Dötlingen artists' colony
In the first decades of the 20th century, the artists' colony Dötlingen was located in the Lower Saxon village of Dötlingen , located in the Oldenburg district , a few kilometers northwest of the Wildeshausen district , on the northeast side of the small Hunt Valley of the Wildeshauser Geest . The artist colony is known for landscape painting.
Dötlingen, represented by the Dötlingen Foundation, has been a member of EuroArt since July 15, 2008 . EuroArt is an association of European artist colonies under the auspices of the European Parliament .
Georg Müller vom Siel , August Kaufhold , Otto Pankok and many other artists lived and worked in the artists 'village of Dötlingen - next to Worpswede and Dangast, one of the three artists' places near Bremen .
In the magazine “ Die Kunsthalle ”, Johann Beyer from Bremen described Dötlingen as follows on December 20, 1901: “Dötlingen is a secluded, quiet heath village. Old, partly ancient, often dilapidated, crooked, thatched-roof houses with a real Lower Saxon character with old, sooty ovens in the courtyards, which are enclosed with broad hedges of thorns, earth dams and surrounded by mighty oaks, an old-age church, poorly maintained paths - give that Places have a very special picturesque beauty, which is enhanced by the fact that the terrain is hilly and offers the most wonderful distant views everywhere ”.
Artist
For a large number of artists, the artists' village of Dötlingen acquired special significance in their work:
Georg Müller from the sewer
Georg Müller vom Siel (1865–1939), a painter from Großensiel on the Weser, who had seen the world like no other, began to discover the Oldenburg landscape on long hikes from 1889. He came through Dötlingen in 1894 at the latest - and wasimmediately fascinatedby the location of the village above the Hunte . As early as 1896, Müller vom Siel exchanged his comfortable Oldenburg domicile for a simple old-age part-dwelling in Dötlingen. It was here that Müller vom Siel later built his estate - the "Meineck House". His painting school for girls and young women was located there, because back then it was good manners to at least be able to paint or play the piano. Women were not allowed to attend public art schools. It was only with the Weimar Constitution in 1919 that the principle of equality was manifested and created conditions that the public art academies could no longer refuse to accept. Up until then there was a widespread prejudice that can be clearly seen from the commentary on a caricature by Bruno Paul from 1901 in his political-satirical magazine “ Simplicissimus ”: “You see, Miss, there are two types of painters: some would like to get married and others have no talent either. ” Georg Müller vom Siel and his painting school were in good company with the Worpswede painting teachers Fritz Overbeck and Fritz Mackensen . Fritz Mackensen even accepted the Weimar Academy as an official art professor in1918. "Haus Meineck" also developed as a magnet for other artists. Here Müller vom Siel was visited by artist friends Hermann Allmers , Arthur Fitger , Ludwig Fischbeck and others. In contrast to the Dötlinger artists who followed him, he did not perceive the Dötlinger landscape as gloomy, heavy and earthy, but on the contrary, as warm and light, almost as southern. Hardly anyone else could capture the sky and clouds artistically like him.
Paul Müller-Kaempff
As a painter born in Oldenburg, Paul Müller-Kaempff (1861–1941) covered his artistic career outside of his native country. His name is primarily associated with the development and fame of the Ahrenshoop artists' colony on the Darß. After his artistic training at the Düsseldorf Academy and with Gustav Schönleber in Karlsruhe until 1886, he became a master student of Hans Gude in Berlin . In 1889 Paul Müller-Kaempff visited Ahrenshoop for the first time. In 1892 he built his own house here and founded a painting school in 1894, which soon became very popular. He stayed in Ahrenshoop with his wife until 1912 and then returned to Berlin. In 1904 he and his wife were among the co-founders of the Oldenburg Artists Association and in 1905 he was awarded the Oldenburg State Medal. During this time he kept in constant contact with his Oldenburg homeland and stayed in Oldenburg and Dötlingen for a long time. In Dötlingen, landscape pictures were created in the typical Ahrenshooper painting style, for example the oil painting Huntetal near Dötlingen from 1908. Paul Müller-Kaempff and Georg Müller vom Siel have known each other since they took part in the anniversary exhibition of the Oldenburger Kunstverein from January 15 to February 5, 1893. Georg Müller vom Siel has already exhibited paintings with Huntetal motifs from Dötlingen here. In Dötlingen he also wanted to win Georg Müller vom Siel for the OKB. But this refused. The last time Georg Müller was asked in writing by Siel to join the OKB. In his letter of March 24, 1904, he replied to OKB secretary Gerhard Bakenhus that he saw insurmountable difficulties in connection with the rejection of OKB member Wilhelm Otto. Wilhelm Otto was painting in the Ahlhorn Heath as early as 1890, even before Georg Müller vom Siel started working there. OKB chairman Paul Müller-Kaempff decided not to run after Georg Müller vom Siel "if he was so directly in opposition to us".
Gerhard Bakenhus
Gerhard Bakenhus (1860–1939) was born in Großenmeer in the Wesermarsch . After an apprenticeship as a painter and glazier, he followed his friend Richard tom Dieck (1862–1943) to Berlin. Richard tom Dieck went to Berlin in the summer of 1880 to see the theater painter Julius Lechner at the opera house. Since he did not learn anything in the painter's hall, he attended art school in the summer semester. He had received an art grant from the Grand Duke. Gerhard Bakenhus had to stay afloat in Berlin with odd jobs, including as a quick painter in variety shows, as a decorative painter, house painter and photographer. In the evening he attended the arts and crafts school. On October 23, 1891, Gerhard Bakenhus received a visit from Georg Müller vom Siel in Berlin. In 1888 he was able to study two semesters in Karlsruhe with the landscape painter Gustav Schönleber on a grand ducal grant. The paternal family came from the community of Großenkneten . The place is called "Bakenhus" in High German "house on the hill". The north-west German marshland, heather and moorland were at the center of his painterly work. His paintings are basically of a lyrical nature and depict holistically recorded phenomena and moods of nature. The composition of the image is firm, its tones are graduated and fine, even with large areas of paint. Gerhard Bakenhus worked in Dötlingen until 1904. His pictures with Dötlinger motifs - he too painted the Huntetal like many other painters - are publicly known. The lithograph from 1904 "Dötlinger Church in the Evening Light" is in the Oldenburg City Museum. His style, which he had found in 1905, made him a respectable representative of north-west German open-air painting and as such, with a slight delay, an essential representative of Oldenburg painting. He soon gained recognition as a landscape and still life painter, regularly participated in exhibitions and gathered a large group of students and friends around him. Gerhard Bakenhus founded a painting school in Kreyenbrück, which at that time did not yet belong to Oldenburg. From 1907 Gerhard Bakenhus was also active as a writer to a considerable extent. He published numerous art reviews in the regional press and took a decided position on issues relating to art funding, art education and training, museums and galleries, and problems relating to painting techniques.
Anna List
Anna List (1868–1948) was born on April 13, 1868 in Hagen, Westphalia, and came to Oldenburg in 1886. She was a founding member of the OKB and in 1907 a member of the VNWK.
For the first time she exhibited a picture with the motif "Summer Evening" at the 297th art exhibition from February 15 to March 18, 1900. Other motifs were u. a. on the 302nd KA from November 17 to December 15, 1901 “Autumn Evening on the Heide”, on the 307th KA from February 25 to March 30, 1903 “Late Autumn on the Hunte”, on the 316th KA from 18. February - March 12, 1906 "Autumn Forest" and on the 320th KA from February 21 - March 21, 1907 "Juniper Group". The last time she exhibited in the OKV in 1941.
Anna List came to Dötlingen repeatedly and is said to have lived here for some time. Her picture of the former Dötlinger Heim "To Hus" is in private ownership.
She died on March 27, 1948 at the age of almost 80 after living in the Elisabethstift on Philosophenweg for years.
Hugo Zieger
Hugo Zieger (1864–1932) was born in Koblenz and died in Oldenburg .
He started painting and drawing at an early age. When the director of his school noticed his talent for painting, he went to Düsseldorf in 1883, where, against the will of his father, he switched from the upper prima at the Oberrealschule to the Düsseldorf Art Academy. Hugo Zieger took six semesters in the painting class of the history painter Peter Janssen (1844–1908) and was also instructed by Eduard von Gebhard (1838–1925).
Hugo Zieger participated in numerous exhibitions, including the Great Berlin Art Exhibition in 1893, 1898 and 1899, the Berlin International Art Exhibition in 1896 and the Berlin Academic Art Exhibition in 1892. He made trips to the Netherlands and Italy.
Zieger initially remained active in the Ruhr area until 1908. At the suggestion of his friend and local poet Georg Ruseler (1866–1920), he settled in Oldenburg and from 1911 taught at the city boys' school as a drawing teacher. Apart from a stay at the Art Academy in Munich in 1920/21 remained Zieger henceforth Oldenburg and painted here primarily native forest and heath images, he motifs from the area Huntlosen preferred and Dötlingen.
At the turn of the year 1894/95 he had the first opportunity to exhibit two paintings with the titles "Im Lenz" and "Orangenverkäuferin" at the 275th art exhibition of the Oldenburger Kunstverein.
In the period from November 14, 1909 to December 15, 1909, he exhibited again, this time at the 328th art exhibition in the Oldenburger Kunstverein, where he was represented with 5 paintings. Further exhibitions followed at the 339th art exhibition from October 17, 1912 to December 15, 1912 (3 paintings) and at the 342nd art exhibition from October 17, 1913 to November 5, 1913 (various oil sketches) in the Oldenburger Kunstverein.
From 1908 he was a co-founder of the Oldenburger Künstlerbund and was elected secretary in 1919 and a member of the board in 1920.
In 1924 a special exhibition was organized in the Oldenburg Augusteum on the occasion of his 60th birthday.
Arthur Fitger
Arthur Fitger (1840–1909), the “art pope” of Bremen, was often with Georg Müller vom Siel in Dötlingen. Arthur Fitger is popular among the group of "painter-poets". As a painter and poet, he was in good company with Goethe, ETA Hoffmann, Gottfried Keller, Fritz Reuter, Scheffel, Wilhelm Raabe, Wilhelm Busch, Paul Heyse and Adalbert Stifter. The poet Arthur Fitger was better known than the painter in his time. He looked for contacts with the traditional and rather conservative artists in Dötlingen and met here a. a. with Hermann Allmers and Georg Ruseler, who wrote the article in 1901 "Karl May - a danger to our youth".
Arthur Fitger and the “new art” of the reprehensible Worpsweder were antipodes. He was an opponent of the modern trend. Every time a new exhibition appeared in the Kunsthalle, he published a sharp criticism in the "Weserzeitung", the most respected newspaper in town, edited by his brother Emil Fitger . Full of scorn and gall, he wrote about Paula Becker , the later wife of Otto Modersohn, on December 20, 1899 in the “ Weser-Zeitung ”: “ Unfortunately, we must begin our notes today with the expression of deep regret that there were such unqualified achievements as the so-called studies by Marie Bock and Paula Becker succeeded in finding their way into the exhibition rooms of the Kunsthalle. It is very unfortunate that something like this could have been possible ” .
Heinz Witte-Lenoir
Heinz Witte-Lenoir (1880–1961) After graduating from school and by chance acquaintance with Benno Schumacher , he spent half a year in Bologna with him. The Oldenburg painter Gerhard Bakenhus (1860–1939) advised Heinz Witte to go to Düsseldorf to study art: "... but I went straight on, to Paris!"
As a 19-year-old, with no higher education, with little language skills and no secure financial background, alone in Paris. A big risk. Heinz Witte studied at two academies in Paris. At the Académie Colarossi he met Paula Modersohn-Becker : “When I saw her pictures, I felt that she had very little in common with her husband Otto Modersohn ”.
Fascinated by the opportunities offered, he worked obsessively. Heinz Witte sketched, drew, painted in the studio, in the academies and outdoors, and copied in museums. In a drawing competition he received first prize as a juror from TA Steinlen (1859–1923). The profit of 1,000 francs was the basis for his first trip to India.
He later worked at Steinlen's printing press, for Edgar Degas he printed monotypes that are now in the Louvre .
Heinz Witte-Lenoir was friends with Amedeo Modigliani (1884–1920) and Heinrich Wilhelm Lehmbruck (1881–1919). His friend Amedeo had slept off his intoxication many a night in Heinz Witte-Lenoir's apartment in a desolate state, among birds of paradise and strange oriental animals that populated the walls. Amedeo was sick. Tuberculosis, alcohol and other drugs accompanied his life. He was gifted, taciturn, and loud in discussions. Dante he could recite page after page by heart. He always had the Bible and Dante's Divine Comedy with him. In 1913 Modigliani “La Butte” left Montmartre and moved to Montparnasse .
From 1911 to 1914, Heinz Witte-Lenoir lived permanently in Paris . His friends there named him “Le Noir, the Black” after seeing his dark pictures painted in India.
Heinz Witte-Lenoir took on a teaching position at the Tagore University Shantiniketan and acquired the title of professor.
Until his death, he remained true to his style (representational, based on impressionism). But his painting was permeated with contrasts, as if two painters were united in one. The bright pictures were mainly made in France in earlier years. The darker pictures are mainly shaped by his trips to India. Due to many different influences such as frequent changes of residence, travel, war damage, etc., many works are currently still undetectable or have been permanently lost. In the catalog raisonné there are still around 750 works from his hand. Like the works of many other artists of his time, his pictures were not acceptable to the National Socialists. Participation in exhibitions is out of the question during this time. After the destruction of his apartment, studio and a large number of his works in Berlin as a result of the war, he returned to his Oldenburg homeland. A lot of graphic works were created from 1944 to 1946. Not many works have survived from his stays in Dötlingen and Wildeshausen . His works were shown in numerous exhibitions, including in Paris, in the Kunsthalle Bremen in the 1920s, after the war in Oldenburg, Aachen, Cologne and many other places.
Ludwig Fischbeck
Ludwig Fischbeck (1866–1954) was an Oldenburg court art dealer, painter and etcher and, after completing his training as a decorative painter, studied under Joseph Wenglein at the Munich Art Academy. Ludwig Fischbeck's father wanted to give his art-loving son a better and solid economic basis for his future life and bought him a business that dealt with gilding, picture framing and art trading. Without further ado, Ludwig Fischbeck was summoned home from Munich, and the artist's dream was over. Despite all the hustle and bustle in the art trade, Ludwig Fischbeck continued to pursue painting and etching. Almost every Sunday he went out to the Oldenburger Land and discovered more and more picturesque motifs in the forest, heather, marshland and geest. Often and happily, chief editors Wilhelm von Busch and Ludwig Fischbeck hiked together from the Huntlosen train station via Ostrittrum to Dötlingen to talk lively about art and artists with the painter Georg Müller vom Siel. The fact that the host's latest creations came tothe fore was a matter of course. Georg Müller vom Siel was not only a recognized painter, but also a master of the art of etching, a fact that Fischbeck, who also knew how to work with an etching needle, was particularly familiar with attracted. In the field of graphics, Ludwig Fischbeck also received valuable suggestions from the Oldenburg painter Marie Stein. After her marriage to the Egyptologist Hermann Ranke, she went downin German art historyas Marie Stein-Ranke . She won first prizes at well-known etching competitions in Paris and Leipzig. Ludwig Fischbeck, Georg Müller vom Siel and Marie Stein-Ranke were among the top artists in northern Germany in the field of etchings.
Marie stone tendril
Marie Stein-Ranke (1873–1964) studied in Düsseldorf, Munich, Paris and Berlin. She was a founding member of the Oldenburger Künstlerbund (OKB) and a member of the Association of Northwest German Artists (VNWK), although after her wedding she had settledin Berlinwith the Egyptologist Hermann Ranke . From 1902 Marie Stein stayed regularly with her painter friend Georg Müller vom Siel in Dötlingen. She portrayed Georg Müller vom Siel several times. In Georg Müller vom Siels "Haus Meineck" she also met other artists and exchanged ideas with them. She also had a good relationship with the local painter and art dealer Ludwig Fischbeck . As is often the case with artist friendships, Georg Müller vom Siel and Marie Stein also exchanged works. In his estate there were numerous etchings by Marie Stein. Some of them were handed over to the State Museum, including the portrait of a singer by Johanna Rothschild. After her stay in Paris, the Bremen lawyer, art collector and patron Hermann Henrich Meier became aware of the Oldenburg graphic artist. Meyer was the son of the founder of North German Lloyd. His graphic collection of around 60,000 sheets forms an essential part of the graphic department of the Bremen Kunsthalle. Here are 57 previously unpublished etchings by Marie Stein, which she sold to the art collector in the spring of 1899.
Anna Feldhusen
Anna Feldhusen (1867–1951) was apainter and graphic artist who was born and diedin Bremen . Her main interest was still life and landscape. There were only a few figurative representations in the artist's work. Anna Feldhusen was drawn to nature to find motifs for her works there. The heath and the moor appear again and again in her extensive work. On her daily wanderings, she observed the play of light and shadow and brought what she saw onto the canvas with expressive broad brushstrokes. She completed her studies in Munich with Caroline Kempter (1856–1925), Oskar Graf (1870–1955) and Maximilian Dasio (1865–1954). Maximilian Dasio introduced her to the graphic techniques of etching and lithography. In Worpswede she became a student of Fritz Mackensen (1866–1953) and Hans am Ende (1864–1918). The latter was chosen because the latter was considered a master of etching. She also took inspiration from Georg Müller vom Siel (1865–1939)during her stays in Dötlingen. Here she also met several times with the etcher Marie Stein-Ranke (1873–1964), who was one of the most outstanding portrait erasers in Germany. Anna Feldhusen also made a name for herself as a graphic designer. Her etchings and aquatint works show her high technical ability. This is documented in the current account book of the “Worpsweder Künstlerpresse”. They carried out around 150 orders from her and printed more than 1000 sheets in the process.
Marie Stump
Marie Stumpe (1877–1946), called "Mieze" by her friends, was one of Georg Müller vom Siel's students around 1905/06. While she was taking painting lessons, she lived in the Hotel Gut Altona and rode her bike from there to Georg Müller vom Siel's painting school. She was so enthusiastic about the hunte , the gorse and the heather that she wanted to stay in Dötlingen permanently. Her husband, Siegmund Stumpe, was a successful tobacco importer in Bremen. He agreed to his wife's plan to build a summer house in Dötlingen. Having a summer house near Bremen was quite common among Bremen's upper middle class. In 1905 he bought a plot of land in the Goldberg Mountains and built a wooden villa that later burned down.
Marie Stumpe had a happy time in Dötlingen for years in the summer months. As a rule, her husband stayed in Bremen to go about his business. But on the weekends he stayed with his wife in Dötlingen. Marie Stumpe ran a hospitable house. She organized parties for the neighbors and for the wide circle of friends in Bremen. In order to have variety in daily life and also to get artistic inspiration, she invited artist colleagues to Dötlingen. They could spend the summer in their house. The artists who lived with her and pursued her artistic work in Dötlingen included the Bremen painter Fritz Cobet (1885–1963), the Berlin Otto Heinrich (1891–1967) and the Bremen painters Toni Elster (1861–1948) and Anna Feldhusen (1867-1951). Her great painting skills are documented in individual works that are in private ownership in Dötlinger. Your entire work is lost. In 1939 Marie Stumpe traveled to America for a visit and died there in 1946. Only her urn returned to Germany. She was buried in the Dötlinger Friedhof.
Fritz Cobet
Fritz Cobet (1885–1963) was a scion of a French Huguenot family. His artistic talent was noticed from an early age. Art was in his blood, so to speak. His mother Amalie was the daughter of the Düsseldorf genre painter Carl Hilgers (1818–1890). The takeover of his parents' wine and spirits wholesaler was therefore out of the question for him. After studying at the art academy in Kassel and the University of Fine Arts in Munich, his first independent work took place in the Dachau artists' colony. Fritz Cobet came to Fischerhude for the first time around 1910 and was enthusiastic about the north German landscape. The Fischerhude art scene was already home to the first Fischerhude artist, "artist father" Heinrich Breling (1849–1914), Wilhelm Heinrich Rohmeyer (1882–1936) and Otto Modersohn (1865–1943), who, like Fritz Cobet, was also born in East Westphalia. Other artists were added later. Fritz Cobet moved to Bremen in 1926. He belonged to the Bremen Artists Association and, together with colleagues, organized the lavish artist festivals in the "Bremer Centralhallen" in the twenties and thirties. Fritz Cobet often came to Dötlingen from Bremen. Here he lived with his painter friend Marie Stumpe (1877–1946). Renate, the daughter of Fritz Cobet, was baptized in Dötlingen. The godmother was Bärbel Stumpe, the daughter of Marie Stumpe. The railway connection from Bremen via Delmenhorst to Dötlingen made it possible for Fritz Cobet to stay here regularly to pursue his artistic work.
Hunte near Dötlingen
In the gold mountains
Heathland near Dötlingen
Toni Elster
Toni Elster (1861–1948) came, like almost all of Bremen's top artists, from an old merchant family in Bremen. Amazingly, she did not decide to become a painter until she was 36 on her sick bed. After her recovery, Toni Elster moved to Munich. At first she mainly occupied herself with watercolors. In the nineties she made a trip to Scotland to studylandscape with thewatercolourist John Terris (1865–1914),who was very much appreciated at the time. In 1897, when she returned to Munich, she took lessons from the landscape painter Fritz Baer (1850–1919). She began to lead a life between her studios in Munich and Bremen, in summer in Munich and in winter in Bremen. Before starting her summer trip to Munich, Toni Elster regularly visited her artist friend Marie Stumpe (1877–1946) in Dötlingen. Together they both looked for landscape motifs, which were then recorded in sketches. “They say Miss Elster is an elderly lady. If that's true, how was it possible that so much skill remained hidden for so long? ”When Toni Elster and Margarethe von Reinken took part in a collectiveexhibitionin the Bremen Kunsthalle in1924, the press was visibly surprised. One admires the “complete mastery of the craft” and sees in her exhibits “masterpieces of an impression that has all the means and yet knows how to maintain that frugality that only deliberate security can afford ... Frl. Elster is most free in her Port motifs ".
Gertrud Freifrau von Schimmelmann
Gertrud Freifrau von Schimmelmann (1875–1945) was also one of Georg Müller vom Siel's students. Gertrud von Schimmelmann was born as Elise Gertrud Strube in her parents' apartment at Schönebecker Str. 124 in Magdeburg-Buckau on November 12, 1875. The parents were the manufacturer Louis Strube (steam engine and boiler fittings) and Auguste Strube nee. Hedloff. After attending the Rosenthal School in Magdeburg and a year of retirement in Lausanne, where she had taken drawing lessons from Genser from the Paris Academy, and after a further six months in Paris with studies in the Louvre , further training took place in the studio of Wedepohl and in the painting school of Fleck .
In 1894 she married Lieutenant Ernst Freiherr von Schimmelmann from Frankfurt / Oder. She followed her husband to Paderborn, Naumburg and Minden. In November 1913 she went from Minden to Oldenburg with her husband. This served in the Oldenburg Infantry Regiment No. 91 and was major of the staff under His Royal Highness the Grand Duke Friedrich August . He ended his career as a lieutenant colonel in 1921 and died on May 10, 1953 in Oldenburg.
Gertrud von Schimmelmann studied painting under Hugo Zieger in Oldenburg . Further studies in outdoor painting took place with the painter Georg Müller vom Siel in the artists' colony Dötlingen. Gertrud von Schimmelmann stayed in Dötlingen for several years during the summer months. She mainly painted landscapes, preferably the heathland. She later found her heather motifs in particular in the Lüneburg Heath and near Wilsede. Westermann's monthly magazine published the picture of a birch near Huntlosen as early as the May issue of 1928. The heather picture folder "Mein Heideglück" was published by Westermann Druck- und Verlagsgruppe / Braunschweig. The painting “Spring Awakening” was acquired by Norddeutscher Lloyd for the steamer “Bremen”. Gertrud Freifrau von Schimmelmann died on September 29, 1945 in Oldenburg.
Louise Droste – Roggemann
Louise Droste-Roggemann (1865–1945) had her roots in Bad Zwischenahn in the Ammerland region. After finishing school, she confidently made the decision towards her parents to train as a painter. An inheritance had given her enough money to be able to undertake not only her education but also related trips. Louise Roggemann studied art in Weimar and Dresden at private art academies. In both cities there were art academies and thus academically trained teachers who made a living in their free time by giving private painting and drawing lessons. Since women were not yet admitted to an art academy at that time, only private studies were considered for them. In Dresden she also met the Oldenburg painter Bernhard Winter.
Louise Roggemann lived in Bad Zwischenahn again from 1901 and soon met the Bremen merchant Oskar Droste (1851–1941) who had taken over a peat factory in the town. With her marriage in 1902, Louise now had the surname Droste-Roggemann. In 1904 a daughter was born who would remain the only child. Since her return to Bad Zwischenahn, the painter has taken every opportunity to paint in the great outdoors. Although Louise Droste-Roggemann was now limited in time, she visited the Dötlinger painter Georg Müller vom Siel in the summer months of 1905, who had lived there permanently since 1896. It must be assumed that Louise had frequent contact with the Dötlinger painter. In the following years the painter's artistic activity declined noticeably. Housewife activities and the upbringing of her daughter took up all the more. She also showed a keen interest in architecture and flowers. These issues became more and more important in her life.
The themes of her oil paintings were in particular untouched moor and heather motifs, such as the Ammerland and Oldenburger Land had in abundance at that time. She recorded precise depictions of a nature that was still intact but fragile at the time on canvas or wooden panels, whereby the influences of the painter Georg Müller vom Siel can be seen in her painting style in many of her pictures. Your work is now an important document of the past. Precisely because of this and because of the outstanding skills of this talented artist, it is an obligation to preserve the memory of her.
Hedwig Ranafier-Bulling
Hedwig Ranafier-Bulling (1882–1961) dealt intensively with painting and drawing from an early age. Her artistic training took place under expert guidance. This was particularly evident in her broad painting technique in portrait and landscape painting, in watercolor, pastel and oil painting and in her mastery of red chalk and charcoal drawing. From 1900 the academically trained painter Georg Müller vom Siel maintained a private painting school in Dötlingen for a few years, which he opened to women in the summer months because they were still denied access to an academy at that time. It is not known how often and in what years Hedwig Bulling was a guest of the famous landscape painter. At the beginning of the 20th century, Hedwig Bulling stayed in Munich for a long time, where he enjoyed further professional artistic training. Since it was only possible for women to study at the Art Academy in Munich from 1920, it can be assumed that she completed a degree at the Royal School of Applied Arts in Munich. After her training, the now fully trained painter returned to Oldenburg and joined the Oldenburg Art Association. By joining, Hedwig Bulling had the opportunity to take part in the 339th art exhibition of the Oldenburger Kunstverein, which took place from November 15, 1912 to December 15, 1912. At this exhibition she presented the paintings “House with Vine Leaves”, “View from Goldberg near Dötlingen” and “Heidelandschaft” to the public. On December 14, 1928, Hedwig Bulling married the Reichsbahnoberrat Max Ranafier.
Gretchen Francksen
Gretchen Francksen b. Brunken (1886–1975) stayed with Georg Müller vom Siel in Dötlingen in1905 until she married. Here in his painting school she had contact with many other artists, primarily the daughters and wives of Hanseatic merchants from Bremen. Itcould not be conclusively determinedwhether there was a family relationship with the jungle painter Margarethe Francksen-Kruckenberg (1890–1975). Margarethe Francksen-Kruckenberg also died in 1975.
Heinrich Th. Ackermann
Heinrich Th. Ackermann (1879–1937) received his artistic training from Gerhard Bakenhus (1860–1939) in Oldenburg. After studying at the Karlsruhe Academy and under Gustav Schönleber in Berlin, Gerhard Bakenhus founded the so-called "Kreyerbrücker Schule". His students also included u. a. Hugo Duphorn (1876–1909), Wilhelm Kempin (1885–1951), Hermann Böcker (1890–1978) and Heinz Witte-Lenoir (1880–1961). Heinrich Th. Ackermann lived in Delmenhorst and regularly took the train to Dötlingen in the summer months to capture and implement his landscape motifs. Heinrich Th. Ackermann was born on February 3, 1879 in Hötzelroda and died on April 15, 1937 in Bremen .
Karl Dieckmann
Karl Dieckmann (1890–1980) was born on August 11, 1890 in Bremen. He is also connected to painting, but basically did not want to be a picture painter. Many watercolors with motifs that have documentary value, however, testify to a sure mastery of the brush and the color. Karl Dieckmann attended the arts and crafts schools in Bremen and Munich and then turned to decorative painting. In churches, he was also partly active in fresco paintings. After the First World War, which he experienced in his Bavarian regiment, he was primarily employed by the military to paint the halls of honor for the various traditional units with battle boards, coats of arms, etc. busy. Watercolors of old Lower Saxony houses, sheep stables and ovens have been rewarding tasks in recent years. The hiking maps set up in Dötlingen and the new town sign are also from his hand.
Lotte Dieckmann
Lotte Dieckmann (1894–1945) came from Munich. She was the wife of the painter Karl Dieckmann. The artist couple had moved from Bremen to Dötlingen. Lotte Dieckmann gained a great reputation as a portrait photographer in the 1930s and 1940s. The reason for their success was not only the technical mastery of their profession, but the ability to apply artistic means. Celebrities from politics, business and art sat in front of her camera. The commission in 1935 to portray the last German emperor, Wilhelm II , in his Dutch exile in Doorn and his second wife, Hermine, was a special experience for the Dieckmann couple . After 1936, a Dötlingen illustrated book with her photos appeared in the "Ziehbrunnen picture series" of the Schulzeschen publishing house in Oldenburg. She was particularly interested in the farmers and the traditional rural scenes. At a time when Dötlingen was already being regularly visited by townspeople, when townspeople were the first to settle here and when the railroad touched the village, she drew a picture of a primitive farming village with her camera. Lotte Dieckmann was already working with color films before the Second World War. An illustrated book about Dötlingen with character studies of various long-time residents also gave her a great reputation in her adopted home. Lotte and Karl Dieckmann had two sons who both died in the final weeks of the war. Lotte could not bear the loss and chose suicide.
August Kaufhold
August Kaufhold (1884–1955) began an apprenticeship with the industrial painter Otto Bollhagen in Bremen at the age of 14. In addition to other work, he was also in church paintings, u. a. the Bremen Cathedral, the cotton exchange and the decorative painting of Lloyd steamers. His art education began in Dresden and was continued at the Munich Art Academy. August Kaufhold made the “artist's one year” with the best grade and at the age of twenty-one became a master student of the well-known animal painter Heinrich von Zügel (1850–1941). During his student years, he took his first summer trips to Dötlingen.
On Saturday, November 23, 1907, the art critic Wilhelm von Busch (1868–1940) wrote on the occasion of an art exhibition by the Kunstverein in the Augusteum in the “Nachrichten für Stadt und Land”, Oldenburg: “ August Kaufhold, Wildeshausen, exhibits two strange heather pictures. A new, unknown name, perhaps a summer visitor to the old Huntestadt who ended up there. In neighboring Dötlingen there are also painters and painters who live constantly. “This“ unknown summer guest ”was August Kaufhold. The passionate animal painter offered the most rewarding motifs in the moving landscape around Dötlingen.
After building a house in 1907, when he was only 23 years old, August Kaufhold settled in the Dötlingen artists' colony and remained loyal to his adopted home until his death in 1955. On the occasion of his 70th birthday, the Wildeshauser Zeitung wrote "If you can speak of a painter who cherishes and cares for the love for animals and knows how to combine nature and art with a fine hand, then it is August Kaufhold".
August Kaufhold dedicated his art to the varied landscape, he painted the village, its streets, its farms and again and again sheep and cows. They appear in his pictures like individuals, like proud residents of the Dötlinger landscape. The high-contrast "games" with light and dark and light and shadow let the animals step out of the picture frame under advantageous lighting. August Kaufhold was a great animal lover. That's why he always made his four-legged friends look correct and advantageous in his pictures. August Kaufhold had his first artist house built in the Goldberg Mountains in 1908. A typical reform villa with a view of the hunt. However, he lived here for only two years and then sold the representative house. He built the first Lopshof on the Heideweg, below the Gierenberg (then called Petersberg). The location of his artist domicile according to his own design was just outside the populated area, in an almost wild natural landscape. The Bremer Sportzeitung wrote in 1920: “ In every room of his small, single-storey house, the gaze falls on something beautiful and special, on wonderful old chests, cupboards and equipment . In 1925, a stroke of fate struck him. His lovingly furnished house burned down, with all the treasures of folk art that he had collected over decades ”. With the money from the fire insurance, he built a large boarding house to offer fellow artists a hospitable home. Georg Müller vom Siel had already taken this route before him. August Kaufhold received regular visits from artists and those interested in art. In particular, the nearby artists such as Ludwig Fischbeck (1866–1954), Heinz Witte -Lenoir (1880–1961) and many others liked to visit the Dötlingen artists' colony.
Karl Dehmann
Karl Dehmann (1886–1974) came to Dötlingen in 1908 at the age of 22. Karl Dehmann had learned to paint at the applied arts school in Hamburg. Apparently Dötlingen's reputation had penetrated the Hamburg student circles. Dehmann found his first accommodation in Dötlingen in a cottage belonging to farmer Bührmann. He set up a simple apartment with a studio here. August Kaufhold and Otto Pankok worked in the neighborhood. Karl Dehmann mainly painted Dötlinger village scenes, but also still lifes. His pictures, influenced by Impressionism, always seem a little casual, never pathetic. After being captured by Russia in the First World War, Karl Dehmann returned to Dötlingen with his wife Sonja. He met his wife in Russia, who was a Red Cross nurse at the time. Due to the political situation - Karl Dehmann's wife Sonja was a Jew - the Dehmanns decided to leave the country in 1939 and went to America. They lived in the New York area until their death.
Cornelius Rogge
Cornelius Rogge (* 1874, † 1936) acquired his artistic skills autodidactically. He was a very good eraser. With his sister Emy Rogge he set up an etching workshop in Worphausen from 1922. Here he mainly made colored etchings with motifs from the northern German landscape, especially the landscapes around Worpswede and Dötlingen. His work has become known throughout Germany and abroad through art postcards. In Worpswede they say that when business goes bad, his work is signed by his sister. So he could get a much better price. The Rogge siblings also had their etchings printed by a printer in Berlin. Numerous copper plates from the etchings during the Second World War were lost here.
Emy Rogge
Emy Rogge (1866–1959) or Emmy, baptismal name Emelie, was born in Schweewarden at the mouth of the Weser. The father was a private banker and the mother comes from a Leipzig artist family. Emy Rogge gets the inspiration for drawing from her mother. From 1891 she lived with her uncle, the sculptor Oskar Rassauer (1843–1912), in Dresden. In Dresden she received drawing lessons from Carolin Friedrich (1828–1914) and another art teacher. She then attended the painting schools of Paul Müller-Kaempff (1861–1941) and Georg Müller vom Siel (1865–1939) in the artists' colony Dötlingen and Gerhard Bakenhus (1860–1939) in Kreyenbrück, with whom they also founded in 1904 in Oldenburg Artist Association is listed. All three play a major role in the development of Oldenburg landscape painting, which has developed parallel to Worpsweder since around 1885. With their own painterly handwriting, they also take nature as their model, reflect the sensual experience of moor, heather and marshland in the changing light and air conditions of the seasons.
Emy Rogge's grandfather and Georg Müller vom Siel's grandmother were siblings. Emy Rogge was only a year younger than Georg Müller vom Siel and during her childhood the families lived in close proximity to each other. It can therefore be assumed that there were constant family contacts between the family members. Both Georg Müller vom Siel and Emy Rogge took part in the 290th art exhibition of the Kunstverein Oldenburg. The Oldenburgische Nachrichten reported on February 18, 1898 "Müller vom Siel is delighting us again with a summer day picture in his well-known, sunny, warm and cozy way: Source in Dötlingen (150 cm x 200 cm)". Emy Rogge through two fresh and briskly painted flower pictures: chrysanthemums (114 cm × 77 cm) and anemones (53 cm × 65 cm). In her reports Emy Rogge mentions that she stayed several times in 1901 and 1902 at Georg Müller vom Siel's painting school in Dötlingen.
From 1902 Emy Rogge worked in the Berlin “Kaiser-Friedrich-Museum”, later the Bode-Museum . Your main job here is to copy old masters. In 1922 she went to Worpswede. Here she makes numerous paintings and etchings. Together with her brother Cornelius Rogge, Emy Rogge set up an etching workshop in Worphausen. Both colored and signed etchings. Some of these are sold as postcards. This made the works of the Rogge siblings widespread.
Franz van der Glas
Franz van der Glas (1878–1964) came from an old Dutch family of artists. Painters and composers emerged from the family. As the son of a master painter, he had to help his father after leaving school and rub the colors himself, whose durability and luminosity are known, according to old craft customs and old family recipes. Franz van der Glas devoted himself to art from a very young age. In Munich he studied art with Brandes. From here he began his study trips to Italy and Austria. In Saxony he restored old frescoes in some castles. After years of traveling, he decided to make Germany his second home. At first he stayed in Bremen. Here he met his wife and lived on Römerstrasse. From Bremen he often took the train to Dötlingen during the summer months. Air raids during the last world war destroyed both of his houses in Bremen. He temporarily moved to Worphausen. Franz von der Glas bought a house on Moorhauser Landstrasse in Lilienthal in 1955 . Here he spent his old age.
Hermann Dick
Hermann Dick (1875–1958) was born on February 27, 1875 in Düsseldorf. He studied in Munich, Berlin and Paris. Hermann Dick and his Russian friend, the painter Lubow Letnikof, came to Dötlingen for the first time on June 1, 1911. Then Hermann Dick went to Worpswede via Moscow, Paris. In 1914 he fled Belgium to Paris and was interned there. These data can be found in a diary of Edwin Könemann, a friend of Hermann Dick. Edwin Könemann is the builder of the so-called “ Worpsweder cheese bell ”.
A self-portrait (1927) by Hermann Dick is in the Museum Ludwig in Cologne. The Museum Ludwig also has other drawings by Hermann Dick in its collection, including five female nudes, the Dollendorfer mill near Ahrhütte / Eifel, ancient Chinese acrobats and kitchen interiors. All drawings were made between 1933 and 1935.
Further works are in the Suermondt Museum, Aachen, in the Ruhmeshalle in Barmen and the municipal art collection in Düsseldorf.
Postcard from Dötlingen 1911
Postcard from Dötlingen 1911
Sketch by Lubow Letnikof 1911
Sketch by Lubow Letnikof 1911
Hermann Dick: Alley of trees
Hermann Dick: Clown 1935
Hermann Dick: reading girl
Hermann Dick: Foals
Wilhelm Scholkmann
Wilhelm Scholkmann (1867–1944) was born on December 25, 1867 in Berlin. The forgotten among the “Worpswede artists” appeared for the first time in 1900 in Worpswede and finally settled there in 1910 and died in the summer of the war year 1944 in the Worpswede poor house. Wilhelm Ludwig Scholkmann began his art education in Munich . From 1889 he attended the Heinrich Knirr (1862–1944)painting school in Munich. At the academy, Wilhelm Scholkmann alsostudiedwith Ludwig von Herterich (1856–1932) and Johann Leonhard Raab (1825–1899). From 1891 Wilhelm Scholkmann stayed for further training in the artists' colony Dachau and then went to art academies in Paris and Düsseldorf. In 1908 Wilhelm Scholkmann moved from Berlin back to the northwest. He went straight to the Dötlingen artists' colony. Wilhelm Scholkmann was registered in Dötlingen from October 5, 1908 to May 7, 1910. From Dötlingen in 1909 Wilhelm Scholkmann exhibited two pictures in the 328th exhibition of the OKV. The insurance values for the pictures “Before the start of the service” were 3,500 Reichsmarks and “At breakfast” 1,500 Reichsmarks. In particular, he had worked hard for six months on his large painting “Before the Service Started”. He was u. a therefore moved to Dötlingen. On October 17, he wrote in his diary: “Working out the details of the interior of the church has not always been a pleasure. This picture should now be my last attempt to penetrate as a figure painter, at least here in northern Germany. I am certainly counting on this picture to attract considerable attention. ”What fate may the picture of the church in Dötlingen have met, which the painter himself considered to be his best? Incidentally, the charming young daughter of the local chaplain, the "Pastorengretel" eternalized on it, is the artist's great unrequited love.
Carl Lohse
Carl Lohse (1895–1965) was born in Hamburg . With the support of Alfred Lichtwark , he was able to attend the state trade school and Arthur Siebelist's painting school in Hamburg from 1909 to 1910. In 1913 Carl Lohse studied at the Academy in Weimar with Albin Egger-Lienz and Fritz Mackensen . At this time he also met Otto Pankok , and the two became friends. Lohse then visited his friend Pankok between 1913 and 1914 in the countryside in the Oldenburg village of Dötlingen. It is very likely that Carl Lohse found inspiration for a number of his rural motifs in Dötlingen. During this time, Carl Lohse visited galleries in Holland and experienced the works of Vincent van Gogh, among others. He spent most of his life in Bischofswerda . The early work produced here between 1919 and 1921 is particularly noteworthy. Abstraction and simplification are taken to extremes at Lohse. His work was influenced, among other things, by the examination of the works of Vincent van Gogh . Thematically, Carl Lohse dealt primarily with portraits and nudes, but also with landscapes and depictions of architecture and working life. Much of Lohse's work is privately owned. The city museum in Bautzen has the largest public collection of Lohse's important early work. In 2005, these 32 works were sold for 270,000 euros (40,000 euros of which were provided by the city itself, the rest from sponsors and donors) in coordination with the Carl-Lohse-Galerie in Bischofswerda , which itself did not have the financial means to buy the works. Acquired from private ownership. An important part of Lohse's work has thus returned to the region where it was created.
There is a note from Carl Lohse about Dötlingen. He writes: “It was summer 1914 when Otto Pankok and I had moved to Holland via Dötlingen and Haselünne in order to have been to beautiful Holland once. I didn't know any of this yet. Otto was familiar with it, however, and also knew his Dutch in Volendam and on Marken in the Zuidersee. While we were roaming the various cities and galleries, we read the news of the Sarajevo shooting . We broke off immediately…. We didn't doubt that there would be war and so, if we wanted to get home carefree, we had to pack our seven things ... I was just able to use the last official express train from Bremen to Hamburg before the entire railway network was closed to all civil traffic was. Otto was soon drafted. I had time until the spring of 1915…. In between I went back to Dötlingen to bring my work home. Ary Bergen (1886–1950) accompanied me. I found nothing of my things, except for a few stretcher frames from which the pictures were cut out…. We drove back home depressed. "
Otto Pankok
Otto Pankok (1893–1966) began studying at the art academies in Düsseldorf and Weimar at the age of 20, but broke it off in the spring of 1914 in order to go to Dötlingen with his college friend Carl Lohse and continue his autodidactic training. Otto Pankok: "A wonderful year began in Dötlingen in tremendous loneliness, indulging in coal and paper, searching for the essence of the human. I tried to be as close to nature and the elements as these simple people in their huts and on their fields to which my instinct drove me. " As early as autumn 1914 he showed his first Dötlinger works in the Lappan in Oldenburg. In the same year he went on a study trip to Holland with Werner Gilles and traveled for an indefinite period to Paris, where he studied at the Académie russe and the Académie de la grande Chaumière . But after just two months he returned to the common people in Dötlingen, where friends and colleagues repeatedly visited him for weeks, including Hermann Hundt (1894–1974), Richard Gessner (1894–1989), and Gert Heinrich Wollheim (1894–1974 ) and Werner Gilles (1894–1961).
In 1913, through the mediation of the Oldenburg art critic Wilhelm von Busch (1868–1940), Otto Pankok's first collective exhibition was held in the Oncken art dealership in Oldenburg. In the same year, with financial help from his grandmother, he bought a farmer's cottage in Dötlingen, set it up for painting and gave it to the poor in the village after being drafted in 1914. His biographer associates Dötlingen with “the formative encounter with his artistic life task” and can refer to Otto Pankok's own statements. The "puckular Menken Trina" was - like her overgrown brother - one of his Dötlinger models. He reproduced her sitting on the side of a rush chair in her room, with the light falling only on the carelessly inclined face and the worked hands crossed over the knees, an arm and an outcast to whom his brotherly sympathy goes out. The romantic landscape of the Hunt Valley, which Georg Müller vom Siel had often adopted as a motif, played no role in Otto Pankok's Dötlinger work.
In the first winter of the First World War, 1914, Otto Pankok was called up for military service, which took him to the Western Front in northern France, where he was buried when a ditch was blown. Long stays in hospitals and sanatoriums followed until he was dismissed from military service in 1917. When, at the end of the war in Vechta, he took sides in the revolutionary conflicts with leaflets and woodcuts, he was expelled from the city. After several trips to Berlin and Remels in East Friesland, he settled in Düsseldorf in 1919, joined the artist group “Young Rhineland”, to which Otto Dix was one , and became involved in a rebellious group of artists around Johanna Ey with publications in the magazine “Das young Rhineland ”, the folders“ Aktivistenbund ”and“ Das Ey ”.
Otto Pankok and Gert Wollheim had the intention of founding a painters 'colony similar to the Worpswede artists' colony. They planned to set up this in Dötlingen or in Remels. They asked their old teacher and director of the Weimar art school Fritz Mackensen for advice. He wrote to them: “ Dear Sirs, I would like to think that you will remember me. I am also happy to advise you. So you want to found an artist colony! And based on my example? Imagine, I never intended to found an artists' colony! So I don't know how to start it. Neither myself nor my colleagues had the intention of founding an artist colony. ” (Letter of October 12, 1919, Otto Pankok Archive, Haus Esselt.) Otto Pankok's works are and will be influenced by his great role model Vincent van Gogh mostly associated with expressive realism due to their lines and color palette. Large-format charcoal paintings (monochrome) are typical of Otto Pankok. He left behind an extensive graphic work. In contrast to the paintings, his wood prints and mono prints are often of a restrained color scheme. The pictures show people, animals and landscapes, realistic and expressive. Otto Pankok's life's work comprises over 6000 charcoal drawings, almost 800 woodcuts, over 800 etchings, around 500 lithographs, stone cuts and monotypes as well as numerous drawings for the Düsseldorf newspaper “Der Mittag” and over 200 sculptures.
Gert Wollheim
Gert Heinrich Wollheim (1894–1974) was born in Dresden as a millionaire's son with Jewish ancestors on his father's side. After his ordeal at school and permanent tensions with his mother in his parents' Grunewald villa in Berlin, he made the decision to become an artist in 1911. After a short stay at Hans Lietzmann's open-air nude school in Torbole on Lake Garda from May to September 1911, his father registered him at the Weimar art school . Here he studied with Gottlieb Elster (1867–1917), Gari Melchers (1860–1932), Fritz Mackensen (1866–1953) and Albin Egger-Lienz (1868–1926). In addition to Otto Pankok, Gert Wollheim got to know a number of artists here, whom he later met again in Düsseldorf. In June 1913 he returned to his parents' house in Berlin. From here he visits his friend Otto Pankok in Dötlingen and from the summer of 1914 he has to experience the horror and suffering of the First World War. In 1917 Gert Wollheim met Otto Pankok again in Berlin. They both knew each other from studying together in Weimar in 1912. After Gert Wollheim was seriously injured by a shot in the stomach in 1917, he began his large-format anti-war paintings in Berlin as early as 1918. During his fighting time in Düsseldorf from 1919 to 1924, the name Gert Wollheim was always a guarantee for tangible disputes. For some he was the intelligent, imaginative “art politics guru” of the rebellious anarcho scene. For others, he was a dangerous weirdo and a dream. The meeting with the 55-year-old art dealer Johanna Ey was decisive for Gert Wollheim. After initially dislike, she quickly found a liking for Gert Wollheim. No sooner had “Ey” exhibited Gert Wollheim's portrait of “Otto Pankok” and Otto Pankok's portrait “Wollheim with a violin” in her window than the conservative bourgeois Düsseldorfers formed a laughing and cursing crowd in front of the window. This situation prompted Johanna Ey to continue exhibiting the “Moderns”. As a person of Jewish origin, Gert Wollheim fled to Paris in 1933 and took part in the activities of organized emigrants there until 1939. In 1939 he was arrested. It comes to various collective and work camps. He uses the opportunity to escape through a friend. He hid in Nay / Basses Pyrenees for two years and returned to Paris in 1945. In Paris, Düsseldorf and Berlin he had to discover the loss of 800 works. These were destroyed as "degenerate" or destroyed by the effects of war. After 1947 Gert Wollheim began a second creative phase in New York. Gert H. Wollheim died on April 22, 1974 in New York.
Hermann Hundt
Jean Baptist Hermann Hundt (1894–1974) attended the Düsseldorf Art Academy and belonged to the “Young Rhineland” group. Hermann Hundt, known as "Manne", was a school friend and childhood friend of Otto Pankok. Before the First World War, he began studying at the Düsseldorf Art Academy. From 1913 to 1914 he was together with Otto Pankok and Gert Wollheim in the artists' colony Dötlingen. Hermann Hundt had taken his apartment in the "Spieker" with the Meyer family. After the First World War in 1919, Hermann Hundt went to Remels with Otto Pankok and Gert Heinrich Wollheim . Then he continued his art studies in Düsseldorf. He was a master student of Heinrich Nauen . From 1922 he joined the “Young Rhineland” artists' association. Hermann Hundt moved in the circle of Johanna Ey. In 1925/1926 he stayed in Italy (Capri) and in 1926 won the city of Düsseldorf's Grand Prize. In addition to painting, he also received orders for glass windows, murals and sculptures.
Richard Gessner
Richard Gessner (1894–1989) is one of the great artists of the Rhineland who, based on his studies at the Düsseldorf Art Academy, set important accents in this region and has not been absent from any of the major exhibitions for decades. From 1913 he studied at the Düsseldorf Academy with Leo Spatz and Max Clarenbach . Sigrun Gessner writes in her memories of Richard Gessner “Painting is life”. “… Richard spent the unfortunately too short summer of 1914 in Dötlingen an der Hunte with Otto Pankok, whom he greatly admired. … Richard told me very often about this time with Otto Pankok, which seemed very important to him for his development, for example that they stacked branches and twigs for their study sketches and then shifted them over and over again. After such a long time he remembered Otto Pankok's verse on the Dötlinger cat door: "
- Otto Pankok lives here.
- Don't bother him
- take care
- otherwise he'll shoot the pistol straight away.
In addition to pencil drawings, the oil paintings "Storm Day" and "Heidelandschaft" have been proven to have survived from the Dötlinger period. Other works are probably in unknown private ownership.
Werner Gilles
Werner Gilles (1894–1961) spent his youth in Mülheim / Ruhr. He was a school friend of Otto Pankok and Hermann Hundt and visited both in Dötlingen. He began his art studies in 1914 at the art academy in Kassel. His studies were interrupted by military service. 1919-23 he began studying in Weimar at the art academy and at the Bauhaus. Werner Gilles was a student of Lyonel Feininger (1871–1956) and friends with Oskar Schlemmer (1888–1943). Lyonel Feininger was appointed by Walter Gropius (1883–1969) as head of the graphic workshop at the State Bauhaus in Weimar. From 1924 to approx. 1927/28 he stayed with interruptions in Düsseldorf and in the circle of Johanna Ey (1864-1947). From 1924 Werner Gilles showed his first pictures in Johanna Ey's shop window. Werner Gilles traveled to Italy (Florence and Capri) with Otto Pankok in 1924 and to southern France (Sanary and Le Brusc) in 1927. In 1931 he received a Rome scholarship from the Villa Massimo . In 1932 Werner Gilles painted in Norway, from 1933 to 1935 he stayed in Berlin and on the Baltic Sea. From 1934–41 Werner Gilles was back in Italy and 1941–44 in Berlin and the Rhineland. From 1949 he spent the winter in Munich and the summer on Ischia . Died in Essen on June 22, 1961.
More artists
Other artists were present in Dötlingen:
- Karl Allöder (1898–1981)
- Fritz Fuhrken (1894–1943)
- Otto Heinrich (1891–1967)
- Eduard Scotland (1885–1945) and Alfred Runge (1881–1946)
- Anton Fernandez
- Bernhard Höltzer
- Rudolf Wallfried
- Lily wagons
Works by the Dötlinger artists, in particular by Müller vom Siel , are exhibited in the State Museum for Art and Cultural History Oldenburg .
literature
- Georg von Lindern: Arthur Fitger - painter and poet. Heimatverein Delmenhorst, 1962, DNB 453061311
- Georg von Lindern: Memories of Ludwig Fischbeck. Isensee, Oldenburg 1966, DNB 457437170
- Heinrich Poppe, Horst Wichmann: New Dötlinger village book. Holzberg, Oldenburg 1979, ISBN 3-87358-113-2 .
- Ulrich Krempel : In the beginning: The Young Rhineland. Edited by the Städtische Kunsthalle Düsseldorf, Claassen, 1985, ISBN 3-546-47771-5 .
- Gerhard Wietek : 200 years of painting in the Oldenburger Land. Oldenburg 1986, ISBN 3-9801191-0-6 .
- Josẻ Kastler: Heimatmalerei - The example of Oldenburg. Holzberg, Oldenburg 1988, ISBN 3-87358-316-X .
- Silke Köhn: Marie Stein-Ranke 1873–1964 A portraitist around 1900. Isensee, Oldenburg 2000, ISBN 3-89598-697-6 .
- Günther Bührmann: Karl Dehmann 1886–1974 Hamburg-Dötlingen-New York. Isensee, Oldenburg 2001, ISBN 3-89598-764-6 .
- Nils Aschenbeck : Dötlingen artists' colony. Delmenhorst 2005, ISBN 3-932292-76-2
- Hannelore Cyrus: Between tradition and modernity. Hauschild, Bremen 2005, ISBN 3-89757-262-1 .
- Ulrich Wilke: Heinz Witte-Lenoir, catalog raisonné. Neukirchen 2006, ISBN 3-939119-38-5 .
- Lilienthaler Kunststiftung: ... and they did paint! Lilienthal 2007, ISBN 978-3-00-021669-5 .
- Dieter driveway: Emy Rogge. Rüstringer Heimatbund, Nordenham 2007, ISBN 978-3-940350-99-2 .
- Jürgen Derschewsky: Biographies of Oldenburg artists. Isensee, Oldenburg 2010, ISBN 978-3-89995-718-1 .
- Karin Peters: Art in old cottages - village walk through the artists' colony Dötlingen , in: Kulturland Oldenburg , published by the Oldenburg landscape , Oldenburg (Oldb), issue 169 (issue 3/2016), p. 24f. ( online )
Web links
- Website of the artists' colony Dötlingen
- Kulturportal Nordwest ( page no longer available )
- Euroart ( page no longer available )