Erich Klahn

from Wikipedia, the free encyclopedia

Erich Klahn (born May 16, 1901 in Oldenburg , † October 14, 1978 in Celle ) was a German visual artist . He is especially known regionally for the triptychs and embroidered tapestries that can be found in north German churches and service buildings . Many of his works have a clear political connection, according to which Klahn was assigned to the Volkisch-National Socialist milieu until 1945 .

Life

Lütgendorff-Leinburg's painting school in the house on the horse market / corner of Kapitelstraße (1907)

Erich Klahn was born in Oldenburg in 1901 as the ninth child of the insurance salesman Ernst Klahn (from Darry near Lütjenburg ) and his wife Emma (née Kruse, from Segeberg ). The family lived in Lübeck since 1902. Klahn attended the Johanneum high school in Lübeck up to the 10th grade (Untersekunda) and received the "Obersekundareife". After leaving school he went from 1916 to 1919 to Willibald Leo von Lütgendorff-Leinburg's private art school . In 1917 he began an apprenticeship as a glass painter in the workshop of Carl Berkentien , also in Lübeck; it is not known whether he graduated. During this time the Luther window was built in the church of Klein Wesenberg . From 1920 to 1921 he studied at the Academy of Fine Arts in Munich with Hermann Groeber and Hugo von Habermann . For this, the Lübeck Masonic Lodge Zum Füllhorn , in which his father was a member, gave him a scholarship.

Weimar Republic

Klahn was confirmed by Wilhelm Mildenstein ; after the war, on his initiative, who came from the island of Fehmarn and knew Klahn's colorful window in the church, he was commissioned to create the memorial for the members of the community who died in the war. In 1931 Klahn also received the order from him to redesign the chancel .

In Klahn's work, a political interest was articulated in addition to artistic interest; this has been documented since he was a student. The party-political preference was with the newly founded NSDAP , to which he belonged by 1921 at the latest. His membership number was (as he remembers) "around 2,000". In the spring of 1921 he considered joining the Oberland Freikorps . This intention was not implemented, instead he visited the sculptor Fritz Behn , also from Lübeck , who had also joined the right-wing extremist spectrum.

One of Klahn's first public works was commissioned in 1922 by the Lutheran Lutheran congregation in Lübeck, which was founded in 1914 . It was a three-part " war window " in the parish hall, which was also used as a worship room before the church was built in 1937. Klahn chose a Pietà as the central motif, as well as the “ Judas kiss ” (left) and the scene from the Passion story , in which soldiers dice for the clothes of Jesus, in the two outer windows above the names of those who fell . According to his biographer Henning Repetzky, he equated the betrayal of the Son of God “with a betrayal of the German people and ... of the German soldiers”, while the “soldiers throwing the robes symbolized the enemies haggling for the remains of the German Empire”. Unlike the defeat, the artist saw the previous war, he said, as “a big deal”. He described his work in political diction as "'German-Christian' inspired". In 1924/1925, Klahn designed the interior for a “war memorial chapel” in Lübeck's Marienkirche with a similar theme . It remained unrealized because of the overly clear political positioning.

Between 1924 and 1929 Klahn undertook several long study trips to Italy, Spain and Belgium. Since then he has been intensively involved with watercolor painting . Numerous watercolor studies were carried out, including a number of architectural motifs. He was inspired by Asmus Jessen .

Since the 1920s, Klahn's friends and sponsors from Lübeck included the graphic artist Asmus Jessen, the publicist and writer Franz Fromme and the publicist and educator Paul Brockhaus , to whom he remained lifelong. The three were sympathizers and supporters of the Low German Movement , a segment of the Völkisch movement . Their “iron stock” of “Low German ideology” included their “racism” until at least the end of National Socialism. The Fehrs Guild played an important role in the Low German movement . By the 1920s at the latest, she took on racist positions including "open anti-Semitism ". Klahn joined the guild, for which he helped prepare the Gildag in 1927 in the work committee.

In this context of national politics and ideology, the “Low German-Flemish Days” took place on February 26 and 27, 1927 in Lübeck. They brought Klahn and Fromme together with the German-Flemish author Herbert Martens . The "Low German People's Guild" Frommes showed a Martens play, translated and staged by Klahn. The main figure as "de Meister vun Flanders" was the Flemish nationalist August Borms , who was prominent in national circles . Martens was an activist moving on the right wing of the vlaamse . He glorified Borms as a symbol of the struggle for a non-Belgian "Germanic Flanders". Klahn, in turn, valued Martens as a fighter on the western "Germanic outpost" of Flanders.

With this, Klahn was "directly ... an actor in a scene that had nothing to do with fine arts, but everything to do with Flemish-Low German ideology".

As an artist, up to this point in time and beyond, Klahn had not emerged beyond the local and regional area and still remained without reception. In 1927 he took a drawing teacher exam at the Hamburg art school, but never worked as such. In 1929, "strengthened and supported by Asmus Jessen" began a collaboration with the carpet workshop of Carlotta Brinckmann (weaver and daughter of Justus Brinckmann ) in Celle. Klahn provided the designs with an abundance of motifs and the workshop embroidered. Through the contact with Brinckmann and her workshop, the city of Celle became a second important reference point for him after Lübeck.

Since the 1920s, one of Klahn's competitors in Lübeck has been the internationally successful Hungarian painter and craftsman Ervin Bossányi , who fled to Great Britain in 1934 to escape Nazi racial politics. His art was "a degenerate classified". Bossányi had u. a. Together with Klahn's teacher Berkentien designed glass windows for the arts and crafts school. In 1941 Klahn returned to his competitor in a letter to the editor. He complained that at that time the "well-known Jew Bossanyi in Lübeck had won the monopoly on glass painting".

At the beginning of the 1930s, Klahn turned increasingly to contemporary politics. The shooting of Albert Leo Schlageter , a member of the founding generation of the NSDAP like Klahn himself and a figure of identification of the Weimar right-wing camp , was created in 1930 as an oil painting . The picture is now in private hands. According to the art historian Herbert Pötter commissioned by the Evangelical Church, the Schlageter figure can be found in Klahn's depiction of Christ at the Thomas Altar in Nordenham (Wesermarsch district), which was also created in 1930. Klahn worked a rounded swastika and Germanic runes into the Good Friday altar in the Mariensee monastery near Hanover .

A first public order in 1930 was a "Hamburg carpet", which the Senate there commissioned from Carlotta Brinckmann and which designed the Klahn. He named the carpet Versailles and represented the perspective of the nationalist camp on the Young Plan (regulation of the payment obligations of the German Reich) - and its alleged consequences - which had been the subject of a referendum run by the DNVP , Stahlhelm and NSDAP the year before . In terms of design, Klahn saw himself in possession of a “blank order”, with which he acted “to the understandably greatest horror” of the [social-liberal] Hamburg manager, Alexander Zinn , as he announced in 1931. Among other things, the carpet showed a “ sun wheel ” that could be interpreted as a swastika as a sign of hope for the German future and a symbolism that could stand for an “expressive” Jewish “ Golden International ”. The Hamburg Senate parties refused to attempt to find “a prominent position for the plant” with the help of the German People's Party and the German Democratic Party . The carpet, which had to be taken over by the Senate, was never hung in its rooms, then disappeared in a museum depot and was “nowhere to be found” for decades. Also in 1930 was the "Adler Carpet", an order "from Nazi circles", which Hermann Göring was interested in acquiring . The image content is unknown.

In the early 1930s, based on previous sketches from the 1920s, a “ dance of death ” was created as a large tapestry in a contemporary context. The picture details refer to the reading of the right-wing camp, that the death of a German soldier and defeat in the World War were a result of Jewish-Bolshevik activities (“ stab in the back legend ”).

In 1932, after his contributions to Lübeck, Klahn turned again to a religious theme, the representation of world religions for the interior design of the chapel of the anti-Semitic Ludendorff movement of Mathilde Ludendorff (the forerunner of today's Bund für Deutsche Gottnisnis ) at Gut Bothmer in Hetendorf in Lüneburg Heather . The work has not been preserved.

National Socialism

After the transfer of power to the National Socialists and their allies, a chronological sequence of life-size historical personalities ( Ignatius von Loyola , Friedrich the Great , Erich Ludendorff , Wladimir Iljitsch Lenin , Walther Rathenau , Benito Mussolini , Adolf Hitler ) was created in oil . The fact that Hitler was holding a bouquet of blue flowers referred back to the final scene in "Meister von Flanders", in which a bouquet of "blage bloom" stood for loyalty to the cause and for "redemption" from foreign rule. The title and usage of the series are unknown. Waldemar Hartmann , Reich Office Manager of the Art History Department in the Rosenberg Office , praised the "seven dark and light figures of recent history" as an expression of visionary belief "in the rise of a Nordic future out of the struggle of racial opposites". After 1945 Klahn titled the pictures with Erreger der Massenpsychose (1946) and Mover der Massen (1975).

The first tapestries were also made in 1933 using a monastery engraving . With this, Klahn took up a mediaeval craft technique that was hardly practiced any more.

From the mid-1930s, Klahn set himself “a special task” with a tapestry series for a decade. In 1941, he declared that his “carpet plan” was part of his “life's work”. The common theme of the carpets were well-known figures of the Germanic early medieval hero mythology (Barbarossa, Melusine , Lohengrin , Wieland , Siegfried , Brünhilde , Parzival carpets), as they corresponded to the prevailing historical and political canon. Paul Brockhaus commented between 1942 and 1944 that Klahn's subject area spoke of the "new inner relationship that we have gained today with the world of faith of our fathers."

In 1935 Klahn began with illustrations for de Coster's novel Die Legende and heroic, happy and glorious deeds by Till Ulenspiegel and Lamme Goedzak in Flanderland and elsewhere . In the opinion of his biographer Henning Repetzky, in addition to his own interest, suggestions from Franz Fromme and Paul Brockhaus - as Klahn connected the Völkisch-Flemish scene - played a role. Up until 1978, the year of death, 1,312 watercolors in A5 format were created in several work phases.

In 1937 the völkischer Franz Westphal Verlag (edited by the National Socialist Publicist in the Reich Propaganda Ministry Robert Paul Oszwald ) on the 70th birthday of the Flemish writer and activist Raf Verhulst , an "ardent admirer of Hitler", published the anthology German-Dutch Symphony . The contributors were all National Socialist publicists or Nazi-compliant Flemish activists. Klahn contributed to this with a series of leaves from the resulting pictorial work for de Costers.
Oszwald remarked - also with a view to Klahn -: "Artists felt the movements of the blood and the forces of the soil in themselves more directly than others."

Since 1938, but especially in 1940 and 1941, further sheets and reviews of the Ulenspiegel series have been published. The places of publication were primarily original National Socialist or consistently NS-compliant publications ( Völkischer Beobachter , National Socialist monthly books , the Luebeckian yearbook Der Wagen , Hamburger Fremdblatt ), and the authors were all party members. Without exception, Klahn's contributions received both aesthetic and political praise. The historical background for this is the German occupation of Belgium and the Netherlands from 1940.

This year the Berlin magazine Deutsche Arbeit (Verlag Grenz und Abroad ) published an article by the art historian Martin Konrad about Klahn's "Ulenspiegel-Deutung". According to Konrad, the watercolors are a "huge work". “Especially today” are first of all its “national political significance” and secondly the “high artistic qualities”. The fact that Klahns Eulenspiegel was a Low German and Flemish at the same time received its deep and ultimate meaning from the fact that (1914–1918 and 1940) “our troops fought on Flemish soil”. Konrad was a member of the party and in the following year commissioned to dismantle Jan von Eyck's altar in Ghent, Flemish, for RM 1,500 from the Reichsführer SS's treasury and bring it to the Reich.

Another contribution to Klahn in German work under the title “Ulenspiegels' Volksstumspolitische Sendung” came from August Georg Kenstler , the National Socialist Volkstum activist, who also coined the phrase “ blood and soil ”.

Also in 1940 ten reproductions appeared in the National Socialist monthly issue with interpretations by Waldemar Hartmann. It paralleled the historical struggle for freedom against Catholic Spain with the "liberation" of Belgium in 1940 by the Wehrmacht . Hartmann also went into anti-Semitism in Klahn's Eulenspiegel account. Klahn took over some of the old anti-Semitic episodes of the historical material with "delicious humor". The monthly magazines showed two of these images.

1940 Founded in 1939, Lübeck had Emanuel Geibel Society decided to donate the 125th birthday of Geibel a price that should be awarded for the first time in 1943 the 800th anniversary of the city of Lübeck and when Emanuel Geibel Award (also : Prize of the Emanuel Geibel Foundation ) went to the sculptor Fritz Behn , the writer Hans Heitmann and the visual artists Asmus Jessen and Erich Klahn. It was endowed with 3,000 RM and at least in the Klahn case with the award of an "honorary apartment" in Lübeck. The award of prizes of this magnitude was tied to the approval of the Reich Propaganda Minister. In fact, all of the award winners were on NSDAP membership lists. Since the company had to cease its activities in 1950 due to lack of funds, the triennial planned award was not awarded a second time and remained a pure Nazi award.

In the year the award was presented, the Reich leadership of the National Socialist Women's Association took over a Klahn carpet in their guest house. This year at the latest, Klahn had joined the Reich Chamber of Fine Arts .

In 1941 Kenstler zu Klahn published a second article in the annual Der Wagen published by Paul Brockhaus . Again, a close connection was established between the motif “Fulfillment of Greater German Longing” and the “mandate” of Low German to “obedience and loyalty to God, Fuhrer and Reich”. This effect of the Ulenspiegel pictures, which was again limited to the Lübeck region, was prepared in 1940 by a Lübeck event called the “Flemish Hour”. For the first time, a selection of the watercolors was shown publicly in the original. In addition to the Society for the Promotion of Charitable Activities , the sponsors were the Emanuel Geibel Society and the Volksbildungswerk. The key lecture was given by the Flemish-Dutch activist Antoon Jacob , three years later a member of a National Socialist government in exile in Flanders enthroned by the Nazi regime. In 1941 there was a German-Flemish workshop in Lübeck with a “poet meeting”, at which five large tapestries and 100 Ulenspiegel watercolors were shown.

Klahn's breakthrough as a visual artist in the wider public was noted independently by both contemporary Paul Brockhaus (“accessible to a wide circle for the first time”, “until then only a few knew about the work”) and a professional voice of the present (“suddenly strongly increasing attention ”and“ resulting recognition ”) for 1941. The war years 1940 and 1941 were“ at the height of Klahn's fame ”.

After the end of National Socialism

denazification

In a declaration, whose addressee is not known, Klahn confirmed his membership in the NSDAP again in 1946 and added that he could have been a “ Gauleiter ” in 1945 if he had not simply been a “nominal” party member. "The Gauleiter just had to remain a dream".

In 1949, in a late phase of denazification , he denied membership in the NSDAP and only admitted that in 1944/1945 he had been a “candidate” for membership in the Reich Chamber of Culture of the Fine Arts. On the basis of these false statements in Celle he was rated as “not affected”, ie neither charged nor exonerated. Klahn's longtime friend, the former Celle prison director Otto Marloh , was convicted in 1949 as the main perpetrator of an Auschwitz deportation ("Berleburger Gypsy Trial"). Klahn wrote him a certificate of repute . The old party member was "very early" an anti-Nazi opponent. He is of "extraordinarily honest disposition" and has "done exemplary things for his fatherland". He "deliberately represents a clear and uncompromising order among people" and "between international communities". At the same time, Klahn expressly denied his own NSDAP membership.

Klahn biographer Henning Repetzky came to the conclusion that the decision of the Celle Committee was not justified, because Klahn was "overall ... convinced of the correctness of a Völkisch-Low German, National Socialist society". “Based on this political conviction, he made his art available to spread folk-Low German, National Socialist ideas.” At the same time, he judged that after the end of National Socialism, “this attitude was apparently no longer evident in Erich Klahn”.

No self-critical statements about his behavior up to 1945 have been handed down by Klahn, nor have critical reviews of National Socialism and its völkisch prehistory.

Reorientation

After the collapse of the Nazi regime, religious content was of central importance in Klahn's art, followed by motifs from fairy tales and materials now from Greco-Roman mythology. A first work, an altar for the Protestant church in Abbehausen, was created together with the Lübeck sculptor Heinrich Dose in the second half of the 1940s on behalf of the Prime Minister of the Free State of Oldenburg , Theodor Tantzen . The altar provoked extremely heated controversy. The cathedral community and the monument council of the city of Lübeck rejected the trial installation. Carl Georg Heise , director of the Hamburger Kunsthalle, thought it was unsuitable because “Klahn's painting” was “insignificant”. The religious content is not convincing. In contrast, the national-religious expressionist Lothar Schreyer , who "converted to a blood-and-soil mystic" in the 1930s, saw it as "a new testimony to the fact that our present has a genuine Christian art of its own". A Klahnian way of the cross for the bombed-out Marienkirche in Lübeck had already been rejected by the community and an order for two glass windows was given to competitor Alfred Mahlau .

According to his biographer, after these failures, Klahn had become "even more skeptical and negative" towards the art scene and only exhibited once more, namely a few Ulenspiegel watercolors in the early 1950s. He also rarely entered a museum or an exhibition "for his own study". He rejected the contemporary turn to abstraction and the examination of it. There were also “only a few works” of his in museums. The main buyers were private individuals. Klahn was largely unknown, although other altars had been built. Klahn also turned to enamel art .

While, according to the biographer Repetzky, the contact with Lübeck has waned, more Protestant clergy in the wider region have now represented “new spiritual poles”. Major clients were the director of the Landeskreditanstalt Wulf Eberhard Müller, Marianne-Migault Klingler , friend and former colleague of the wife, and the couple Helmut and Diana Maria Friz, the daughter of Waldtraut von Bohlen and Halbach . In the 1960s and 1970s, carpets for government institutions and banks were again made using monastery engraving. One last carpet for Helmut Friz had the title Don't Look Back .

From 1951 Klahn lived with his family in Celle, then from 1960 in a wing of Wöbbel Castle near Detmold in the summer and in the Villa Haus Lichtenegg in Bremen-Lesum in winter. In 1953 he married the religion and music teacher Barbara Bosse (1921-2018), with whom he had a daughter Liese.

Afterlife, reception

General

Eight years after Klahn's death there was a first larger and more extensive catalog of works, namely watercolors from the Ulenspiegel series, at a well-known exhibition location, the painter's book room of the Bibliotheca Augusta in Wolfenbüttel . This was after a few years before the daughter Liese Klahn-Albrecht , who was married to George Albrecht, brother of the former Prime Minister Ernst Albrecht , had given the Ulenspiegel preparatory drawings and watercolors to the library as permanent loan "for safekeeping". For the first time, the library had this part of the Klahn work cataloged, secured, evaluated by specialist scientists and published the results in the exhibition catalog.

The result - according to the demands of the library manager, Paul Raabe  - was a critical professional review. He showed Klahn not only as a visual artist, but also in his role as an actor in the Low German-Völkisch network of the 1920s to 1940s in close cooperation with National Socialist and other ethnic activists. This comprehensive perspective on the political artist was supplemented by information from family tradition that relativized it in a contribution by Diana Maria Friz, family friend and owner of Klahn works.

In 1999 Liese Klahn-Albrecht and Klahn's stepson Johann Christian Bosse established a private foundation ("Klahn Foundation"), into which a large part of the artistic estate was transferred. A trust agreement with the General Hanover Monastery Fund of the State of Lower Saxony regulated the relationship between the state institution and the heir foundation, so that since then Lower Saxony has been entrusted with the "collection, preservation and scientific development of the work and its communication to the public" in the form of the Hanover Monastery Chamber . The state provided the Mariensee monastery with exhibition and archive rooms for this purpose. Klahn's widow Barbara Bosse-Klahn was a conventual here and abbess from 1980 to 1990. The founding was supported by Axel Freiherr von Campenhausen , at that time president of the monastery chamber.

As a result of the foundation's establishment, a first biography of the artist was published in 2001 by the art historian Henning Repetzky, who worked for the foundation, and published by a "Klahn Circle of Friends".

In 2013, the Klahn Circle of Friends published the illustration A Patriot Warns of War on the Internet . Political pictures by Erich Klahn . This was an alternative to the critical Klahn reception of 1986, but also to the critical accents of the biography. Klahn was brought closer to Bertolt Brecht , Erich Maria Remarque and Otto Dix , artists with whom he had never really had anything to do with and with whom he was in sharp political opposition.

Legal dispute about the contract between the Klahn Foundation and the Hanover Monastery Chamber

After doubts about the previous attitude towards the Klahn legacy arose in the monastery chamber as an institution of the state in view of the Klahn vita, they commissioned an expert opinion from Repetzky. Repetzky stated that Klahn was “convinced of the correctness of a Völkisch-Low German, National Socialist society”, which is why he offered to “spread ethnic-Low German, National Socialist ideas”. Even before 1933 he had advocated a political climate from which the Nazi regime could "emerge and act". This is also the case with contemporary historian Detlef Schmiechen-Ackermann : Even in Weimar, Klahn “never found a relationship with democracy”.

Two other corresponding reports were issued:

  • the historian Thomas Vogtherr for the Klosterkammer (2015) (K. as "characterized in the essential stages of his biography" "by ideas of the political right and anti-parliamentarism", had used almost every stereotype of "a superficially purified anti-Semitism" in 1946, "Elitist position").
  • of the art historian Herbert Pötter for the Ev.-luth. Landeskirche Hannover (2016) (what was created from 1933 fits well into the Nazi ideology, no later than 1940 K. established artist and known nationwide , clear proximity to folk-nationalist ideas, still after 1945 with politically-ideologically charged Nazi symbolism [Sonnenrad, Man -Rune]).

The monastery chamber terminated the contract with the foundation. 450 Klahn works were to be returned and the Klahn Museum in the Mariensee Monastery in Neustadt am Rübenberge to be closed, against which the heirs / donors sued with success in two instances. The termination, it was said, was ineffective. The courts were only interested in aspects of foundation and property law, not the contents of the reports. There was also a legal criticism. One point of view was also “the National Socialist ideas of the artist Erich Klahn”. The BGH, however, confirmed the judgment of the Higher Regional Court Hanover in 2016. The monastery chamber had to make its collection publicly accessible again from 2017.

In 2015, the Behnhaus in Lübeck showed 300 Klahn watercolors from the “Ulenspiegel” cycle, despite Klahn's undisputed Nazi exposure “completely without comment”. Both the archive of the Hanseatic City of Lübeck and the art historian Christian Fuhrmeister from the Munich Central Institute for Art History contradicted this . Klahn's “Low German” context is “the regional variant of blood and soil. […] Low German in 1943, that means conforming to the system. There is someone on the line. ”(Fuhrmeister).

Works (selection)

literature

  • Alexander Bastek, Birgit Kümmel , Jochen Meiners (eds.): Erich Klahn Ulenspiegel (1901–1978). Complete edition in four volumes. Michael Imhof Verlag, Peterberg 2015, ISBN 978-3-7319-0145-7 .
  • Ulrike Bodemann (arrangement): Erich Klahn's “Ulenspiegel”. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986.
  • Volker Dahm: Cultural-political centralism and landscape-local cultural maintenance in the Third Reich. In: Horst Möller, Andreas Wirschingm Walter Ziegler (ed.): National Socialism in the Region. Contributions to regional and local research and international comparison. Munich 1996, pp. 123-138.
  • Birgit Dalbajewa, Uwe Salzbrenner: A patriot warns of war. Political pictures by Erich Klahn. Published by the Klahn-Freundeskreis e. V. Bonn 2013.
  • Kay Dohnke, Norbert Hopster, Jan Wirrer (eds.): Low German in National Socialism. Hildesheim 1994.
  • Diana Maria Friz: The Ulenspiegel watercolors in the life of Erich Klahn. In: Ulrike Bodemann (arrangement): Erich Klahns “Ulenspiegel”. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 45-55.
  • Wolfgang Holler: The passion altar by Erich Klahn in Zella-Mehlis. Ways to understand it. In: Art and Nature, Staged Nature in the Garden from the late 17th to the 19th Century. In: Yearbook of the Thuringian Palaces and Gardens Foundation 2011. Volume 15, Regensburg 2012, pp. 116–129.
  • Henning Repetzky: "I have to plow a world" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Schlueter, Hannover 2001, ISBN 3-00-007875-4 .
  • Henning Repetzky: The Marienkirche in the work of Erich Klahn. In: The car. Lübeck contributions to culture and society. Lübeck 2002, pp. 139–156.
  • Henning Repetzky: Erich Klahn. In: Biographical Lexicon for Schleswig-Holstein and Lübeck. Volume 12. Neumünster 2006, pp. 253-257.
  • Detlev Schöttker: Charles de Coster's Belgian national epic “La légende d'Ulenspiegel” and its reception in Germany. In: Ulrike Bodemann (arrangement): Erich Klahns “Ulenspiegel”. Series of illustrations for Charles de Coster's novel (= exhibition catalogs of the Herzog August Bibliothek, 52). Wolfenbüttel 1986, pp. 27-44.
  • Claus Schuppenhauer: Eulenspiegel also has time and place ... Notes about Erich Klahn and the “Low German idea”. In: Ulrike Bodemann (arrangement): Erich Klahns “Ulenspiegel”. Series of illustrations for Charles de Poster's novel (= exhibition catalogs of the Herzog August Bibliothek, 52), Wolfenbüttel 1986, pp. 13–26.
  • Thomas Vogtherr: Erich Klahn (1901–1978) - a folk artist? Expert opinion on biographical stations. Wallenhorst 2015, see also: klosterkammer.de (PDF)
  • 200 years. Persistence and change of bourgeois public spirit. Edited by of the Society for the Promotion of Charitable Activities in Lübeck. Lübeck 1988.

Web links

Individual evidence

  1. ↑ This and the following information according to: Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Hannover 2001, p. 13ff .; ders., Article Erich Klahn. In: Biographical Lexicon for Schleswig-Holstein and Lübeck. Volume 12. Neumünster 2006, pp. 253-257, here: p. 254.
  2. ↑ Erhard Graf: Reformation anniversary in a small community. In: Evangelical Voices, March 2017, p. 24f (with ill.)
  3. ↑ See also: 05868 Erich Klahn, in: Matrikelbuch 1884–1920 .
  4. ↑ See: Diana Maria Friz: The Ulenspiegel watercolors in the life of Erich Klahn. In: Ulrike Bodemann (arrangement): Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 45-55, here: pp. 46, 54; Henning Repetzky: "I have to plow a world" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Hannover 2001, p. 33. As evidenced by the expert opinion by Henning Repetzky, see: press release . ( Memento from May 28, 2014 in the Internet Archive ; PDF) Klosterkammer Hannover, May 20, 2014.
  5. ↑ Erich Klahn in a letter on August 24, 1946, based on: Andreas Babel: Erich Klahn: Celler and relatives appalled about the monastery chamber. In: Cellesche Zeitung, May 22, 2014.
  6. ↑ The consecutive membership numbers match Klahn's information. No. 1,947: Otto Gahr (entry date: September 4, 1920), 2,414: Max Erwin von Scheubner-Richter (entry date: November 22, 1920), 2,418: Lina Gahr (November 22, 1920), 2,882: Ulrich Graf (entry date : November 16 , 1920) February 1921).
  7. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Hannover 2001, p. 33f.
  8. ↑ Karen Meyer-Rebentisch: The Luther Church was built 75 years ago. Today it is the parish church and memorial for the four Lübeck martyrs. In: Lübecker Blätter. 177 (2012), H. 21, pp. 368-371.
  9. ↑ This and the following information in: Henning Repetzky: "A world to plow is ahead of me ..." Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Hannover 2001, pp. 41-45; Archived copy ( memento of November 29, 2014 in the Internet Archive ).
  10. ↑ Illustration and contemporary description in Vaterstädtische Blätter , 1922/23; Digital copy (PDF) p. 1 f.
  11. ↑ Henning Repetzky: “ To plow a world lies ahead of me…” Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, pp. 41-43.
  12. ↑ See: L'art macabre. Yearbook of the European Dance of Death Association. Volume 4, 2003, p. 7: totentanz-online.de (PDF)
  13. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 48ff., 56.
  14. ↑ Henning Repetzky: Erich Klahn. In: Biographisches Lexikon für Schleswig-Holstein and Lübeck, Volume 12, Neumünster 2006, pp. 253-257, here: p. 254.
  15. ↑ Monika Schürmann, Reinhard Rösler (ed.): Literature and literary politics in the Third Reich. Doberan Poets Day 1936–1943. Rostock 2003, p. 128; see. also (“social Darwinian and racial-Aryan”): Birte Arendt: Low German discourses, language attitudes in the context of lay people, print media and politics. Berlin 2010, p. 100f.
  16. ↑ Kay Dohnke, Norbert Hopster, Jan Wirrer (eds.): Low German in National Socialism. Hildesheim 1994, p. 288; Monika Schürmann, Reinhard Rösler (ed.): Literature and literary politics in the Third Reich. Doberan Poets Day 1936–1943. Rostock 2003, p. 128.
  17. ↑ a b Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 67.
  18. ^ Herbert Martens: De Meister vun Flanders. A Flemish mystery play. Translated into Low German by Erich Klahn. Lübeck 1927.
  19. ↑ Henning Repetzky: “ To plow a world lies ahead of me…” Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 66.
  20. ↑ Martens stood up for the “ethnic side of the arts” and against “the limitless degeneration” of literature: Herbert van Uffelen: Modern Dutch literature in the German-speaking area 1830–1990. Münster / Hamburg 1993, pp. 342ff., 352, see also: dbnl.org .
  21. ↑ So in Klahn's obituary for the 1935 deceased, see: Claus Schuppenhauer: Eulenspiegel also has time and place ... Notes about Erich Klahn and the “Low German idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. (= Exhibition catalogs of the Herzog August Bibliothek, 52), Wolfenbüttel 1986, pp. 13–26, here: p. 20. Schuppenhauer is a linguist and literary scholar and manager of the Institute for Low German .
  22. ↑ Claus Schuppenhauer: Eulenspiegel also has time and place ... Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. (= Exhibition catalogs of the Herzog August Bibliothek, 52), Wolfenbüttel 1986, pp. 13–26, here: p. 18.
  23. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 68.
  24. ↑ Andreas Babel: heirs of the Celle artist Erich Klahn go to court against the monastery chamber. ( Memento from February 2, 2015 in the Internet Archive ) In: Cellesche Zeitung, June 6, 2014.
  25. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 99f.
  26. ^ Runes and swastika on Klahn altars in Lower Saxony. In: Focus Online , February 9, 2016.
  27. ↑ Birgit Dalbajewa, Uwe Salzbrenner: A patriot warns. ( Memento from October 5, 2013 in the Internet Archive ) Website of the Klahn-Freundeskreis e. V.
  28. ↑ All information in this section according to: Henning Repetzky: "A world to plow is in front of me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 71f .; see. the contribution of Diana Maria Friz to Versailles carpet that completely passes over the issue: Diana Maria Friz: The Ulenspiegelaquarelle in life Erich Klahns. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 45-55, here: pp. 45f.
  29. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V., Hannover 2001, p. 79f.
  30. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 57ff.
  31. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, pp. 119, 127.
  32. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 100 ff.
  33. ↑ Claus Schuppenhauer: Eulenspiegel also has time and place ... Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel (exhibition catalogs of the Herzog August Bibliothek 52). Wolfenbüttel 1986, pp. 13-26, here: p. 20.
  34. ^ Waldemar Hartmann: Tyll Ulenspiegel in the picture. In: National Socialist monthly books. H. 125, August 1940, pp. 475-480, here: p. 478.
  35. ↑ For this technique see the informative page: "Klosterstich" with references to Klahn .
  36. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 84.
  37. ↑ All information in: Henning Repetzky: "A world to plow is ahead of me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 79 ff.
  38. ^ Paul Brockhaus: Arts and crafts and folk culture. From the work of two Low German artists. In: The car. A Lübeck Yearbook 1942–1944. Pp. 105–111, here: p. 109, cit. based on: Henning Repetzky: “I have to plow a world” - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 83.
  39. ↑ This and the following statement: Henning Repetzky: "A world to plow is ahead of me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, pp. 141f.
  40. ↑ Detlev Schöttker: Cultural Imperialism. Charles de Coster's Belgian national epic “La légende d'Ulenspiegel” and its reception in Germany. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 27-44, here: p. 34.
  41. ↑ Claus Schuppenhauer: Eulenspiegel also has time and place. Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 13-26, here: p. 23.
  42. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 148.
  43. ↑ Martin Konrad: Erich Klahn's "Ulenspiegel" interpretation. In: German work. 40, pp. 263-265 (1940).
  44. ↑ Jonathan Petropoulos: The Faustian Bargain. The Art World in Nazi Germany. New York 2000, pp. 35f.
  45. ^ After: Claus Schuppenhauer: Eulenspiegel also has time and place. Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 13-26, here: pp. 24f.
  46. ↑ Stefan Schweizer: "Giving our worldview visible expression." National Socialist images of history in historical pageants on the 'Day of German Art'. Göttingen 2007, p. 298.
  47. ^ Waldemar Hartmann: Tyll Ulenspiegel in the picture. In: National Socialist monthly books. Issue 125, August 1940, pp. 475-480, here: p. 480.
  48. ^ Waldemar Hartmann: Tyll Ulenspiegel in the picture. In: National Socialist monthly books. H. 125, August 1940, pp. 475-480, here: p. 479.
  49. ^ National Socialist Monthly Bulletins. Central political and cultural journal of the NSDAP , Volume 14 (1943), No. 11, P. 84. Eva Dambacher: Literature and Art Awards 1859–1949. A documentation. Marbach (Neckar) 1996, pp. 55,153.
  50. ^ Helga Mitterbauer: Nazi literary prizes for Austrian authors. A documentation. Vienna / Cologne / Weimar 1994, p. 123.
  51. ↑ Church art . In the basement . In: Der Spiegel . No. 4 , 1951, pp. 31 ( online ).
  52. ^ Volker Dahm: Cultural-political centralism and landscape-local cultural maintenance in the Third Reich. In: Horst Möller, Andreas Wirsching, Walter Ziegler (eds.): National Socialism in the Region. Contributions to regional and local research and international comparison. Munich 1996, pp. 123-138.
  53. ↑ 200 years. Persistence and change of bourgeois public spirit. Edited by of the Society for the Promotion of Charitable Activities in Lübeck. Lübeck 1988, p. 174.
  54. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, Hannover 2001, p. 81.
  55. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 77.
  56. ^ August Georg Kenstler: The Low German Decision and Klahns Ulenspiegel. In: The car. A Lübeck yearbook. 41 (1941), pp. 149-158.
  57. ↑ Claus Schuppenhauer: Eulenspiegel also has time and place. Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 13-26, here: p. 25.
  58. ↑ Gjalt R. Zondergeld: We want to go west! In: Burkhard Dietz, Helmut Gabel, Ulrich Tiedau (eds.): Griff nach dem Westen. The "West Research" of the ethnic-national sciences on the north-western European area (1919–1960). Münster 2003, pp. 655-671, here: p. 671.
  59. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph, ed. from the Klahn-Freundeskreis e. V. Hannover 2001, p. 148; Paul Brockhaus: Handicrafts and folklore. From the work of two Low German artists. In: The car. A Lübeck Yearbook 1942–1944. Pp. 105-111, here: p. 108; Volker Georg: The relationship between the Low German movement and the Flemish and Dutch language and culture in the Quickborn. P. 45, see: oops.uni-oldenburg.de (PDF)
  60. ^ Paul Brockhaus: Arts and crafts and folk culture. From the work of two Low German artists. In: The car. A Lübeck Yearbook 1942–1944. Pp. 105–111, here: p. 108.
  61. ^ A b Claus Schuppenhauer: Eulenspiegel also has time and place. Notes about Erich Klahn and the “Low German Idea”. In: Erich Klahns Ulenspiegel. Series of illustrations for Charles de Coster's novel. Wolfenbüttel 1986, pp. 13-26, here: p. 24.
  62. ↑ This and the following information, unless otherwise stated, based on: Henning Repetzky: The relationship of the artist Erich Klahn (1901–1978) to ethnic-racist ideas and national socialist circles. o. O. 2013, p. 5.
  63. ↑ Preceding procedures are not documented.
  64. ↑ Ulrich F. Opfermann : "Keystone behind the years of morality and legal confusion". The Berleburger Gypsy Trial. ( Memento from August 31, 2014 in the Internet Archive ; PDF) In: Antiziganismuskritik , 2/2002.
  65. ↑ akteureundtaeterimnsinsiegenundwittgenstein.blogsport.de
  66. ↑ Henning Repetzky: The ratio of the artist Erich Klahn (1901-1978) to völkisch-racist ideas and Nazi circles. o. O. 2013, p. 42f.
  67. ↑ "I have to plow a world" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 83.
  68. ↑ "I have to plow a world" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p 132. Churches art. In the basement . In: Der Spiegel . No. 4 , 1951 ( online ).
  69. ^ Wolfgang Ulrich: The Naumburger Reiter and Uta von Naumburg. In: Etienne François, Hagen Schulze: German places of memory. Volume 1. Munich 2009, pp. 322–334, here: p. 332.
  70. ↑ a b quotation after: Henning Repetzky: “A world to plow is before me” - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 133.
  71. ↑ Quoted from: Henning Repetzky: “A world to plow is ahead of me” - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 165.
  72. ↑ Henning Repetzky: "A world to plow is before me" - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 170.
  73. ↑ Quoted from: Henning Repetzky: “A world to plow is ahead of me” - Erich Klahn. A monograph. Published by the Klahn-Freundeskreis e. V. Hannover 2001, p. 166.
  74. ↑ Barbara Bosse-Klahn's obituary , accessed on August 13, 2018.
  75. ↑ The following information according to: Ulrike Bodemann (arr.): Erich Klahns Ulenspiegel. Illustration series for Charles de Poster's novel. (= Exhibition catalogs of the Herzog August Bibliothek, 52). Wolfenbüttel 1986.
  76. ^ To Friz: Heinz-Günter Kemmer: Ruhr-Dynastie. Feud with the stranger . In: Die Zeit , No. 42/1988. Heinz-Guenter Kemmer: The nephews complain . In: Die Zeit , No. 30/1997; "Press spokeswoman for the [Krupp] family council".
  77. ↑ Older HP: The Foundation History of the Klahn Foundation ( Memento from October 5, 2013 in the Internet Archive ). A younger variant that existed until recently was switched off by the monastery chamber.
  78. ↑ website of the Klhn Foundation ( Memento from October 5, 2013 in the Internet Archive )
  79. ↑ Ulrike Bodemann (arrangement): Erich Klahns "Ulenspiegel". Illustration series for Charles de Poster's novel. (Exhibition catalogs of the Herzog August Library, Volume 52), Wolfenbüttel 1986.
  80. ↑ Birgit Dalbajewa, Uwe Salzbrenner: A patriot warns of war. Political pictures by Erich Klahn. Mariensee 2013, see: klahn-freundeskreis.de (PDF)  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. .@1@ 2Template: Toter Link / www.klahn-freundeskreis.de  
  81. ↑ Henning Repetzky: The ratio of the artist Erich Klahn (1901-1978) to völkisch-racist ideas and Nazi circles. o. O. 2013; It is published on the website of the Klosterkammer Hannover: klosterkammer.de ( Memento from June 30, 2015 in the Internet Archive )
  82. ↑ Henning Repetzky: The ratio of the artist Erich Klahn (1901-1978) to völkisch-racist ideas and Nazi circles. o. O. 2013, p. 41.
  83. ^ Michael Hallendach: Allegations against Erich Klahn. “That is a bottomless hypocrisy.” In Lower Saxony there is a dispute over a church artist who is suspected of being a Nazi. Deutschlandradio Kultur , June 29, 2014. See: deutschlandradiokultur.de .
  84. ↑ Thomas Vogtherr: Erich Klahn (1901–1978) - a folk artist? Expert opinion on biographical stations. 2015, p. 3, klosterkammer.de ( Memento from July 26, 2015 in the Internet Archive ; PDF)
  85. ^ Herbert Pötter: The altars and sacred images of Erich Klahn (1901–1978) in the context of their creation and imagery. 2016, here: pp. 61, 66, see: landeskirche-hannovers.de .
  86. ↑ See review by Waldemar Hartmann, Reichsstelleleiter für Kunstgeschichte, in the National Socialist monthly books: National Socialist monthly books, issue 125, August 1940: Tyll Ulenspiegel im Bild. Erich Klahn's artistic new creation of Charles de Coster's Flemish folk book, p. 478 ff.
  87. ↑ See press release of the Hanover Monastery Chamber, May 20, 2014, Hanover: The Monastery Chamber separates from the Klahn Foundation . ( Memento from May 28, 2014 in the Internet Archive ; PDF); In: Neue Presse , May 20, 2014, see: neuepresse.de .
  88. ^ Andreas Babel: Was Celle artist Erich Klahn (1901–1978) a Nazi? In: Cellesche Zeitung , May 20, 2014. Andreas Babel: The monastery chamber agreed to show the public an exhibition of Erich Klahn's works for the last time in 2015. Press release from the monastery chamber. In: Cellesche Zeitung , July 2, 2014: see newspaper article ( Memento from September 23, 2015 in the Internet Archive )
  89. ↑ a b Hannoversche Allgemeine Zeitung , March 11, 2016, p. 7.
  90. ↑ Dr. Sönke Gödeke, Sebastian Jördening: The fate of the failed dependent foundation. (PDF) In: Journal for Foundations and Associations. June 2016, accessed January 30, 2017 .
  91. ↑ Hannoversche Allgemeine Zeitung , April 15, 2016, p. 6. BGH: The controversial Klahn collection remains with Klosterkammer beck-online.beck.de
  92. ↑ BGH: Controversial Klahn collection remains with Klosterkammer beck-online.beck.de .
  93. ^ Nadine Dietrich: Lübeck Museum shows controversial artist Klahn . ( Memento from February 5, 2015 in the Internet Archive ) ndr.de, February 2, 2015.
personal data
SURNAME Klahn, Erich
BRIEF DESCRIPTION German visual artist
DATE OF BIRTH May 16, 1901
PLACE OF BIRTH Oldenburg
DATE OF DEATH October 14, 1978
Place of death Celle