Franz Boeres

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Franz Boeres (born September 4, 1872 in Seligenstadt , † May 24, 1956 in Stuttgart ) was a German painter , sculptor and jewelry designer .

Life

The artist at the beginning of the 20th century, photo, Seligenstadt Landscape Museum
Portrait of the artist, bronze by Max Audorf 1904, Seligenstadt Landscape Museum

On September 4, 1872, Franz Boeres was born as the son of the leather manufacturer Johann Boeres (1836–1910) and his wife Katharina Boeres, born. Blum (1842–1914), born in Seligenstadt am Main. Together with his two older brothers and two younger sisters, he spent his childhood in his birthplace, whose rural surroundings and small-town character shaped the lifestyle. Excursions into the surrounding area, visits to local artists and the maintenance of house music characterize the musical orientation of the family, who recognized Boeres' artistic talent and promoted it through private painting lessons. After finishing school he was accepted at the drawing academy in Hanau on the intercession of his art teacher, Karl Rettinger, who was trained at the academy in Munich.

In 1886 Franz Boeres began his studies at the Royal Prussian Drawing Academy in Hanau, which was primarily dedicated to the training of young arts and crafts. His teachers were professors Wiese (nude and modeling), Andorf (anatomy), Schulz (portrait and still life) and Ofterdinger (applied arts). After five years of study, he finished his training and turned down the offer to continue his studies at the Munich Academy.

In 1892 Franz Boeres moved to Stuttgart after he had found a job as a modeller in the "ore foundry and arts and crafts workshop Paul Stotz". Boeres remained in this position until the death of the company owner, which guaranteed basic further training in the field of handicraft manufacturing technology and provided the prerequisite for later independent monument designs.

After resigning from his employment with the Paul Strotz company, he set up his studio at Schützenstrasse 13 at the beginning of 1900, in the immediate vicinity of the State Gallery, the Music Academy and the Art Academy.

With the outbreak of the Second World War, Franz Boeres devoted himself increasingly to organizing his estate; Poems, fairy tales and travelogues were written down by machine and collected in several volumes. Due to his old age, he was only able to accept fewer public contracts. He carried out restoration work on the estate of Prof. Schickhardt and on holdings from the Stuttgart City Archives. With the currency reform deprived of his fortune, he sold his extensive collection of paintings piece by piece to the Bosch family; the city of Stuttgart pays him an "honorary salary". Large parts of his artistic work were given as gifts to his birthplace Seligenstadt and the Stuttgart City Archives. Franz Boeres died on May 24, 1956 at the age of 84.

plant

Sculptural work

Until 1902, the sculptor Maihöfer was his studio neighbor in Stuttgart. Franz Boeres worked his portrait as a bust and thus found access to the " Great German Art Exhibition " in 1905 in the Munich Glass Palace, which initiated his success as a portraitist, documented in a large number of private and public plaque and bust orders. As early as 1913, Boeres' works were featured in the Munich magazine Die Plastik . His participation in the annual exhibitions in 1938 and 1939 in the Haus der Deutschen Kunst brought him international recognition through a treatise by Clement Morro (Paris) in La Revue Moderne and in 1942 led to the purchase of four portrait plaques by the Kunsthistorisches Museum in Vienna.

Monuments and fountains

After the First World War, Boeres turned to the areas of monument sculpture and fountain design as well as drafts of tombs. In addition to the execution of a large number of private commissions, the tomb for the painter Julius Kornbeck was created in 1921 , the Kornbeck fountain in Oberensingen and the officer's graves in the Waldfriedhof Stuttgart in 1922 , the memorial plaque to Heinrich Bäuchlein for the German Singers' Museum in Nuremberg in 1929 Eduard v. Herring monument in the courtyard of the Württemberg Veterinary Investigation Institute in Stuttgart, 1938 Friedrich v. Kielmeyer memorial plaque for the State Natural History Collection Stuttgart and in 1951 the Gustav Wais memorial plaque for the Museum of the Alb Association in Urach. Franz Boeres received orders for war memorials from several municipalities in Württemberg, including Beuren, Lustenau near Tübingen, Würzbach near Calw and Pfaffenhofen.

  • Franz Boeres: Indoor fountain, plaster model 1915, Seligenstadt Landscape Museum

  • Franz Boeres: Fountain design, drawing around 1920, Seligenstadt Landscape Museum

Design work

Franz Boere's activity as a freelance designer in almost all areas of craft production fell from around 1900 to the early years of the First World War. His designs were characterized by constant competition between traditional-formalistic creations and the demands for simplification of form, which were borne by the need for industrial mass production. They received special attention at exhibitions, especially since the requirements of the Deutscher Werkbund, founded in 1907, were met in terms of the appropriate processing of the material and the resulting forms of jewelry. The breadth of variation in his design work brought him orders from leading Art Nouveau companies: the silver department store Peter Bruckmann & Sons in Heilbronn, the goldsmith's workshop Theodor Fahrner in Pforzheim, the Württemberg linoleum factory in Geislingen and the arts and crafts workshops Siefert & Co in Dresden and Winhart & Co. in Munich. His design proposals for iron room stoves from the Ernst Haas company brought to Sinn (Nassau) particular success. On behalf of the Paul Stotz company, for which he continued to work, he designed the chandeliers for the Kaiser Wilhelm Memorial Church in Berlin.

Boeres was represented at the world exhibition in St. Louis with his design series for “Fahrner jewelry” . In 1913 he took part in the annual exhibition of the "Deutscher Werkbund" in Leipzig.

  • Franz Boeres: jewelery box, photography, Seligenstadt landscape museum

  • Franz Boeres: Silver cup, gouache 1905, Seligenstadt Landscape Museum

  • Franz Boeres: Coat hooks, gouache 1905, Landscape Museum Seligenstadt

  • Franz Boeres: Entrance of the Bosch office building, watercolor 1912, Landscape Museum Seligenstadt

  • Franz Boeres: "Ha (a) s and son" before the rising sun. Draft of a new trademark after the First World War for the Neuhoffnungshütte Haas & Sohn. Collection Villa Haas (Sinn).

Working for the Bosch family

In 1910 Robert Bosch Boeres assigned the sculpting work on his villa in Heidenhofstrasse in Stuttgart. The order comprised a number of figural garden sculptures, ornamental reliefs for the villa building and structural details for the entrance portal. Since Boeres was able to carry out the work to the fullest satisfaction, he was also entrusted with the interior design of the rooms and their furniture. Here he knew how to meet the client's taste for representation, and remained in the position of house artist for the family until 1916. Lighting fixtures, silverware, embroidery for women's clothing, designs for the portal of the factory building and the company logo are the results of this long-term activity. In 1922 he designed the tomb for the deceased son of Robert Bosch and from 1927 to 1929 was again commissioned with sculptural work and the interior design of the Bosch country houses in Lustnau near Tübingen.

Drawings and painting

In addition to precise nude studies, which Franz Boeres has been doing regularly since his time at the academy, a large number of figural outline drawings were created in the first years of his independent activity. The relationships between people, the subordination of people to the divine will, nature and the art of antiquity determine the themes of his drawings and also form the content of his poems, sayings and fairy tales.

After the First World War, still completely caught up in the impressions of his service in the Alsatian war graves administration, he dealt with the thought of death in a large number of drawings. With simple oversights, they were collected in his portfolio “Picture Book of Death”.

  • Franz Boeres: The artist's birthplace, drawing, Seligenstadt landscape museum

  • Franz Boeres: Draft cover sheet, around 1920, Seligenstadt Landscape Museum

  • Franz Boeres: The War, oil painting 1938, Seligenstadt Landscape Museum

  • Franz Boeres: Still life, oil painting around 1940, Seligenstadt Landscape Museum

Illustrations from the Old and New Testaments, which have been a focus of his artistic work since 1943, were used in later oil paintings. These are executed in a kind of grisaille painting, a technique that he had already used between 1932 and 1934. There it was the thoughts of life, death and survival of the human race that had inspired him to work on these pictures. Boeres only found painting in the thirties; he now appeared in public in the annual exhibitions of the Württemberg Artists' Association with small still lifes and landscapes. His atmospheric, lyrical landscape pictures grew out of realistic landscape painting, which he had already practiced in 1904 with his then studio neighbor Felix Hollenberg on shared land areas.

Estate and honor

In 1947 - on the occasion of his 75th birthday - Seligenstadt granted Franz Boeres honorary citizenship and showed a first exhibition of his work in the Old Abbey. Boeres prepared it meticulously, although it was foreseeable that the housing shortage of the post-war period did not allow the desired permanent presentation. Stored in the rooms of the city archive, only parts of the estate were sporadically shown in smaller special exhibitions. Members of the Association for the Promotion of the Landscape Museum viewed, restored and inventoried the extensive holdings from 1975.

In 1982 the district committee of the Offenbach district published a documentary overview with the support of the Hessian Minister of Education and the Hessian Museum Association. The city of Seligenstadt fulfilled the legacy of its honorary citizen in 1988 with the establishment of a Franz Boeres department in the Museum Altes Haus and in 2003 with a permanent loan to the Seligenstadt Landscape Museum.

literature

  • Franz Boeres: "How I got my job" (1937)
  • Franz Boeres: "Overview of my professional activity" (1940)
  • Franz Boeres: "About my work" (1948)
  • Franz Boeres: “Memories from my life” (1948).
  • Achim Zöller: Franz Boeres - Life and Work , Documentation Landscape Museum Seligenstadt, 1983.
  • Journal "Die Kunst", 1903/04, Volume 8, pp. 121/1 22
  • Journal “Die Kunst”, 1904, Volume 10, p. 101
  • "Die Kunst" magazine, 1910/11, Volume 23, pp. 42/45
  • “Die Kunst” magazine, 1913/14, Volume 30, pp. 50/52
  • Journal "Die Goldschmiedekunst", 1913, p. 675 ff.

Web links

Commons : Franz Boeres  - Collection of images, videos and audio files

Individual evidence

  1. ↑ From "Mitteilungen des Württembergischer Kunstverein", Stuttgart, year 1907/08, issue 1, p. 40: From the revival through artistic forms of jewelry, which happened to almost all luxury and everyday objects in the last decade, oddly enough, a piece of furniture was in no room is absent, almost completely excluded; the mass-produced iron room stove. The credit for having intervened in reforming here goes to the young sculptor and craftsperson Franz Boeres who, on behalf of the Ernst Haas and Son company in Sinn (Nassau), designed a number of stoves in the modern style, which are well-designed for modern room furnishings customize the happiest.
  2. ↑ Achim Zöller: Franz-Boeres - Life and Work , Documentation Landscape Museum Seligenstadt, 1983.
personal data
SURNAME Boeres, Franz
BRIEF DESCRIPTION German painter, sculptor and jewelry designer
DATE OF BIRTH September 4, 1872
PLACE OF BIRTH Seligenstadt
DATE OF DEATH May 24, 1956
Place of death Stuttgart