Gretel Schulte-Hostedde

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Gretel Schulte-Hostedde, around 1960

Gretel Schulte-Hostedde (born August 12, 1902 in Brühl (Rhineland) , † September 8, 1973 there ) was a German sculptor and ceramicist . Her works are mostly made of fired clay. She cultivated an organic style and, in addition to figurative sculptures and reliefs, created above all self-glazed vessels in ceramic build-up .

life and work

After attending school in Brühl, Schulte-Hostedde began training at the Cologne School of Applied Arts in 1919 (from 1926: Kölner Werkschulen ), including in the sculpting class of Wolfgang Wallner and Georg Grasegger . Her classmate and friend from 1924 was Hilde Broër . With her she attended the ceramics class there from 1925 at Dorkas Reinacher-Härlin , where, among other things, free turning on the potter's wheel was taught. In 1927 she graduated from Cologne; in the same year she moved to Berlin with Hilde Broër .

After working independently in a studio , she began further studies in October 1929 at the United State Schools for Free and Applied Arts (VSS), in the Gies class . Ludwig Gies was a professor of sculpture in the applied arts department . The interdisciplinary courses customary there also included the workshop for ceramics of Otto Douglas Douglas-Hill , who experimented with glazes and faience painting and, above all, taught building. Schulte-Hostedde and Broër became friends with the painter Hanna Nagel , probably in Emil Orlik's drawing class . Schulte-Hostedde graduated from the VSS in 1931, after which she worked independently until around 1938, probably together with her fellow student Dorothea Peipers , mainly on building sculptures and reliefs in Berlin. She received orders from Bruno Paul and the Deutsche Werkstätten in Dresden- Hellerau, among others . Building ceramics were created for projects by the architect Fritz August Breuhaus de Groot . Around 1940, it came to cooperation with the HB workshops of Hedwig Bollhagen in Marwitz . Gretel Schulte-Hostedde designed simple tableware for HB , while the painter Charles Crodel glazed and decorated some of her pieces there. She was stylistically influenced by pottery by Jan Bontjes van Beek , who ran a workshop in Berlin from 1933 to 1943, and by Max Ernst , with whose family she was friends in Brühl.

Her resolute rejection of National Socialist ideology, contacts to anti-fascist circles and her interest in anthroposophy brought her into conflict with the official art world. So she was increasingly dependent on acquaintances and friends. In 1943 she lost her belongings and work in a bombing raid in Berlin and moved to Karlsruhe , where her apartment was bombed again in autumn 1944.

She made a new start in her professional life in 1946 as a freelancer at the State Majolica Manufactory in Karlsruhe . In the period that followed, candlesticks, vases, crockery, flower pots, bird basins, reliefs, murals, plaster ceramics, fully sculptural works (doves, angels, female figures) and many other unique items, as well as 345 hand-glazed small series and 17 designs reproduced using plaster molds in the manufactory's program were created .

Gretel Schulte-Hostedde's works often bear their initials "SH" as a brand.

Fonts

  • Clay pots freely constructed. In: Bauen und Wohnen , 5th year 1950, issue 4, p. 222 f.
  • Plaster ceramics. In: Werkkunst , 12th year 1951, issue 1, p. 4 f.

Awards

Nothing is known about their successes in the Berlin years. In 1957 she received the Baden-Württemberg State Prize, in 1962 a silver medal on the III. International ceramic exhibition in Prague for a “dove” (designed in 1950).

Exhibitions, museums

Girl sculpture, clay, around 1944

In the 1950s and 1960s she was involved in most of the trade fairs and exhibitions of German and especially Baden-Württemberg arts and crafts . B. in Stuttgart and Karlsruhe, in Cannes, Faenza, Madrid, Amsterdam, Gmunden, Syracuse (NY), Prague and Nice, at the Milan Triennials in 1951 and 1954, at the Brussels World Exhibition in 1958. In 1967 she showed garden ceramics at the Federal Garden Show in Karlsruhe . In 1983 the city of birth Brühl dedicated a memorial exhibition to her. In 2002/2003 for the 100th birthday there was a small exhibition in the Badisches Landesmuseum Karlsruhe, in the foyer of the museum near the market.

Her earliest works are in private hands; a small sculpture "Kneeling" has been in the Märkisches Museum Berlin since 1930 . Further works can be found in the Max Ernst Cabinet of the city of Brühl; the Badisches Landesmuseum Karlsruhe keeps a large number in the inventory of the majolica manufactory. In the Museum für Kunsthandwerk Leipzig (Grassimuseum), in the collections of the HB workshops in Marwitz and in the Ceramic Museum Berlin there are more.

literature

  • Architecture and Housing , 60th year 1951/1952, issue 1, p. 24 ff.
  • Werkkunst , 17th year 1955, issue 1/2, p. 36 / H. 3/4, p. 37 f.
  • Werkkunst , 19th year 1957, issue 3/4, p. 12.
  • Werkkunst , 20th year 1958, issue 5, p. 6, p. 22.
  • Werkkunst , 21st year 1959, issue 4, p. 25.
  • Werkkunst , 22nd year 1960, issue 3, p. 21.
  • Werner Weissbrot, Werner Goldschmit (arrangement): The ceramicist Gretel Schulte-Hostedde. G. Braun, Karlsruhe 1963. (with editorial participation by Gretel Schulte-Hostedde, with an introduction by Otto Haupt ) (as a special print from: Werkkunst , 25th year 1963, issue 1?)
  • Werkkunst , 28th year 1966, issue 1, p. 35.
  • Werkkunst , 29th year 1967, issue 3/4, p. 17, p. 19.
  • Karlsruhe majolica. The Grand Ducal Majolica Manufactory 1901–1927. The State Majolica Manufactory 1927–1978. (Exhibition catalog of the Badisches Landesmuseum) Karlsruhe 1979, pp. 316–321 and more often.
  • Gisela Reineking von Bock: Gretel Schulte-Hostedde 1902–1973. In: Keramos , No. 103 (January 1984), pp. 67-70.
  • Hilde Broër. Images and symbols. (with contributions by JA Adelmann von Adelmannsfelden and others) Kressbronn, 1991.
  • Heinz-Joachim Theis (Ed.): Märkische Tonkunst. Volume 2: Berlin and Brandenburg. Ceramics from the 20s and 30s. (Exhibition catalog) Edition Cantz, Stuttgart 1992, p. 223 and more.
  • Monika Bachmayer, Peter Schmitt: Karlsruhe majolica 1901 to 2001. One hundred years of art ceramics in the 20th century. G. Braun, Karlsruhe 2001, pp. 165-169 and more often.
  • Wolfgang Steguweit: Hilde Broër. Sculptor and medalist. Life and work. Gebr. Mann, Berlin 2004.

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