Gudrun Baudisch-Wittke
(1 male head by Rudolf Knörlein )
Gudrun Baudisch , later Gudrun Baudisch-Wittke (born March 17, 1907 in Pöls near Judenburg , † October 16, 1982 in Salzburg ) was an Austrian ceramist , sculptor and painter .
education
Gudrun Baudisch's father, the doctor Raimund Baudisch (1876–1936), and her stepmother Rudolfine Cervonik (1884–1953) were very interested in art and culture. Therefore, they encouraged their daughter's desire for an artistic career as much as possible. In 1922 Baudisch was accepted into the Austrian Federal College for Building and Applied Arts in Graz and worked here for a year in Wilhelm Gösser's sculpture class . Presumably through the agency of the school, she volunteered several times in the Scheibbs clay industry . The “heads” that were created in 1924 and are characteristic of Baudisch were probably inspired by colleagues ( Vally Wieselthier , Rudolf Knörlein ) at Scheibbs' work. Starting in 1923, she was trained for three years in Hans Adametz's ceramics class , and in 1926 she received her diploma from the Graz institute.
Early work
In 1926 she began working as a trainee in the design department of the Wiener Werkstätte . The first models for series ceramics were created by the end of the year. Baudisch designed and executed 166 objects for the Wiener Werkstätte. The "woman's head with a bowl" from 1926 is well known and should have many sequels. In 1928, she and Vally Wieselthier designed the cover of the festival catalog for the 25th anniversary of the Wiener Werkstätte. From 1926 to 1930 she worked as a designer there and exerted a great influence with her almost expressive ornamentalism, playful heads and excellent craftsmanship. The financial hardship and the coming global economic crisis prevented an upswing in the ceramics department.
In 1930 she was able to take part in the Werkbund exhibition of the Austrian Werkbund in Vienna with two life-size sculptures. In the same year she left the Wiener Werkstätte at her own request and founded her own ceramic workshop with Mario von Pontoni. This existed from 1930 to 1936.
In 1931 he married the engineer Leopold Teltscher.
So-called architectural works and stucco decorations begin in public buildings and in several churches. As an employee of the architect Clemens Holzmeister , she took on the architectural work at Kemal Ataturk's presidential palace in Ankara . The furnishing of the pillared courtyard on the ground floor of the palace with five fully sculptured terracotta female figures , the design of which goes back to the influence of Josef Thorak and Anton Hanak , has been preserved from her work . For other buildings by Clemens Holzmeister, Baudisch took on the design with stucco ceilings and other parts of the interior, for example in the Mariahilf parish church in Bregenz (1930–1932) and in the Christ Church in Vienna (1933), which was used as a memorial church for the late Chancellor Ignaz Seipel was intended. Clemens Holzmeister then went to Turkey and Greece for professional reasons, so that he and Baudisch did not work again until 1956.
For the “General German Catholic Day” in Vienna in 1933, Baudisch made various Christian emblems, two processional flags, a church bell and a baptismal font. In 1935 she designed the new Austrian 1 schilling coin. In 1934 she received first prize from the Austrian Ministry of Finance for both the 50 groschen and the 1 schilling design. She also worked on the Austrian pavilion for the World Exhibition in Brussels in 1935 . In the same year she became a full member of the Artists' Association of Austrian Sculptors. As the times were bad economically, Baudisch also retired to the Zinkenbach painters' colony in the countryside in the summer .
In 1936 Leopold Teltscher was divorced.
Activity in Germany during the Nazi era
In 1936 Baudisch moved to Berlin . The name of Josef Thoraks reappears, who was able to establish himself as an artist in the Third Reich and who had already got to know Baudisch in Ankara. In Germany, the “Kunst-am-Bau-Ordinance” had provided good working conditions for artists since 1934, even if the so-called “renewal of art” aimed for by the National Socialist regime was not for everyone.
In the course of her work for the Nazi regime, she met the officer Karl Heinz Wittke (1908–1978) in 1938. This supervised the artist in her work at the Hermann-Göring-Kaserne . The second marriage to him followed on December 17, 1940. Her husband later turned out to be a competent businessman, who also enabled her to pursue a largely unrestricted artistic activity. From the first larger fee Baudisch acquired a house in Hallstatt in 1937 (Hallstatt No. 16, "Zoblisches Wohnhaus"), which had to be sold by the Jewish family of Alfred Eichmann in the course of the "Aryanization" .
Baudisch carried out building decoration work (stucco ceilings and walls, fireplace design) in Schloss Hakenburg , which was used as a private residence by the Reichspostminister Ohnesorge . She also equipped the Italian consulate general and the Spanish embassy on behalf of the Reichsbaudirektion. But her work was not limited to Berlin; She also received orders for Schwerin , Posen , Hamburg and Nuremberg, and the so-called Tannenberg Memorial in East Prussia was equipped with a terracotta wall with emblems of the Air Force.
Activity in Austria after the war
In 1944, Baudisch and her husband moved to Hallstatt. In 1945/46, Baudisch founded the “Hallstatt Ceramics” workshop , initially also known as “Hallstatt Ceramics” or “Hallstätter Ceramics”, which she also managed until 1977 (handover to Erwin Gschwandtner, now owned by his sons). Originals and series were created in their art pottery. At the same time, Baudisch supplied designs for shapes and decors to “ Gmundner Keramik ”. On June 30, 1947, she passed the master's examination for pottery; before that, namely on April 30, 1947, she had received the trade license for the pottery trade. The work is more geared towards the commercial (utility ceramics, tiled stoves) and not the artistic success of the products. One exception is a famous mocha service whose Scandinavian-looking design was developed by Baudisch together with the Russian-born architect Anna-Lülja Praun (1906-2004).
Even Wolfgang von Wersin that in neighboring Goisern Bad lived could get them to develop dishes. In 1952 both joined the artist group MAERZ ; both were advocates of the Werkbund idea and when Wersin resigned his position at the general assembly of the Upper Austrian Werkbund, she was elected his successor.
The stucco ceiling for the sanatorium in Bad Gastein was created in 1948 as a larger work . A stucco ceiling planned between 1951 and 1954 for the destroyed gold cabinet in the Upper Belvedere was not implemented. In 1954 she received an order for the plastering of the ceiling in the auditorium of the Vienna Burgtheater ; for health reasons, however, she had to hand the job over to Hilda Schmid-Jesser .
1959–1966, again in collaboration with Clemens Holzmeister, she created the ceramic room decorations of the Great Festival Hall in Salzburg . In 1980 the sculpture of the "porcelain tree" was created for the ORF studio in Salzburg. She had already varied the tree motif in other works (e.g. tree of life at Gutshof Holzleiten in Rüstdorf)
In 1968 she founded together with Johann Hohenberg, who had taken over Gmunder ceramics from 1968, the work group "Gruppe H" ( H stands for Hallstatt and Hohenberg). In 1969, the sales office of "Gruppe H" was founded in Salzburg (in a through-house at Universitätsplatz 6). The company sign can still be found on the house for nostalgic reasons, although the business was closed in 1982.
In 1974 the company moved to Salzburg. Here she lived with her husband until her death in a small old town apartment on Universitätsplatz; In addition, she had set up a studio in the Riedenburg district in which she could continue doing her clay work.
Works
- around 1961 Ceramic fish fountain in the Dr. Ernst Koref School in Linz
- 1934/35 value side of the 50 groschen and 1 shilling coin
Awards
- 1934 1st prize in the coin competition of the Austrian Ministry of Finance
- 1961 professional title professor
- 1962 Bavarian State Prize from the Munich Chamber of Crafts
- 1964 Silver medal at the international ceramics exhibition in Prague
- 1965 gold medal on the XXIII. International ceramic exhibition in Faenza
- 1971 honorary citizen of Hallstatt
literature
- Otto Wutzel (Ed.): Gudrun Baudisch: Ceramics, from the Wiener Werkstätte to the ceramics Hallstatt. OLV-Buchverlag, Linz 1980, ISBN 3-85214-285-7 (with catalog raisonné).
- Tina Sitter: Gudrun Baudisch and her time in the Wiener Werkstätte (1926–1930), influences - parallels - own design language. University, Vienna 2005. (Diploma thesis).
- Ruth Kaltenegger: Catalog for the exhibition Gudrun Baudisch on the 100th birthday. Museum Association Zinkenbacher Malerkolonie (publications of the Museum Zinkenbacher Malerkolonie III, monographs 2), 2007, ISBN 3-902301-07-4 .
- Urd Vaelske: Gudrun Baudisch - coffee and tea service, work of art of the month, Salzburg Museum, September 2015, 28th year, sheet 329
Individual evidence
- ↑ Elmar Fröschl: A biography of the sculptor and medalist Edwin Grienauer. Vienna 2014, p. 111.
Web links
- The Zinkenbacher Malerkolonie Website of the museum with short biographies
- State correspondence - ceramics by Gudrun Baudisch exhibited in St. Gilgen
- Ceramic Hallstatt Gschwandtner OEG
- Entry on Gudrun Baudisch-Wittke in the Austria Forum (in the AEIOU Austria Lexicon )
| personal data | |
|---|---|
| SURNAME | Baudisch-Wittke, Gudrun |
| ALTERNATIVE NAMES | Wittke-Baudisch, Gudrun |
| BRIEF DESCRIPTION | Austrian ceramist, sculptor and painter |
| DATE OF BIRTH | March 17, 1907 |
| PLACE OF BIRTH | Pöls near Judenburg |
| DATE OF DEATH | October 16, 1982 |
| Place of death | Salzburg |