Georg Broel

Georg Broel (born May 8, 1884 in Bad Honnef , † May 11, 1940 in Munich ) was a German painter and etcher .

biography

After attending primary school in Honnef and the Kalkuhl private school in Oberkassel , he worked as a wood merchant trainee in Munich and Regen (among others at Gebr. Freundlich) from 1901 to 1902 , where he met the painter Albert Weisgerber (1878-1915). In 1904 he served as a volunteer in the Bavarian Infantry Body Regiment and in 1908 he began studying at the Munich School of Applied Arts with Maximilian Dasio . In the same year Broel studied in the painting class of Hermann Groeber (1865–1935) at the Munich Academy and became a member of the Düsseldorf Free Group with Albert Welti and Heinrich Reifferscheid, among others . After his father's death on March 31, 1908, Broel took over his business, but returned to Munich in 1909, where he also continued his studies.

In 1910 he had the first exhibition with Karl Haider, Edmund Steppes and Heinrich Reifferscheid in Wiesbaden and Dresden. As a member of the Munich Artists' Cooperative, he took part in the Munich art exhibition several times from 1910. On June 6, 1911, he married Alexandra (Schura) Korsakoff, a Russian artist. Broel lived in Schleissheim and Dachau , then from October 1914 in Munich-Schwabing, initially on Bismarckstrasse, later on Agnesstrasse. In 1914 during World War I Broel was an officer in the List Regiment in Flanders. Some drawings with this time reference were published in " Simplicissimus " and in " Meggendorfer Blätter ". In 1915 the cycle “ Spring Symphony ” was published by Bruckmann in Munich. After the war, Alexandra Korsakoff was divorced on February 12, 1919. Georg Broel died on January 11, 1940 in Munich after a severe stroke. Broel was buried on January 15, 1940 in the old part of the Munich forest cemetery. Burial site 41-3-0002 was disbanded in 1973.

estate

In 1969 Broel's sister Regina transferred over 500 graphics and drawings from the artist's estate to the Münster University Library, and in 1974 it was supplemented by the Regina Broels estate with further bundles of sketches, drawings and graphics as well as documents, correspondence and diaries.

Exhibitions and publications (selection)

• 1921: Folder "This is the spring that moves my heart!" With twelve poems by Nikolaus Lenau in an edition of 100 copies by the Hoennicke publishing house, Berlin Charlottenburg
• 1925: Publication of the Forest Symphony with a poem by Eichendorff by Fritz Heyder Verlag Berlin
• 1927: An die Heimat cycle , Düsseldorf
• 1928 u. 1929: Participation in annual exhibitions of the Bonn artist community from 1914
• 1937: Broel takes part in the Great German Art Exhibitions 1937–1939 with two oil paintings each
• 1940: Estate exhibition in the arts and crafts association in Pforzheim
• 1947: Estate exhibition from 7th to 28th September 1947 in the Hotel Dell in Bad Honnef
• 1969: Participation in the exhibition German graphics of the last 100 years in the Rheinisches Landesmuseum Bonn with sheet 7 of the Forest Symphony
• 1970: Georg Broel 1884–1940, paintings and graphics. Bad Honnef, April 17 to May 22, 1970, an exhibition initiated by Regina Broel in the concert hall in the spa garden
• 2007: Exhibition in the art space in the town hall of Bad Honnef
• 2009: Two etchings by Georg Broel are shown in the exhibition Die Bonner Künstler-Vereinigung 1914 , Stadtmuseum Bonn April 30 - July 5, 2009
• 2011: In the exhibition View of the Rhine in the Kunstraum Bad Honnef, the pictures at the Drachenfels am Rhein and The Gate in the Immunity Wall of Heisterbach Monastery are each juxtaposed with a current photo of the subject.

plant

Georg Broel's artistic work includes paintings, drawings, etchings, bookplates and graphic arts and crafts . Broel's main theme is landscapes, especially those of the Siebengebirge and Alpspitz massifs. While around 50 illustrations are missing from the etchings in the catalog raisonné and the numbering is still provisional, the bookplates are almost completely recorded, including the color variants and the drafts and preliminary drawings by hand. The numbering follows Broel's own list and Klaus Witte's first catalog raisonné. In addition, around 120 paintings, drawings and watercolors have been documented visually and textually on Broel's website.

Etchings

Georg Broels only uses etching and here completely reduced to its original technique. Georg Broel carefully controlled the etching process in his etchings, strong lines - e.g. B. in the foreground - were longer, but the light lines were only briefly exposed to the acid. Broel's interest in the printing technique of etching lay primarily with the intention of reproduction. Another advantage of etching, which Broel certainly appreciates, is its reputation as an original graphic, it is printed by hand and has an almost haptic quality due to the application of color. The economic aspect (special group of collectors and comparatively good prices) was important for Broel, with special editions or variants it reached a wide audience. Of many etchings, a small edition of around 20 copies was printed before steeling , e.g. Some with remarques , small marginal drawings. These prints were particularly sought after and fetched higher prices. For the other editions, the printing plates were steeled so that 100, 150 or more copies could be printed. Broel let u. a. in the Munich etching press of Hans Amann print and worked a. a. together with Bruckmann Verlag in Munich and with Alfred Hoennicke in Berlin-Charlottenburg. In addition to individual prints, Broel created several portfolio works with 6, 10 and more etchings on special topics, such as the cycles "Forest" and "Spring Symphony" , "An die Heimat" and "Immensee" . The size of the print run is not always known, some are hand-printed only a few, others have numbered editions. The research so far and the estate lists prepared by Broel's sister Regina suggest about 170 etchings from the period between 1906 and 1939. There are also 82 etched bookplates.

Bookplate

Georg Broel created a total of 99 ex-libris between 1907 and 1935. As a rule, these are etchings, with the exception of a few clichés and woodcuts from the early years, as well as his last bookplate from 1935 for Karl Hopf. The representations on the bookplate with dense dark forests and wide, light valleys reflect Broel's strong closeness to nature. Another of Broel's strengths is the remarque prints, which can be found in a limited edition on almost every etching. There is also always a certain number of two-tone prints of the etchings, so that the number of ex-libris listed can be exceeded by far if a collector also collects the various states of the prints. The new catalog raisonné documents all ex-libris in illustrations and descriptions, including the color variants and the drafts and preliminary drawings by hand, where available. For the directory, it was possible to fall back on the work of Klaus Witte from 1984, which, however, contained very few and moreover imprecise illustrations, also on lists by Regina Broel and above all on those of Georg Broel himself, both of which are in the Georg Broels estate in the manuscript collection of the University and State Library of Münster . The numbering and dating of the bookplates follows Broel's list, which he typed in 1919 and continued by hand until 1933 up to No. 98

Bibliography (selection)

• Klaus Witte, Georg Broel: Georg Broel, 1884–1940: Ex-libris catalog of works. Verlag ExlibRisten (K. Rödel), 1984, ISBN 87-7317-116-6 .
• The art and the beautiful home. Volume 83, Verlag F. Bruckmann, 1941.
• Ex libris: book art and applied graphics. Edition 1, authors Wolfgang Mecklenburg, Hans Brendicke, Walter von Zur Wester, Julius Nathansohn, Robert Corwegh , German Association for Bookplate Art and Commercial Graphics ev, Verlag Druck von O. Holten, Berlin 1922.
• a comprehensive bibliography can be found on the Georg Broel website

Web links

• Georg Broel 1884-1940
• Literature by and about Georg Broel in the catalog of the German National Library

supporting documents

1. ↑ (List of exhibitions and exhibits - until 1931 in the Glaspalast)
2. ↑ (Klaus Witte, from the foreword to the list of ExLibris Georg Broels, published 1984)
3. ↑ georgbroel.de