Erich Buchholz (painter)

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Wooden relief plate Three gold circles with full circle blue : German postage stamp from 1991 for the 100th birthday of the artist

Erich Buchholz (born January 31, 1891 in Bromberg ; † December 29, 1972 in Berlin ) was a German painter , architect and graphic artist .

Life

Erich Buchholz completed a teacher training course in Bromberg from 1908 and was an elementary school teacher in Czarnikau from 1911 until he moved to Berlin in 1915. One hour of lessons with Lovis Corinth . In the same year, he was called up for military service in the First World War . In 1916 Buchholz met the director Karl Vogt, for whom he worked in 1917 at the Bamberg ETA-Hoffmann-Theater as a dramaturge and set designer.

The first abstract works began in painting and the large oil painting Crucifixion was created. From 1920 onwards, constructivist tendencies appeared in his work : Buchholz designed a stage set with movable color fields for Julius Weismann's opera Schwanenweiß , which was staged by Karl Vogt in 1923 in the Albert Theater in Dresden . In 1921 he came into contact with the Dadaists Hannah Höch , Raoul Hausmann and Richard Hülsenbeck .

His living and working space on Herkulesufer 15, which was designed in a constructivist manner in 1922, became a meeting place for Dadaist artists and progressive architects. Erich Buchholz studied at the Berlin building trade school on Kurfürstenstrasse , and he made the acquaintance of El Lissitzky in the Galerie van Diemen . This created a connection to Suprematism .

After 1922 Erich Buchholz gave up painting and from 1923 turned to architecture , advertising graphics and product design. At the same time, he also allowed Dadaist influences on his work. In a ten-page text written in 1923 under the title The Great Caesar , Buchholz described his positions on neo-plasticism , suprematism and the position of his own work. The author dated the turning point itself to the year 1919. In 1925, Buchholz took over the workshop management at the Dramatic Theater in Berlin under Karl Vogt.

In 1925, Buchholz and his family moved to Germendorf . Here the couple had bought a hectare of land for their own cultivation. From 1928 a gravel pit was operated on part of the property .

After the seizure of power Erich Buchholz was banned from painting in 1933. He was subjected to reprisals during the National Socialist era and was arrested several times. In 1945 Buchholz was able to resume painting and had a solo exhibition in 1947. In 1950 he returned to Berlin and in 1951 moved into a studio in Ludwigkirchstrasse.

Grave of Erich Buchholz in the Heerstraße cemetery in Berlin-Westend

Erich Buchholz died in Berlin at the end of 1972 at the age of 81. His grave is in the state-owned cemetery Heerstraße in Berlin-Westend (grave location: II-Ur 10-7-2). He rests there next to his second wife Helena Buchholz-Starck (1902–1989). Erich Buchholz's grave was dedicated to the State of Berlin from 1987 to 2009 as an honorary grave .

In 2012, the Ingolstadt Foundation for Concrete Art and Design took over part of his estate.

family

In 1918 Erich Buchholz and Lucia Krüger († 1948) married. She came from a wealthy merchant family and moved to Berlin from Bromberg in 1917. The couple had three children: Urs (* 1922 in Berlin; † 1942 in World War II ), Eila (* 1924 in Berlin) and Mo (* 1928 in Germendorf).

Mo Wedd-Buchholz emigrated to Australia in 1974 . Part of the father's work is in their possession. Together with her sister Eila Schrader-Buchholz, her father's work has been supported since 1972.

In his second marriage, Erich Buchholz was married to the glass painter Helena Starck since 1960. Under the name Helena Buchholz-Starck, the artist designed glass windows for buildings in Berlin, including the restoration of the Schmargendorf town hall . She was also active as a graphic artist and painter, primarily constructivist.

Exhibitions (selection)

Publications

  • The idea is life's mortal enemy . 1922, in: Erich Buchholz . Catalog of the German Society for Fine Arts, Berlin 1966.
  • The red booklet . Berlin 1927
  • The great turning point . Written in 1923. Berlin without publisher or year information (1953).
  • The Buchholz egg . Made in 1920. Petersen Press, Flensburg-Mürwik 1963.
  • Investigations into the light cabinet . Berlin 1967
  • Official art history fails because of my case . Including text epidemic banned. To the history of some terms . Typescript 150 copies. Edition Hoffmann, Frankfurt am Main 1969
  • AKKA. Catalog for the exhibition in the Daedalus gallery. Berlin 1971.

literature

  • Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, ISBN 3-89479-003-2
  • German Society for Fine Arts (Ed.): Erich Buchholz . Exhibition catalog. Berlin 1966.
  • Richard W. Gassen, Lida von Mengden (Ed.): Erich Buchholz. Graphics, painting, relief, architecture, typography . Wienand, Cologne 1998.
  • Friedrich W. Heckmanns (Ed.): Erich Buchholz. Catalog City Art Museum Düsseldorf. Wienand, Cologne 1978, ISBN 3-87909-088-2
  • Andrew McNamara: Erich Buchholz. The Inconvenient Footnote within Art History. In: Art & Australia, Vol. 39, No. 32, 2001/2002, pp. 257-263.
  • Knut Nievers (Ed.): Kunstwende. The Kiel impulse of Expressionism 1915–1922 . Wachholtz, Neumünster 1992, ISBN 3-529-02728-6
  • Renate Tobies , Christoph Silex (Ed.): Erich Buchholz. Painter, sculptor, architect. Documentation for the years 1919–1925 . Eau de Cologne Verlag, Cologne 1968.
  • Ingrid Wiesenmayer (Ed.): Erich Buchholz. 1891-1972. Architectural designs, interior design and typography by a universal artist of the early twenties. Wasmuth, Tübingen 1996.
  • The Idea Concrete - Concrete Art as a development in the history of ideas. Ed .: Tobias Hoffmann. Wien Verlag, Cologne 2012

Web links

Individual evidence

  1. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 212.
  2. ↑ Knut Nievers (Ed.): Kunstwende. The Kiel impulse of Expressionism 1915–1922 . Wachholtz, Neumünster 1992, p. 201.
  3. ^ Leopold Reidemeister (ed.): The storm. Herwarth Walden and the European avant-garde. Berlin 1912-1932. Catalog for the exhibition at the Nationalgalerie Berlin 1961, p. 94.
  4. ↑ Knut Nievers (Ed.): Kunstwende. The Kiel impulse of Expressionism 1915–1922 . Wachholtz, Neumünster 1992, p. 202.
  5. ↑ Andrew McNamara: Erich Buchholz. The Inconvenient Footnote within Art History. In: Art & Australia, Vol. 39, No. 32, 2001/2002, p. 263, footnote x.
  6. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 11.
  7. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 213.
  8. ^ Hans-Jürgen Mende : Lexicon of Berlin burial places . Pharus-Plan, Berlin 2018, ISBN 978-3-86514-206-1 . P. 484.
  9. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 10ff. u. 212.
  10. ↑ Andrew McNamara: Erich Buchholz. The Inconvenient Footnote within Art History. In: Art & Australia, Vol. 39, No. 32, 2001/2002, p. 263, footnote xi.
  11. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, 3rd cover page.
  12. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 18.
  13. ↑ Mo Buchholz, Eberhard Roters (ed.): Erich Buchholz . Nicolai, Berlin 1993, p. 217.
  14. ↑ Andrew McNamara: Erich Buchholz. The Inconvenient Footnote within Art History. In: Art & Australia, Vol. 39, No. 32, 2001/2002, p. 263, footnote xi.
  15. ↑ kuenstlerbund.de: 20th exhibition Bonn / Participants: Buchholz, Erich ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on July 23, 2015)  @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
personal data
SURNAME Buchholz, Erich
BRIEF DESCRIPTION German painter, architect and graphic artist
DATE OF BIRTH January 31, 1891
PLACE OF BIRTH Bromberg
DATE OF DEATH December 29, 1972
Place of death Berlin