Halle School

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The Halle school means a flow of modern painting of the 1940s to 1950s, which was marked by Halle painters under the strong influence of artists Charles Crodel and Erwin Hahs were that since 1927 and 1918 professors of painting at the Art Academy Burg Giebichenstein in Halle (Saale) were.

Origins

The painters of the Halle School were shaped by the imagery of the teachers Charles Crodel and Erwin Hahs. In 1949 Fritz Löffler wrote : “A number of noteworthy talents who grew out of the Giebichenstein school are growing in Halle. Crodel as head of the school is a decorative talent who has a great wealth of imagination. "

In addition, at the end of the Second World War, numerous Bauhaus teachers moved from the heavily bombed Dessau to the undamaged Halle 40 kilometers away at the Burg Giebichenstein art school. In 1947, many artists moved into the barracks, originally built as a military hospital and partly used as accommodation for artist families, on Fischer-von-Erlach-Strasse in Halle. There, the artists' association the "Fähre" was born from the lively exchange . Helmut Schröder, Fritz Freitag, Karl Erich Müller and Otto Müller were the main players in the ferry, which was under the direction of Fritz Baust. The artists took part in the exhibitions inspired by the ferry with landscapes, animal and nude drawings, which often took place in the Henning Gallery.

Since 1947, Willi Sitte had been an important representative of the idiosyncratic art scene that did not paint in conformity with the state and insisted on independence from the state and the officials. The influence of Crodel and Hah in this simplified, yet figurative and symbolic imagery can be clearly seen in the works of this time. The two teachers had different conceptions of art, which carried over to their classes and the young painters, who were mostly disaffected by the war. This was reflected in the themes, jugglers, artists, circus people symbolized the search for balance, with these subjects symbols for life could be created. This world of jugglers is often depicted in a melancholy way, supported by the special colors. The typical Halle gray predominates and thus enhances the quality of the bright colors. Important representatives to whom the so-called Hallesche Grau can be assigned are Herbert Kitzel and Hermann Bachmann .

Quote Dorit Litt from the catalog “Ostracized Formalists” (on gray-in-gray painting): “In its nobility, this painting expressed a melancholy at that time, which was criticized in numerous reviews.”

Representative

Painting in Halle after 1945 was post-war modernism , influenced by the processing of Expressionism . Some of the artists left the GDR as a result of the dogmatic cultural-political discussions of the 1950s. Others, however, preferred internal emigration, which reinforced this gray mentality.

Willi Sitte was later significantly involved in loosening up the required socialist uniform style.

stylistics

The preoccupation with expressionism and classical modernism can be seen in many of the paintings by Halle painters since 1945. That was not on the ideological line of the GDR. The representation is often related to the Bauhaus conception in simple clear forms. It is also abstracted. The paths of the teachers and the preoccupation with modernity vary from artist to artist. This results in different artistic paths, the origins of which are difficult to see. It is not possible to assign a uniform painting style, nevertheless the painters were united in their intentions and in their views. An interesting scene formed that lost many interesting artists due to the formalism dispute in 1958 .

The term “Hallesche Schule” describes a certain regional conception of continuing and developing classical modernism.

The term “Hallesche Schule” is still used today, mostly to draw attention to other doctrines and currents in Central Germany in competition with the well-known Leipzig School .

literature

  • Roland Rittig, Rüdiger Ziemann (eds.): Prometheus 1982: Unpopular art from the GDR. Verlag Janos Stekovics , Halle, Zurich 1995, ISBN 3-929330-48-2 .
  • Axel Hecht : Time comparison. Painting and graphics from the GDR. Gruner + Jahr , Hamburg 1982, ISBN 3-570-00398-1 .
  • A Halle cosmos in a standard format - painting on henning board. ISBN 978-3-932962-40-0 .
  • In the field of tension of modernity. Ten painters from Halle. Moritzburg Foundation, 2003, ISBN 3-86105-093-5 .
  • Wolfgang Hütt : Funded. Supervised. Reform pressure from visual artists of the GDR. The example of Halle. Stekovics, 2004.
  • Dorit Litt, Matthias Rataiczyk: Ostracized formalists. Art from Halle 1945–1963. 1998, ISBN 3-932962-03-6 .
  • Wolfgang Hütt: In the world of art, artists in Halle. Henschel, Berlin 1977.
  • G. Berg, Ralf T. Speler, Matthias Rataiczyk, Niels H. Vienna: Halle in the post-war period. Paintings, graphics and sculptures from private ownership. 1993.
  • Herbert Kitzel: The time in Halle. On the occasion of the Herbert Kitzel exhibition. Painting 1948–1978. Staatliche Galerie Moritzburg, Halle, October 24, 1993 to January 2, 1994; Municipal gallery in the Prinz-Max-Palais, Karlsruhe, March 12 to May 8, 1994. Editor: Jürgen Scharfe. Staatliche Galerie Moritzburg, Halle (Saale) 1993, ISBN 3-86105-081-1 .
  • Peter Noss:  HAHS, Erwin. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 18, Bautz, Herzberg 2001, ISBN 3-88309-086-7 , Sp. 563-576.  ( Article / beginning of article in Internet archive )
  • Dorit Litt: Beach Pictures. Myth Hallesche painting. Kunstforum Halle, 2010, ISBN 978-3-00-030616-7 .
  • Katharina Heider: From applied arts to industrial design, the Burg Giebichenstein art college in Halle (Saale) from 1945 to 1958. Publishing house for the humanities, Weimar 2010, ISBN 978-3-89739-672-2 .

Individual evidence

  1. ↑ Zeitschrift für Kunst, 3, 1949, p. 280.
  2. ↑ Detlef Färber: Hallesche Schule makes school. In: Mitteldeutsche Zeitung . May 20, 2008, accessed August 14, 2013 .