Ewald Mataré

from Wikipedia, the free encyclopedia
Ewald Mataré: Engel, 1956, on the bishop's residence of the diocese of Essen

Ewald Wilhelm Hubert Mataré (born February 25, 1887 in Burtscheid (now part of Aachen ), † March 29, 1965 in Büderich ) was a German sculptor , medalist , graphic artist and painter . The focus of his work is on stylized animal sculptures and sacred commissioned works. His oeuvre includes around 600 sculptures, more than 400 woodcuts, around 300 drawings and more than 200 watercolors.

Life

origin

Ewald Mataré was born on February 25, 1887 as the youngest of three sons of the married couple Franz Wilhelm (1851-1922) and Elisabeth Mataré (1853-1939), born Dohlen, in the then independent town of Burtscheid (district of Aachen since 1897). The Catholic family originally came from Catalonia , lived under Charles V in the southern Netherlands , moved to Bardenberg near Aachen at the end of the 17th century and had lived there since 1798. Mataré grew up with his brothers Josef (1880–1966) and Franz (1885–1945) in an upper-class family, as his father was financially well off as the director of the Rhenania chemical factory .

Career

Mataré first attended the state Kaiser-Wilhelm-Gymnasium, which later became Einhard-Gymnasium , in 1902 he switched to the Städtische Realgymnasium Aachen , which he left in 1906 after finishing his senior years. As a schoolboy, Mataré received private lessons in Aachen from 1905 to 1907 with the sculptor Karl Krauss (1859-1906), who was a professor at the Technical University there, and with the painter Eugène Klinckenberg (1858-1942), lecturer at the municipal arts and crafts school . In 1907, Mataré began training as a painter with Julius Ehrentraut at the Academy of Fine Arts in Berlin . In 1914 he became a student of Lovis Corinth , whose studio he left after a few months because his style did not appeal to him. In 1915 he became a master student of the history painter Arthur Kampf . In 1916 he was called up for military service, from which he was released after a few months for health reasons. In 1918 he joined the Novembergruppe , a revolutionary artists' association, in Berlin .

During a summer stay on Wangerooge in 1920 he turned to woodcuts for the first time. In the following years he traveled regularly to the North and Baltic Seas . He dealt intensively with Adolf von Hildebrand . In 1922 the free plastic activity began. In the same year Ewald Mataré married the singer Hanna Hasenbäumer (1891-1983). In 1926 their daughter Sonja Beatrice was born. Private clients and patrons such as the Düsseldorf factory owner Eduard Senff and his wife Hilde supported him so that he could regularly go on extensive trips in the summer months. They took him to Italy from 1924 to 1926 . There he occupied himself with Cimabue and Giotto , which was reflected in his watercolors. In addition to the German coasts, he traveled to Denmark , the Baltic States and Finland . In the seclusion of northern nature, he recovered from hectic city life in Berlin. He often developed and realized new artistic ideas in solitude.

From 1924 to 1928 he took part regularly in the Great Berlin Art Exhibition and in the November group's collective exhibitions. In 1928 he traveled to Paris , in 1932 to London . He gradually gained public recognition. German museums bought sculptures from him, and in 1930 he had his first solo exhibition in Berlin. In 1932 the renowned State Art Academy in Düsseldorf offered him a professorship ; in October, Mataré accepted the position of successor to Richard Langers . He moved with his family to Büderich (today Meerbusch ). As early as 1933, after only seven months, the National Socialists dismissed him from his teaching post without giving any reason. During the Third Reich, Mataré withdrew into what is known as Inner Emigration . So Hanna and Ewald Mataré met a group of politically like-minded friends, the so-called "Kerzians", including the couple Alexander and Immeke Mitscherlich , Heinrich Nauen , Fritz Steinert, Werner Witthaus and also Pastor Franz Vaahsen, after 1933 no longer publicly, but in private circle to exchange ideas. They also supported Mataré with smaller orders. In 1937 he was defamed as a “ degenerate artist ”; the sculpture The Cat was shown in the 1937 exhibition in Munich . His works were removed from museums and public collections, but he was not banned from working. When the Reich Chamber of Fine Arts organized a sales exhibition with confiscated works from German museums in Berlin in 1938, ten animal sculptures by Ewald Mataré were among them.

The plastic laying out of the hero , created in 1934 for the memorial in Kleve, was removed and destroyed in 1938. In 1939 Mataré got the last public contract during the Nazi era. Since 1940 he withdrew more frequently to the inn of the former Cistercian monastery in Eberbach in the Rheingau . During the Nazi dictatorship he was able to make a living with church commissions. His Büderich studio was damaged by an air mine.

Grave of Ewald Matarés with the tombstone he created, Meerbusch-Büderich cemetery (2011)

In 1945 Mataré turned down the post he had been offered as director of the Düsseldorf Art Academy when his proposals for a new training concept were rejected. However, in 1946 he took a sculpting class at the art academy, where he worked as a professor until his retirement in 1957. His students included u. a. Joseph Beuys , Herrmann Focke, Paul Grimm , Günter Haese , Erwin Heerich , Elmar Hillebrand , Kurt Link , Hubert Löneke , Georg Meistermann and Adolf Westergerling. From 1947, Mataré received numerous public, including important church commissions, which brought him international recognition, such as the bronze doors for the south portal of Cologne Cathedral , the west window of Aachen Cathedral , the portals of the World Peace Church in Hiroshima and the Salzburg Cathedral portal . In 1954, at the suggestion of Hans Kollwitz and his master students Erwin Heerich and Joseph Beuys, he created a replica of the grieving parents of Käthe Kollwitz for the Alt.St. Alban am Gürzenich in Cologne. In 1949 he was one of the founders of the New Rhenish Secession . From 1951 Mataré was on the board, from 1961 to 1965 on the honorary board of the German Association of Artists . He received national and international honors and took part in documenta I and II in Kassel in 1955 and 1959 . Even after his retirement in 1957, he kept his studio at the Düsseldorf Art Academy. He died in 1965 of complications from a pulmonary embolism . Mataré's grave and his wife are in the cemetery in Meerbusch-Büderich. It has been the city's grave of honor since 2009. The year Hanna was born on the grave in 1892 may not be correct, the German biography states 1891.

Personal data

The most important source of Mataré's personality and his work are the diaries he kept from 1915 to 1965. In them he expressed himself in detail about the creation of individual works, his artistic intentions as well as personal and everyday problems.

In 1963, Mataré became an honorary member of the Catholic student union Suevia-Cologne in the KV and gave several lectures there.

His daughter Sonja Mataré (born August 9, 1926), a trained goldsmith , worked on large parts of the estate in collaboration with the Museum Kurhaus Kleve .

His nephew Herbert Franz Mataré (1912–2011) was a physicist and is considered to be the co-inventor of the “European transistor ” in 1948.

Estate and honor

Mataré's artistic estate was acquired in 1988 by the Kurhaus Museum - Ewald Mataré Collection in Kleve . His work is exhibited and documented there.

As part of the European garden show EUROGA 2002 plus, the city of Meerbusch in Büderich set up the Mataré art trail and its students . It now comprises 18 objects.

In November 2012, a memorial plaque designed by the artist Thomas Torkler was attached to the house where he was born in Aachener Schlossstrasse 10 .

plant

The hand drawings from Mataré's artistic beginnings in Aachen and Berlin are designed in a realistic and conventional manner and show a sure line. Images of early paintings that have not survived reveal expressionist and cubist tendencies. They were created during Mataré's many years of academic training and play no role in the progress or evaluation of his further work.

In the summer of 1920, Mataré made a radical stylistic new beginning. During a stay on the North Sea island of Wangerooge , more than 100 woodcuts were created. Mataré cut animals, portraits and landscapes without preliminary drawings in found wood that was washed up and dealt technically and stylistically with German Expressionism . Relationships with Karl Schmidt-Rottluff are unmistakable. Mataré relied on flat black-and-white contrasts, emphasized the contours, radically simplified his motifs and often combined them with the background through hatching to create an ornamental line structure. As early as 1916 he noted in his diary: “You have to conquer nature to get to art”. This remark stands like a leitmotif across his entire work. The cow motif dominates from the very first woodcuts . Starting with the observation of nature, Mataré found the motif that occupied him throughout his life. Later the animal, venerated as sacred in many cultures, became the bearer of mythical ideas.

Mataré dealt not only with the varieties of Expressionism, but also with the geometrizing tendencies of Cubism . In 1923 he attended the Bauhaus in Weimar . In the course of the twenties he further developed the style and technique of the woodcut. The animal no longer interested him as an individual in a certain situation, but appears in duplication and with timeless validity. The black and white spotted fur of the cows serves as the starting point for a clear, sometimes geometric structure. He continued the rhythmic sequence and overlapping of animals in ever new variations until his later work.

When Mataré began intensively with fully sculptural work on the North Sea island of Spiekeroog in the summer of 1922, he was already 35 years old. In the beginning he created portraits and human figures, often torsos . Soon animal motifs such as cows, cats, horses, sheep, pigeons and owls dominated the wooden sculptures. Mataré's ideas were aimed at closed forms, clear contours and smooth surfaces. Formal parallels to the approach of the Romanian sculptor Constantin Brâncuși are unmistakable. In sculpture, the haptic experience of the sculpture and the design of the physical volume were the decisive criteria and challenges for Mataré in the classic-traditional sense. He did not place any value on mimetic representation, but dispensed with details in favor of the unity of form and contour. With the increasing formal reduction there was also a content-related one. By freeing the animal from all contingencies in the environment, he grasped it in its essence, in its actual existence. He varied the form of representation with the various animal species. With the cow motif, he was particularly fascinated by the calm existence of the animal, its simple being there. In the horse depictions, however, he emphasized their elegance and lightness.

Around 1930, the trend towards softer lines and more ornamental design prevailed in all creative areas - sculpture , woodcut , watercolor . Motifs were integrated harmoniously into the surface. In Mataré's understanding, ornament did not primarily have the function of a decorative accessory, but he saw it as an expression of the inner order of nature, as a visible part of an invisible larger whole.

Ewald Mataré: Dead Warrior , erected in 1934 as part of the Fallen Memorial in Kleve, destroyed by the National Socialists in 1938. Restoration and re-installation in 1981

When Mataré's situation became more and more difficult under the Nazi art dictatorship, he received orders from private individuals, but above all from the church. The sacred art now joined his work at the center after his artistic career, since 1920, the actual beginning Religious had hardly played a role, apart from a few Pietà -representations. Above all, the orders from Prelate Müller in Cologne-Hohenlind ( Triumphant Christ , 1940-1943, today St. Rochus , Düsseldorf ) and from Pastor Vaahsen for St. Remigius in Düsseldorf-Wittlaer ( crucifixion group , 1937-1938) led to Mataré dealt intensively with religious motifs. He was inspired by Romanesque models. The reduced forms and the strict stylization of the medieval sculptures met his own ideas.

The sacred works of the thirties served Mataré not only to survive materially and artistically, but they also formed the basis for the important church commissioned works of the post-war period, which established his reputation as an internationally recognized sculptor. In addition to the large sacred works, Mataré created numerous ecclesiastical furnishings such as crucifixes , chalices and candlesticks . Quantitatively, the religious subjects take up roughly the same space in his work as the profane.

During his stays in Eberbach since 1942, Mataré developed a new type of animal sculptures: small bronzes bearing names such as triangular cow , abstraction of a cow or symbols of a cow . With the hard geometric structures of these works, Mataré fell back on a repertoire of forms that he had already developed in the 1920s, at that time in response to Cubism . The strict geometry of these sculptures touches the border with abstraction . It illustrates Mataré's statement from 1947 "I don't want an aesthetic work of art anymore - I make a fetish."

After the Second World War , Mataré became one of the most important and influential German sculptors when he was recalled to the Düsseldorf Art Academy and commissioned for the south portal of Cologne Cathedral (1947–1954). On the Cologne cathedral doors, in order to set himself apart from the neo-Gothic garb, which was rich in figures, he used large bronze panels, in which he placed mosaics, reliefs and ornaments sparingly and in a well thought-out mathematical order. At the portal of the World Peace Church in Hiroshima (1953–1954), Mataré combined a highly abstract structure in the form of a cross with symbolic representations from Christian iconography. This reflects the influence of abstract art that dominated at the time .

After the war, Mataré returned to the woodcut . On the color woodcuts from 1946 to 1953, animal motifs often appear, symbolically reduced and overlapping, on only hinted at pasture. In their formal consistency and concentration of content, these works are among the highlights not only in Mataré's work, but also in German woodcut art of the 20th century.

  • South portal of Cologne Cathedral , papal door, 1948, detail

  • Grave slab Walter Ophey, 1950, (design: Ewald Mataré, execution: Joseph Beuys), Düsseldorf-Heerdt cemetery

  • Herbert Böttger tomb, 1957, (design: Ewald Mataré, execution: Adolf Westergerling) Meerbusch-Büderich cemetery

  • Salzburg Cathedral , "Gate of Hope", 1956–1958, detail

  • Bronze portal St. Lambertus , Düsseldorf, 1958–1960

  • Detail of the bronze portal St. Lambertus, Düsseldorf

  • St. Rochus, Düsseldorf, facade design, 1962

  • House Atlantis in Bremer Böttcherstraße (view from Martinistraße)

  • Facade of the house Atlantis towards Böttcherstraße. Completion on March 29, 1965

  • Memorial plaque on the house of Atlantis

  • Mataré fountain, posthumously 1967, Meerbusch-Büderich, Am Landsknecht

  • Relief with cock III, posthumously 2008, Meerbusch-Büderich, Dückerstraße

  • Michaelskirche Fulda, memorial for the victims of the two world wars in 1962

  • The Taubenbrunnen in Cologne

  • Pigeon fountain on the Domplatte in Cologne

From 1920 to 1956 he created more than 200 watercolors , almost exclusively landscapes, only a few portraits or animals. They were rarely shown in public during Mataré's lifetime. Its creation is closely related to his travels. The watercolors from Italy from the 1920s still reveal a slight expressionist pathos . In contrast to sculptures and woodcuts, in which he increasingly distanced himself from the impression of nature, Mataré often noted details of nature and details with the watercolors, often with the precision of the old masters. They reveal Albrecht Dürer , whom Mataré greatly admired , as a role model . The clearly structured compositions of the Büderich watercolors from 1945 to 1947 with the block-like, cubic groups of houses show that Mataré, as a painter, also saw nature through the eyes of the sculptor. Due to the restrained coloring , the motifs appear as if seen through a veil and removed from reality.

Appreciation

Mataré is one of the most important classical modern artists in Germany. In dealing with the currents of the European avant-garde , such as Expressionism and Cubism , he developed his style and his own iconography before the Second World War . With Wilhelm Lehmbruck (1881–1919) and Gerhard Marcks (1889–1981), who were almost the same age , he belonged to the last generation of important German sculptors in the conventional sense. In the tradition of Aristide Maillol , he understood sculpture as the art of the tactile. Like him, Mataré attached importance to formal unity and developed his plastic language out of the body architecture.

Mataré's most independent achievement is undoubtedly the animal figure, in which he overcame the individual appearance by renouncing details and summarizing the body volume and came to a generally valid statement about the creature and the idea of ​​creation. In the sacred area he found new possibilities of expression by going back to earlier epochs after the Second World War, characterized by stylized figuration, often integrated into abstract ornamentation . This moderate modernism has remained a style-forming factor for sacred art in Germany since the 1950s until today.

Mataré made no distinction between fine and applied art. For him there was no hierarchy of motif, material or genre. Vessels made by hand and sacred furnishings had the same meaning for him as free sculptures and large church commissions.

Mataré exerted great influence not only through his extensive public work, but also as an academic teacher. He involved his students in the large and small commissioned work of the post-war period and assigned them important tasks. Sometimes he left them, such as B. with tombstones , the entire execution. Mataré was thus able to begin to realize his idea of ​​joint sculptural activity based on medieval building works , which had not found approval after his recall to the Düsseldorf Art Academy in 1945 . He gave his students the opportunity for individual artistic development. Personalities as diverse as Joseph Beuys , Paul Grimm , Elmar Hillebrand , Ernst Schönzeler and Erwin Heerich emerged from his sculpting class at the State Art Academy in Düsseldorf .

Awards

Works in public space

Entrance portal of the Ministry of Finance of North Rhine-Westphalia with the coat of arms of North Rhine-Westphalia , 1951

(Selection)

  • Warrior memorial laying out the hero , 1933–34, in front of the collegiate church in Kleve
  • Warrior Memorial, 1936, Ratingen Hösel
  • Equipment of the church in the St. Elisabeth Hospital Hohenlind , 1940, Cologne
  • Triumphant Christ , 1940–43, Düsseldorf, St. Rochus
  • Doors of the south portal of Cologne Cathedral : Bishop door , 1948, Pope Door , 1948, Pentecost door , 1953, creation door , 1954
  • The Phoenix , 1949, in the North Rhine-Westphalia state parliament , Düsseldorf (originally created for the Ständehaus )
  • Taubenbrunnen , 1950–53, in front of Cologne Cathedral
  • Entrance portal of the Ministry of Finance of North Rhine-Westphalia with the coat of arms of North Rhine-Westphalia , 1951
  • Entrance portal and window of the Düsseldorf Art Academy, 1952–53
  • Copper relief for the donation of thanks by the German people , gift to the Swedish people, today in the Ledamotshus (Kanslihuset), an office building of the members of the Reichstag, Stockholm, 1954
  • West window of the imperial box in Aachen Cathedral , 1952–54
  • Portal of the Memorial Church for World Peace, 1953–54, Hiroshima
  • Stephan-Lochner-Brunnen , 1953–56 in the inner courtyard of the Museum of Applied Arts , Cologne
  • Hanging cross above the altar of the parish of St. Gregorius in Aachen , 1954.
  • Episcopal residence: roof crowning (angel), facade design, portal and balcony, 1956, Essen
  • Entrance gates and windows, 1957, Düsseldorf-Altstadt tax office
  • Interior design of St. Rochus, 1955–57, Düsseldorf
  • Window in the coronation hall of the Aachen town hall, 1956–57
  • Portal at the Aachen City Hall
  • Gate of Hope , 1956–57, portal of Salzburg Cathedral
  • Pillar with plant ornaments , 1956, inner courtyard of the Museum of Applied Arts, Cologne
  • Entrance doors of the Gürzenich , 1956, Cologne
  • Main portal Ascension portal , 1958–60, St. Lambertus Basilica
  • Choir design, 1959–60, St. Andreas, Düsseldorf
  • Facade design, 1962, St. Rochus, Düsseldorf
  • Cenotaph of the city of Fulda for the victims of the world wars, Michaelskirche , 1962
  • Wall relief, 1962–63, Neues Kaiserbad, Aachen
  • Facade design, 1962–65, House Atlantis , Böttcherstraße Bremen
  • Hahnentor , Man of Sorrows , depiction of the cross, Way of the Cross (8th station); Crypt: cross, bronze candlesticks, ears of wheat
  • Brunnen, 1963–67, originally on the corner of Hohenzollernstrasse and Körnerstrasse, today on Friedrich-Ebert-Platz by the town hall, Hagen
  • Entrance door and equipment of the chapel of the former building of the Catholic Social Institute , 1965, (KSI) of the Archdiocese of Cologne in Bad Honnef
  • Boys spitting cherry stones at the Jägerhaus in Aloisiuskolleg , Bonn
  • Angels at the church in Aloisiuskolleg , Bonn
  • Artistic design of the house “Em Hahnen”, Cologne's Alter Markt (architect Hans Schilling ; 1958–64): Kallendresser , mosaic Em Hanen , cast iron plate in front of the house, bronze crosshair plate in front of the rear entrance, four apartment doors.
  • Brunnen, 1967, Meerbusch-Büderich (posthumously based on a design from 1935)
  • Wooden barrel in the treasury of the Cologne wine cellar (formerly Stüssgen wine cellar), 1947, Cologne

Fonts

  • Ewald Mataré, diaries 1915 to 1965 . Edited by Sonja Mataré and Sabine Maja Schilling. Wienand, Cologne 1997, ISBN 3-87909-543-4 .

literature

  • Ewald Mataré, watercolors 1929–1956 , edited and introduced by Anna Klapheck , with a catalog raisonné by Ulrike Kätze. Schirmer-Mosel, Munich 1983, ISBN 3-88814-119-2 .
  • Ewald Mataré, sculptures, handicrafts, hand drawings, watercolors, graphics . Exhibition catalog, Städtische Kunsthalle Düsseldorf, Düsseldorf 1967.
  • Peter Ludwig (ed.): Ewald Mataré - exhibition catalog of the Suermondt Museum . Aachener Kunstblätter , Aachen 1973.
  • Mataré and his students. Beuys, Haese, Heerich, Meistermann , Akademie der Künste , Berlin 21.1. until February 18, 1979 / Kestnergesellschaft , Hanover 2.3. until April 15, 1979 / Nijmeegs Museum, Nijmegen 5.5. until June 10, 1979 / Museum Haus Lange, Krefeld, August 19. until September 30, 1979, ISBN 3-88331-907-4 .
  • Hans Albert Peters: Mataré room . In: Guide through the collections , Vol. 2: 20th century, paintings, sculptures, objects . Museum catalog, Kunstmuseum Düsseldorf, Düsseldorf 1986, pp. 50–51.
  • Karl Ruhrberg (Ed.): Zeitzeichen. Stations in fine arts in North Rhine-Westphalia . DuMont, Cologne 1989, ISBN 3-7701-2314-X .
  • Sabine Maja Schilling:  Mataré, Ewald. In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , pp. 365-367 ( digitized version ).
  • Ewald Mataré, woodcuts , catalog raisonné by Sonja Mataré in collaboration with Guido de Werd . Boss, Kleve 1990, ISBN 3-89413-330-9 .
  • Ewald Mataré, drawings , catalog raisonné by Sonja Mataré in collaboration with Guido de Werd. Boss, Kleve 1992, ISBN 3-89413-332-5 .
  • Margot Klütsch: Ewald Mataré (1887–1965) , in: Kreisheimatbund Neuss eV (ed.): Pictures of life from the Neuss district . Kreisheimatbund Neuss, Dormagen 1993, ISBN 3-926963-10-7 , pp. 95-103.
  • Kay Heymer:  Mataré, Ewald Wilhelm Hubert. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 5, Bautz, Herzberg 1993, ISBN 3-88309-043-3 , Sp. 993-999.  ( Article / beginning of article in Internet archive )
  • Sabine Maja Schilling: Ewald Mataré, The plastic work . Catalog raisonné, 2. completely revised. Ed., Cologne 1994, ISBN 3-87909-167-6 .
  • Ewald Mataré, The Image of Man , exhibition catalog, Käthe Kollwitz Museum Cologne, Museum Kurhaus Kleve - Ewald Mataré Collection, Edwin Scharff Museum on Petrusplatz Neu-Ulm, Ernst Barlach House, Herman F. Reemtsma Foundation, Hamburg, Herford Art Association in Daniel- Pöppelmann-Haus ev, Museum of Modern Art - Wörlen Foundation, Passau, Kleve 2003, ISBN 3-934935-12-5 .
  • Siegfried Gohr, Vanessa Sondermann: Ewald Mataré in Düsseldorf and the surrounding area . Droste, Düsseldorf 2009, ISBN 978-3-7700-1355-5 .
  • Margot Klütsch: Meerbuscher Kunstwege. Works of art and monuments in the cityscape . Grupello, Düsseldorf 2010, ISBN 978-3-89978-132-8 .
  • Andrea Firmenich , Johannes Janssen (ed.): Ewald Mataré. In harmony with nature . Wienand, Cologne 2011, ISBN 978-3-86832-097-8 (forms from nature, including the depictions of animals).
  • Maria Engels / Adam C. Oellers / Birgit Kamps (eds.): Ewald Mataré. For the 125th birthday. Exhibition catalog art from NRW. Former Imperial Abbey Aachen-Kornelimünster 2012.
  • Freundeskreis Museum Kurhaus and Koekkoek-Haus Kleve eV (ed.): Ewald Mataré: Catalog of works of watercolors and watercolor postcards . Wienand, Cologne 2015, ISBN 978-3-86832-260-6 .

Web links

Commons : Ewald Mataré  - collection of images, videos and audio files

Individual evidence

  1. ↑ Items by Ewald Mataré. Ewald Wilhelm Hubert Mataré (February 25, 1887 in Burtscheid, Aachen - March 28, 1965 in Büderich). Europeana, an initiative of the European Union, accessed on November 9, 2019 .
  2. ↑ SM Schilling, WV Das plastische Werk 1994
  3. ↑ Sonja Mataré, Guido de Werd : WV wood cuts. 1990
  4. ↑ Sonja Mataré, Guido de Werd: WV drawings. 1992
  5. ↑ A. Klapheck. U. Kätze: WV Aquarelle. 1985
  6. ↑ Josef Mataré made a copy of the portrait of Matthieu Soiron from the painting Otto Friedrich von Quadt with his master builder Matthieu Soiron and Schloss Wickrath in the background by Johann Heinrich Fischer from 1773 in Isny before 1933. Wolfgang Löhr: "Wilhelm Otto Friedrich von Quadt (1717–1785), the builder of Wickrath Castle. " Pp. 12-21. in: Castle and Park Wickrath. Workbooks of the Rheinische Denkmalpflege. Regional Association of Rhineland. Rhenish Office for Monument Preservation. Wernersche Verlagsgesellschaft, Worms, 2005, p. 18.
  7. ↑ SM Schilling, WV Das plastische Werk 1994, p. 23 ff.
  8. ↑ The biographical data go back to: SM Schilling, WV Das plastische Werk 1994, pp. 23–55; Das Bild des Menschen 2003, p. 119; S. Gohr u. V. Sondermann 2009, p. 180.
  9. ↑ Notable incidents from October 1, 1932 to October 1, 1933 in the address book of the city of Düsseldorf , year 1934, p. XXII, therein the entry for October 17, 1932: "Appointment of the sculptor Ewald Mataré, Berlin, at the State Art Academy" .
  10. ↑ because the discussions take place in the evening by candlelight, s. SM Schilling, WV Plastik, p. 34
  11. ↑ 1977 it was found again, reconstructed and put up again in 1981 in Kleve before St. Mariae Himmelfahrt.
  12. ^ Mataré and his students, Meerbuscher EUROGA-Kunstweg 25.8. – 1.9.2002, published by Stadt Meerbusch, Meerbusch 2002
  13. ↑ s. Note from Helga Dietsch in: Dietsch, Helga; Dietsch, Volkmar: See the colors that I wear . P. 21
  14. ^ Board members of the German Association of Artists since 1951 (accessed on November 26, 2019)
  15. ^ Hanna Mataré , deutsche-biographie.de
  16. ^ S. Mataré et al. SM Schilling 1997
  17. ↑ M. Klütsch 2010
  18. ^ Website of the artist
  19. ↑ Ewald Mataré, exhib. Cat.Dusseldorf 1967, ills. 61,62
  20. ↑ Diary, November 19, 1916, cf. S. Mataré et al. SM Schilling 1997, p. 20
  21. ↑ Anna Klapheck, The sacred and the profane in the art of Matarés , in: Exh. Cat. Düsseldorf 1967, pp. 9-10
  22. ↑ Ewald Mataré, exhib. Cat.Dusseldorf 1967, p. 25
  23. ↑ Andreas Rossmann : Doors to the art of a new time. Ewald Mataré's work at Cologne Cathedral can be seen in the cathedral treasury. In: Frankfurter Allgemeine Zeitung of April 15, 2017, p. 12.
  24. ↑ A. Klapheck et al. U. Köck WV Watercolor 1985, pp. 9-14.
  25. ↑ Diary, July 15, 1932, cf. S. Mataré et al. SM Schilling 1997, p. 195
  26. ↑ on the appreciation of Mataré cf. HA Peters 1986, p. 50
  27. ^ Roland Meyer-Petzold: Ewald Matarés art of teaching. Your impact history at the Art Academy Düsseldorf from the perspective of the students. ( Memento of the original from June 20, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 8.1 MB) Dissertation, around 1988 @1@ 2Template: Webachiv / IABot / www.meerbusch.de
  28. ↑ chronologically based on: SM Schilling, WV Das plastische Werk 1994
  29. ^ Rolf Nagel: Origin, shape and use of the coat of arms of North Rhine-Westphalia . In: History in the West . Year 1996, issue 1, p. 44 f. ( PDF )
  30. ↑ St. Gregorius: Our Church - Equipment and Works of Art of the Upper Church , accessed on May 9, 2008
personal data
SURNAME Mataré, Ewald
ALTERNATIVE NAMES Mataré, Ewald Wilhelm Hubert
BRIEF DESCRIPTION German painter and sculptor
DATE OF BIRTH February 25, 1887
PLACE OF BIRTH Burtscheid
DATE OF DEATH March 29, 1965
Place of death Buderich