Eduard Schulte Gallery

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Eduard Schulte's art exhibition in Düsseldorf (daylight through the skylight), drawing by Caspar Nepomuk Scheuren , around 1855
Wilhelm Herchenbach, tourist guide for Düsseldorf and the surrounding area . Düsseldorf 1869, permanent art exhibition by Schulte, Alleestraße 42
Hermann Schulte, art committee and delegate of the international art exhibition in the Kunstpalast Düsseldorf , 1904
Anton Graff exhibition in the Eduard Schulte Gallery in Berlin, 1910

The Eduard Schulte Gallery , also known as Eduard Schulte Art Salon or Eduard Schulte Art Dealer , goes back to the art dealer Eduard Schulte , who took over the Buddeus book and art dealership in Düsseldorf and from 1849 or 1850 in a permanent exhibition for a small fee between artists and Brokered buyers.

After Eduard Schulte's death, his sons Hermann Schulte (1850–1940) and Eduard Schulte jr. (1856–1936) continued the art dealership. The Berlin branch in particular was important for the beginning of modern times.

Galleries

Eduard Schulte ran an art shop at Alleestraße 42 in Düsseldorf, which enjoyed a good reputation, but also had a branch at Richartzstraße 16 in Cologne . In 1886 he also took over the exhibition space of the Lepke auction house in Berlin , Unter den Linden 4a. In 1891 the Eduard Schulte art dealer was relocated to the Redern Palace on Pariser Platz , Unter den Linden 1. When this was demolished in 1904, the gallery moved to the Graeflich Schwerin Palace opposite, Unter den Linden 75. The plans for the new art dealership were made by Alfred Messel and are now in the architecture museum of the TU Berlin. Hermann Schulte is named here as the client.

Schulte's art shop in the Palais Redern was considered to be the best-equipped gallery in Berlin. Unlike its competitor Fritz Gurlitts , for example , it had a skylight hall and a room that could be darkened and illuminated electrically. Karl Voll stated under the pseudonym Dr. van Eyck, the Schulteschen Kunsthandlung is one of “the most respected art dealers in Germany” and its offerings give “self-spoiled art sybarites satisfaction”. It is possible, however, that this appreciative statement was preceded by critical voices. Jules Laforgues had expressed himself rather disrespectfully in 1887: “A year ago a Cologne dealer took over one of these shops, he organizes small exhibitions [...], but how pathetic! In addition, these exhibitions cost an admission fee of one mark [...] “Both the date and the statement on the provenance of the mentioned gallery owner suggest that the Schultesche Galerie was meant here. Even in later years, some critics expressed disrespect. Hans Rosenhagen, for example, stated that Schulte presented “commodities with a recognized brand and that art that is nothing but masked [sic] amateurism.” He regretted that “inferior art can be found in the best exhibition rooms in Berlin”.

Despite a few critical voices, the art dealer played an important role in the development of art life in the late 19th century. At Schulte, the Association of the XI and the Free Association of the XXIV exhibited . Furthermore, an exhibition with works by Arnold Böcklin could be seen in the art dealer in 1887 and paintings by Franz von Stuck were shown in 1891 and 1892 . Theodor Fontane , who visited the first Berlin stucco exhibition, was very impressed. There have been at least three solo exhibitions with works by Gustav Schönleber .

As before, Schulte also marketed the academic painters of the Düsseldorf School of Painting . The gallery owner recognized the opportunities of his time: In November 1892 the " Munch Affair " occurred : After the Munch exhibition in the architect's house on Wilhelmstrasse had ended prematurely after protests, the members of the Berlin Artists' Association , who had spoken out against this closure, moved out , amid protests in the Schulte Gallery. At this point in time, Schulte had already offered Munch to show the exhibition in Düsseldorf and Cologne, and Munch had agreed to do so in return for a one-third share of the entrance fee. On November 13, 1892, as part of the protest against the closure of the Munch exhibition, the Free Association of Berlin Artists was founded at Schulte , although it then held its first exhibition in other rooms. In February 1893, the annual exhibition of the Free Association of Düsseldorf Artists followed in its rooms.

From 1893 onwards, Eduard Schulte regularly had an autumn exhibition, from which the exhibitions of the Künstler-West-Klub developed. Schulte also became a gallery owner of the Vereinigung der XI , Vereinigung der Vier and November-Vereinigung, as well as the 1897 Association and the Society of German Watercolorists . The gallery celebrated the turn of the century with an exhibition of the new Impressionist paintings by Eugen Bracht . In 1904, works by the Frankfurt-Cronberger-Künstler-Bund were shown for the first time in Berlin, including by Paul Klimsch

The artist group “die Aehre” (member was among others Erich Kips ) exhibited in 1924 in the Salon Eduard Schulte. In 1926 there was an exhibition with works by the Jerusalem-based artist Abba Pfeffermann, who called himself Abel Pann , and in 1927 an exhibition on the fiftieth birthday of Konrad von Kardorff . During these years, “Hermann Schulte sen. and Hermann Schulte jun. operated ". In 1928 an exhibition with works by August von Brandis was shown.

literature

  • Adolf Rosenberg : The art dealership of Eduard Schulte in Düsseldorf . In: Kunstchronik 21, 1886, Col. 361 ( digitized version ).
  • Sabine Meister: The Association of the XI. The group of artists as the nucleus of organized modernism in Berlin . Dissertation Freiburg 2005 ( full text ).
  • Peter Kropmanns: Art Salon Eduard Schulte The first thing he did was turn on the light. In: FAZ of August 30, 2013, p. 36 ( full text ).

Individual evidence

  1. ^ Joachim Grossmann, artist, court and bourgeoisie. Life and work of painters in Prussia 1786–1850 , Akademie Verlag 1995, ISBN 978-3-05-002412-7 , p. 133.
  2. ^ Julia Hümme: Gregor von Bochmann (1850–1930). Life and work of a Baltic German painter in Düsseldorf , Kiel 2007, ISBN 978-3-937719-31-3 , p. 212, note 393.
  3. ↑ [1] .
  4. ↑ quoted from: Sabine Meister, Die Vereinigung der XI. The artist group as the nucleus of organized modernism in Berlin , Freiburg 2005, p. 102.
  5. ↑ quoted from Sabine Meister: Die Vereinigung der XI. The artist group as the nucleus of organized modernism in Berlin , Freiburg 2005, p. 102.
  6. ↑ quoted from Sabine Meister, Die Vereinigung der XI. The artist group as the nucleus of organized modernism in Berlin , Freiburg 2005, p. 103.
  7. ↑ Uta Baier: Impressionists: What the Germans learned from the French. In: welt.de . December 29, 2009, accessed October 7, 2018 .
  8. ↑ http://www.luise-berlin.de/kalender/jahr/1892.htm
  9. ↑ http://www.thomasraff-muenchen.de/Cassirer.pdf
  10. ↑ annual exhibition of the Free Association Düsseldorf artists and their friends: on the premises of Schulte'schen exhibition. Catalog with numerous illustrations drawn on stone by the artists themselves.
  11. ↑ Art for everyone: painting, sculpture, graphics, architecture - 19.1903-1904, p. 384 https://digi.ub.uni-heidelberg.de/diglit/kfa1903_1904/0405
  12. ^ Art exhibitions in Berlin . In: Adolph Donath (Hrsg.): Der Kunstwanderer magazine for old and new art, for art market and collecting . tape 6-7 , 1924, pp. 328 .
  13. ↑ Cicerone: Bi-monthly publication for artists, art lovers and collectors, No. 20/1928, p. 120.