Höri artist

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The Höri artists (also Höri painters ) were a group of visual artists who settled on the Höri peninsula on Lake Constance in the 1930s and 40s . Their best-known representatives were Erich Heckel and Otto Dix .

history

The Höri, the idyllic and remote stretch of land on western Lake Constance between Radolfzell and Stein am Rhein , attracted painters and writers as early as the beginning of the 20th century. The then internationally known writer Hermann Hesse settled in Gaienhofen in 1904 (until 1912) . The poet Ludwig Finckh followed him to Gaienhofen. Hesse and Finckh's painter and poet friends often use the summer for longer stays on the rural peninsula in the Untersee . In 1907 the playwright Ernst Bacmeister came to Wangen . At the beginning of the Second World War at the latest, the different political orientations of the artists became apparent. While Hermann Hesse criticized National Socialism early on, Ludwig Finckh positioned himself as a national writer, who later also attracted admiration from Adolf Hitler.

After the First World War

The second generation of Höri artists who settled there after the First World War are the painters Eugen Segewitz , Walter Waentig (1881–1962), Willi Münch-Khe (1885–1960), Hugo Boeschenstein and Wilhelm Müllerzell .

In the time of National Socialism

The term "Höri painter" or "Höri artist" usually refers to the generation of artists - mostly representatives of classical modernism and Rhenish expressionism , who were in the wake of Macke, Kaesbach and Dix during and shortly after the Second World War Settled Untersee. The isolation offered the Höri the possibility of inner emigration.

The reactionary, narrow-minded cultural policy of the Nazis, who vilified modern artists and banned them from working, played a major role in the fact that after 1933 the Höri became the home of a number of modern painters and became famous as the “painter's corner”. In 1933 Helmuth Macke , a cousin of the Blaue Reiter painter August Macke , joined the Höri. Macke recommended Walter Kaesbach , the head of the Düsseldorf Art Academy, who was dismissed by the Nazis , to come to the lake opposite the Swiss bank. In the same year Otto Dix also moved from Dresden to Randegg near the Untersee . In 1936 he and his family moved into their newly built house in the Höri village of Hemmenhofen (today the Museum Haus Dix ). Max Ackermann followed in 1936, Erich Heckel and the sculptor Hans Kindermann in 1944 .

Kaesbach attracted further Düsseldorf academy graduates - Ferdinand Macketanz in 1942 , Georg Becker in 1943 and Jean Paul Schmitz with his wife, the painter Ilse (née Pieper), who had withdrawn from Berlin to the vicinity of Säckingen in 1941 and after several Visiting Dix and Kaesbach came to Wangen in 1949.

After the Second World War

Because of the destroyed cities, Kaesbach, Dix, Heckel, Macketanz, Erfurth and Kindermann stayed on the Höri after the Second World War. Also in 1949, the Düsseldorf painter and gallery owner Rudolf Stuckert moved to Wangen. The painter Gertraud Herzger von Harlessem also came to the lake in the 1940s, and after she was released from captivity in 1946, her husband, the painter Walter Herzger, followed . The painter and Macketanz student, Rose-Marie Schnorrenberg , found her way to the Höri (1954). These artists formed the third - and best known - generation of Höri artists. Paul Becker (the "Apfel-Becker") became famous as a patron of many of these artists and as a collector of their works. His daughter married the painter Matthias Goll. The Bühler Hof became a center for artist festivals and intellectual exchange.

Although these artists and their families knew each other, visited each other and occasionally painted and for the most part had common roots in Düsseldorf at the academy under Walter Kaesbach, the Höri did not become an artist colony. "You shouldn't make Worpswede out of the area, we who live down there are all loners," said Ferdinand Macketanz.

In the region, the neighboring industrial city of Singen am Hohentwiel developed into an important forum for modernism with large art exhibitions in the 1950s and 1960s, where the Höri artists regularly exhibited.

Even in the 21st century, Höri is still home to many painters and sculptors.

Exhibitions

  • 2011: Singen Municipal Art Museum

literature

  • Andrea Hofmann: Artists on the Höri. Refuge on Lake Constance in the 1st half of the 20th century . Friedrich Bahn Verlag, 1989
  • Leopold Zahn : Artist on the Höri on Lake Constance . Simon and Koch, 1956
  • Christoph Bauer, Barbara Stark: Walter Kaesbach - mentor of modernity . Libelle Verlag, 2008
  • Art at Lake No. 11, Modern Art II . Robert Gessler Publishing House, 1983
  • Idiosyncratic - women artists on Lake Constance 1900 to 1950 , Städtische Wessenberg-Galerie Konstanz (ed.), 2005
  • Bernd E. Fischer: Otto Dix in Hemmenhofen . Edition AB Fischer, Berlin, 2010

Web links

Individual evidence

  1. ^ Andrea Hofmann: Artists on the Höri. Refuge on Lake Constance in the 1st half of the 20th century . Friedrich Bahn Verlag, 1989, pp. 15-17.
  2. ^ Sparkasse Pforzheim Calw: Politics | Hermann Hesse. Retrieved January 13, 2018 .
  3. ^ Südkurier Medienhaus: SK At that time: Historian talks about Nazi mastermind Ludwig Finckh | SÜDKURIER Online . In: SÜDKURIER Online . ( suedkurier.de [accessed on January 13, 2018]).
  4. ^ Andrea Hofmann: Artists on the Höri. Refuge on Lake Constance in the 1st half of the 20th century . Friedrich Bahn Verlag, 1989, p. 22ff.
  5. ^ Franz Hofmann: Retreat and Refuge - Artists on the Höri. In: District of Konstanz (ed.): At home in the district of Konstanz. Stadler Verlagsgesellschaft mbH, ISBN 3-7977-0388-0 , pp. 72-77.
  6. ^ Andrea Hofmann: Artists on the Höri. Refuge on Lake Constance in the 1st half of the 20th century . Friedrich Bahn Verlag, 1989, pp. 44-78.
  7. ^ "Self-willed - women artists on Lake Constance 1900 to 1950", Städtische Wessenberg-Galerie Konstanz, 2005, p. 31
  8. ^ Franz Hofmann: Retreat and Refuge - Artists on the Höri. In: District of Konstanz (ed.): At home in the district of Konstanz. Stadler Verlagsgesellschaft mbH, ISBN 3-7977-0388-0 , pp. 72-77.
  9. ↑ Christoph Bauer, Barbara Stark: Walter Kaesbach - Mentor of Modernity . Libelle Verlag, 2008, pp. 36–38
  10. ↑ quoted from “Mövenschaukel. Painter on Lake Constance from 1933 to 1960 ”, Dachau (Dachau Gemäldegalerie) 1996, p. 11
  11. ^ Höri painter under one roof , Südkurier, August 17, 2011