Gustav Kampmann

from Wikipedia, the free encyclopedia
Gustav Kampmann - Talmühle 1896
Gustav Kampmann - Rising Fog 1896
Gustav Kampmann - Ruins in the Forest 1898
Gustav Kampmann - Talmühle around 1898
Gustav Kampmann - Winter Night in Königsfeld in the Black Forest around 1900
Gustav Kampmann - Twilight 1903
Book art: 2 cover images in the book Karl Ernst Knodt - A sound from death, a song from life . Giessen, 1905
Gustav Kampmann - Gloomy Evening II 1904–1906
Gustav Kampmann - Blue Air 1907

Gustav Kampmann (born September 30, 1859 in Boppard , † August 12, 1917 in Bad Godesberg ) was a Karlsruhe landscape painter and graphic artist .

As a master student of Gustav Schönleber and Hermann Baisch, Kampmann was a representative of the Karlsruhe Landscape School . He was a founding member and second chairman of the Karlsruhe Artists 'Union and is considered the most important member of the Grötzingen painters' colony .

Life

Born in Boppard on the Rhine near Koblenz , Gustav Kampmann has lived in and near Karlsruhe since 1873, from a Rhenish family of Protestant denomination . His father was the doctor Wilhelm Kampmann, owner of the Marienberg cold water facility near Boppard. His mother was Elisabeth Nottebohm geb. Schmitz. Among Kampmann's seven siblings and half-siblings, the half-sister, daughter from the mother's second marriage to August Nottebohm from Wattenscheid , the painter Jenny Fikentscher née. Nottebohm, significant for Kampmann's life. Because she later married Otto Fikentscher , the founder of the Grötzingen painters' colony, of which Kampmann is considered to be the most artistically important member.

Kampmann spent part of his childhood in Katowice in Silesia , where his stepfather had been appointed government architect. In Karlsruhe, Kampmann graduated from secondary school in 1878, the so-called one-year volunteer , and entered the Grand Ducal Baden Art School in Karlsruhe that same year . He stayed there until 1884, where he had to interrupt his training in 1880/1881 to complete the one-year voluntary military service. His teachers were initially Hans Fredrik Gude , then his successor Gustav Schönleber and finally Hermann Baisch , the latter in turn both pupils of the Munich landscape painter Adolf Heinrich Lier . The numerous study trips that he has undertaken from different locations since the 1980s were of great importance for his work as a landscape painter. In 1880 he spends the summer on Lake Constance . From 1885 to 1889 he lived (with a break in 1887/88, during which he traveled the Baltic Sea coast from Lübeck) with his painter friend Bernhard Buttersack in Munich and Schleissheim near Munich, from where he found Erdinger, who was popular with landscape painters of the time Explores moss and travels in southern Germany.

He had his first exhibition participation in 1886 at the Royal Academy of Arts in Berlin. Since then, regular participation in exhibitions, first in Munich, then also in other major German cities (Akademie der Künste Berlin 1988, 1892; Great Berlin Art Exhibition 1893, 1898, 1903, 1905, 1908, 1913; Munich Glass Palace 1889, 1892, 1897, 1898, 1900 , 1911, 1912; Munich Secession 1893, 1896, 1907; collective exhibition Kaiser Wilhelm Museum Krefeld 1916). In 1890 he moved to Grötzingen , where he and his half-sister and mother moved into an apartment in Augustenburg Castle , which was acquired by Fikentscher and saved from the threat of demolition . This is where the Grötzinger painters' colony was established. In 1891 he married the piano teacher Anna Roth, who was born in Basel in 1860 and whom he had met during a rheumatism-related spa stay in 1888 at Lake Walen , Switzerland. In 1894 his son Hans-Jürgen was born. In 1891 he went on a study trip to Belgium and Holland. In 1895 he explored the northern Black Forest , the Murgtal and the Hornisgrinde , and the following year the Vosges . In 1898 the Swiss Jura is visited. In 1901 he traveled through France and Spain to Tangier in Morocco. In 1902, when Friedrich Kallmorgens was appointed to Berlin, the Grötzinger painter colony was dissolved. The Kampmann couple also moved to Durlach in 1905 , but returned to Grötzingen in 1908, but no longer lived in Augustenburg, but in their own small house.

Together with 23 other artists, Kampmann founded the Karlsruher Künstlerbund in 1896 and was elected second chairman in 1899. The Karlsruher Künstlerbund ran its own lithography workshop with the art print shop Künstlerbund Karlsruhe and played a significant role in the successful introduction of artist stone drawing in Germany, which pursued the double goal of offering original art for less by means of inexpensive offers instead of cheap reproductions such as oil color printing to make wealthy audiences affordable and thereby to make a contribution to the aesthetic education of the people and to secure a regular income for the artists. The popular educational concern was that, contrary to the practice of limited editions customary for artist graphics, editions of several thousand, in one case even 10,000, copies of popular sheets were produced. Kampmann became an artistic collaborator for the ambitious avant-garde magazine Pan , but he also created commercial graphics. For example, on behalf of the Cologne chocolate producer Ludwig Stollwerck, he designed collecting pictures for Stollwerck scrapbooks , including for Stollwerck scrapbooks no. 4 and 5 from 1899 and 1902, respectively.

In 1901 Kampmann received an honorable mention in Paris. In 1904 he joined the Association of Friends of Art in the countries on the Rhine . In the same year he received the small golden plaque in Dresden . In 1905 he was appointed titular professor at the Grand Ducal Badische Kunstschule in Karlsruhe by Grand Duke Friedrich I of Baden after he had rejected an appointment as professor at the Royal Academy of Graphic Arts and Book Industry in Leipzig. In 1909 he stayed in Vienna from April to June , followed by a study trip to Hegau in 1910, a study trip to the Harz Mountains in 1911 , and another to the Rhön in 1912 .

In the years before World War I, Kampmann was on friendly terms with the liberal politicians Theodor Heuss and Friedrich Naumann , who, as promoters of the art education movement, published both appreciative appreciations of his work. In 1914 he moved to Switzerland before the war began , but then voluntarily joined the Karlsruhe Reserve. From 1915 he suffered from severe corneal inflammation of the left eye, which, in addition to his still severe rheumatism, from which he suffered from his youth, made painting a torture. After he had been promoted to captain on February 28, 1916 , he was granted rest leave in Grötzingen from mid-February in 1917 and was finally released from military service at his own request due to illness. In the same year Kampmann died of his own hand during a spa stay in Bad Godesberg by opening his wrists. His widow had it spread in the newspaper that he had succumbed to his diseases.

plant

The work mainly comprises landscape paintings and lithographs , rarely with staffage , sometimes with architectural elements. From the early 1990s, Kampmann developed a personal, very idiosyncratic style , which is characteristic of the artist's works “with their openness, the mere suggestion of motifs and the spontaneous gesture, almost completely detached themselves from the objective connotations in favor of purely painterly visual effects (en) [...]. Kampmann's picture designs have a painterly freedom and a degree of abstraction that can hardly be found in any other artist at that time, ”says Stefan Borchardt. "Fields, meadows, trees and houses are drawn together to abstract closed areas, the sky is structured over the cloud clusters, the relief-like application of paint asserts itself equally to the objects depicted." Kampmann, who, however, has never commented on questions of art theory, creates "around the At the turn of the century, a pictorial aesthetic based entirely on the painterly [...] that receives its impulse from experiencing the stimuli of the real landscape, but does not actually reproduce it, but instead develops an aesthetic equivalent from purely painterly means. ”Often he chooses Landscape excerpts without any picturesque , romantic or heroic quality, "which actually offer nothing in terms of motifs but surfaces and strips of fields, meadows and sky and whose optical charm lies solely in the moments of weather on which the painter's attention is directed." "Kampmann's rigorous imagery its ripe time means e a negation of the traditionally composed landscape painting. With logical consistency he followed the path from the reality-related image to the abbreviated cipher. ”His“ traditional viewing habits revolutionizing landscape interpretation ”had nothing in common with German tumultuous native painting, with all the typical love of the local landscape, which also drove him as a contemporary of the wandering movement , except for the subject. Even with him it is a landscape that has not been touched by humans or is not too invasive, and is still free of technical installations (the locomotive in the railway in the evening of 1899, which approaches the viewer threateningly and envelops the whole sky with its dark smoke, takes one special position in the factory one), he makes the starting point of his art, but the typical contemporary ethnic and cultural pessimism and modernity critically motivated glorification and promotion of pre-modern agriculture as a supposedly healthy and natural livelihood or even the glorification of agricultural work such as plowing, sowing, threshing or grain cutting one does not find with him. The traditional farmhouse or village alone as a pictorial object occasionally serves romantic nostalgia . Neither the life in the big city, which Kampmann had withdrawn from with his decision in favor of the painter's colony, nor modern society or technology and industry play a role as a direct subject in his work. At most, as the perpetual present and future, in the consciousness of the artist and the contemporary observer, they form the foil against which his intact landscapes stand out as an aesthetic alternative.

Kampmann's art strives for absolute aesthetic autonomy. As with the poet Stefan George , neither the properties of the object to be portrayed nor a narrative related to real processes nor the spontaneously experienced feelings of the people involved should constitute the work of art, but only the figure seen and created by the artist, in which, like Hubert Arbogast formulated, “Contents are presented as form. [...] Their external appearance, however, is not something external and accidental , but the expression of an internal process. "This amounts to a consequent turning away from naturalism , whose representatives viewed nature as the teacher of the artist and thus the actual artist. who only need to join them. Kampmann, however, like George, was concerned with the autonomy of art. The consistency with which he proceeded was, at least in his environment, a unique selling point. In any case, none of the people from Grötzingen came down a path that took them as far beyond their academic training and artistic beginnings as Kampmann.

In the lithography (52 works published alone within the framework of the Künstlerbund Karlsruhe ) “the modernity of Kampmann in contrast to the usual postcard motifs [...] in the extremely eccentric and asymmetrical composition [...] The colors (here) become richer and more used more clearly than in most paintings. Color areas are less differentiated and delimited with nuances, rather placed side by side. Overall, the color contrasts and the light-dark contrast are used more decidedly in favor of large-scale image effects, thus corresponding to the target medium. " In the paintings, on the other hand, “pure colors and strong color contrasts are only rarely used in colored areas, as was dominant at that time”, but Kampmann “devotes himself more to differentiating and enriching the intermediate tones”. He developed the image effect “in terms of color entirely from a reduced tone-on-tone painting with fine gradations and the use of backlight.” Through lithography, the path also led to work as a book illustrator.

While he was quite successful with his lithographs, sales of his approx. 500 paintings, of which only about a quarter found a buyer during his lifetime, remained rather limited. Apart from Kampmann's uncompromising aesthetic concerns and the low recognition value of his landscapes for an audience motivated by patriotism and homeland , this is probably due not least to the gloomy mood of most of his paintings. "However, a few critics (including Gustav Glück and Theodor Heuss) recognized a special quality in the radical simplification and synthesis of the landscape, which was unheard of at the time." During his lifetime, Kampmann hardly received the attention it deserved. “Almost all of the artist's 446 paintings (are) privately owned. Only eight pictures ended up in public collections during his lifetime (Staatl [iche] Kunsthalle Karlsruhe, Museum Folkwang Essen, Gemäldegalerie Wien, municipal galleries in Gdansk, Zwickau, Koblenz and Dortmund). "Nothing fundamental has changed in this to this day, since it was “not exhibited outside the local context of the Grötzinger painter colony and Karlsruhe art”, apart from a few exhibitions in Karlsruhe, and therefore “remained almost unknown”. After all, since the 1960s, the work of the artist, who was almost forgotten after his death, has been brought to mind again through a series of exhibitions "which established his outstanding position within this (the Grötzinger) group of artists". Rudolf Theilmann even judged: "The boldness and independence of his compositions put Kampmann in the first row of German landscapers around 1900." Nevertheless, Kampmann has not achieved the national, let alone international rank that he has achieved due to his role in overcoming naturalism around 1900 as one of the pioneers of abstraction and an aesthetic of pure form in the opinion of the experts quoted. The fact that Kampmann cannot be clearly assigned to any of the established styles of the era, naturalism, impressionism, art nouveau or symbolism , was a factor that detrimentally affected his appreciation . On the other hand, his relatively early death before the end of World War I prevented his relationship to the then leading style, Expressionism , to which some of the peculiarities of his work could certainly be predicted, from being clarified. As an independent and demanding artist, he did not seem to have any heightened interest as an artist who was situated outside the main lines of style development and had no appreciable influence on the further course of art history. The enthusiasm for landscape painting, which has declined sharply since the middle of the century, and its declining importance in contemporary art, did the rest, so that outside the region there has so far been neither a fundamental rediscovery of the artist, who is by no means insignificant, nor an aesthetic reassessment of his demanding work by a broader audience.

Individual works in public collections (selection)

Brandenburger-Eisele offers a detailed catalog of works (see "Literature" below)

Painting:

Lithographs:

Etchings

drawings

Books and writings with illustrations by Kampmann (selection)

  • Society for duplicating art (ed.): The graphic arts . Year XXIII, 1900. Imperial Royal Court and State Printing Office, Vienna, 1900.
  • Sounds of the muses from the Karlsruhe Artists Association. Voigtländer, Leipzig 1902.
  • Wilhelm Schäfer (Hg.): The Rhineland - monthly for German art. Volume 4 (April 1902 - September 1902). Verlag der "Rheinlande", Düsseldorf, 1902.
  • Max Martersteig (ed.): Yearbook of Fine Arts 1903. With the participation of Woldemar von Seidlitz-Dresden. Second year. (Almanac for Fine Arts and Applied Arts, Volume 3). German Yearbook Society. Berlin. 1903.
  • Jeannot Emil Freiherr von Grotthuss (ed.): Türmer-Jahrbuch 1904 Greiner and Pfeiffer, Stuttgart 1904.
  • Karl Ernst Knodt: Fontes Melusinae. A fairy tale of humanity. With pictures by G. Kampmann. Altenburg, Geibel 1904.
  • Karl Ernst Knodt : A sound from death. A song of life. New verses by Karl Ernst Knodt. With 2 cover pictures by Gustav Kampmann. Emil Roth, Giessen, undated (1905).
  • Auguste Supper : Over there with us. Stories from the Black Forest. Eugen Salzer, Heilbronn 1905.
  • Hanns von Gumppenberg , Alfred Auscher (ed.): Licht und Schatten (weekly for black and white art and poetry) Volume 2, 1912, Issue No. 34. Verlag Licht und Schatten, Munich 1912.
  • Fritz Heyder: German drawing art 1917. The pictures of the out of print 9th year of the calendar art and life. Fritz Heyder, Berlin-Zehlendorf, 1916 (-1917).
  • Fritz Heyder: German drawing art 1917. The pictures of the out of print 10th year of the calendar art and life. Fritz Heyder, Berlin-Zehlendorf, 1918.
  • Through! German people at war. Pictures of the Calendar Art and Life 1914 - 1918. Poems from the war. Heyder, Berlin-Zehlendorf 1920.

Individual evidence

  1. On the life data cf. Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, p. 89.
  2. See Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, p. 7; Pp. 9-17; Erika Rödiger-Diruf, Brigitte Baumstark (eds.), German Artists Colonies 1890–1910. Worpswede, Dachau, Willingshausen, Grötzingen, Die Brücke, Murnau. Städtische Galerie Karlsruhe September 26, 1998 to January 17, 1999. Städtische Galerie Karlsruhe, Karlsruhe 1998, pp. 236–238; P. 244; Rudolf Theilmann (ed.), Gustav Kampmann. 1859 - 1917. Drawings from the Kupferstichkabinett of the Staatliche Kunsthalle Karlsruhe. Exhibition October 22, 1994 to January 29, 1995, Staatliche Kunsthalle Karlsruhe. Staatliche Kunsthalle Karlsruhe, Karlsruhe 1994, p. 11; Rudolf Theilmann (ed.), The Grötzinger painter colony. The first generation 1890 - 1920. Karl Biese, Jenny Fikentscher, Otto Fikentscher, Franz Hein, Margarethe Hormuth-Kallmorgen, Friedrich Kallmorgen, Gustav Kampmann. Exhibition at the Staatliche Kunsthalle Karlsruhe from November 28, 1975 to February 1, 1976. Müller, Karlsruhe 1975, p. 15.
  3. See Karl Storck, Die Künstlerlithographien des Karlsruher Künstlerbund. About our art supplements, in: Jeannot Emil Freiherr von Grotthuss (ed.), Türmer-Jahrbuch. Greiner and Pfeiffer, Stuttgart 1904, pp. 215–240 (with the original lithograph “Dämmergrund” by G. Kampmanns after p. 244).
  4. See Stefan Borchardt, From twilight to twilight. On the landscapes of Gustav Kampmann, in: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 12f.
  5. Lorenz, Detlef: Reklamekunst um 1900. Artist lexicon for collecting pictures, Reimer-Verlag, 2000.
  6. See Th. Heuss, Gustav Kampmann. A German landscape painter , in: Westermanns illustrated German monthly books 53, 1909, pp. 773–785, reprinted in: Stefan Borchardt (ed.): Gustav Kampmann. Between day and night. Painting drawings, lithographs. Catalog for the exhibition at the Hohenkarpfen Art Foundation from March 28 to July 18, 2010 . Beuroner Kunstverlag, Beuron 2010, pp. 19–27; Friedrich Naumann, shape and color. Book publisher "Hilfe", Berlin-Schöneberg 1909.
  7. Stefan Borchardt, From twilight to twilight. On the landscapes of Gustav Kampmann, In: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 10.
  8. Stefan Borchardt, From twilight to twilight. On the landscapes of Gustav Kampmann, In: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 9.
  9. Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 14.
  10. ^ Rudolf Theilmann, Kampmann, Gustav. In: Bernd Ottnad (ed.): Badische Biographien. New series, volume 3. Kohlhammer, Stuttgart 1990, p. 145.
  11. ^ Rudolf Theilmann, Kampmann, Gustav. In: Bernd Ottnad (ed.): Badische Biographien. New series, volume 3. Kohlhammer, Stuttgart 1990, p. 146.
  12. ^ Hubert Arbogast, The renewal of the German poetic language in the early works of Stefan George. A stylistic investigation. Böhlau, Köln / Graz 1967, p. 1 (emphasis in the original).
  13. Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 13.
  14. Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 10
  15. ^ Gustav Glück, Gustav Kampmann, in: Die Graphischen Künste 23, 1900, pp. 101–112.
  16. See Theodor Heuss, Gustav Kampmann. A German landscape painter, in: Westermanns illustrated German monthly magazine 53, 1909, pp. 773–785, reprinted in: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 19–27.
  17. Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 14.
  18. ^ Rudolf Theilmann, Kampmann, Gustav. In: Bernd Ottnad (ed.): Badische Biographien. New series, volume 3. Kohlhammer, Stuttgart 1990, p. 148.
  19. ^ Stefan Borchardt, Gustav Kampmann. Between day and night. In: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 7.
  20. ^ Rudolf Theilmann, the Grötzinger painter colony. A chapter in Baden art history. In: Rudolf Theilmann (ed.), The first generation 1890 - 1920. Karl Biese, Jenny Fikentscher, Otto Fikentscher, Franz Hein, Margarethe Hormuth-Kallmorgen, Friedrich Kallmorgen, Gustav Kampmann. Exhibition in the Staatliche Kunsthalle Karlsruhe from November 28, 1975 to February 1, 1976. Müller, Karlsruhe 1975, p. 15. Stefan Borchardt, From Twilight to Twilight, judges similarly. To the landscapes of Gustav Kampmann. In: Stefan Borchardt (ed.), Gustav Kampmann. Between day and night. Painting drawings, lithographs. Beuroner Kunstverlag, Beuron 2010, pp. 9–18, here p. 17.

literature

  • Gustav Glück: Gustav Kampmann , in: Die Graphischen Künste 23, 1900, pp. 101–112.
  • Theodor Heuss: Gustav Kampmann. A German landscape painter , in: Westermanns illustrated German monthly books 53, 1909, pp. 773–785, reprinted in: Stefan Borchardt (ed.): Gustav Kampmann. Between day and night. Painting drawings, lithographs. Catalog for the exhibition at the Hohenkarpfen Art Foundation from March 28 to July 18, 2010 . Beuroner Kunstverlag, Beuron 2010, pp. 19–27.
  • Robert Schwerdtfeger: Gustav Kampmann . In: Die Rheinlande 17, 1909, pp. 37–47.
  • Catalog of the original lithographs of the Künstlerbund Karlsruhe. Lithographs, etchings, woodcuts. Publishing house of the Kunsterei Künstlerbund, Karlsruhe 1900–1914.
  • Ferdinand Avenarius : Gustav Kampmann (Nekrolog) . In: Deutscher Wille (Kunstwart 31, 1917, Issue 1, pp. 27-29).
  • O. Kellner: Kampmann, Gustav . In: Ulrich Thieme , Felix Becker |, Hans Vollmer (ed.): General lexicon of the fine arts from antiquity to the present . Vol. 19/20. EA Seemann, Leipzig 1927/28, pp. 509-511.
  • Richard Bellm:  Kampmann, Gustav. In: New German Biography (NDB). Volume 11, Duncker & Humblot, Berlin 1977, ISBN 3-428-00192-3 , p. 93 f. ( Digitized version ).
  • Edith Amann: The graphic work of Gustav Kampmann (writings of the Staatliche Kunsthalle Karlsruhe 3). Staatliche Kunsthalle Karlsruhe, Karlsruhe 1944.
  • Rudolf Theilmann (ed.): The Grötzinger painter colony. The first generation 1890 - 1920. Karl Biese, Jenny Fikentscher, Otto Fikentscher, Franz Hein, Margarethe Hormuth-Kallmorgen, Friedrich Kallmorgen, Gustav Kampmann. Exhibition at the Staatliche Kunsthalle Karlsruhe from November 28, 1975 to February 1, 1976. Müller, Karlsruhe 1975.
  • Art in Karlsruhe 1900 - 1950. Karlsruhe State Art Gallery, exhibition in the Badischer Kunstverein, Karlsruhe May 24 - July 19, 1981. Müller, Karlsruhe 1981 ISBN 3-7880-9661-6 .
  • Helga Walter-Dressler, Sylvia Bieber (eds.): Color lithographs of the Karlsruhe artist association around 1900. An initiative against oil pressure. Städtische Galerie im Prinz-Max-Palais Karlsruhe, July 18 to October 11, 1987. Städtische Galerie Karlsruhe, Karlsruhe 1987. ISBN 3-923344-10-4 .
  • Rudolf Theilmann: Kampmann, Gustav , in: Bernd Ottnad (Hg.): Badische Biographien . New series, volume 3. Kohlhammer, Stuttgart 1990, ISBN 3-17-009958-2 , pp. 145–148 ( online )
  • Hans Linde: Gustav Kampmann (1859-1917). Notes on life and work. In: Gustav Schönleber (1851-1917), Gustav Kampmann (1859-1917). Twice nature around 1900. Städtische Galerie im Prinz-Max-Palais Karlsruhe, December 15, 1990 - February 17, 1991. Städtische Galerie Karlsruhe, Karlsruhe 1990, ISBN 3-923344-16-3 , pp. 97–107.
  • Erika Rödiger-Diruf: On form and content in Gustav Kampmann's painting. In: Gustav Schönleber (1851-1917), Gustav Kampmann (1859-1917). Twice nature around 1900. Städtische Galerie im Prinz-Max-Palais Karlsruhe, December 15, 1990 - February 17, 1991. Städtische Galerie Karlsruhe, Karlsruhe 1990, ISBN 3-923344-16-3 , pp. 109–151.
  • Gerlinde Brandenburger-Eisele: Gustav Kampmann (1859–1917) A contribution to German landscape art around 1900 (European university publications. Series 28 Art History 112). Peter Lang, Frankfurt am Main et al. 1991 ISBN 3-631-43898-2 (also Diss. Phil. Frankfurt am Main 1988).
  • Rudolf Theilmann (ed.): Gustav Kampmann. 1859 - 1917. Drawings from the Kupferstichkabinett of the Staatliche Kunsthalle Karlsruhe. Exhibition October 22, 1994 to January 29, 1995, Staatliche Kunsthalle Karlsruhe. Staatliche Kunsthalle Karlsruhe, Karlsruhe 1994. ISBN 3-925212-27-2 .
  • Erika Rödiger-Diruf, Brigitte Baumstark (eds.): German artist colonies 1890–1910. Worpswede, Dachau, Willingshausen, Grötzingen, Die Brücke, Murnau. Städtische Galerie Karlsruhe September 26, 1998 to January 17, 1999. Städtische Galerie Karlsruhe, Karlsruhe 1998 ISBN 3-923344-43-0 , pp. 231–249, especially pp. 236–238; P. 241; Pp. 243-245; P. 247 (lit. p. 388).
  • Erika Rödiger-Diruf, Brigitte Baumstark (ed.): Like painting? Lithography around 1900. Städtische Galerie Karlsruhe April 22 to July 2, 2006. Neuer Kunstverlag, Stuttgart 2006 ISBN 3-923344-65-1 , pp. 8–25; Pp. 90-95; Fig. P. 12; P. 23; P. 25; P. 58; P. 55; P. 61; P. 64; P. 66f .; P. 104f.
  • Stefan Borchardt (ed.): Gustav Kampmann - Between day and night. Painting. Drawings and lithographs . Catalog for the exhibition at the Hohenkarpfen Art Foundation from March 28 to July 18, 2010. Beuroner Kunstverlag, Beuron, 2010. ISBN 978-3-87071-212-9 .

Web links

Commons : Gustav Kampmann  - Collection of pictures, videos and audio files