Franz Radziwill

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Birthplace of Franz Radziwill, Strohausen, Rodenkirchen (Stadland) . Today's address: Zu den Deichen 15 (in May 2017)

Johann Franz Wilhelm Eduard Radziwill (born February 6, 1895 in Strohausen , today Rodenkirchen in the Wesermarsch , † August 12, 1983 in Wilhelmshaven ) was a German artist of magical realism . His oeuvre spans different creative periods: an early expressionist work, a magical-realistic main work and a later symbolist work. About 850 oil paintings, 2000 watercolors, drawings and painted postcards as well as 35 graphic works are known.

He spent most of his life in the North Sea resort of Dangast near Varel on the Jade Bay , which inspired him artistically. During the Nazi era , he was a member of the NSDAP and taught fine art at the Düsseldorf Art Academy from 1933 to 1935 . The official reason for his expulsion was "pedagogical inability". From 1937 onwards, many of his early works were considered " degenerate " and he was temporarily banned from exhibiting on several occasions. From 1938, the ban on solo exhibitions was in effect until the end of the Nazi era. On the other hand, however, he always found recognition. Stylistically, it cannot be assigned to so-called German art .

Up to the present day there has been controversial debate about her life and work. Its artistic expressiveness is undisputed. His works are shown nationally as well as internationally in renowned museums.

biography

Childhood and Adolescence / First World War

Franz Radziwill was the eldest of seven children of master potter Eduard Radziwill (1859–1922) and his wife Karoline, née Suhrendorf (1871–1948), in Rodenkirchen-Strohausen / Wesermarsch. After the family moved in 1896, he first grew up in the working-class district in Bremen-Walle , then in Bremen-Findorff . His parents sent him to the free school on Grossenstrasse in the Stephaniviertel . From 1909 a 4-year apprenticeship as a bricklayer followed. Thanks to the excellent results of the journeyman's examination, Radziwill was admitted to the Technical State College of Bremen to study architecture and to study industrial design in 1913 . In evening classes at the Bremen School of Applied Arts , he devoted himself to figurative drawing. Through his mentor, the architect Karl Schwally, Radziwill found access to artistic circles in Worpswede and Fischerhude, including Bernhard Hoetger , Otto Modersohn , Heinrich Vogeler , Jan Bontjes van Beek , Olga Bontjes van Beek and Clara Rilke-Westhoff . The First World War interrupted artistic development. In 1915 Radziwill was drafted and used as a medical soldier in Russia , Flanders and northern France until 1918 . In English captivity, he made the decision: “If I get out of there alive, my life will be completely different. Then I'll become a painter. "

Artistic awakening

After his release from English captivity, he found a sponsor in the Bremen hairdresser Gustav Brocks, who made his wig-making room under the roof available to him as a studio and apartment in the city center. Obernstrasse 3 remained Radziwill's postal address until the move to Dangast in 1923. The painting Houses in Bremen ( State Museum for Art and Cultural History in Oldenburg ) from around 1919 is a testimony to this friendship with the dedication “To Gustav Brocks”. In the same year Radziwill and Heinz Baden founded the painters' association The Green Rainbow . The group exhibited their work in April 1919 in the Kunsthalle Bremen and then in the Maria Kunde art salon in Hamburg.

In Hamburg, Radziwill got to know the art historians and collectors Wilhelm Niemeyer and Rosa Schapire , who were passive members of the expressionist artist group Brücke and were close friends with its representatives, especially Karl Schmidt-Rottluff . Radziwill's work received rave reviews, e. B. in the journals Kunstblatt and Cicerone . The intensive friendship with Niemeyer continued until 1954, as documented correspondence shows. Niemeyer also put in contact with Karl Schmidt-Rottluff, who advised his younger colleague to travel to the fishing and farming village of Dangast to paint, after he himself had spent the summer months there with Erich Heckel and Max Pechstein from 1907 to 1912. The postal address of the "Brücke", of which Erich Heckel was managing director, remained the inn "Zum Fürsten Bismarck" in Dangastermoor during these years. In 1920 Radziwill became the youngest member of the Free Secession in Berlin. He got to know artists and writers such as George Grosz , Rudolf Schlichter , John Heartfield , Wieland Herzfelde and Bertolt Brecht . According to Radziwill, Berlin in the 1920s was a unique place of cultural productivity and encounter.

Relocation to Dangast

The house in Dangast, in the foreground the fisherman's house, in the background the later added studio

When Radziwill first visited Dangast in 1921 , he first lived in the Dorfkrug and then sublet with a fishing family until he decided to move in 1923. In the same year he took part in group exhibitions in Berlin , Hamburg and New York . By selling his works he was able to acquire a fisherman's house in today's Sielstrasse 3, which he later expanded and in which he lived and worked until his death. In the same year (1923) he married Johanna Inge Haase (1895–1942) from Tweelbäke near Oldenburg .

With the move to Dangast, Radziwill entered a phase of upheaval and turned away from Expressionism . In the period that followed, he fundamentally changed his artistic style. He made a fresh start in poetry and lyrical prose. The village life in close proximity to the nature of the Wadden Sea region gave him the impetus for a stylistic change of direction, which went hand in hand with the intensive self-study of old masters . Radziwill went public with the new post-Expressionist works in Berlin as early as 1924: In addition to Giorgio de Chirico , Otto Dix , Paul Klee and Oskar Schlemmer , he was represented in the jury-free art show with 17 paintings. In 1925 Radziwill's first major solo exhibition took place in the Augusteum in Oldenburg . The lifelong friendship with the Oldenburg neurologist Georg Düser, who was to become his greatest collector, began.

Study trips to Holland and Dresden

In 1925 Radziwill traveled to the Netherlands for the first time . In museums he studied the painting of the Golden Age . In the Dutch coastal town of Schoorl he made friends with the artist Mattheus (Thee) Lau, whom he visited regularly in the following years to paint together. In Amsterdam , Radziwill met the art dealer Aaron (Jack) Vecht, in whose art halls A. Vecht he exhibited many times.

In the winter of 1927/1928, a scholarship from Hamburg collectors enabled him to study for several months in Dresden to study the originals by Caspar David Friedrich and Carl Gustav Carus . The encounter with the main works of German Romanticism provided Radziwill with decisive inspiration for his landscape paintings. Otto Dix , who was professor at the Dresden Art Academy from the summer of 1927, made a studio available to Radziwill. Inspired by the encounter with Dix, Radziwill created numerous depictions of people during his time in Dresden. Dix, for his part, portrayed Radziwill, an unflattering portrait that was to play a special role in the 1937 exhibition “Degenerate Art”.

In 1927 the first oil paintings were bought by public collections. Walter Müller-Wulckow from the Oldenburg State Museum acquired the oil painting Bankhausgarten (confiscated / lost in 1937) and Gustav Hartlaub the oil painting Morgen on the cemetery wall for the Kunsthalle Mannheim , 1924 (Kunsthalle Mannheim). In 1928 Radziwill took part in the exhibition "German Art Düsseldorf" and received the Golden Medal of the City of Düsseldorf for the oil painting Die Strasse , in 1928 ( Museum Ludwig , Cologne). From 1929 onwards, numerous exhibitions and solo exhibitions followed, including in Düsseldorf and Amsterdam. Radziwill was represented by established galleries such as Neumann & Nierendorf in Berlin and Andreas Becker in Cologne. There he had contact with the socialist-oriented artist group Die Kölner Progressive (also a group of progressive artists ), which included painters such as Heinrich Hoerle , Franz Seiwert and Jankel Adler . In 1931 Radziwill joined the revolutionary November group in Berlin .

In 1931 the Oldenburg State Museum for Art and Cultural History acquired the oil painting My Neighbor's Window , which reproduces a window and surrounding masonry in an extremely precise way. Since the award-winning picture Die Straße (1928), the meticulous depiction of clinker bricks has been regarded as the "identification mark" of the trained bricklayer. As a painter he was self-taught and, as has long been successful, was still continuing his education. With the return to German Romanticism , Radziwill was close to a movement that became popular in the early 1930s as New or Neo- Romanticism . The reference to traditional German art met the demands of national propaganda. In order to maintain an independent artistic position, on the other hand , an extensive traveling exhibition entitled Die Sieben took place from March to August 1932, in which, in addition to Radziwill, the painters Theo Champion , Adolf Dietrich , Hasso von Hugo, Alexander Kanoldt , Franz Lenk and Georg Schrimpf took part . The seven artists got together at the invitation of the curator Richard Reiche, active in the Wuppertaler Kunstverein. On September 7, 1932, Ludwig Justi, as director of the National Gallery in Berlin, bought Radziwill's painting Der Hafen II from 1930. Shown are the legendary passenger steamers Europa and Bremen , which won the Blue Ribbon for the fastest Atlantic crossing in 1929 and 1930 . The steamer picture shows Radziwill's ambivalent fascination with technical developments and his affiliation with the artistic movement of the New Objectivity . In this respect, his turn to romanticism is not simply looking backwards, but keeps an eye on the examination of the technical developments of the present.

Period of National Socialism / Second World War

Radziwill, who described himself as a “proletarian of art” or “worker of painting”, felt drawn to the ideas of national socialism and sympathized with the “left” wing of the NSDAP . As early as July 1, 1932, he wrote to his friend Niemeyer: "The revolution of 1918 did not force the residents of the palaces to leave, but the coming one will make the palaces disappear ... give Hitler your vote ...". On May 1, 1933, two months after the so-called seizure of power , Radziwill joined the party.

From 1931 Radziwill maintained contact with the sculptor Günther Martin from Oldenburg, who founded the “Ateliergemeinschaft Klosterstraße” in Berlin in 1933, to which around 40 sculptors, painters and graphic artists of different styles and political orientations belonged, from KPD to NSDAP members, including Käthe Kollwitz , Herbert Tucholski and Jan Bontjes van Beek , whom Radziwill knew from Fischerhude . As a member of the NSDAP, Martin presented his conception of German art, which was directed against the völkisch “ Kampfbund für deutsche Kultur ”, to the Prussian Minister of Education, Bernhard Rust . Radziwill shared with Martin the rejection of the emerging völkisch conception of art, which was propagated by Hitler's art ideologist Alfred Rosenberg , representative of the "Kampfbund für deutsche Kultur" (Combat League for German Culture). In opposition to Rosenberg, Radziwill and Martin saw themselves as pioneers for a national departure into the modern age. From 1933 onwards they realized exhibitions under the title Die Gemeinschaft .

In July 1933, Radziwill was appointed professor to the chair of free painting at the Düsseldorf Art Academy after professors such as Heinrich Campendonk , Paul Klee and eight other post- holders had been dismissed from their posts by the National Socialists . However, it is not true that Radziwill, as often claimed, would have ousted Paul Klee there (whom, by the way, he expressly valued, as he admitted to Wilhelm Niemeyer at an exhibition in Oldenburg in 1926). In his Radziwill biography, published in 2019, Eberhard Schmidt was able to use the position plans of the Düsseldorf Academy to prove that Radziwill was not appointed to Klee's position. Paul Klee was a "full professor", Radziwill "professor and extraordinary full-time teacher for the field of painting" with 18 hours of teaching per week from October 1, 1933. His position was financed from the funds made available by the dismissal of Professors Holzknecht (architecture ) and Albrecht (poster painting) had become free. Even in the press that commented on the new hires, there was nowhere mention of Radziwill replacing Klee. In 1934 Radziwill was on the XIX. Biennale in Venice with the paintings Die Straße , 1928 (Collection Museum Ludwig Cologne) and Der Sender Norddeich (1932, Collection Deutsches Postmuseum Frankfurt).

Around 1934 Radziwill began the controversial picture, which was later painted , with the original title Revolution , later Demons , on which a slain SA man lies on the street. In the original state, the hanged men, the ghosts, two banners and the inscription on the facade “In the light of the state ideas or one kills the other” were missing. The picture was not exhibited during the Nazi era and played a role in Radziwill's dismissal from teaching, presumably because the “left” wing of the SA was discredited after the so-called Röhmputsch in 1934. In addition, the slain SA man looks less heroic and rather pitiful.

After Franz Radziwill, who was not prepared to make any artistic concessions, had lost his position in the Reich Chamber of Fine Arts in May 1934 , he received a reprimand from the Düsseldorf Academy Director for frequent absenteeism. As often as possible, Radziwill and his students went to the Lower Rhine to paint. B. to Kalkar .

In the autumn of 1934, students who were close to the “Kampfbund für deutsche Kultur” (Kampfbund für deutsche Kultur) discovered early expressionist works by Radziwill in the attic of the Hamburg Art Academy , which his friend Niemeyer had deposited there. Thereupon the painter was publicly denounced as a "cultural Bolshevik" and representative of the so-called "decay art". In April 1935, one of its exhibitions at the Jenaer Kunstverein was closed prematurely for the first time. In September 1935 he was dismissed from the teaching post in Düsseldorf on the official justification of “pedagogical inability”.

Radziwill returned to Dangast and devoted himself to the expansion of his house with a large studio on the 1st floor from which he could see the Jade Bay . Undeterred, he continued his artistic work. At the same time, however, he also took on the role of NSDAP district cultural office leader in the Friesland district and the post of local propaganda leader created especially for him in Dangast, as advised by the Oldenburg Gauleiter Carl Röver , who valued him as a painter. In this function, Radziwill passed on a complaint addressed to him: During the march on Labor Day on May 1, 1937 from Dangast to Varel, two Dangast NSDAP members left early and went to a pub. A functionary of the German Labor Front complained about this to Radziwill, who in turn reported the matter to his office. The matter did not affect any of the parties involved.

Regarding his early expressionist work, which had given the impetus to the loss of the professorship, Radziwill was rehabilitated in 1936 with the support of the Oldenburg Gauleiter and Reich Governor Carl Röver, a neighbor of the collector Georg Düser, who campaigned for Radziwill with him. This reflected the National Socialists' contradicting art-political orientation until 1937: While Goebbels and Göring sympathized with Expressionism as genuinely German art, Rosenberg, as the leading ideologue and mouthpiece of Hitler's views, fundamentally rejected modern art. In 1937, the anti-modern NS art doctrine was finally sealed with the exhibition “Degenerate Art” in Munich .

After his release from the Düsseldorf Academy in 1935, solo exhibitions of Radziwill's works took place until May 1938, including 1936 in Wilhelmshaven , 1937 in the Städtisches Museum in Wuppertal, in the Kunstverein Köln and in the Hamburg art cabinet Hildebrand Gurlitt . The latter ended prematurely with a scandal that was dangerous for the gallery owner. Even in the run-up to the Degenerate Art campaign , the art historian Gurlitt exhibited Art of Modern Art in his Hamburg gallery. The 1937 Radziwill exhibition was largely positively received in the press. On the occasion of the opening lecture by Wilhelm Niemeyer in the presence of the artist, representatives of the NS student union raised violent accusations against the speaker. They then boycotted his lectures at the university, and Niemeyer's name appeared in the pillory of the Munich exhibition Degenerate Art as a “critic of the systemic time”. According to Maike Bruhns , the dispute was triggered by Radziwill's images of war, which, according to the Nazi press, lacked heroism. The attack was also directed against Gurlitt, whose grandmother was of Jewish descent. On March 31, 1937, Niemeyer wrote to Radziwill that the Hamburger Kunsthallen director Werner Kloos had announced "that Gs Bude would be closed if he were to exhibit your war paintings."

In February 1938, Radziwill was still exhibiting in the Bremerhaven art gallery . At the same time he was denounced as a " degenerate " artist. The Munich propaganda exhibition Degenerate Art from 1937 showed the portrait of Radziwill painted by Otto Dix in Dresden in the winter of 1927/1928 on a front wall with the signature: "Kulturbolschewist Radziwill, how can you be painted like that?" in the accompanying exhibition brochure. In the follow-up exhibition of the same name from February 1938 in Berlin, three early works by Radziwill were also shown. The painting Naked Woman with a Clothed Man in a Room (approx. 1920, lost) is shown in the exhibition brochure.

Despite a personal request from Adolf Ziegler, President of the Reich Chamber of the "Fine Arts", to submit new works to the major German art exhibition in Munich's Haus der Kunst on July 18, 1937, Radziwill did not even apply for this "reply". Hitler expressed his rejection of modern art in the opening speech. He had "observed some works among the pictures sent in, in which it must actually be assumed that certain people's eyes show things differently than they are, that is, that there are really men who see today's figures of our people only as depraved cretins, who basically feel blue meadows, green skies, sulfur yellow clouds etc. or, as they might say, experience them. I do not want to get involved in an argument about whether these people really see and feel it that way or not, but on behalf of the German people I just want to forbid such unfortunate unfortunate people, who obviously suffer from sight, to see the results of their mistaken views Trying to talk the world around as reality by force, or even want to present it as "art" ". In 1938 Radziwill painted the picture from Grodenstrasse to Vareler Hafen with a correspondingly provocative color scheme with a yellow-green-blue sky. The picture from 1937 Muschelkalkmühle in Varel harbor already showed similar colors.

The painting The road , the Radziwill 1928, the "Golden Medal of the City Dusseldorf had introduced" and in 1934 at the Biennale in Venice the art of the new German Empire represented, was Adolf Ziegler , in the November 9, 1937 Königsberg seize. The exhibition planned there had to be canceled. In total, more than 50 works by Radziwill were confiscated - including paintings, watercolors and prints. Most of them are missing. If one counts the sheets of the graphic portfolio individually, the result is a number of 275 confiscated works, of which 244 works have since been destroyed. In a letter from the Reich Chamber of Fine Arts of May 20, 1938 to Radziwill, Ziegler imposed a ban on solo exhibitions.

Radziwill experienced a rollercoaster of recognition and defamation. Although he had already turned away from his early Expressionist work by moving to Dangast in 1923 and had been a party member since 1933, he was unable to prevent his dismissal as a professor or the confiscation of his works. Ostracized in Munich and Berlin, he still had success in the northwest. Through contact with high-ranking naval members in nearby Wilhelmshaven , he took part in ship trips to Brazil , the Caribbean islands , North Africa , Spain , Great Britain and Scandinavia from 1935 to 1939 . The painter cultivated friendships with the admirals Otto Ciliax and Hermann von Fischel and the painting naval officer Fritz Witschetzky . He was also acquainted with Admiral Wilhelm Canaris . Commissioned work was created in 1936 Leaking Submarine for the youth hostel in Rüstringen and in 1939 The Tank Battle of Cambrai 1917 for the Cambrai barracks in Lübeck. Radziwill's images of the navy could not be used for propaganda purposes, however, as they had an apocalyptic effect and relentlessly portrayed the threatening force of the war machine. Some critics praised the pictures, in other newspaper reports the painter was once again attested to a lack of heroism and a lack of will to fight. The painting The U-Boat War / Total War / Lost Earth from 1939 was first shown in 1941 at the great Gau exhibition Weser-Ems in Oldenburg, then removed. This end-time scenario, today in the collection of the Städtische Galerie in the Lenbachhaus in Munich, was followed by further pictures of destroyed landscapes and ruins. The subject of the destruction of the human environment and nature through war, technical hubris and economic developments occupied the painter even after 1945 until his death.

In contrast to his early commitment to National Socialism , which was determined by the hope for social and national justice, Radziwill was increasingly distant from the Nazi regime from the mid-1930s, and in the last few years it was negative. He cultivated friendships with pastors of the Confessing Church such as Otto Wellmann and Fritz Schipper. In 1937 a forbidden meeting of the Confessing Church took place in Radziwill's house on the pretext of a studio visit . The painter was then interrogated by the Gestapo . The turning away from National Socialism can be seen in 1938 in the still life with fuchsia (Claus Hüppe collection, courtesy Kunsthalle Emden). The painting shows a book on a table, on the back of which the title “Power is right” is to be read. Nevertheless, Radziwill summed up in a letter to his friend Wilhelm Niemeyer in 1939 that the year 1938, in which he was banned from exhibiting, was not only a time of humiliation, but also "the most creative and most successful" of his life.

From 1939 to 1941 Radziwill was sent to the Western Front as a soldier, exempted from military service in 1941 for reasons of age, but again in 1942 to serve with the air raid police in Wilhelmshaven and the fire brigade in Dangast. His wife died that same year. Deeply shaken, he traveled to meet friends on the Moselle and Styria . In 1944 he was deployed as an air raid policeman in Wilhelmshaven, then as a technical draftsman in the Heinen machine factory in Varel , drafted into the Volkssturm in April 1945 and sent to Schleswig-Holstein . There he was taken prisoner by the English, from which he was able to escape, so that he returned to Dangast in the winter of 1945 traumatized by the war.

post war period

1956 in the GDR: Heinrich Drake , Radziwill and Max Schwimmer

In a letter to the sculptor Gerhard Marcks in 1947, the expressionist painter and director of the Berlin School of Fine Arts, Karl Hofer, described Radziwill as “Nazi will.” He wrote: Breker also lets me storm indirectly, but this denazification really doesn't seem possible to me, although he did in contrast to the bastards Nolde and Naziwill, behaved decently and helpful.

The statement by the gallery owner Alex Vömel that Radziwill prevented a Hofer exhibition at the Krefeld Kunstverein in 1933 and made negative comments about a number of artists contributed significantly to Hofer's outrage at Radziwill . Vömel had misinformed both Carl Hofer and the foreign press and admitted that in 1948. After Hofer had heard of the revocation, he quoted Radziwill in the magazine Bildende Kunst , which he published at the time: “Man stands between God and nature, if he loses God, he loses nature - if he loses nature, he loses God, in in both cases always the people and thus everything. The abstracts lost nature and with it God and man. "

In the denazification process , Radziwill was initially assigned to Category IV of the followers . After his objection, the discharge followed in 1949 with the classification in category V.

After the traumatic experience of World War II and the loss of his wife, Radziwill also devoted himself to religious issues. His artistic concern was the alternative to a materialistically oriented society as he experienced it in post-war Germany. He saw himself in the role of the admonisher, whose pictures call for repentance on the way to further catastrophes. He pleaded for a radical rethink and a renewed understanding of religion in terms of pacifism , the limits of economic growth and the preservation of nature. The distinction between the cosmos as a human space and heaven as the sphere of the divine became an essential part of his message. His late work revolves around the limits of scientific knowledge and the incalculable dangers of cross-border experiments.

In the spring of 1947 Radziwill married the writer Anna Inge Rauer-Riechelmann (1906–1990). She came from Veltheim am Fallstein . Radziwill's only daughter, Konstanze, was born in September of the same year.

From 1947 Radziwill wrote essays in which he repeatedly warned against the dismantling of culture and the resulting end of art as indispensable impulses that create meaning and bring people together. He negated abstract art because, as he and many other artists of the New Objectivity (Otto Dix) maintained, it was not suitable for dealing with the pressing questions of the time. From 1956 to 1966 he regularly took part in conferences for visual artists at the Evangelical Academy in Loccum . With lectures he took part in seminars in which it was about the artistic design of statements of faith.

When the visual arts were redefined in the Federal Republic after 1945, abstract painting, ostracized by the National Socialists, was predominant. It shaped the realignment of museums and the art market. As a representative of representational painting, Radziwill remained sidelined. The work The Beauty of Aloneness , 1948 (State Museum for Art and Cultural History Oldenburg), which shows a lonely skater in the harbor, refers to it. Due to the difficult economic situation, the family rented out the old fisherman's house to spa guests for the summer, and the painter exchanged pictures with private friends for food.

From 1950 Radziwill traveled to the newly founded GDR . Representative art as socialist realism was still on the agenda there. He met colleagues from the Weimar period such as George Grosz , Otto Griebel , Otto Nagel and also visited Bertolt Brecht in the Theater am Schiffbauer Damm. In 1955 and 1956 Radziwill took part in exhibitions at the German Academy of the Arts. In 1957 the East Berlin National Gallery showed his extensive solo exhibition. The left-wing journal Tendenzen was the only one that regularly published images of his works in the Federal Republic. In 1972 the Radziwill monograph by Roland März was published by Henschel Verlag. Radziwill was even offered to set up a painting school on the estate, which his wife had now managed as an LPG, but he refused to move to the GDR.

Commitment to nature conservation

For Radziwill, experiencing pristine nature was existential. Land and sea, flora and fauna of the north German coastal region were his indispensable sources of inspiration. He registered the changes in his environment all the more sensitively when the “ economic miracle ” brought a new dimension of tourism to the small village of Dangast on the Jade Bay, located on a peninsula. Since the mid-1950s, Radziwill has been committed to maintaining his adopted home as an artist's place. In addition, he fought as an environmental activist for nature conservation . He demonstrated against building projects, campaigned against the digging of sand and gravel and was a volunteer bird guard in the Wadden Sea area for over a decade. Letters, newspaper reports and photographs attest to his commitment to preserving the original landscape, which the Brücke painters were already fascinated by and which, on Radziwill's initiative, was finally placed under landscape protection. His criticism of civilization , which can be seen in numerous paintings from the last phase of life, is often tied to Dangaster motifs. The five commissioned works on the subject of coastal protection and land reclamation, which he painted from 1952 for the Wilhelmshaven water management office on the occasion of the Dangaster sluice building and the new port, show the beginning of his engagement with the transformation of the coastal area.

Late successes

With the return of realism to contemporary art, Radziwill's work experienced a "renaissance". From the mid-1960s, there were again large solo exhibitions in museums and art associations. Through his friendship with the surrealist Edgar Ende , he joined the international artist community CIAFMA, Center International de l'Actualité Fantastique et Magique , in 1959 , which propagated fantastic realism as a countercurrent to abstract painting. From 1960 to 1966 Radziwill took part in group exhibitions at the CIAFMA.

In 1963 Radziwill was awarded the Rome Prize of the German Academy and at the beginning of 1964 spent three months as a guest of honor at Villa Massimo . He then traveled to Greece. Mythological subjects were increasingly included in his painting. In 1968 the Milanese art historian and art dealer Emilio Bertonati discovered him. The occasion was a large solo exhibition with around 200 works in the Baukunst gallery in Cologne . Bertonati, a recognized expert on Pittura metafisica , sold numerous works to Italian collectors in his Galleria del Levante and initiated further exhibitions in Milan , Rome and Parma .

On Radziwill's 75th birthday, the Bremer Kunstverein organized a comprehensive retrospective in the Kunsthalle in the winter of 1970/1971 . On his 80th birthday in 1975, the State Museum for Art and Cultural History Oldenburg honored him with an extensive exhibition. In addition, the artist donated five representative top works from all creative phases to the state of Lower Saxony, namely " Beach of Dangast with flying boat " (1929), " Still life with poppy leaves " (1922), " Combing girl " (1923), " Scarecrow in front of the fisherman's house "(1924)," An der Provence "(1961). With further permanent loans from the artist, as well as purchases by the State of Lower Saxony , the largest public collection of his works was created in the State Museum Oldenburg.

In 1978 Hans Koschnick , Mayor of Bremen, bought the oil painting Die Klage Bremens from 1946 with the support of banks . As a memorial it shows the destroyed Hanseatic city after the Second World War. The work hangs in the Bremen town hall. The largest exhibition of his work with 381 exhibits during his lifetime was shown by the “ New Society for Fine Art ” (NGBK), from November 1981 to January 1982 in Berlin. The most important pictures from this exhibition in 1982 were then shown in the Landesmuseum Oldenburg and in the Kunstverein Hannover . Radziwill gave up painting in 1972 because of an eye problem. He died on August 12, 1983 in a hospital in Wilhelmshaven.

plant

The painter Franz Radziwill occupies an exceptional position in the history of art in the 20th century. In terms of art history, his oeuvre is divided into early expressionist work, new objective and magical-realistic main work, and later symbolist work. The complete works include landscapes, still lifes and portraits. The central theme of the painter is the tension between nature and technology. In terms of style, he was based on the avant-garde artists of the beginning of the 20th century; his first works were influenced by Vincent van Gogh , Edvard Munch and Marc Chagall .

expressionism

After a phase of experimentation, the engagement with the Brücke painters had a decisive impact on his early work. Especially Karl Schmidt-Rottluff became a role model for the young painter. Radziwill oriented himself on expressionism. He used unreal proportions, perspectives and fairytale ideas, with the latter he already went beyond Expressionism. At first he was not interested in academic rules . He reduced individual picture elements to striking forms. Already in his early work he found a concept of space that he took up again in his later work. It is not uncommon for the pictorial spaces to appear nested like a collage. The boundaries between house and space are in the process of dissolving. Strong close-up views before extreme escapes point to other dimensions in which the events depicted are integrated. From 1919 to 1922 he created expressionist woodcuts in black and white printing. In 1921, five woodcuts were commissioned in the art magazine Die Kündung , edited by Wilhelm Niemeyer and Rosa Schapire . In 1922/23 he devoted himself to etching as a medium for reproducing his ideas for pictures. In the form of drypoint etchings , he dealt with the same subjects as in the oil paintings of that time.

Upheaval

After moving to the fishing and farming village of Dangast on the Jade Bay in 1923, Radziwill broke away from the expressionist style and found a new artistic position. The previous style of painting no longer corresponded to his artistic intention. The experience of the nature of the Wadden Sea region as the immediate environment meant a new painterly challenge for him. Against the vastness of the landscape he realized that he had strayed too far from reality in the course of the renewal of traditional artistic conventions. As early as 1924 he designed his pictures more realistically and studied old German and Dutch art of the 16th to 18th centuries with this intention. Study stays in Holland strengthened his change of style. He also devoted himself to the fantastic panoramas by Pieter Bruegel and Hieronymus Bosch , studied the atmosphere in the works of Hercules Seghers and the focusing light in Rembrandt van Rijn . Radziwill admired the technical virtuosity of the old masters, which had lost its importance with the advent of abstract art . In 1924, Radziwill quoted Albrecht Dürer's famous watercolor, Das große Rasenstück (National Museum for Art and Cultural History Oldenburg), to which, as a former bricklayer, he added a broken brick. As a trained bricklayer and the son of a master potter, he had internalized an awareness of traditional craftsmanship.

The autodidact adopted the perspective from the Dutch landscape pictures and thus allows the viewer to see what is happening from a slightly elevated position. He placed the horizon line in the lower third of the picture. In doing so, he achieved an impression of depth that suggests the vastness of the landscape. At the same time his pictorial spaces darkened. Radziwill created eerie night scenes and set hard contrasts from light to dark. The fantastic lighting became, as it were, a characteristic of his art.

German Romanticism provided him with further decisive stimuli. Radziwill discovered a kind of kinship with his feelings for nature in the pictures of Caspar David Friedrich and Carl Gustav Carus . He took up compositional structures from their works and borrowed motifs from them to analogies or even quotations from pictures. In addition to views of nature under high skies and snowy landscapes, he adopted the window motif as a typically romantic topos .

New objectivity and magical realism

With the lifelike depiction in the manner of the old masters, Radziwill belonged on the one hand to the New Objectivity trend , but on the other hand , with surrealistic echoes of his pictorial inventions, he was soon regarded as a leading exponent of magical realism . Fascinated by Giorgio de Chirico and the Pittura Metafisica , he therefore borrowed from his work. Radziwill increased the expression of his pictures through excessive precision and color intensity in such a way that reality became a mystery. With the ability to bring reality into the picture and at the same time to indicate a further, metaphysical dimension, he occupies an unmistakable position in the painting of his time.

Late work

After the Second World War, Radziwill developed an increasingly symbolic painting . All the foundations of his previous work were combined with suggestions that stem from mystical ideas and Christian pictorial traditions. Another change in style and position took place in his artistic self-image. If the presence of the transcendent in his earlier works can only be suspected “in the interstices of the real”, in his later work he developed a personal pictorial symbolism for the presence of the metaphysical or divine. Once again, his studies of old masters offered a fund of forms of representation that he processed in his own way. Of particular importance to him were Albrecht Altdorfer and Matthias Grünewald and again Hieronymus Bosch. On the one hand, he developed symbols that came from his own mythology, on the other hand, he made use of Christian iconography . The new elements became an expression of his expanded artistic message; they are vehicles for making an invisible dimension visible.

Radziwill pointed out the idea of ​​a different order with the painting The Cosmos Can Be Destroyed, The Sky Cannot , 1953 (Coll. Stadtmuseum Oldenburg). The painting imagines the disintegration of the previously firmly established world order. The breaking firmament of the scientific worldview in front of the seemingly infinite space represents the earthly living space of the human being, which despite all the destruction remains enclosed by a divine universe. There are also indications of such a belief in other pictures: Mechanical time is not the Creator's time , 1947 or Where the tree no longer grows, God is too , 1951. Jürgen Hoffmann (1981) describes Radziwill's motifs as the intended polarization of the human and the divine Existence to visualize metaphysical relationships.

With the growing commitment to landscape protection, the religious image content receded a little, but remained latent in the motifs critical of civilization. Radziwill thematized human hubris in the painting The Fall of Icarus , 1960, and thus created a new variant of Karl Letter's death fall , 1928 (Museum Folkwang Collection , Essen). The latter goes back to a real crash at an air show in Bremen in 1913, which Radziwill witnessed as an eyewitness and which shaped his critical stance towards modern belief in progress.

Overpainting

In the post-war period, Radziwill overpainted many of his works from earlier creative phases up to his early expressionist work. These changes are assessed differently. Radziwill increasingly equipped his works with signs for the presence of metaphysical forces. As the creator of his works, he considered it legitimate to also charge earlier works with symbols in order to give them a further level of meaning. Although this “painting on” of the pictures seems problematic from an art-historical point of view, the artist claimed that, as the author, he could decide for himself when a picture was completed. With the added new picture elements, Radziwill brought his works from different stylistic epochs to a common artistic level, so to speak. The overpainting shows above all a changed artistic conception of the painter.

In the 1950s he also painted fantastic figures in realistic scenarios, which he used to reinforce the always imaginary aspect of his artistic work, because after the Second World War he assumed a different artistic position related to surrealism. The fact that this is also a changed political statement applies to very few “overpaintings”. At most, a picture like Revolution / Demons should be mentioned here, which, as the various titles indicate, also went through different stages. This painting, begun in 1933/34, shows, among other things, a slain SA man, which, however, remained unchanged. Between 1942 and 1955 Radziwill added other figures, surreal apparitions and banners. But even in its original version, the picture was never exhibited by the Nazis and played a certain role in Radziwill's expulsion from the Düsseldorf Academy in 1935 (see above).

Radziwill painted two different pictures one year apart with the motif of a steel helmet shot through.

The first square picture Der Stahlhelm (1933) remained unchanged.

The second, twice as large painting, Grave in No Man's Land (1934), shows a much smaller steel helmet this time in a desolate wasteland with barbed wire entanglement. Attached to it is a note with the sarcastic words "For the fatherland". A rat flits past below. Originally the picture was entitled Monument Radziwill. It is dedicated to his brother Heinrich, who died in the First World War. In the 1950s, Radziwill used this work to paint a surrealistic sky structure that could represent a bird of death or the soul that has escaped. The original intention of a lament for the dead was emphasized again and not changed.

A prominent example of a picture that has been painted on is the work Flanders / Where in this world , created in 1940 and revised until 1950 . Radziwill painted the picture Flanders in the format 119 × 170 cm against the background of his experiences as a soldier in the First World War. He remembers these experiences when the German Wehrmacht marched into Belgium during World War II. Initially the graves of the fallen from all participating nations and the misery of the fleeing civilian population were the focus of the work. In the years 1945–1950 the painter added German and American planes and let the sky burst dramatically. In doing so, he reinforced the original message that the war will be paid for with human sacrifices on all sides and that the world will be destroyed. The new title is Where to in this world . Stylistically, the painting shows Radziwill's change from magical realism to an apocalyptic symbolism and, as it were, illustrates his biography with all the contradictions and changes in his artistic position. As one of the main works, the painting was on loan from the artist in the collection of the East Berlin National Gallery from 1968 until it was purchased in 2012 and shown in the Modern Times exhibitions . The 1900–1945 collection and “The Divided Sky”. The collection from 1945–1968 from 2010–2013 was exhibited in the Neue Nationalgalerie. The work was last shown in 2015/16 in the show Neue Galerie: “The Black Years” - Stories from a Collection 1933–1945 in the Hamburger Bahnhof - Museum für Gegenwart, Berlin.

Honors

  • In 1995, the Deutsche Bundespost brought out the 100-pfennig special postage stamp Der Wasserturm in Bremen in his honor in the series “ German Painting of the 20th Century ” .

reception

As a painter, Radziwill went through various periods of artistic development. Despite a radical change in style and a change in artistic positions, his work remains unmistakable. Masonry, rotating planes and bursting skies are typical elements of his pictorial repertoire. Due to his detailed painting style, Radziwill became famous in the 1920s as a “rivet painter”, who brought metal ship bodies onto the canvas just as meticulously as gate gates made from Bockhorn clinker. Apart from major ideological and increasingly civilization-critical works, a meditative still life work also runs through his entire oeuvre as a contemplative “parallel world”. The painter gives the simple objects of human everyday life, including flowers, fruits and everything that “creeps and flies” and grows, a mysterious dignity against an infinite background. When abstract art forms determined the exhibition business in the post-war period, the artist's work fell into oblivion, but was rediscovered at the end of the 1960s when reality returned to contemporary painting.

It is mainly due to the commitment of the Franz Radziwill Gesellschaft e. V. is to thank that Radziwill's work can be seen in annually changing exhibitions at the place of its creation. Since 1986, the Franz Radziwill Society has been devoting itself to the systematic review of the entire work, which began in the late 1960s with major retrospectives and often took place in connection with birthdays or memorial days.

Due to his initial sympathy for National Socialism, the painter is viewed as a politically naive or an opportunist. There is no question that he himself was considered “degenerate” and was banned from solo exhibitions from 1938; that he belonged to the party throughout the Nazi era. Whether he distanced himself from the regime as early as 1935 after his removal as a professor from the Düsseldorf Academy or only in the last years of the war is a matter of controversy. The creative phase from 1933 to 1945 was the subject of the exhibition The painter Franz Radziwill in the time of National Socialism in Dangast, Wilhelmshaven and Oldenburg in 2011 . In an accompanying publication, the state of research was comprehensively processed, with controversial assessments remaining. Most critics and defenders agree in the assessment of his works, in which he made no compromises when it came to the National Socialist art doctrine .

Today his works can be found in almost all German and many international museums. Numerous exhibitions and scientific publications testify to Radziwill's importance in German and international art history.

In 1995 the painting Der Wasserturm in Bremen (Coll. Claus Hüppe, courtesy Kunsthalle Emden) from 1931 appeared as a motif for a special postage stamp of the German Federal Post Office. Radziwill's assignment to the traditional series of important German painters was confirmed in 2013 by the D'Allemagne exhibition in the Louvre in Paris , in which his painting Church in the Friesischen Wehde , 1930, hung alongside paintings by Caspar David Friedrich.

Also in 2013 was a facade painting in Luisenstrasse in the Wilhelmshaven district of Südstadt: with an area of ​​over 100 square meters, the house wall shows Radziwill's 1928 picture of the shipyard in Wilhelmshaven . Realized by the painter Buko Königshoff, it was inaugurated on October 8, 2013.

To this day, Radziwill is regarded as one of the most important representatives of German painting of the 20th century and is repeatedly represented in group or themed exhibitions, for example in 2015/2016 with two oil paintings, The Checkered Towel and Harbor II , in the show New Objectivity: Modern German Art in the Weimar Republic, 1919 to 1933 in the Museo Correr in Venice and in the Los Angeles County Museum of Art (LACMA) in the USA.

In 2015/2016 Radziwill was also represented with several paintings in the exhibition Razor-sharp and in love with detail: Works of the New Objectivity , which was shown in the Kunstforum Ostdeutsche Galerie in Regensburg and then in the Landesgalerie Linz (Austria).

Radziwill's painting The Red Airplane , 1932, has enriched the Städel Museum's collection since May 2016 with an important position in modern art. The purchase made on the occasion of the departure of Director Max Hollein fits into the inventory of works of the Neue Sachlichkeit and represents a supplement to works by Otto Dix, Karl Hubbuch and Lotte Laserstein. In terms of the motif, the work also fits the Frankfurt airport city where airplanes are an important aspect of urban identity. Franz Radziwill was represented with four large paintings in the large exhibition "Splendor and Misery of the Weimar Republic" in 2017 in the Schirn in Frankfurt. In 2018 the Bayerische Staatsgemäldesammlungen Munich (Pinakothek der Moderne) acquired the painting "The Grodenstrasse to Varelerhafen", 1938. The Mitteldeutscher Verlag, Halle published the first comprehensive biography of the painter by Eberhard Schmidt in September 2019: "Where in this world? The painter Franz Radziwill. Biography ".

Last but not least, the large exhibition of 125 works for his 125th birthday in the State Museum for Art and Cultural History Oldenburg in 2020 illuminates his early work, which is rich in picturesque discoveries.

Works in public collections (selection)

  • 1919: Landscape with telegraph workers , Kunsthalle Bremen
  • 1920: Baltic landscape near Hohwacht / verso street view with blue house , Kunsthalle zu Kiel
  • 1920: The lamps , Oldenburg City Museum
  • 1922: The Scarecrow , Kunsthalle Bremen
  • 1922: Still life with scrolling moon , Nds. State Museum for Art and Cultural History Oldenburg
  • 1923: Girl combing herself , Nds. State Museum for Art and Cultural History Oldenburg
  • 1924: Lawn , Lower Saxony State Museum for Art and Cultural History, Oldenburg
  • 1924: Woman between red chairs , Düsseldorf Art Museum
  • 1925: Farm with a black sky , Germanisches Nationalmuseum Nürnberg
  • 1926: Still life with a white jug and flowers , Henri Nannen Foundation / Kunsthalle Emden
  • 1927: Dune landscape near Schoorl , National Gallery Berlin
  • 1927: Morning at the cemetery wall , Städtische Kunsthalle Mannheim
  • 1928: Entrance to the village , Museum Ostdeutsche Galerie Regensburg
  • 1928: The street , Museum Ludwig, Cologne
  • 1928: Landscape near Varel , Karlsruhe State Art Gallery
  • 1928: Shipyard in Wilhelmshaven , Von der Heydt Museum Wuppertal
  • 1928: Death of Karl Letter , Museum Folkwang Essen
  • 1929: Self-portrait with a red cap , Osnabrück Cultural History Museum
  • 1929: Beach at Dangast with flying boat , Nds. State Museum for Art and Cultural History Oldenburg
  • 1930: The Lilienstein on the Elbe , Hamburger Kunsthalle
  • 1930: The Port II , National Gallery Berlin
  • 1930: My Neighbor's Window , Nds. State Museum for Art and Cultural History Oldenburg
  • 1931: The strike , Westphalian State Museum for Art and Cultural History, Münster
  • 1931: Hinterhäuser in Dresden , Hessisches Landesmuseum Darmstadt
  • 1932: The Norddeich transmitter , Deutsches Postmuseum Frankfurt a. M.
  • 1932: The red airplane , Städel Frankfurt
  • 1933: The steel helmet in no man's land , Oldenburg City Museum
  • 1933: Dangast surf wall / Icy coast with net flickers , Nds. State Museum for Art and Cultural History Oldenburg
  • 1936: Leaving submarine , Coastal Museum Wilhelmshaven
  • 1936: The bell tower in Bockhorn , Lower Saxony / permanent loan in the district of Hanover
  • 1939: The U-Boat War / Total War / Lost Earth , Städtische Galerie im Lenbachhaus, Munich
  • 1940: Flanders / Where in this world , National Gallery Berlin
  • 1941: Bomb attack on Wilhelmshaven , Kalkar Municipal Museum
  • 1941: Still life with bottle and brass bowl , Nds. State Museum for Art and Cultural History Oldenburg
  • 1944: Germany 1944 , Sprengel Museum Hannover
  • 1944: Fading buildings , Rheinisches Landesmuseum Bonn
  • 1946: Bremen's lawsuit , Senate Chancellery Bremen
  • 1945: The crack in the courtyard , Städtische Galerie Wolfsburg
  • 1947: In the midst of people , University of Göttingen
  • 1948: The beauty of being alone , Nds. State Museum for Art and Cultural History Oldenburg
  • 1950: Tobias in the harbor , Kunsthalle Bremen
  • 1951: On the wing / This is how music works , Gelsenkirchen City Museum
  • 1952: Reclaimed land / Lahnungen , Wilhelmshaven water management office
  • 1952: The Apocalypse , Bochum Art Museum
  • 1953: The cosmos can be destroyed, the sky cannot , Oldenburg City Museum
  • 1956: The advance of the squares , Ludwig Galerie Schloss Oberhausen
  • 1957: The Empty Table , Nds. State Museum for Art and Cultural History Oldenburg
  • 1958: do humans leave the earth? Pfalzgalerie Kaiserslautern
  • 1959: Loneliness (high-rise) , State of Lower Saxony / permanent loan in the Sprengel, Hanover
  • 1962: The Berlin Wall , Berlinische Galerie, Berlin
  • 1962: Is technology a hollow egg? , Oldenburg City Museum
  • 1969: One shoe was left , Oldenburg City Museum
  • 1969: The thoughts of the Netzflicker , Nds. State Museum for Art and Cultural History Oldenburg
  • 1971: The devil alone did not create the rope , Oldenburg City Museum

Exhibitions

  • 1922: Heckel - Schmidt-Rottluff - Radziwill , Association for Young Art Oldenburg
  • 1923: Group exhibition Im Kreis der Brücke , Galerie Ferdinand Möller, Berlin and A Collection of Modern German Arts, Anderson Galleries, New York
  • 1925: Solo exhibition, Augusteum Oldenburg
  • 1928: German Art Düsseldorf 1928 , Art Museum in the Ehrenhof, Düsseldorf, solo exhibition at the Erfurter Kunstverein , traveling exhibition in Wuppertal, Krefeld, Cologne, Düsseldorf
  • 1934: Group exhibition of German artists, Düsseldorf
  • 1934: Participation in the Venice Biennale, German Pavilion, XIX. Venice Biennale
  • 1937: Still life and landscape , Gurlitt Art Cabinet, Hamburg
  • 1938: Kunsthalle Bremerhaven, Kunstverein Bremerhaven
  • 1946: State Museum for Art and Cultural History Oldenburg
  • 1946: Old balaclava, Kampen on Sylt
  • 1955: Anniversary exhibition for the 60th birthday, Oldenburg Castle; shown in 16 other German cities
  • 1956: Solo exhibition at the Folkwang Museum , Essen
  • 1956: Retrospective, East Berlin, National Gallery
  • 1960: Franz Radziwill 65 years old , Stadtmuseum Oldenburg and Paula Modersohn-Becker-Haus, Bremen
  • 1965: Franz Radziwill 70 years old , Oldenburg City Museum
  • 1968: Solo exhibition at the Baukunst Gallery, Cologne, participation, among others, German Arts of Magic and Fantastic Realism and Surrealism , Art Festival, Worcestershire (Great Britain); Aspetti della Nuovo Oggettivita , Galleria del Levante, Rome
  • 1970: On his 75th birthday , Bremer Kunstverein, Kunsthalle Bremen
  • 1975: Franz Radziwill 80 years old , Lower Saxony State Museum for Art and Cultural History Oldenburg
  • 1981/1982: Retrospective, State Art Hall in Berlin, Lower Saxony State Museum for Art and Cultural History Oldenburg, Kunstverein Hannover; with almost 400 exhibits the largest retrospective during the painter's lifetime
  • 1985: Franz Radziwill , City Hall at Delft, Bakchulzen Society, Emden
  • 1987: Room and House , for the opening of the Franz Radziwill House Dangast
  • 1989: Still life - disturbed silence , Franz Radziwill House Dangast, Jever Castle Museum
  • 1995: Franz Radziwill 1895–1983 , Kunsthalle Emden
  • 1996: Franz Radziwill - Magic of Cities , Art Collections Böttcherstraße Bremen
  • 1996/1998: Exhibition trilogy Expressionists in Dangast , Franz Radziwill House, Dangast
  • 2000: Franz Radziwill - The Myth of Technology , traveling exhibition at Kunsthalle Wilhelmshaven a. a.
  • 2003: Change - 1923 , Franz Radziwill House, Dangast
  • 2005: Franz Radziwill - View of Holland , Franz Radziwill House, Dangast
  • 2006: Franz Radziwill in Dresden , Franz Radziwill House, Dangast
  • 2007: Franz Radziwill - watercolors. The picture before the picture , Franz Radziwill Haus Dangast
  • 2007: Threateningly familiar worlds , traveling exhibition, Neuhaus Paderborn Castle , Rheinisches Landesmuseum Bonn , Bayreuth Art Museum
  • 2008: Franz Radziwill and the modern world , Franz Radziwill House Dangast, Jever Castle Museum
  • 2009: Franz Radziwill - the factual romantic , Franz Radziwill Haus Dangast
  • 2010: Franz Radziwill in the artist group “Die Sieben” , Franz Radziwill Haus Dangast
  • 2011: Kunsthalle Emden , Kunsthalle Wilhelmshaven , Lower Saxony State Museum for Art and Cultural History Oldenburg, City Museum Oldenburg, Franz Radziwill House, Dangast
  • 2012: Franz Radziwill: Discoveries , Franz Radziwill House Dangast; Change of view: landscape between threat and idyll , Tyrolean State Museum Ferdinandeum (Austria)
  • 2012: Near Paradise - The painter discovers nature , Franz Radziwill House, Dangast
  • 2014: The peninsula of the blessed - Franz Radziwill in nature , Franz Radziwill House, Dangast and Jever Castle Museum
  • 2015: Franz Radziwill: The cosmos can be destroyed, the sky cannot , Franz Radziwill house, Dangast
  • 2015–2016: New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 , Museo Correr Venice and Los Angeles County Museum of Art (LACMA), USA
  • 2015–2016: Razor sharp and with a love for detail. Works of the New Objectivity , Art Forum Ostdeutsche Galerie and Landesgalerie Linz, Austria
  • 2016: Franz Radziwill: Snow White and Night Black , Franz Radziwill House, Dangast
  • 2017: Franz Radziwill and Bremen , Kunsthalle Bremen
  • 2017: Splendor and misery of the Weimar Republic , Schirn Kunsthalle, Frankfurt
  • 2017: Franz Radziwill - The Artist's Palette , Franz Radziwill House, Dangast
  • 2018: Franz Radziwill - area becomes image , Franz Radziwill House, Dangast
  • 2019 Franz Radziwill. Two sides of an artist , Pinakothek der Moderne, Munich
  • 2019 Franz Radziwill and the present: landscape, technology, media , municipal gallery Bietigheim-Bissingen
  • 2019 Franz Radziwill - Staged picture spaces , Franz Radziwill House, Dangast
  • 2020 Franz Radziwill. 125 works for the 125th birthday , State Museum for Art and Cultural History Oldenburg

Franz Radziwill House

Franz Radziwill's house at Sielstrasse 3 in Dangast

After Franz Radziwill acquired a small fisherman's house in Dangast in 1923, he built it up to its present size in several stages as a trained bricklayer with his own architectural designs. This makes it one of the few artist houses that have been preserved in its original state, and in a certain way also a “bricked autobiography”. Radziwill collected Frisian tiles for the kitchen walls, and he also designed and painted the furniture himself in consultation with his wife Anna Inge. His main work was created there until his death in 1983.

Exhibition operation

Annually changing exhibitions have been held in the rooms of the former residence of Franz Radziwill since 1987, equipped with loans from private collections and museums. The Franz Radziwill Gesellschaft e. V., which was founded by the family and a group of friends in 1986, also to make the artist's estate accessible to scholarly and journalistic processing. In the meantime, the exhibitions are accompanied by regular public tours and an extensive program of museum educational events.

Archive / estate

The Franz Radziwill House houses the artist's written estate. The Franz Radziwill Archive is available as a source for research and for publications. Documents and letters from the period from 1915 until the painter's death give an insight into his life and work. Another part of the estate is in the archive of the Germanisches Nationalmuseum, Nuremberg.

Literature / exhibition catalogs

Catalog raisonnés

  • Rainer W. Schulze: Catalog raisonné of oil paintings. In: Andrea Firmenich, Rainer W. Schulze (Eds.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Wienand, Cologne 1995
  • Wilfried Seeba: Catalog raisonné of watercolors, drawings and painted postcards. Edited by the Franz Radziwill Gesellschaft e. V., Oldenburg 2006.
  • Gerd Presler (Ed.): Franz Radziwill. Catalog raisonné of the prints. Engelhardt and Bauer, Karlsruhe 1993, ISBN 3-925521-16-X , 2nd edition 2010, ISBN 978-3-941850-10-1

Monographs

  • Waldemar Augustiny: Franz Radziwill. Goettingen 1964.
  • Eduard Dohmeier: Disturbing images. The work of Franz Radziwill in the “Third Reich”. Isensee, Oldenburg 2007.
  • James A. van Dyke: Franz Radziwill and the contradictions of German art history, 1919-45. Univ. of Michigan Press, 2010.
  • Olaf Peters:  Radziwill, Johann Franz Wilhelm Eduard. In: New German Biography (NDB). Volume 21, Duncker & Humblot, Berlin 2003, ISBN 3-428-11202-4 , p. 103 f. ( Digitized version ).
  • Andrea Firmenich , Rainer W. Schulze: Franz Radziwill. 1895 to 1983. “The greatest miracle is reality.” Monograph and catalog raisonné. Wienand, Cologne 1995. ISBN 3-87909-381-4 .
  • Wolfgang Keizer, Rainer Wilhelm Schulze: Franz Radziwill - The painter. Thiemig, Munich 1975.
  • Hans Heinrich Maaß-Radziwill: Franz Radziwill in the “Third Reich”: The other resistance. Hauschild, Bremen 1995.
  • Roland March: Franz Radziwill. Henschel-Verlag Art and Society, Berlin 1975.
  • Olaf Peters: In the light of state ideas - Franz Radziwill's painting 'Revolution / Demons'. In: Uwe Fleckner (ed.): The ostracized masterpiece: Fateful paths of modern art in the Third Reich. Academy, Berlin 2007.
  • Eberhard Schmidt: Where to in this world? The painter Franz Radziwill. Biography, 2019; Mitteldeutscher Verlag, Halle / Saale ISBN 978-3-96311-174-7
  • Gerhard Wietek : Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Art and Culture Foundation of Sparkasse Oldenburg (ed.), Oldenburg 1990, ISBN 978-3-89442-101-4 .

Exhibition catalogs

  • Birgit Denizel, ed. For the Franz Radziwill Society: Lichtspiele, exhibition catalog Franz Radziwill Haus Dangast, Kerber, Bielefeld 2020
  • Birgit Denizel, ed. For the Franz Radziwill Society: Staged Image Spaces, exhibition catalog Franz Radziwill Haus Dangast, Kerber, Bielefeld 2019
  • Birgit Denizel, ed. For the Franz Radziwill Society: Surface becomes image, exhibition catalog Franz Radziwill Haus Dangast, Kerber, Bielefeld 2018
  • Dorothee Hansen: Franz Radziwill and Bremen, Bremen: Schünemann, 2017
  • Birgit Denizel, ed. For the Franz Radziwill Society: The painter's palette, exhibition catalog Franz Radziwill Haus Dangast. Kerber, Bielefeld 2017, ISBN 978-3-7356-0324-1
  • Birgit Denizel, Ed. For the Franz Radziwill Society: Snow White and Night Black, exhibition catalog Franz Radziwill Haus Dangast. Kerber, Bielefeld 2016, ISBN 978-3-7356-0178-0
  • Birgit Denizel, ed. For the Franz Radziwill Society: The cosmos can be destroyed , the sky cannot. Exhibition catalog Franz Radziwill Haus Dangast. Isensee, Oldenburg 2015
  • Birgit Denizel, ed. For the Franz Radziwill Society and the Jever Castle Museum: The peninsula of the blessed - Franz Radziwill in nature. Exhibition catalog. Isensee, Oldenburg 2014
  • Birgit Denizel, Ivo Kügel / Franz Radziwill Society: Discoveries , exhibition catalog for the 25th anniversary of the Franz Radziwill House, Dangast. Isensee, Oldenburg 2012
  • Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism , catalog for exhibitions in the Franz Radziwill House, Dangast and the Kunsthalle Wilhelmshaven, Kerber, Bielefeld 2011
  • Katharina Henkel, Lena Nievers (eds.): Franz Radziwill - Masterpieces from private collections , catalog for the exhibition in the Kunsthalle Emden Wienand, Cologne 2011
  • Birgit Denizel / Franz Radziwill Society: Franz Radziwill in the artist group “Die Sieben” , catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2010
  • Ewald Gäßler / Franz Radziwill Society: Franz Radziwill - the factual romantic, catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2009
  • Radziwill and the modern world Dangast / Jever 2008/2009
  • Ewald Gäßler / Franz Radziwill Society: Franz Radziwill and the modern world and Franz Radziwill and modern art , catalogs for exhibitions in the Franz Radziwill House and the Jever Castle Museum. Isensee, Oldenburg 2008
  • Ewald Gäßler / Franz Radziwill Society: Franz Radziwill: Aquarelle - The picture before the picture , catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2007
  • Andrea Wandschneider: Franz Radziwill - threateningly familiar worlds. Catalog for the exhibition series, Municipal Gallery in the Reithalle, Paderborn / Rheinisches Landesmuseum Bonn / Landschaftsverband Rheinland / Kunstmuseum Bayreuth. Bönen 2006
  • Ulrich Luckhardt / Ernst Barlach Haus - Hermann F. Reemtsma Foundation: Franz Radziwill: From Expressionism to Magical Realism , exhibition catalog Wienand, Cologne 2006
  • Ekkehard Seeber / Franz Radziwill Society: Franz Radziwill in Dresden 1927/1928 , catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2006
  • Franz Radziwill. From Expressionism to Magical Realism, Ernst Barlach Haus Foundation Hermann F. Reemtsma, Hamburg 2006
  • Petra Kemmler / Franz Radziwill Society: Franz Radziwill - View to Holland , catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2005, ISBN 3-89995-187-5
  • Franz Radziwill Gesellschaft eV: BRÜCKE - Expressionisten in Dangast, catalog for the exhibition in the Franz Radziwill House. Isensee, Oldenburg 2002, ISBN 3-89598-545-7
  • Wilfried Seeba (for the Landesmuseum Oldenburg, etc.): Franz Radziwill - Mythos Technology , catalog for exhibitions at Kunsthalle Wilhelmshaven, Franz Radziwill-Haus Dangast, Städtische Galerie im Buntentor, Bremen, Isensee, Oldenburg 2000
  • Kurt Asche: Franz Radziwill: the stone house, the brick architecture, the water tower - picture surveys , Dangast 1995
  • Claus Peukert / Franz Radziwill Society: Franz Radziwill and Dangast , catalog for the exhibition in the Franz Radziwill House, Dangast. Isensee, Oldenburg 1995
  • Wilfried Seeba (for the art collections Böttcherstraße, Bremen): Magic of the cities ., Catalog for the exhibition, Kunstsammlungen Böttcherstraße, Bremen 1995
  • Knut Soiné / Franz Radziwill Society: Franz Radziwill - Pictures of Seafaring, Hauschild, Bremen 1992, ISBN 3-926598-68-9
  • Konstanze Radziwill, Hans Heinrich Maaß-Radziwill (ed.): Franz Radziwill. Room and House , catalog for the opening of the Künstlerhaus. CJ Bucher, Munich / Lucerne 1987 (2nd edition 1990). ISBN 3-7658-0591-2
  • Alfred Hagenlocher: Franz Radziwill. Watercolors and colored drawings from 1913–1973 , published by the Hans Thoma Society. Catalog for the exhibition, Spendhaus Reutlingen, 1975.
  • Franz Radziwill. 125 works for the 125th birthday , exhibition catalog, published by the State Museum for Art and Cultural History Oldenburg together with the Radziwill Society

Filmography

  • Franz Radziwill: The greatest miracle is reality. TV feature by Viktoria von Flemming. NDR, 1977
  • Franz Radziwill: Nailed the sky with technology. TV feature by Hannelore Schäfer. NDR, 1982
  • Consistently inconsistent. The painter Franz Radziwill. Documentary by Konstanze Radziwill and Gerburg Rohde-Dahl. Co-production by Radio Bremen and Rohde-Dahl Filmproduktion, 1995

literature

Web links

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

Individual evidence

  1. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 47 ff.
  2. Eberhard Schmidt: Where in this world? The painter Franz Radziwill. Biography . Mitteldeutscher Verlag, Halle 2019, p. 36.
  3. See Uwe Michael (ed.): The green rainbow. Contours of a north-west German art landscape. Bremen 1983.
  4. ^ Gerhard Wietek: Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Edited by the Art and Culture Foundation of the Landessparkasse zu Oldenburg. Oldenburg 1990.
  5. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill - The greatest miracle is reality. Cologne 1995, p. 68.
  6. Claus Peukert, Franz Radziwill Society (ed.): Franz Radziwill and Dangast. Oldenburg 1995, pp. 8-14. See also Konstanze Radziwill, Hans-Heinrich Maaß-Radziwill (eds.): Franz Radziwill - Room and House. Munich / Lucerne, 1989, p. 21 ff.
  7. See exhibition directory in: Andrea Firmenich, Rainer W. Schulze (eds.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 464.
  8. Cf. Joist Grolle: My pictures are my trip around the world - notes about Georg Düser. In: Dieter Isensee, City of Oldenburg Culture Department (ed.): Radziwill painting. Düser Collection, Oldenburg 1980, p. 8 ff.
  9. ^ Ekkehard Seeber, Franz Radziwill Gesellschaft e. V. (Ed.): Franz Radziwill - View to Holland. Oldenburg 2005, pp. 12-38; Konstanze Radziwill, Gerburg Rhode-Dahl (R): Consistently inconsistent. Documentary, 1995.
  10. Cf. Rainer Stamm (ed.): The second departure into modernity. Expressionism - Bauhaus - New Objectivity. Exhibition catalog, Bielefeld 2011, p. 287.
  11. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 53 f. and 465.
  12. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill - The greatest miracle is reality. Cologne 1995, pp. 54-56.
  13. Birgit Denizel, Franz Radziwill Company: Franz Radziwill in the artist group "The Seven". Oldenburg 2010, pp. 11–34.
  14. Stephanie Barron, Sabine Eckmann (eds.): New Objectivity: Modern German Art in the Weimar Republic 1919-1933. Munich 2016, p. 324.
  15. James van Dyke: Franz Radziwill and the Contradictions of German Art History, 1919–45. University of Michigan Press, 2010, pp. 80, 141.
  16. ^ Gerhard Wietek: Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Edited by the Art and Culture Foundation of the Landessparkasse zu Oldenburg, Oldenburg 1990, p. 142.
  17. Birgit Neumann Dietzsch: Franz Radziwill in National Socialism. In: Birgit Neumann-Dietzsch, Viola Weigel (ed.): The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, p. 9.
  18. Angela Lammert (Ed.): Ateliergemeinschaft Klosterstrasse Berlin 1933–1945: Artists in the time of National Socialism. Berlin 1994.
  19. Andreas Hüneke: Kulturpolitische Illusions. In: Birgit Neumann-Dietzsch, Viola Weigel (ed.): The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 37–41. See also James van Dyke: Franz Radziwill and the Contradictions of German Art History, 1919–45. University of Michigan Press, 2010, 80 ff. For Martin see http://www.diegeschichteberlins.de/geschichteberlins/persoenitäten/persoenitätenhn/506-martin.html
  20. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill - The greatest miracle is reality. Cologne 1995, p. 55 f .; James van Dyke: Franz Radziwill and the Contradictions of German Art History, 1919–45. University of Michigan Press, 2010. Eberhard Schmidt: Where in this world? The painter Franz Radziwill. Biography. Mitteldeutscher Verlag, Halle 2019. Franz Radziwill personnel file in the archive of the Düsseldorf Art Academy.
  21. See Roland März: Franz Radziwill - a visionary realist, hunch and present in the Weimar Republic. In: Andrea Firmenich, Rainer W. Schulze (Eds.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, pp. 26-27 and 376; Konstanze Radziwill, G. Rohde-Dahl (R): Consistent - Inconsistent. Documentary, RB, 1995; Olaf Peters : In the light of state ideas. In: Uwe Fleckner (Ed.): The ostracized masterpiece. Berlin 2009, pp. 365-383; Birgit Neumann-Dietzsch / Viola Weigel (ed.): The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, p. 66/67, see there also Konstanze Radziwill: The contribution of the Franz Radziwill archive. P. 161.
  22. ^ Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 56.
  23. See letter from HW Hansen to Reichsstatthalter Pg. Saukel from March 15, 1935. In: Hildegard Brenner (Hrsg.): Die Kunstpolitik des Nationalsozialismus. Hamburg 1963, p. 183.
  24. See Joachim Tautz: Franz Radziwill and the Nazi cultural policy in the Gau Weser-Ems. In: Birgit Neumann-Dietzsch, Viola Weigel (ed.): The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, p. 29 ff.
  25. Cf. Birgit Neumann-Dietzsch, Viola Weigel (ed.): The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 10-11; on the business relationship between Gurlitt and Radziwill see the correspondence between Radziwill and Niemeyer in Gerhard Wietek: Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Edited by the Art and Culture Foundation of the Landessparkasse zu Oldenburg, Oldenburg 1990, pp. 151–153.
  26. Cf. Maike Bruhns (Ed.): Art in the Crisis, Hamburg Art in the Third Reich, Volume I. Hamburg 2001, pp. 96, 225; on Gurlitt, see Meike Hoffmann, Nicola Kuhn (ed.): Hitler's art dealer. Hildebrand Gurlitt 1895–1956. The biography. Munich 2016.
  27. ^ Gerhard Wietek: Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Edited by the Art and Culture Foundation of the Landessparkasse zu Oldenburg, Oldenburg 1990, p. 152.
  28. Fig. In Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 10-11; Fig. In Franz Roh (Ed.): Degenerate Art. Art barbarism in the Third Reich. Hanover 1962.
  29. Hitler's opening speech in the Haus der Kunst, Munich 1937
  30. Fig. In Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 88/98; Konstanze Radziwill, Gerburg Rohde-Dahl (R): Consistently inconsistent. The painter Franz Radziwill. Documentary, 1995.
  31. Cf. Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 10 and 56; also Eduard Dohmeier: Disturbing Pictures, Disturbing Pictures. The work of Franz Radziwill in the “Third Reich”. Oldenburg 2007.
  32. Cf. Eduard Dohmeier: Disturbing Pictures, Disturbing Pictures. The work of Franz Radziwill in the “Third Reich”. Oldenburg 2007; original press reports Franz Radziwill Archive, Dangast.
  33. See Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, pp. 96/97.
  34. See Joachim Tautz: Franz Radziwill and the Nazi cultural policy in the Gau Weser-Ems. In: Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, p. 29 ff.
  35. ^ Radziwill to Niemeyer, letter of February 6, 1939. In: Gerhard Wietek: Franz Radziwill - Wilhelm Niemeyer. Documents of a friendship. Edited by the Art and Culture Foundation of the Landessparkasse zu Oldenburg, Oldenburg 1990, p. 159.
  36. Quoted from: Portrait. Colleagues called him "Nazi will" . In: Die Welt (online), July 22, 2007, accessed April 26, 2016.
  37. The detailed process as an exchange of letters between lawyer Aulenbacher and gallery owner Vömel can be viewed in the Franz Radziwill archive
  38. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 59 f .; Birgit Neumann-Dietzsch, Viola Weigel: The painter Franz Radziwill in the time of National Socialism. Bielefeld 2011, p. 121.
  39. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 60 f.
  40. Birgit Denizel: Heaven, God and Cosmos. In: Birgit Denizel (ed. For the Franz Radziwill Society): The cosmos can be destroyed, the sky cannot. Oldenburg 2015, p. 13 ff.
  41. Claus Peukert, Franz Radziwill Society (ed.): Franz Radziwill and Dangast. Oldenburg 1995, p. 29.
  42. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 469; Journals in the Franz Radziwill Archive, Dangast
  43. See Silke Puschmann: A pioneer? Franz Radziwill's commitment to bird and landscape protection in Dangast. In: Birgit Denizel (Ed. For the Franz Radziwill Society and the Jever Castle Museum): Franz Radziwill - The peninsula of the blessed. Oldenburg, 2014, p. 37 ff .; see. also Claus Peukert, Franz Radziwill Society: Franz Radziwill and Dangast. Oldenburg 1995, pp. 30-42.
  44. Cf. Birgit Denizel: In the painter's room of being. In: Birgit Denizel (Ed. For the Franz Radziwill Society / the Jever Castle Museum): Franz Radziwill - The peninsula of the blessed. Oldenburg, 2014, pp. 11–13.
  45. Fantasmagic. Members of the artists' association CIAFMA (Bucaille, Ende, van der Eb, Haus, Pasque, Plontke, Radziwill, Rauh), introduction by Herbert Zink. Exhibition catalog. Berlin-Wilmersdorf Art Office, 1966.
  46. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 63.
  47. See Andrea Firmenich, Rainer W. Schulze (ed.): Franz Radziwill 1895 to 1983. Monograph and catalog raisonné. Cologne 1995, p. 472 ff.
  48. Hans Koschnick on Radziwill's work in: Konstanze Radziwill, Gerburg Rohde-Dahl (R): Konsequent Inkonsequent. Documentary, 1995.
  49. See NGBK (ed.): Franz Radziwill. Exhibition catalog Staatliche Kunsthalle , Berlin 1981.
  50. See Konstanze Radziwill: Häusliches - Biografisches. In: this., Hans-Heinrich Maaß-Radziwill (Hrsg.): Franz Radziwill - space and house. Munich / Lucerne, 1989, p. 45.
  51. ^ Gerd Presler (Ed.): Franz Radziwill - Die Druckgraphik: Ein Werkverzeichnis, Karlsruhe 1993; 2nd edition 2010.
  52. Konstanze Radziwill (Ed.): Konsequent Inkonsequent. The painter Franz Radziwill, supplement to the film, Landesbildstelle Bremen, 1998, p. 21
  53. ^ Jürgen Hoffmann: Landscapes with no way out. In: New Society for Fine Art eV (Ed.): Franz Radziwill. Berlin 1981.
  54. See Wilfried Seeba: Franz Radziwill - Mythos Technology. Edited by the Landesmuseum Oldenburg, exhibition catalog Kunsthalle Wilhelmshaven / Franz Radziwill Haus Dangast a.o., Oldenburg 2011.
  55. For overpainting cf. Jürgen Hoffmann: Landscapes with no way out. In: New Society for Fine Art eV (Ed.): Franz Radziwill. Berlin 1981
  56. Birgit Neumann-Dietzsch u. Viola Weigel (Ed.): The painter Franz Radziwill in the time of National Socialism, catalog for exhibitions in the Franz Radziwill House, Dangast and the Kunsthalle Wilhelmshaven, Kerber, Bielefeld 2011
  57. Jessica Becker: A Radziwill as a huge facade motif. Report with picture gallery on the NDR website on October 8, 2013.
  58. Stefan Trinks: From a German painter's life , review in the FAZ on May 26, 2020, accessed June 3, 2020
  59. Manfred Schwarz: A master of conflict. In: The time. P. 53 , accessed April 6, 2015 .