting".

Bruno Cassirer got to know Heilbut while working for Maximilian Harden's weekly political magazine Die Zukunft . Heilbut was then editor of the magazine Kunst und Künstler from 1902 with Caesar Flaischlen . Monthly magazine for fine arts and applied arts , published by Bruno Cassirer and developed into Germany's leading art magazine. In 1907 Heilbut was replaced by Karl Scheffler , who looked after the magazine up to the last issue in May 1933. Heilbut wrote u. a. about the Berlin Secession , the Vienna Secession and the Linde Collection . In 1903 Heilbut published the narrow volume Die Impressionisten by Bruno Cassirer.

With his versatile work, Heilbut has made a significant contribution to establishing modern art in the German Empire. With well-known critics of early modernism such as Julius Meier-Graefe , Richard Muther or Cornelius Gurlitt , he vehemently advocated the then new art movements, especially for modern artists such as Max Liebermann (whom he described in his "Study on Naturalism and Max Liebermann" ( 1887) called “the bravest forerunners of the new art in Germany”), Vincent van Gogh and Cézanne; In the art debates of his time he also defended artists of the 19th century such as Caspar David Friedrich and Arnold Böcklin .

At the same time, he dealt not only with French and German, but also intensively with Scandinavian and English art, about which he published articles in numerous magazines and newspapers at the end of the 19th and the beginning of the 20th century, and others. a. in Die Kunst für Alle (1887), Pan , Tag, Zeitschrift für bildende Kunst, Die Nation , Free Stage for Modern Life and in the Neue Rundschau

He was in contact with Harry Graf Kessler and corresponded with a number of artists and intellectuals of his time, including a. with Gerhart Hauptmann , Otto Brahm and Max Slevogt . He published his amounts z. Sometimes also under the pseudonym Herman (n) Helferich .

Fonts (selection)

literature

  • Hendrik Ziegler: Emil Heilbut. An early apologist Claude Monet. In: Andrea Pophanken, Felix Billeter (Ed.): The modern age and their collectors. French art in German private ownership from the Empire to the Weimar Republic (=  Passagen. Vol. 3). Akademie-Verlag, Berlin 2001, ISBN 978-3-05-003546-8 , pp. 41–65 ( digital copy , PDF; 13 MB).
  • Halibut, Emil. In: Lexicon of German-Jewish Authors . Volume 10: Güde – Hein. Edited by the Bibliographia Judaica archive. Saur, Munich 2002, ISBN 3-598-22690-X , p. 237 f.
  • Sabine Schlenker: With the "talent of the eyes". The art critic Emil Heilbut (1861–1921). A champion for modern art in the German Empire. VDG-Verlag, Weimar 2007 [also: Berlin, Free University, dissertation 2006], ISBN 978-3-89739-563-3 ( overview ).

Notes and individual references

  1. ↑ Bruno Jahn: The German-language press: A biographical-bibliographical manual. 2 vol. Saur, Munich 2005, DNB 975914197 , vol. 1, col. 421.
  2. ^ A b Matthias Hamann: Literature Review. In: historisches-centrum.de ; Review of: Andrea Pophanken, Felix Billeter (Ed.): The modern age and their collectors. French art in German private ownership from the Empire to the Weimar Republic (=  Passagen. Vol. 3). Akademie-Verlag, Berlin 2001, ISBN 978-3-05-003546-8 .
  3. ↑ Sven Kuhrau: The art collector in the Empire: Art and representation in the Berlin private collector culture . Ludwig, Kiel 2005 [also: Berlin, Freie Universität, dissertation 2002], ISBN 978-3-937719-20-7 , p. 266.
  4. ^ Emil Heilbut, 1861-1921 (biogram). In: The Correspondence of James McNeill Whistler, On-line Edition , University of Glasgow.
  5. ^ A b c Peter Stapf: The painter Max Thedy (1858-1924). Life and work . Böhlau, Cologne / Weimar / Vienna 2014 [also: Jena, University, dissertation 2013], ISBN 978-3-412-22264-2 , p. 107.
  6. ↑ Andrea Meyer: Between the original and the (falsification). Works by Jean-François Millet in private German ownership. In: Ulrike Wolff-Thomsen, Sven Kuhrau (ed.): History of taste (s). Public and private art collecting in Germany 1871–1933 . Ludwig, Kiel 2011, ISBN 978-3-86935-133-9 , pp. 55–75, here 58.
  7. ↑ Stephan Wolohojian with the assistance of Anna Tahinci (ed.): A private passion. 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University. [Exhibition catalog, Musée de Beaux Arts, Lyon, The National Gallery, London, The Metropolitan Museum of Art, New York.] Yale University Press, New Haven [u. a.] 2003, ISBN 1-588-39076-4 , p. 288 ( digitized extracts ).
  8. ^ Gloria Groom: Vollard and German Collectors. In: Rebecca A. Rabinow (Ed.): Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. [Exhibition catalog The Metropolitan Museum of Art, New York, The Art Institute of Chicago, Musée d'Orsay, Paris.] The Metropolitan Museum of Art, New York and Yale University Press, New Haven, Conn./London 2006, ISBN 0- 300-11779-5 , pp. 231–242, here 237 ( digitized extracts ).
  9. ^ Rebecca A. Rabinow, Jayne S. Warman: Selected Chronology. In: Rebecca A. Rabinow (Ed.): Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. [Exhibition catalog The Metropolitan Museum of Art, New York, The Art Institute of Chicago, Musée d'Orsay, Paris.] The Metropolitan Museum of Art, New York and Yale University Press, New Haven, Conn./London 2006, ISBN 0- 300-11779-5 , pp. 274-304, here 279.
  10. ↑ a b Julius Meier-Graefe: Art is not there for art history. Letters and documents. Edited and commented by Catherine Krahmer with the participation of Ingrid Grüninger (=  publications of the German Academy for Language and Poetry . Vol. 77). Wallstein, Göttingen 2001, ISBN 978-3-89244-412-1 , p. 380 ( digitized extracts ).
  11. ^ Horst: Lovis Corinth (=  California studies in the history of art. Vol. 27). University of California Press, Berkeley / Los Angeles / Oxford 1990, ISBN 0-520-06776-2 , p. 130 ( digitized extracts ).
  12. ↑ Hermann Helferich [Emil Heilbut]: Study on Naturalism and Max Liebermann. In: Die Kunst für Alle , Vol. 2, 1887, H. 14, P. 209–214, 225–229, Vol. 12, 1897, H. 15, 225–228, here Vol. 2, p. 229.
  13. ↑ Gesa Jeuthe: The appreciation of German art. On the price development of the works of Max Liebermann and Emil Nolde. In: Maike Steinkamp, ​​Ute Haug (ed.): Works and values. About trading and collecting art under National Socialism (=  writings of the research center “ Degenerate Art ”. Vol. 5). Akademie-Verlag, Berlin 2010, ISBN 978-3-05-004497-2 , pp. 3–22, here 5 and 18 ( digitized extracts ).
  14. ↑ Both Emil Heilbut and Julius Meier-Gräfe interpreted van Gogh's work, like Cézanne's, as "excessive, violent and as an expression of inner urge" - a concept that both artists clearly removed from the context of "French Impressionism" and at the same time shaped the German reception of “expressionist” art in the following years . Quoted from: Daniela Wilmes: Competition for Modernity. On the history of the art trade in Cologne after 1945 (=  writings on modern art historiography . Vol. 2). Akademie-Verlag, Berlin 2012 [also: Bonn, Universität, Dissertation 2011], ISBN 978-3-05-005197-0 , p. 31 ( digital copy in extracts ).
  15. ↑ Christian Scholl: Historicized Classicism. The Odyssey Landscapes of Friedrich Preller d. Ä. and their contemporary reception. In: Ernst Osterkamp , Thorsten Valk (Ed.): Imagination and Evidenz. Transformations of antiquity in aesthetic historicism (=  classic and modern. Series of publications of the Weimar Classic Foundation . Vol. 3). De Gruyter, Berlin / Boston 2011, ISBN 978-3-11-025297-2 , pp. 101–128, here 124 ( digitized extracts ).
  16. ↑ At Harry Graf Kessler's request, he gave the actor Edward Gordon Craig access to Otto Brahm, the director of the Berlin Lessing Theater. P. 54. See Uta Grund: Between the Arts. Edward Gordon Craig and the Bildertheater around 1900. Akademie-Verlag, Berlin 2002 [also: Berlin, Humboldt University, dissertation 1999], ISBN 978-3-05-003721-9 , p. 66 ( digital copy in excerpts ).
  17. ↑ 12 letters from and to Emil Heilbut. In: Digitized collections of the Berlin State Library , accessed on February 14, 2018.
personal data
SURNAME Halibut, Emil
ALTERNATIVE NAMES Helferich, Hermann
BRIEF DESCRIPTION German art critic and collector
DATE OF BIRTH 1861
PLACE OF BIRTH Hamburg
DATE OF DEATH 1921
Place of death Montreux