Fritz Baer (painter)

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Fritz Baer (born August 18, 1850 in Munich , † February 20, 1919 in Pasing near Munich) was a German painter.

Family and education

Fritz Baer - actually Friedrich August Baer - was the older son of the lawyer, royal Saxon commissioner and ducal court counselor in Munich, Friedrich Baer (1811-1893), and his second wife, Theodore, née Ploch (1830-1877). Fritz Baer attended the Protestant school in Munich for three years and switched to the Maximiliansgymnasium in 1860, which his younger brother Ludwig (* 1851) also entered a year later. In 1868 he successfully passed the Abitur examination. He then studied law at the University of Munich and passed the 1st state examination in 1872 and - after his legal clerkship in Rosenheim (Upper Bavaria) - the 2nd state examination in 1875, interrupted by military service as a one-year volunteer . During the Franco-Prussian War of 1870/71 he served as a lieutenant in the 12th Infantry Regiment in Ulm and from December 1871 to April 1872 was assigned to the guard in the Kaisheim prison near Augsburg .

In October 1890 he married his Austrian student Carola von Mathes, daughter of the Imperial and Royal Court Councilor and court president Karl Ritter von Mathes, who worked in Salzburg, and moved into an apartment with her on Theresienstraße in Munich. In 1891 the son Fritz Carl was born, who later made a name for himself as an architect († 1981); In 1892 the daughter Carola followed. In 1893 the family moved to Pasing near Munich, where their second daughter, Thedore, was born in 1895. In 1899, Fritz Baer acquired the right of residence and citizenship in Pasing for himself and his family, which was only incorporated into Munich in 1938. He was also politically active, became a member and 2nd chairman of the community college (2nd mayor), was at times a trade reporter and chaired the “Liberal Association” in Pasing for several years. In 1901 the family moved into their own house on I. Apfelallee - later renamed Rembrandtstrasse - in the western Pasing villa colony. The villa-like detached building at Rembrandtstrasse 6 , surrounded by a garden , also contained the studios of Fritz and Carola Baer. The house was spared the destruction of the Second World War and the demolition frenzy of the post-war period and is still family-owned today. In 1902 Fritz Baer acquired a summer house in Lähn in Tyrol, which he sold again in 1910 in favor of a mill in Berwang in Tyrol because of a new railway line laid in the immediate vicinity.

Fritz Baer was friends with the painters Richard von Poschinger (1839–1915), Richard Riemerschmid (1868–1957) and Rudolf Riemerschmid (1873–1953) and Victor Weishaupt (1848–1905) and was on friendly terms with Wilhelm Leibl (1844– 1900) and Franz Marc (1880–1916). He died in his Pasing house in 1919 after suffering from cancer for a year. Carola Baer-Mathes taught at the school of the Munich Artists' Association around 1930, belonged to the "Association of Pasinger and Obermenzinger Artists" and worked as a landscaper in the Dachau area, among other places. She died on the night of September 8th to 9th, 1940. Both graves are preserved in Munich's north cemetery. The psychoanalysts Gertrud Wendl-Kempmann and Dr. Thea Bauriedl are granddaughters of the painter.

Artistic activity

After his talent for drawing had already been noticed during his school days, Fritz Baer also occupied himself with sketches from nature during his law studies and during his legal clerkship in Rosenheim. Finally, under the impression of the work of Eduard Schleich (1809–1883), which was characterized by strong impressions of nature, he turned completely to painting, but developed largely self-taught. He received suggestions from the painter Adolf Lier (1826–1882) and his pupil Hermann Baisch (1846–1894), who also advised him on painting technology for a few months. In the surroundings of Polling near Weilheim and in the Dachauer Moos , charcoal drawings and oil sketches were created based on nature.

In 1876 Baer became a member of the Munich Art Association . In 1877 he was represented with an evening landscape at the Vienna annual exhibition in the Künstlerhaus, in 1879 with early spring and autumn morning in the Munich annual exhibition. The encounter with the works of the French painters Gustave Courbet (1819–1877), Théodore Rousseau (1812–1867), Jean-François Millet (1814–1875) and others exhibited here was decisive for his further artistic development. In 1891 Baer was one of the founders of the " Association for Original Radirung " in Munich and was its first chairman until 1908. When in 1892 a group of over a hundred artists separated from the “royally privileged Munich artists ' cooperative ” founded in 1868 and exhibited a year later as the “ Munich Secession ” in its own building, he stayed in the Munich artists’s cooperative and took over the editing of theirs until 1894 Anzeiger and was elected chairman and member of the exhibition jury in 1895. In 1896 he joined the " Luitpold Group " and was its chairman from 1907 to 1919.

At the turn of the century, Fritz Baer, ​​who was also active as a writer and book illustrator, mainly focused his painting on the high mountain landscape, which he got to know on the occasion of numerous study visits to the Bavarian Alps and their foothills. However, his idiosyncratic pictorial conception occasionally met with incomprehension. Fritz Baer's work was regularly represented in the annual exhibitions in Berlin and Munich, as well as in exhibitions in Bremen, Düsseldorf, Nuremberg and Vienna. In 1904 Prince Regent Luitpold awarded him the title of professor, after the painter had previously received medals for his artistic achievements on the occasion of pictures shown in exhibitions in Munich (1894), in Berlin (1896), again in Munich (1901) and in Dresden (1904) had been awarded. In 1904 he was awarded the gold medal at the art exhibition at the World Exhibition in St. Louis, and in 1911 in Turin. During the artist's lifetime, the Bayerische Staatsgemäldesammlungen acquired a painting Eiger in the Cloud Dance ; several works, including In den Liechtensteiner Bergen (1901/02), were sold to the USA. In 1921 the Heinemann Gallery in Munich showed sixteen of his posthumous works as well as 58 works by Carola Baer-Mathes.

Selection of works

Bremen, Kunsthalle: early spring evening (1892); Budapest, Art Museum: Autumn evening after the rain (1896); Dachau, Museum Association: Großer Starnberger See (permanent loan); Darmstadt, Hessisches Landesmuseum: early drawings, 1875–78; Munich, Neue Pinakothek: Midsummer evening in the Dachauer Moos ; Rainy autumn day in the Dachauer Moos ; Village pond ; Upper Bavarian landscape ; Starnberger See ; Munich, State Collection of Graphics: 33 drawings; Munich, Städtische Galerie im Lenbachhaus: Landscape with a path ; Evening in the forest ; Evening mood ; Landscape ; Munich, City Museum: Harvest Time ; 2 drawings (1876); Nuremberg, Municipal Art Collections: Outlook (1904); Seattle, USA, Charles and Emma Frye Collection: Wash Day (around 1880); Cattle in Landscape (around 1890); Landscape with Trees (around 1905); Landscape with Cattle (around 1905); Solothurn, Switzerland, Städtisches Museum: Autumn evening in the Mühltal ; Weimar, art collections: Sunset in the Priental (1894); Wuppertal, Von-der-Heydt-Museum: Morning mood in the Dachauer Moos (before 1900); Evening mood ".

Fonts

Handwritten letter with signature to Hyacinth Holland , Munich, January 8, 1893: Munich, Bayerische Staatsbibliothek [Hollandiana A1].

literature

  • Report on the existence and the work of the Munich Art Association. Munich 1876.
  • Fritz Reber: History of modern German art. Volume 3, 1884.
  • Catalogs of the annual exhibitions in the royal glass palace, Munich 1883, 1888, 1890, 1891, 1896, 1897, 1898, 1899, 1900, 1901, 1902, 1903, 1904, 1905, 1906, 1908, 1909, 1910, 1911, 1912. 1913, 1915, 1918.
  • Intellectual Germany at the end of the 19th century. Encyclopedia of German intellectual life in biographical sketches. Volume 1: The visual artists. Leipzig; Berlin 1898, pp. 11-12.
  • Baer, ​​Fritz. In: Friedrich von Boetticher: painter works of the 19th century. Contribution to art history. Volume 1/1, sheets 1–30: Aagaard – Heideck. Ms. v. Boetticher's Verlag, Dresden 1891, p. 48 ( archive.org ).
  • Baer, ​​Fritz . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker. tape 2 : Antonio da Monza-Bassan . Wilhelm Engelmann, Leipzig 1908, p. 342 ( Textarchiv - Internet Archive ).
  • Hermann Degener (Ed.): Who is it ?. 6th edition. Leipzig 1912.
  • Friedrich Jansa (Hrsg.): German visual artists in words and pictures. Leipzig 1912.
  • Hermann Christern (Ed.): German Biographical Yearbook. Berlin 1917–1920, p. 711.
  • Hermann Uhde-Bernays: Munich landscapers in the 19th century. Volume 1, Munich 1921, p. 120.
  • Hans Wolfgang Singer (Ed.): General artist lexicon. Life and works of the most famous visual artists. prepared by Hermann Alexander Mülle. Literary Institution Rütten & Loening, Frankfurt / Main 1921, Volume 5; 1922, volume 6.
  • Galerie Heinemann, Munich (ed.): Exhibition catalog Professor Fritz Baer and Carola Baer-von Mathes. Pasing 1921.
  • FF Leitschuh: The Swiss landscape in German painting. Leipzig 1924 (fig. 55–57).
  • Peter Breuer (ed.) / HFEggler (introduction): Fritz Baer. Haas & Co., Munich 1927.
  • Hermann Uhde-Bernays: The Munich landscape painting in the 19th century. Part 2: 1850-1900. Munich 1927. New ed. by Eberhard Ruhmer, pp. 212, 218, 220 (fig.), 222, 236.
  • The Bayerland. Illustrated bi-monthly publication. Volume 41, 1930, p. 252 (ill.)
  • Dressler's art manual 1930.
  • H. Karlinger: Munich and the German art of the 19th century. Munich 1933, pp. 236, 239.
  • Anton Schmid: A mountain painter. Fritz Baer in memory. in: The mountaineer. Born 1938/39, no. 6, Munich 1939, pp. 385–389 (ill.)
  • Anton Schmid: Fritz Baer as a mountaineer. A memorial sheet for his 90th birthday. in: Deutsche Alpenzeitung. 35th year, no. 8, Munich, August 1940 (ill.)
  • Baer, ​​Fritz . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 5 : V-Z. Supplements: A-G . EA Seemann, Leipzig 1961.
  • Herbert Schindler (ed.): Great Bavarian art history. Volume 2, Munich 1963.
  • Heidi C. Ebertshäuser (Ed.): Painting in the 19th century, Munich School. Munich 1979, p. 116.
  • Stadt- und Kreissparkasse Dachau (Ed.): Fritz Baer. Exhibition Dachau, November 26th – 19th December 1980; Text by R. Müller-Mehlis (Fig.)
  • Bruckmann's Lexicon of Munich Art. Munich painter in the 19th century. Volume 1, 1981 (Fig.)
  • Lorenz J. Reitmeier (Ed.): Dachau. Views and testimonies from twelve centuries. The last part of the trilogy. Dachau 1982, pp. 97-104 (fig.)
  • Gertrud Wendl-Kempmann (Ed.): Fritz Baer 1850-1919. The landscape painter. Munich 1985 (ill.)
  • Baer, ​​Fritz . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 6, Saur, Munich a. a. 1992, ISBN 3-598-22746-9 .
  • Siegfried Weiß : Art career aspiration. Painter, graphic artist, sculptor. Former students of the Munich Maximiliansgymnasium from 1849 to 1918. Allitera Verlag, Munich 2012, ISBN 978-3-86906-475-8 , pp. 151–157 (Fig.)

Movie

  • Percy Adlon: Cloud Mountains ; with text by Fritz Carl Baer; rotated: 1. – 3. May 1975 for Bayerischer Rundfunk.

Individual evidence

  1. ^ Maximiliansgymnasium Munich, archive: matriculation, certificate protocols and annual reports 1860/61 to 1867/68.
  2. ^ Registration documents (PMB): Munich, City Archives.
  3. Henrike Junge, cheap art. The spread of artist graphics since 1870 and the Griffelkunst-Vereinigung Hamburg-Langenhorn, Mainz: Philipp von Zabern 1989, p. 47.