Hamburg artists' association from 1832

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Advertising poster for the art exhibition of the Hamburger Künstlerverein in the Kunstverein in Hamburg by Eduard Steinbach , 1909
Lot in support of the association. Inscription: Loos for the best of the support fund of the Hamburg Artists' Association , approx. 1870
Invitation to the carnival grog 1912 from the Hamburg artists' association. Woodcut on Japanese paper by Friedrich Lissmann
Medal to celebrate the 70th birthday of medalist Heinrich Lorenz , from the Hamburg Artists' Association, 1880
Draft of a banner for the Hamburg Artists' Association by Martin Gensler , March 26, 1848, Hamburger Kunsthalle

The Hamburg Artists 'Association from 1832 , also known as the Hamburg Artists' Association , was founded in September 1832 under the name of the Club of Hamburg Young Artists and existed until the second half of the 20th century.

The Union

On September 19, 1832, fifteen Hamburg artists came together and founded the Club of Hamburg Young Artists , which was soon renamed the Hamburg Artists' Association . The founders included the three painter brothers Günther Gensler , Martin Gensler and Jacob Gensler , the other painters Carl Julius Milde , who became the first president of the association, Otto Speckter , Franz Heesche , Johann Wilhelm David Bantelmann , August Jancke , Heinrich Stuhlmann , Georg Viegelmann , Johann Ludwig Wilhelm Westermann and Adolph Friedrich Vollmer , the sculptor Otto Sigismund Runge and the two architects Johann Friedrich Lauenburg and Alexander Gascard, who was also a lithographer. In the founding year, the painter Hermann Kauffmann and the architect Gottfried Semper were added. Most of the painters had known each other for a long time from drawing lessons at the Johanneum with Gerdt Hardorff the Elder or from studying at the Academy of Fine Arts in Munich , where they also belonged to the Hamburg artists' colony . Some had stayed in Italy and were stylistically assigned to the Nazarenes or the German Romans or were at least influenced by them. Most of the painters were representatives of the Hamburg School . They always met on Saturdays, in summer in the upper large room of the tree house on baumall and in winter until the great fire of 1842 in the council wine cellar of the Eimbecksche house . From 1847, the association met for decades in the new house of the Patriotic Society . In 1845 there were already 68 members. A third of the members also belonged to the art association in Hamburg . The aim of the association was to promote each other artistically and to strengthen one's love for art. The aspect of mutual instruction was an important aspect at the artists' association. At every meeting, a member had to show something that was examined and criticized. Those who did not submit had to pay a fine.

From 1834 the association also organized exhibitions, initially every two years a sales exhibition in the Kunstverein, but then annual exhibitions followed. The art-loving Senate Syndic, Karl Sieveking, was a sponsor of the association. Among other things, Alexis de Chateauneuf had already expanded his country house in Hammer Park , also designed furniture, and Erwin Speckter had painted the ceiling and wall paintings on the wooden paneling of the small cabinet of the house in 1830, which is now in the Museum of Art and Industry . Artists like the Gensler brothers, Hermann Kauffmann, Otto Speckter or Heinrich Stuhlmann came and went in the house. On the occasion of the visit of the Danish King Christian VIII and his wife Caroline Amalie , an exhibition of the Hamburg Artists' Association was held in 1840 in the hall of the Hammer Hof in Hammer Park, in which 24 artists took part. Sieveking's eldest daughter, Elisabeth Sieveking, captured the exhibition in a small ink drawing.

In 1841 the Hamburg Artists 'Association founded the Widows' Fund , which was supposed to provide social security for artist families. The association also organized artist festivals, the first of which took place in 1852. In the same year, the painter Gerdt Hardorff, who was a drawing teacher among others at the Johanneum and at the drawing school of the Patriotic Society , and thus pioneering teacher of many Hamburg painters, was awarded honorary membership of the artists' association.

Since good contacts were maintained between Kiel and Hamburg artists, the painter Friedrich Loos traveled to Hamburg on May 21, 1859 on behalf of the Kiel Artists 'Association , which was founded at the end of 1857, to invite colleagues from the Hamburg Artists' Association to a joint festival that took place on May 29 and in honor of Albrecht Dürer , who was a symbol of the German unity movement. In the minutes of the Hamburg Artists' Association it says:

“Mr. Loos, landscape painter from Kiel, gave verbal explanations of a written invitation from the local artists' association to celebrate a festival with him west of Kiel; The invited were promised free apartments, but the food should be shared (a so-called picnic). The company accepted with thanks. "

The invitation card printed in Hamburg was designed by the Hamburg painter Hermann Wilhelm Soltau , who had good contacts with the Kiel artists. The draft is now in the Kupferstichkabinett at the Hamburger Kunsthalle . The participants who gathered in the Great Hall of the English Garden on Eckernförder Straße included Hamburg-based Louis Asher , Peter Gustav Brünner (1833–1929), Carl Gottfried Eybe , Günther Gensler, Martin Gensler, Hermann Rudolph Hardorff and Hermann Dietrich Hastedt (1824–1901), Carl Martin Laeisz , ALJ Meier (1828–1878), Julius Diedrich Meyer (1833–?), Heinrich Friedrich Christoph Rampendahl , Valentin Ruths and Hermann Wilhelm Soltau as well as artists from the Kieler Künstlerverein and around 500 art lovers. After the opening speech by the architect and chairman of the Kiel artists' association Gustav Ludolf Martens (1818–1882), the pageant started moving. Figures nailed to trees in the style of the weekly Kladderadatsch showed the way. Günther Gensler, President of the Hamburger Künstlerverein noted:

“The company gathered in groups at ancient deposits on carpets, under tents. The people of Hamburg were hospitably invited everywhere. Here a sheep was roasting on a wooden skewer, there soup and roast were prepared in seafaring utensils, ... Champagne pearled, Rhine wine shone. "

Günther Gensler praised the Kiel artists and gave the Kiel Artists' Association a drinking cup with an inscription as a thank you. At the Uhlenkrug (now Julienlust ) on the border with the Kronshagen office , the Kiel painter Friedrich Ernst Wolperding , who was also a member of the Hamburg Artists' Association , gave a poetic welcome. When they reached the festival site in Buchhenhain near Hasseldieksdamm with marching music , a speech followed, a procession through the forest, accompanied by the singing of the Cecilia Society , further speeches and toasts, general amusement with dancing, later in the dark forest with Bengali fire , to a signal to return home sounded.

On September 18, 1859, the Hamburg Artists 'Association traveled again to Kiel to celebrate the 28th anniversary of the foundation with the Kiel Artists' Association. 36 festival participants, including no less than 20 from Hamburg, took a boat trip to Neumühlen and hiked over the heights to Ellerbek . At the Sandkrug there was a banquet with accompanying music. On this occasion, Hermann Wilhelm Soltau, on behalf of the Hamburg Artists 'Association, presented the Kiel Artists' Association with a richly decorated address of thanks. The thank you address is now in the collection of the Schleswig-Holstein State Library in Kiel. The text of the thank you address is as follows:

“The artist association in Hamburg - the artist association in Kiel greetings and handshake beforehand - we have taken the decision to celebrate the 28th foundation day - of our association, in the vicinity of the city of Kiel, which we have carried out today , and through the participation and - the courtesy of the members of the Artists' Association in Kiel as well as - their friends were most willingly supported, the undersigned - signed this certificate as proof of your sincere thanks. "

The undersigned included ALJ Meier, HE Lüders (1835–?), Berend Otto Roosen (1832–1912), Ernst Glüer , Dr. JH Lührs (founder and president of the Hamburger Tierschutzverein), Otto Speckter, HS Ehbets (1833–1878), Hermann Kauffmann, Peter Gustav Brünner, HJ Hochstein (1826–?), Christian Carl Magnussen , Carl Martin Laeisz, Georg Haeselich , Adolph Diedrich Kindermann , Ernst Gottfried Vivié , Heinrich Friedrich Christoph Rampendahl, Martin Gensler, Günther Gensler and Hermann Wilhelm Soltau.

When the Kiel painter Theodor Rehbenitz died in Kiel on February 19, 1861, the painter Rudolf Nonnenkamp (1826–1878) represented the Hamburg Artists' Association at its funeral service. When Hermann Wilhelm Soltau died in Hamburg on May 14, 1861, two people from Kiel brought a wreath to the burial of the Kiel Artists' Association .

In 1920 the Kunstverein held a spring exhibition in the Hamburger Kunsthalle with the title Hamburgische Künstlerschaft . A collaboration between the Hamburg Artists' Association and the Hamburg Secession was only possible because the Secession was granted exceptional special rights. Instead of one jury in the painting and graphics section , there were now two, one of which consisted exclusively of members of the Secession. In addition, members of the Secession had to be identified as such in the exhibition catalog. Of the 16 illustrations in the catalog, 8 were assigned to the Secession, although only 17 of the 152 participants in the exhibition belonged to the Secession. The successful course of the joint exhibition led to the founding of an umbrella organization in autumn 1920, which, like the exhibition, was named Hamburgische Künstlerschaft .

The Hamburger Künstlerverein was a member of the Kunstverein in Hamburg and the Cartel Hamburger Künstlerverband , which was founded on February 20, 1929 and whose president was the writer Hans Henny Jahnn . The cartel was an amalgamation of all free artists in Hamburg to form an umbrella organization. In addition to the Hamburg Artists ' Association, members of the association were the Hamburg Secession , the Hamburg Artists' Association , the Writers 'Protection Association in Northwestgau , the Association of Hamburg Composers , the Reich Association of Fine Artists and the Altona Artists' Association .

After the seizure of power of the Nazis was Max Kutschmann for DC circuits responsible of artists associations in Germany. On April 25, 1933, the Hamburgische Künstlerschaft e. V. and the Hamburg Artists' Association brought into line.

The diaries of the association as well as the minutes of the meetings with entries about income and expenses are kept in the Hamburg State Archives and can be viewed there. The holdings cover the period 1832–1965. It also contains correspondence and statutes. The diaries were handed in to the State Archives around 1946 by the painter and association chairman Franz Beck (1893–1983). In 1991 a subsequent delivery to the archive was made by a Ms. Brömmel.

Günther Gensler's group portraits

In June and July 1837 Günther Gensler stayed in Holland . He was very impressed by the works of Rembrandt van Rijn and Bartholomeus van der Helst , so that he copied parts of the paintings. Six detailed copies of the studies from the Rijksmuseum Amsterdam are known, namely two head studies from Rembrandt's painting The Heads of the Cloth Makers' Guild , the Captain and the Lieutenant from Rembrandt's Night Watch as well as two hand studies and a head study from the painting De overlieden van de Kloveniersdoelen by Bartholomeus van der Helst (original today in the Amsterdam Museum ). The copying activity is to be seen as a preparatory study for his first artist association group portrait, because the idea and the will to do so were awakened in Amsterdam. Already on the return voyage on a Blankenese ship, he designed the picture. When he got back, he had a vaulted summer house in his garden converted into a workshop with a tall skylight . During the remodeling, he painted hand studies and drew the cardboard with charcoal in picture size to the picture. He had his brother Jacob Gensler draw himself. Then he began to underpaint the canvas of the painting with different colored, self-made oil paints (the sale of tube paints only began from 1841, which strongly promoted open-air painting and especially Impressionism ). When he was done with the underpainting, he let the paint dry out for a year. Studies on the picture followed in 1838. A study by Johann Heinrich Sander and Georg Haeselich and a study by Hermann Wilhelm Soltau are known. From 1838 he continued to paint on the picture and finished it in 1840. The working time from 1838 to 1840 for the picture and the studies was, according to his own statements, 1,600 hours. The dimensions of the painting are 185 × 158 cm. The title of the painting is The Members of the Hamburger Künstlerverein , although there were more members in 1840 than the number depicted. Today the picture is part of the collection of the Hamburger Kunsthalle.

The room in the painting represents the upper large room of the tree house on Baumall, where at the time the members of the Hamburg Artists' Association met every Saturday in the summer. The person in the dark background at the door is a servant bringing in punch on a tray . Of the other eleven people, all of whom are painters, there are three people to the left of the main group that is arranged around the table. The two people in the background are Johann Heinrich Sander and Georg Haeselich, who are talking about a drawing. The person in front of it, looking at a drawing, is Otto Speckter. Three people from the main group sit at the table and are seen from left to right: Franz Heesche, Jacob Gensler and Martin Gensler. Looking from left to right, the five standing people of the main group are Günther Gensler, Hermann Wilhelm Soltau, Carl Julius Milde, Hermann Kauffmann and Hermann Rudolph Hardorff.

Günther Gensler finished his work on four other artist group pictures in 1849, 1854, 1859 and 1860, whereby the painting completed in 1859 with five people represents the largest group. It is titled Hamburg Artist and measures 190 × 170 cm, framed 226 × 206 × 13 cm. From left to right, Günther Gensler, Otto Speckter, Adolph Friedrich Vollmer, Martin Gensler and Hermann Rudolf Hardorff are shown. In Martin Gensler's place was Carl Gottfried Eybe , who fell ill and was no longer available as a model. The trophy on the painting is that of the Hamburger Künstlerverein. According to Günther Gensler, the painting took 800 hours. He donated it to the Wallraf-Richartz Museum in Cologne in 1862 . On December 17, 1941, it was sold through the Lempertz art dealer in Cologne. It is now in the Museum of Hamburg History . In 2015, Britta Wiesenthal in the Hamburg catalog, looking in the face , pointed out not only the trophy but also the reference to the book in the foreground - the Historia Naturalis by Pliny Secundus . Günther Gensler points to it with a gesture while looking at the cup - Wiesenthal suggested that the open book is the 33rd in which Pliny deals with metals.

The group portrait from 1854, after work in the artist's workshop , which Friedrich Adolph Hornemann , Martin Gensler, Hermann Kauffmann and Emil Gottlieb Schuback showed, he donated to the Museum of Fine Arts in Leipzig in 1858 . It was probably destroyed at the old location of the museum on Augustusplatz in a British air raid on December 4, 1943 because it was not part of the majority of the collection that was previously relocated. The painting is now listed at the Lost Art Coordination Office for the Loss of Cultural Property .

  • Portrait of Hermann Wilhelm Soltau by Günther Gensler, study for the group portrait from 1840, created in the period from 1838 to 1840, Museum for Hamburg History

  • The members of the Hamburg Artists' Association by Günther Gensler, 1840, Hamburger Kunsthalle

  • Hamburg artist (with the Lukaspokal from the Hamburger Künstlerverein) by Günther Gensler, 1859, Museum for Hamburg History

The great fire

On May 5th, 1842, which was less than an hour old, a fire broke out in Deichstrasse , which spread quickly and went down in Hamburg's history as the Great Fire . Members of the artists' association were also affected by the fire. In the evening the fire destroyed the St. Nikolai Church . Before the fire, the 1,804 commissioned in Exchange Hall of Gerhard von Hosstrup captured, members were of the artists' association only with emergency which exhibited there paintings save the club. In the early morning hours of May 6th, the fire reached the house at Alten Wall 64 where Leo Lehmann lived with his family. On the morning of May 6th, the town hall at the Trostbrücke was blown up to stop the fire in the southeast. The attempt failed. The fire reached Neuer Wall and Jungfernstieg , and with it number 15, the house in which Carl Ferdinand Stelzner lived. In the evening the fire reached the Eimbeck house and destroyed it. The Ratsweinkeller in where the members of the Hamburg Artist Association met in the winter always on Saturdays, collapsed halfway. Right next to it, Dornbusch 3 burned down, where Carl Julius Milde lived. Otto Speckter, who had already brought the printing machines from his lithographic establishment Speckter & Co , to safety on Cremon Island (but it was largely spared from the fire) at Katharinenstrasse 31, set off with Jacob, Martin and Günther Gensler to St. Petri Church to save them. Despite the rescue attempts by many helpers, the tower of the church caught fire early in the morning on May 7th. Speckter and Gensler could only risked their lives paintings and other art treasures saved, such as the Man of Sorrows of Meister Francke , who is now part of the collection of the Hamburger Kunsthalle. In his desperate grief, Speckter should hardly have been persuaded to leave the place in front of the church. Another savior of art treasures was Friedrich Helms (pastor in Wilhelmsburg). At ten in the morning the church tower collapsed. On the night of May 8th, the Gertrudenkirche caught fire and burned down, and immediately afterwards the house at Rosenstrasse 29 in which the mother of the painter Heinrich Wilhelm Hinsch (widow of the official painter Heinrich Bartold Hinsch), who supported Heinrich Wilhelm in her business, lived. Shortly afterwards the fire reached Lilienstraße 57, where Marcus Haeselich lived. The fire found no more food at the Glockengießerwall and came to a standstill. The last house still on fire was on Kleines Mühren Street and could not be extinguished until the morning of May 8th. The extension of the short mooring was therefore later called the end of fire . Georg Haeselich lived in Borgesch 62, outside the fire area, but his name appears in the list of the support authority for the burned down from 1842 , so that he must also be a victim. Jacob Gensler three paintings were in the fire lost, idle crews of 1842, also known as Spanish sailors in front of the tavern known, then a Gracious Blankeneserin and Probsteier Fischer . Otto Speckter kept some of the rescued works of art in his house at Katharinenstrasse 31 until he could hand them over to a newly built church or a public collection. In his painting The artist in his studio from 1853 (Hamburger Kunsthalle), which represents the vestibule of his house, which he used as a studio, some pieces can be seen. At the top left, for example, the bronze lion head door puller from 1342 of the St. Petri Church , below it St. Christopher , with the baby Jesus on his shoulder, by Absolon Stumme , painted around 1500 (Hamburger Kunsthalle) and on the right the oak relief The Adoration of the Child by Mary and Josef ( Museum of Hamburg History ).

  • Fire in the Einbeck house , in whose Ratsweinkeller the artists' association met on Saturdays in winter until the fire. Graphic by Peter Suhr , 1842

  • The Man of Sorrows saved by the Genslers and Otto Speckter by Master Francke , 1435, Hamburger Kunsthalle

  • Black and white illustration of the painting The Artist in his studio by Otto Speckter, 1853, Hamburger Kunsthalle

  • Bronze lion head door puller from 1342, St. Petri Church

  • Lion head door puller couple of St. Petri Church, on the left the bronze lion head door puller from 1342, on the right the one from 1849

After the fire, the Hamburg History Association transferred Martin Gensler, Otto Speckter, Alexis de Chateauneuf, Hermann Peter Fersenfeldt and Johannes Anderson (painter and lithographer, son of the painter Johann Ludolph Anderson, whose father Johannes Anderson was Hamburg's mayor, like his father Johann Anderson ) the rescue of the remaining art treasures. These art treasures, gifts and the auction sales in 1847 for Otto Christian Gaedechens' own account of the most important pieces of the dissolved collection of the Museum for Objects of Nature and Art formed the collection of Hamburg antiquities and were the basis of the later Museum for Hamburg History . Since the 1850s Günther and Martin Gensler have been committed to the establishment of an art museum in Hamburg. Martin was a member of the committee for the construction of an art gallery . Shortly before the Hamburger Kunsthalle opened in 1869, he and Valentin Ruths were entrusted with the first hanging of the paintings. The artistic estate of the three Gensler brothers was transferred to the collection of the Hamburger Kunsthalle. Today the art gallery owns almost nine hundred works by the Genslers.

Foundations after the fire

In 1844, the Hamburg Artists' Association donated a window for the baptistery of the St. Petri Church, which was under construction , the upper part of which was designed by Carl Julius Milde and Martin Gensler designed the lower part, with Christ walking on the sea on the theme and the monogram coats of arms of the artists in simple letters.

As early as 1843, the artists' association campaigned for a new altarpiece for the Protestant church, which it wanted Friedrich Overbeck to paint, but against which some were Lutherans because Overbeck had meanwhile converted to the Catholic faith. A competition finally took place in 1848, which Hermann Steinfurth won. He painted the three-part altarpiece that was donated in 1851. On the middle part was the resurrection of Christ . It was destroyed in one of Operation Gomorrah's air raids during World War II. The church was otherwise largely unscathed. The left part shows the apostle Peter , according to Acts 10:14, and on the right part Paul , according to Romans 14:17. At the bottom of the picture of Paul is the inscription tablet with the inscription:

"Donated as an altarpiece to the Sanct Petrikirche by the Hamburg artists' association Anno Domini 1851"

In 1852 women from Hamburg presented the artists' association with a large banner out of gratitude through the donation of the altarpiece . The banner was a work and a gift from Hamburg women. Hermann Wilhelm Soltau designed the banner for the women, who then sewed and embroidered it. On the front were two shields leaning against each other , one of which bore the Hamburg coat of arms and the other the artist's coat of arms . The two signs were surrounded by a banner reading Die Frauen Hamburgs dem Künstlerverein and the dates 1832 and 1852, the year the association was founded and the year the banner was presented. On the back of the banner was the evangelist Luke , the patron saint of painters. On both sides of the banner there was a fruit and flower thread on the edge, which surrounded the inside of the banner page.

The artists' association also announced a competition for a statue of St. Luke, which Ernst Gottfried Vivié won. The statue was donated to the new St. Nikolaikirche under construction .

Stelzner's group portraits

A year after the Great Fire , Carl Ferdinand Stelzner , who had switched from painter to daguerreotypist, invited the other artists to the meeting on April 29, 1843, to meet as a group of him at his new studio in Caffamacherreihe 32 on Saturday, April 6th. May 1843 at 5 p.m. to be daguerreotyped. At least two daguerreotypes were made that day, one with 15 and one with 19 artists depicted on it. At a Hamburg art exhibition in 1843 he also showed a daguerreotype with 30 artists depicted on it.

The 15 artists shown on the first daguerreotype are standing from left to right: Friedrich Christian Heylmann (architect), Adolph Friedrich Vollmer, Otto Speckter, Martin Gensler, Theodor Bülau , Georg Heinrich Kollmann (architect), Günther Gensler and Johann Heinrich Sander. Sitting from left to right: Carl Martin Laeisz , Wilhelm Friedrich Wulff , Johann Ludwig Westermann (painter), Jacob Gensler, Heinrich Stuhlmann, Georg Haeselich and Johann Wilhelm David Bantelmann .

The 19 artists shown on the second daguerreotype are standing from left to right: Heinrich Wilhelm Hinsch (painter), Wilhelm Friedrich Wulff, Adolph Friedrich Vollmer, Hermann Kauffmann, Otto Speckter, Martin Gensler, Theodor Bülau (architect), Günther Gensler, Georg Heinrich Kollmann (architect), Johann Heinrich Sander, Marcus Haeselich and Friedrich Christian Heylmann (architect). Sitting from left to right: Carl Martin Laeisz, Hermann Rudolf Hardorff, Johann Ludwig Westermann (painter), Jacob Gensler, Heinrich Stuhlmann, Georg Haeselich and Johann Wilhelm David Bantelmann.

  • 15 artists

  • 19 artists

The Luke Cup

The Lukaspokal, illustration from 1858. Drawing: Julius Schnorr von Carolsfeld . Woodcut: Allgaier & Siegle
Hamburg artist , Günther Gensler, 1859, Museum for Hamburg History

After Martin Gensler had designed a trophy for the Hamburg gymnastics club from 1816 and had it made, he began in 1851 with the numerous designs for the Lukaspokal of the Hamburg artists' association, which should last until 1857, because then the money for it was collected and the 69 centimeter high one neo-Gothic cup made by the jeweler, goldsmith and silversmith Johann Paul Friedrich Sohrmann at Gänsemarkt 45a, in good time before the foundation festival for the 25th anniversary on September 19, 1857. For this event, commemorative bronze or tin coins were made by Hermann Wilhelm Soltau designed and minted by the medalist Heinrich Lorenz , presumably in the Royal Mint of Altona , of which he was head at that time. Soltau also designed a silver cup for the Hamburg Artists' Association in 1851 , but this was never realized. The design is now part of the collection of the Kunsthalle Kiel .

  • Medal for the Foundation Festival 1857, bronze, obverse

  • Medal for the Foundation Festival 1857, bronze, reverse

The Lukaspokal was an event in the German arts and crafts at that time, because the art of driving was almost forgotten before and no one had thought of revitalizing surfaces through gilding and colored enamel for centuries. The cup is a kind of monument to German art. Günther Gensler painted the trophy on his group portrait of Hamburg artists from 1859, which is in the Museum of Hamburg History . The design drawings for the cup are part of the collection of the Museum für Kunst und Gewerbe Hamburg . The content of the inscription at the foot of the cup reads: (In the original, the words are partially abbreviated and a period is placed between each word.)

“We, the Hamburg Artists' Association, had this mug made for us and our descendants. As you can see, we thought of the honor of German art, old and new. Appreciate will more than work. "

Above the inscription are three figures as shield holders , each with a coat of arms : a griffin with the double eagle of the German Confederation in the shield, a lion with the Hamburg coat of arms in the shield and a winged bull with three shields in the shield, the German artist's coat of arms . The winged bull stands as a symbol for the evangelist Luke , the patron saint of painters. A little higher, on the dome, in addition to precious stones, six ivory heads adorn the cup, each with a coat of arms above it, three from the old times and three from the more recent times, the present. The group from the old days is made up of the mason and master builder Erwin von Steinbach , the painter Albrecht Dürer and the sculptor Peter Vischer . The coats of arms above are from the former German city of Strasbourg as a building works, the city of Cologne as the oldest German painting school and the city of Nuremberg as the sculpture school. The more recent group is made up of the painter Peter von Cornelius , the sculptor Christian Daniel Rauch and the builder Ludwig I of Bavaria. The coats of arms above are those of the three art academy cities of Düsseldorf , Munich and Berlin , the three capitals of the fine arts at that time. The crowning of the cup is a figurine depicting the evangelist Luke with a Hamburg ducat from 1661 as a halo. It depicts the crowned Madonna as Queen of Heaven in a mandorla with the baby Jesus in her arms. The figurine of Luke is holding a diptych on which the Virgin Mary and the Christ Child are also depicted. It is assumed that Valentin Ruths was the model for Luke. The models for the cast silver work and the six heads were created by Franz Bernhard Schiller , the cast work and the chasing by ore caster Georg F. Schulz.

On March 28, 2015, the Lukaspokal, believed to have been lost for more than a hundred years, was called up for auction at Prado Auctions GmbH in Lübeck. The auction ended at a price of around 85,000 euros. The Hamburg Historical Museums were able to bid and ultimately win the bid thanks to the extraordinary donation and support of the Hermann Reemtsma Foundation and the Friends of the Hamburg Museum (Museum for Hamburg History). The trophy has since been exhibited in the Museum of Hamburg History. From April 12 to July 14, 2019, it can also be seen in the exhibition Hamburger Schule - The 19th Century Rediscovered at the Hamburger Kunsthalle.

In fact, the Lukaspokal was photographed around 1932 by the extraordinary member and photographer Franz Rompel (1923–1935 in-house photographer at Reemtsma, among others ). The photo was reproduced in the 1932 publication of the Künstlerverein, Hundert Jahre Hamburger Kunst . Most of the photos of sculptures and paintings in the exhibition are from him. According to this, the cup could have been lost in eighty-two years if it disappeared immediately after the 1932 exhibition.

What remains missing, however, is the bronze-cast base of the cup, whose three dwarfs symbolize the three arts of painting, sculpture and architecture. Ernst Gottfried Vivié designed the dwarfs and shaped their models. The saucer was not included in the auction and was also missing from the photo from around 1932. However, it was shown in an illustration of the cup in the Deutsches Kunstblatt in March 1858 . He and the cup were described in detail in the art paper. Also missing is a medal that hung on the cup. Like the medals already mentioned, it was designed by Hermann Wilhelm Soltau and engraved by Heinrich Lorenz. The motifs on both sides of the coin seem to be the same as those of the aforementioned coin. He is not shown in Günther Gensler's group portrait of Hamburg artists from 1859, but the scene depicts a point in time prior to the completion of the cup, when the artists discuss the final version of the cup, which is on the table and held by Martin Gensler's right hand becomes. Otto Spekter holds another part in his left hand, which is similar to the lower part of the cup on the table and which apparently can be exchanged.

  • St. Luke's Cup side view

  • St. Luke's Cup front view

  • St. Luke's Cup side view

  • St. Luke's Cup back view

  • Lukaspokal and Hamburg artist

The club train

Train of the artists' association, November 13, 1859. On horseback in front of the train Ernst Gottfried Vivié
Train of the artists' association on the Zeughausmarkt . Lithograph (based on photographs) by Joseph Pushkin for the Lithographic Institute of Charles Fuchs , 1859

In 1859 Schiller festivals with parades took place in over 440 German and 50 non-German cities , including Hamburg. Friedrich Schiller was, like Albrecht Dürer, a symbol of the German unity movement. At the festival, among other things, singing and gymnastics clubs, student groups, various craftsmen's guilds and the Hamburg artists' association presented their national convictions. In addition to flags in the colors black, red and gold , the groups wore their respective club symbols. The Schiller pageant was divided into different main sections. The Hamburg Artists' Association was in the third main department.

At the beginning of the main department was Ernst Gottfried Vivié, who was also a member of the Hamburg citizenship . He was followed by a flag thrower and a marching band of 14 men in white costume. Then the actual procession of the Hamburg Artists' Association followed. At the beginning of the procession, the president of the Ernst Glüer association walked with a staff in hand, accompanied by Otto Speckter and Carl Martin Laeisz. This was followed by the large banner of the association, which was presented to the association by Hamburg women in 1852 and which was now carried by Martin Gensler, with the support of the painters Peter Gustav Brünner and Friedrich Wilhelm Lucas. A small number of members of the association with two standards joined the banner . Pegasus was depicted on one standard and the Hamburg coat of arms from 1848 with a Hanseatic cross of the Hanseatic Legion on the other . The first-mentioned standard was the oldest of the association and was a gift from the architect Eduard Stammann, who brought it from Rome . It was once painted by Ludwig Schwanthaler and served the German Romans at the Cervaro festivals . This was followed by three smaller flags that were carried, which were specially painted for the pageant and with the symbols on them represented architecture, sculpture and painting. In the middle of the club's procession, an approx. 11 meter 60 high (from the ground with substructure and carriage over 12 meters 20) swayed from relatively light building material, which resembled a Gothic church tower. It was on a substructure designed by Ernst Glüer and built by the council carpenter Johann Heinrich Hopfelt, which was pulled by eight horses on a cart. The substructure was tightly wrapped with fir branches and the car was covered with drapery . On the upper floor of the building, symbolizing the architecture, there was a model of a church, made by Alexis de Chateauneuf's colleague and student Johann Conrad Marchand. The painting was represented in two side windows on the middle floor, by the painting Fiesole , a Madonna painting by Louis Asher and a landscape painting by Valentin Ruths. In the middle of the canopy-like floor stood a large bust of Schiller by Ernst Gottfried Vivié. On the sides there was a finial of the new St. Nikolai Church under construction and a Corinthian capital cast in tin by the Georg Schulz bronze factory and tin foundry . Three banners each decorated the sides of the tower with the following three sayings:

“Architecture is to be seen here, laid as a foundation with trust in God. - Painting continues and adorns our church, school and house. - Sculptura now with diligent hands puts up busts at all ends. "

The majority of the club members followed the car with a banner from 1848 on which the artist's coat of arms was depicted.

The building was greeted with cheers by the population. On uneven parts of the ground, it swayed seriously, so that, as a precaution, it was held by ropes hanging from the top of the tower. In many places in the city, due to the height of the structure, flags hung or flag ropes hung across the street had to be removed or hung higher so that the car with the structure could get through.

Former collection

The artists' association owned a collection of works of art, including, for example, the drawing Die Genien auf der Lichtlilie by Philipp Otto Runge , which is now part of the Wallraf-Richartz Museum's collection . In 2013, the museum conducted provenance research to ensure that there was no looted art between the watercolors, drawings and prints purchased between 1933 and 1937 . The Hamburg drawing had the inventory number 1937/9 and was therefore suspicious at first. But after research it turned out that on June 19, 1937 the drawing was auctioned by the museum at the Leipzig gallery CG Börner for almost 12,000 Reichsmarks . The Hamburg Artists' Association had it auctioned by the gallery, which in turn inherited it in 1839 from the founding member of Otto Sigismund Runge, the son of Philipp Otto Runge. So the drawing was unencumbered. The motif The genii on the light lily are also part of the unfinished oil painting The Great Morning by Philipp Otto Runge and partly part of the oil painting The Little Morning . Both paintings are now part of the collection of the Hamburger Kunsthalle .

The Hamburg Artists' Association also owned the portrait of Otto Sigismund Runge painted by Julius Oldach around 1829, which is now in the collection of the Hamburger Kunsthalle. In 1856 Franz Heesche portrayed Gerdt Hardorff . The Hamburg Artists' Association donated the Hardorff oil painting in honor of the Kunstverein's public picture gallery in Hamburg , which was located under the stock exchange arcades of the Chamber of Commerce on Adolphsplatz . The collection of the Gemäldegalerie and the collections of Georg Ernst Harzen and Johann Matthias Commeter later formed the basis of the collection of the Hamburger Kunsthalle . The Hamburger Kunsthalle also owns the painting that shows Hermann Wilhelm Soltau and was painted by Hermann Steinfurth. In 1898 the portrait hung among others in the meeting room of the Hamburger Künstlerverein in the house of the Patriotic Society , but from 1912 it hung, initially on loan, in the Hamburger Kunsthalle. A self-portrait by Hermann Steinfurth was also given to the Kunsthalle by the Hamburg Artists' Association as early as 1863.

After King Ludwig I, who abdicated in 1848 , received the King Ludwig Album in 1850, the Hamburg Artists' Association also sent him an album in 1855. Ludwig I's letter of thanks was printed in the Neue Münchner Zeitung of June 23, 1855.

“To the artists' association in Hamburg. Through the State Ministry of the royal. After my return from Italy, I received the beautiful album intended for me by the artists' association in Hamburg, from which I had already received the advertisement. I could not expect such a proof of the artists' attitudes, so I enjoy this excellent work of art all the more. This participation in the recovery that God has so graciously granted me will always be very valuable to me. There is a vivid memory in me of the hospitality which I received in Hamburg 51 years ago. The well-balanced Ludwig expressing my lively and warmest thanks to the artists' association. Munich, June 11, 1855. "

On the occasion of the 25th anniversary of the Museum für Kunst und Gewerbe Hamburg , a deputation from the artists' association presented the director of the museum Justus Brinckmann with an honorary gift in the form of a landscape by Carl Albrecht .

In order to contribute financially to the new building of the Hamburger Kunsthalle , the artists' association decided to sell its collection. This was created in 1912 by Anna Brettschneider, b. Garvens, acquired and given to the Hamburger Kunsthalle as a foundation. Including works by Friedrich Brockmann , Adolf Carl, Johann Hermann Carmiencke , Günther Gensler, Jacob Gensler, Martin Gensler, Georg Haeselich, Franz Heesche, Victor Emil Janssen , Hermann Kauffmann, Johann Carl Koch , Johann Heinrich Martens, Julius Milde, Julius Oldach, Philipp Otto Runge, Johann Heinrich Sander, Robert Schneider, Emil Gottlieb Schuback, Hermann Wilhelm Soltau, Johann Ludwig Wilhelm Westermann and Wilhelm Friedrich Wulff.

Members (selection)

Extraordinary members (selection)

  • C. Ammermann
  • Ludolph Bargum (1832–1902), architect, building police inspector of the Hamburg building deputation
  • A. Bock
  • Dr. jur. GT Brandes
  • Otto Cohen (1870–1929), Senate President at the Hanseatic Higher Regional Court
  • Dr. Cordes
  • Robert Dietze (gave the Hamburger Kunsthalle a pen drawing by Carl Wilhelm Kolbe the Elder in 1886 )
  • Georg Otto Embden
  • Dr. C. Goldschmidt
  • Eduard Hallier (1866–1959), chairman of the Patriotic Society , founder of the public library, joined in 1891
  • M. Hertz
  • Millet grain
  • E. Honrath
  • Dr. W. Jantzen
  • Otto Jessen (1826–1904), director of the Hamburg general trade school of the Patriotic Society
  • Ad. Kauffmann
  • L. Landmeyer
  • Ludert
  • W. Lundgreen
  • M. Mainzer
  • Heinrich Marr (1797–1871), stage actor and theater director
  • JHA Martens, manufacturer
  • Herman Matsen
  • Anton Melchior, main customs office official
  • Dr. Mewert
  • Arnold Otto Meyer (1825–1913), businessman, member of the Hamburg Parliament and art collector
  • Friedrich Max Meyer (1819–1897), member of the Hamburg Parliament
  • Dr. Middle branch
  • J. Möhring
  • H. Th. Möller
  • Rudolf Mönckeberg (1846–1917), member of the Hamburg Parliament
  • Carl Mosengel
  • Dr. Joh. Nölting
  • Ch. Pollock
  • Matthias Ferdinand Rachals (1801–1866), piano maker
  • Dr. Hans Rathjen, notary
  • Otto Reiner
  • Bra team
  • Oscar Repsold (1842–1919), engineer and member of the Hamburg Parliament
  • Adalbert Röperhoff
  • Franz Rompel (1866–1943), photographer, 1919 member of the Society of German Photographers , 1925 chief master of the photographers' guild, 1923–1935 resident photographer at Reemtsma
  • J. Roosen
  • Ludwig August Roosen-Runge, businessman (business partner at Langen, Otto & Roosen , the predecessor of Deutz AG )
  • W. Schmidt
  • Dr. jur. W. Spethmann
  • Dr. jur. R. Stade
  • AH steel
  • H. Statham
  • Prof. Dr. Szczecin
  • Heinrich Strack (1805–1880), architect
  • LC Völckers
  • George Westendarp (1842–1902), engineer
  • Ferdinand Wilm
  • JHG Winkler
  • Alexander Zinn (1880–1941), writer and State Councilor

Exhibitions of the artists' association (selection)

  • 1838: Fourth exhibition of the Hamburger Künstlerverein - the exhibiting artists included Johann Joachim Faber, Martin Gensler, Georg Haeselich, Hermann Rudolph Hardorff, Hermann Kauffmann, Henry Ritter , Otto Sigismund Runge, Johann Heinrich Sander, Hermann Wilhelm Soltau and Adolph Friedrich Vollmer.
  • 1840: Exhibition in the hall of the Hammer Hof in Hammer Park on the occasion of the visit of the Danish King Christian VIII and his wife Caroline Amalie - Among the 24 exhibiting artists were Adolf Carl, Günther Gensler, Jacob Gensler, Martin Gensler, Georg Haeselich, Marcus Haeselich, Franz Heesche, Hermann Kauffmann, Christian Morgenstern, Otto Speckter and Heinrich Stuhlmann.
  • 1842: Sixth exhibition of the Hamburg Artist Association in the market hall of Gerhard von Hosstrup (because of the great fire stopped prematurely)
  • 1843: Seventh exhibition of the Hamburger Künstlerverein - exhibiting artists were Louis Asher, Theodor Böhme, Carl Gottfried Eybe, Johann Joachim Faber, Günther Gensler, Jacob Gensler, Georg Haeselich, Marcus Haeselich, Friedrich Heimerdinger, Hermann Kauffmann, Johann Baptist Kirner , Wilhelm Lichtenheld , Heinrich Martens, Carl Julius Milde, Johann Heinrich Sander, Ernst Gottfried Vivié, Adolph Friedrich Vollmer, Friedrich Wasmann and Wilhelm Friedrich Wulff.
  • 1863: Exhibition of watercolors and drawings in the foyer of the Thalia Theater
  • 1908: Kunstverein in Hamburg, anniversary exhibition on the occasion of the 75th anniversary of the Künstlerverein - the exhibiting artists were Carl Albrecht, Xaver Arnold, Carl Becker, Adolph Behrens, Arthur Bock, August John Paul Bohnhorst, Georg Buckup, Julius von Ehren, Ernst Eitner, Henry Ludwig Geertz, Hugo Friedrich Hartmann, Carl Hermannes, Richard Hünten, Arthur Illies, Reinhard Paul Junghanns, Hermann Kauffmann the Younger, Max Kuchel, Paul Heinrich Wilhelm Lichtwark, Ascan Lutteroth, Aenderly Möller, Karl Josef Müller, Paul Müller-Kaempff, Carl Oderich , Otto Pieper, Julius Christian Rehder, Martin Rehder, Hermann Rieck, Carl Rotte, Friedrich Schaper, Carl Schildt, Martin Schmidt, Friedrich Wilhelm Schwinge, Arthur Siebelist, Julius Simmonds, Eduard Steinbach and Walter Zehle. - Memorial exhibition within the exhibition: Hermann Rudolph Hardorff, Otto Sigismund Runge, Hermann Steinfurth, Jacob Gensler, Martin Gensler, Georg Haeselich, Franz Heesche, Hans Beckmann and Valentin Ruths.
  • 1909: Kunstverein in Hamburg - the exhibiting artists were Carl Becker, Adolph Behrens, Arthur Bock, Julius von Ehren, Ernst Eitner, Otto Fischer-Trachau, Sophus Hansen, Hugo Häring, Hugo Friedrich Hartmann, Carl Hermannes, Richard Hünten, Arthur Illies, Reinhard Paul Junghanns, Max Kuchel, Paul Heinrich Wilhelm Lichtwark, Ascan Lutteroth, Aenderly Möller, Karl Josef Müller, Paul Müller-Kaempff, Carl Oderich, Carl August Heinrich Ferdinand Oesterley, Carl Rathjen, Julius Christian Rehder, Martin Rehder, Hermann Rieck, Carl Rotte , Friedrich Schaper, Carl Schildt, Martin Schmidt, Arthur Siebelist, Julius Simmonds, Eduard Steinbach, Ernst Wiemann and Rudolf Jacob Zeller.
  • 1910: Kunstverein in Hamburg - the exhibiting artists were Carl Becker, Adolph Behrens, Arthur Bock, Julius von Ehren, Ernst Eitner, Sophus Hansen, Hugo Friedrich Hartmann, Carl Hermannes, Reinhard Paul Junghanns, Hermann Kauffmann the Younger, Max Kuchel, Paul Heinrich Wilhelm Lichtwark, Ascan Lutteroth, Aenderly Möller, Karl Josef Müller, Paul Müller-Kaempff, Carl August Heinrich Ferdinand Oesterley, Otto Pieper, Julius Christian Rehder, Friedrich Schaper, Carl (also Karl ) Schildt, Friedrich Wilhelm Schwinge, Arthur Siebelist, Julius Simmonds, Eduard Steinbach and Ernst Wiemann.
  • 1916: Exhibition in the Johanneum am Speersort , organized by the Kunstverein in Hamburg - the exhibiting artists were Friedrich Ahlers-Hestermann, Ludolf Albrecht, Hermann Cornils, Henning Edens, Hugo Adolf Eggeling, Julius von Ehren, Ernst Eitner, Otto Fischer-Trachau, Claus Heinrich ( also Hinrich ) Hadenfeld, Sophus Hansen, Hugo Friedrich Hartmann, Ludwig Herms, Richard Hünten, Reinhard Paul Junghanns, Leopold von Kalckreuth, Max Kuchel, Paul Heinrich Wilhelm Lichtwark, Friedrich Lissmann, Ascan Lutteroth, Wilhelm Mann, Aenderly Möller, Karl Josef Müller, Benedikt Momme Nissen, Otto Pieper, Carl Rathjen, Friedrich Schaper, Carl (also Karl ) Schildt, Martin Schmidt, Arthur Siebelist, Julius Simmonds, Eduard Steinbach, Arthur Storch, Paul Storm and Rudolf Jacob Zeller.
  • 1917: Kunstverein in Hamburg, special exhibition - the exhibiting artists were Friedrich Ahlers-Hestermann, Hermann Bruck, Ludolf Albrecht, Henning Edens, Hugo Adolf Eggeling, Julius von Ehren, Ernst Eitner, Otto Fischer-Trachau, Sophus Hansen, Hugo Friedrich Hartmann, Paul Henle , Ludwig Herms, Richard Hünten, Reinhard Paul Junghanns, Max Kuchel, Paul Heinrich Wilhelm Lichtwark, Ascan Lutteroth, Wilhelm Mann, Aenderly Möller, Franz Nölken, Carl Rathjen, Julius Christian Rehder, Hermann Rieck, Friedrich Schaper, Carl (also Karl ) Schildt , Gustav Schmid-Goertz, Martin Schmidt, Gustav Schmid-Goertz, Arthur Siebelist, Julius Simmonds, Eduard Steinbach, Arthur Storch, Paul Storm, Hans Vogel and Rudolf Jacob Zeller.
  • 1918: Kunstverein in Hamburg, special exhibition - the exhibiting artists were Friedrich Ahlers-Hestermann, Hermann Cornils, Henning Edens, Julius von Ehren, Ernst Eitner, Sophus Hansen, Hugo Friedrich Hartmann, Paul William Henle, Ludwig Herms, Richard Hünten, Leopold von Kalckreuth, Paul Kahler, Max Kuchel, Paul Lichtwark, Ascan Lutteroth, Wilhelm Mann, Aenderly Möller, Karl Josef Müller, Franz Nölken, Otto Pieper, Carl Rathjen, Julius Christian Rehder, Hermann Rieck, Friedrich Schaper, Carl Schildt, Walter Schimmelpfeng, Gustav Schmid- Goertz, Martin Schmidt, Arthur Siebelist, Julius Simmonds, Wilhelm Spethmann, Eduard Steinbach, Paul Storm, Hans Vogel and Rudolf Jacob Zeller.
  • 1919: Kunstverein in Hamburg - the exhibiting artists were Friedrich Ahlers-Hestermann, Ludolf Albrecht, Hans Behrens, Arthur Bock, Henning Edens, Julius von Ehren, Ernst Eitner, Otto Fischer-Trachau, Fritz Flinte, Sophus Hansen, Hugo Friedrich Hartmann, Paul William Henle, Carl (Heinz) Hermannes, Ludwig Herms, Richard Hünten, Reinhard Paul Junghanns, Hermann Kauffmann the Younger, Paul Kayser, Max Kuchel, Carl Langhein, Paul Heinrich Wilhelm Lichtwark, Ascan Lutteroth, Wilhelm Mann, Aenderly Möller, Karl Josef Müller, Otto Pieper, Carl Rathjen, Julius Christian Rehder, Martin Rehder, Hermann Rieck, Friedrich Schaper, Carl Schildt, Walter Schimmelpfeng, Gustav Schmid-Goertz, Arthur Siebelist, Julius Simmonds, Emil Smidt, Arthur Storch, Paul Storm, Oskar Erwin Ulmer, Hans Vogel and Hans Würffel.
  • 1921: Portrait and Still Life , Hansa-Werkstätten, Hamburg - The exhibiting artist was among others Friedrich Ahlers-Hestermann, Ludolf Albrecht, Ernst Eitner, Arnold Fiedler, Fritz Flinte, (Carl Albert) Rudolf Fredderich, Arthur Illies, Leopold von Kalckreuth, Richard Luksch , Emil Maetzel , Wilhelm Mann, Franz Nölken, Anita Rée , Friedrich Schaper, Arthur Siebelist, Walther Tanck (1894–1954) and Rudolf Jacob Zeller.
  • 1924: Galerie Commeter - One of the exhibiting artists was Arnold Fiedler.
  • 1925: Christmas exhibition in the Langhagen & Harnisch art salon on Gänsemarkt 6 - 31 artists showed 120 works, including Ludolf Albrecht, Hans Eberhard Bahre, Franz Beck, Paul Bollmann, Karl Dehmann, Henning Edens, Ernst Eitner, Alphons Ely, Fritz Flinte, (Carl Albert ) Rudolf Fredderich, Willy Habl, Sophus Hansen, Richard Hünten, Maximilian Jahns, Reinhard Paul Junghanns, Max Kahlke, Leopold von Kalckreuth, Max Kuchel, Wilhelm Mann, Paul Mechlen, Johannes Poppen, O. Poppen?, Friedrich Schaper, Gustav Schmid- Goertz, Emil Smidt, Will Spanier, Julius Wohlers and Hans Würffel.
  • 1926: Christmas exhibition in the Maria Kunde art salon in the Bieberhaus - the exhibiting artists were Ludolf Albrecht, Hans Eberhard Bahre, Franz Beck, Henning Edens, Ernst Eitner, Alphons Ely, Margarete Federmann , (Carl Albert) Rudolf Fredderich, Richard Hünten, Reinhard Paul Junghanns, Paul Heinrich Wilhelm Lichtwark, Wilhelm Mann, Paul Mechlen, Emmerich Oehler, Hermann Rieck, Friedrich Schaper, Gustav Schmid-Goertz, Emil Smid and Karl Spethmann.
  • 1930: Kunstverein in Hamburg - the exhibiting artists were Ludolf Albrecht, Hans Eberhard Bahre, Franz Beck, Ary Bergen, Werner Bley, Carl Blohm, Paul Bögemann, Paul Bollmann, Paul Brill, Emil Henning Edens, Ernst Eitner, Alphons Ely, Fritz Flebbe, Fritz Flinte, Rudolf Fredderich, Georg Greve-Lindau, Willy Habl, Hinrich Hadenfeld, Hugo Friedrich Hartmann, Paul William Henle, August Henneberger, Arthur Holm, Maximilian Jahns, Fritz Jansen, Arthur Illies, Otto Illies, Reinhard Paul Junghanns, Leopold von Kalckreuth , Woldemar Friedrich , Kirschler, Richard Kuöhl, Wilhelm Mann, Paul Mechlen, Ernst Odefey, Emmerich Oehler, Johannes Poppen, Julius Christian Rehder, Heinrich Rode, Friedrich Schaper, Gustav Schmid-Goertz, Arthur Siebelist, Emil Smidt, Will Spanier, Karl Spethmann , Paul Storm, Otto Thämer, Felix Weckeiser, Frido Witte and Werner Zeppenfeld.
  • 1932: Hundred year exhibition of the Hamburger Künstlerverein in the Hamburger Kunsthalle - the exhibiting artists were Friedrich Ahlers-Hestermann, Ludolf Albrecht, Franz Beck, Werner Bley, Paul Bögemann, Paul Bollmann, Erich Brill, Henning Emil Edens, Julius von Ehren, Ernst Eitner, Alphons Ely, Otto Fischer-Trachau, Fritz Flinte, Rudolf Fredderich, Fritz Friedrichs, Georg Greve-Lindau, Willy Habl, Hinrich Hadenfeld, Hugo Friedrich Hartmann, Paul Henle, Carl Hermannes, Bernhard Friedrich August Höltzer, Arthur Holm, Fritz Höger , Otto Illies, Maximilian Jahns, Fritz Jansen, Reinhard Paul Junghanns, Wilhelm Kirschler, Ludwig Kunstmann, Wilhelm Mann, Paul Mechlen, Aenderly Möller, Ernst Odefey, Emmerich Oehler, Johannes Poppen, Julius Christian Rehder, Heinrich Rode, Friedrich Schaper, Gustav Schmid -Goertz, Arthur Siebelist, Emil Smidt, Will Spanier, Karl Spethmann, Paul Storm, Otto Thämer, Oskar Erwin Ulmer, Frido Witte and Julius Wohlers. Works of art shown by deceased artists were by Louis Asher, Adolf Carl, Johann Hermann Carmiencke, Carl Gottfried Eybe, Günther Gensler, Jacob Gensler, Georg Haeselich, Marcus Haeselich, Franz Heesche, Thomas Herbst, Leopold von Kalckreuth, Hermann Kauffmann, Ascan Lutteroth, Heinrich Martens, Carl Julius Milde, Christian Morgenstern, Franz Nölken, Carl Rodeck, Carl Rotte, Otto Sigismund Runge, Valentin Ruths, Robert Schneider, Hans Speckter, Otto Speckter, Hermann Steinfurth, Heinrich Stuhlmann, Adolph Friedrich Vollmer and Friedrich Wasmann.
  • 1935: Spring exhibition at the Kunstverein in Hamburg - among the artists shown and the 24 exhibiting artists were Franz Beck, Werner Bley, Ernst Eitner, Willy Habl, Claus Heinrich (also Hinrich ) Hadenfeld, Thomas Herbst, Fritz Höger, Leopold von Kalckreuth, Ludwig Kunstmann, Franz Nölken, Johannes Poppen, Adolf Heinrich Rode, Philipp Otto Runge, Friedrich Schaper, Arthur Siebelist, Hermann Steinfurth, Friedrich Wasmann and Julius Wohlers.
  • 1968: Exhibition of the Hamburg Artists' Association in the Hein-Gas-Haus - the exhibiting artists were Franz Beck, Rolf Böhlig, Fritz Jansen, Albert Feser, Hans Hausfeldt, Walter Kaiser, Volker Koy, Willi Voss and Hans Wrage.

Other exhibitions (selection)

  • 2019: Hamburg School - The 19th Century Rediscovered (April 12th to July 14th), Hamburger Kunsthalle (including works by many members of the artists 'association, e.g. Günther Gensler's The members of the Hamburg artists' association and Hamburg artists as well as the Lukaspokal.)

Publications

  • Gustav Pauli , Peter Hirschfeld, Karl Wilhelm Tesdorpf and Hans Leip : Hundred years of Hamburg art. 1832-1932. Verlag Br. Sachse, Hamburg 1932 (with list of members of the association and list of exhibitions 1932) ( digitized version )
  • Various exhibition catalogs

literature

  • The Hamburg artist association and its cup in: Friedrich Eggers (Ed.): Deutsches Kunstblatt , March 1858, pp. 73–76 (digitized version )
  • The Hamburg artists' association in the Schiller pageant (in the III. Main department) on November 13, 1853 In: Bernhard Endrulat : The Schiller Festival in Hamburg: on the 11th, 12th and 12th. November 13, 1859. Meißner Verlag , 1860 (digitized version)
  • The circle of the artists' association. In: Alfred Lichtwark : The portrait in Hamburg. Volume 2, Kunstverein in Hamburg 1898 (in the chapter Die Hamburger Nazarener , from p. 120 members of the artists' association are already there) (digitized version)
  • Alfred Lichtwark: The collection of the Hamburger Künstlerverein in the yearbook of the Society of Hamburgischer Kunstfreunde , Volume 18, 1912, pp. 77-82 (digitized version )
  • Alfred Lichtwark: Guide through the exhibition of gifts and acquisitions 1912 (Hamburger Kunsthalle), pp. 35–53 and 63–69 (digitized version )
  • Carl Ferdinand Stelzner. In: Wilhelm Weimar: The daguerreotype in Hamburg. Museum für Kunst und Gewerbe Hamburg , 1914. (Pictures in the back of the book. The pictures of the fire ruins are not by Stelzner, but by Hermann Biow ) (digitized version)
  • Fritz Bürger: Die Gensler - Three Hamburg painters brothers of the 19th century. Heitz & Mündel 1916. (with a detailed history of the creation of the artists' association group picture from the painter's point of view) (digitized version )
  • Hamburg's creative artists in need - formation of a cartel Hamburg artists' associations , Altonaer Nachrichten , March 18, 1928, p. 7 ( digitized version )
  • Kurt Detlev Möller and the Hamburg Artists 'Association: The Hamburg Artists' Association from 1832. 1947
  • Michael Bergeest: The artists' association from 1832 in formation between Commerz and emancipation. Waxmann Verlag , 1995, ISBN 3-89325-313-0 , pp. 157 and 180-182. ( Digitized at Google Books )
  • Hans Wrage : The founders of the Hamburger Künstlerverein from 1832. (Faulty. The first director of the Hamburger Kunsthalle was not Gerdt Hardorff , but Alfred Lichtwark ) (PDF file)
  • Volker Detlef Heydorn : Painter in Hamburg , Volume 1: 1886–1945 , Professional Association of Visual Artists, Hamburg (ed.), Hans Christians Verlag, Hamburg 1974, ISBN 3-7672-0230-1 , pp. 14, 158, 159.
  • The differentiation of the art association. In: Ulrike Renz: Bourgeoisie and fine arts in Hamburg in the late 18th and 19th centuries. Dissertation . 2001, p. 94 below to page 100. (PDF file)
  • The Hamburg artists' association. In: Maike Bruhns : Art in the Crisis. Volume 1: Hamburg Art in the “Third Reich”. Dölling and Galitz, Munich / Hamburg 2001, ISBN 3-933374-94-4 , p. 21.
  • The Hamburg artists' association. In: Alfred Lichtwark: Herrmann Kauffmann and the art in Hamburg 1800–1850. Severus Verlag, imprint from Diplomica Verlag , 2013, pp. 16-18. ( Digitized at Google Books )
  • Family Rump (ed.): The new Rump. Lexicon of the visual artists of Hamburg . Revised new edition of Ernst Rump's dictionary . Supplemented and revised by Maike Bruhns , Wachholtz, Neumünster 2013, ISBN 978-3-529-02792-5 (some data in artist biographies)
  • Ulrich Schulte-Wülwer : Kiel artists - Volume 1: Art life and artist trips 1770–1870 . Special publications of the Gesellschaft für Kieler Stadtgeschichte edited by Jürgen Jensen, Volume 75, Boyens, Heide 2014, ISBN 978-3-8042-1406-4 , pp. 68-72, 74.
  • Claudia Horbas: The Hamburger Lukaspokal , publishing house of the Hamburg Historical Museums Foundation, 2015
  • Hamburg School - The 19th Century Rediscovered , edited by Markus Bertsch and Iris Wenderholm on behalf of the Hamburger Kunsthalle , Michael Imhof Verlag , Petersberg 2019, ISBN 978-3-7319-0825-8 , pp. 8–9, 59, 115 , 130-131, 276-277, 418, 420-423

Web links

Commons : Hamburger Künstlerverein von 1832  - Collection of pictures, videos and audio files

See also

Individual evidence

  1. ↑ 100 Years of the Hamburger Künstlerverein , Altonaer Nachrichten , September 17, 1932, p. 2
  2. ↑ Birgit Döring: Pompeji an der Alster - Nachleben der Antike around 1800. Museum für Kunst und Gewerbe Hamburg , 1995, ISBN 3-923859-27-9 , pp. 118 and 124–129. (Book for the exhibition of the same name)
  3. ^ Lilli Martius : The circle of artists around the Sievekingsche Haus in Hamburg , 1939, p. 250
  4. ↑ Illustration of the ink drawing by Elisabeth Sieveking
  5. ^ Sources from Der Verein see digital copies and pdf files under literature
  6. ↑ Gerd Hardorff in Herrmann Kauffmann and the art in Hamburg 1800-1850 by Alfred Lichtwark, page 30 (digitized version)
  7. ↑ Ulrich Schulte-Wülwer : Kiel artists - Volume 1: Art life and artist trips 1770-1870 . Special publications of the Gesellschaft für Kieler Stadtgeschichte edited by Jürgen Jensen, Volume 75, Boyens, Heide 2014, ISBN 978-3-8042-1406-4 , pp. 68-72, 74
  8. ^ Volker Detlef Heydorn : Painter in Hamburg , Volume 1: 1886–1945 , Professional Association of Visual Artists, Hamburg (ed.), Hans Christians Verlag, Hamburg 1974, ISBN 3-7672-0230-1 , p. 158
  9. ↑ List of members from 1886 in: Annual report of the Art Association in Hamburg for 1886. P. 14 (PDF-S. 10). PDF file from kunstverein.de
  10. ^ Hamburg's creative artists in need - formation of a cartel Hamburg artist associations , Altonaer Nachrichten, March 18, 1928, p. 7
  11. ↑ Uta Schoop: Arnold Fiedler (1900–1985) - An artist monograph. Dissertation. P. 234. below. (PDF file)
  12. ^ Holdings of the Hamburg Artists' Association in the State Archives of the Free and Hanseatic City of Hamburg
  13. ↑ De overlieden van de Kloveniersdoelen , Wikimedia
  14. ^ History ( memento of April 2, 2015 in the Internet Archive ) of the tube paint
  15. ↑ Illustration of the Hamburg artist painting
  16. ↑ Data on the painting from Hamburg artist
  17. ↑ Britta Wiesenthal: In: Ortwin Pelc (Ed.), Hamburg in the face looked. Portraits from five millennia . Publishing House Historical Museums Hamburg, 2015; Contribution: Groups in portrait , pp. 52–55.
  18. ^ After work in the artist workshop. at Lost Art . It says that it was destroyed in a bombing raid in 1945, but the bombing that destroyed the museum was on December 4th, 1943.
  19. ^ Friedrich Sass: History of the Hamburg fire , Philipp Reclam jun., Leipzig 1842, p. 25
  20. ^ Address of Karl Julius Milde in the Hamburg address book for 1842.
  21. ↑ Address of Otto Speckter in the Hamburg address book for 1842.
  22. ↑ Otto Speckter on page 2 of the PDF file is Caroline Street (old spelling) on Nikolaifleet , but in the Nikolaifleet is the Catharinenstrasse (old spelling), under which he also stood in the address book of the year. On page 3, second section, the rest. (PDF file from the Hamburg Personalities website , in which the Museum of Hamburg History is a sponsor )
  23. ^ Alfred Lichtwark : Writings on Hamburg artists: Böcklin, Oldach, Meister Bertram. P. 31. , second section.
  24. ↑ The Man of Sorrows. In: Alfred Lichtwark : Master Francke. Hamburger Kunsthalle 1899.
  25. ↑ The Petri Church. In: Karl Heinrich Schleiden : An attempt at a history of the great fire in Hamburg from May 5 to 8, 1842. Hoffmann and Campe 1843, p. 138ff. (In it the pastor is called an unknown preacher (p. 154))
  26. ^ Pastor Helms. and The Petrikirche. In: Ernst Reinstorf : History of the Elbe Island Wilhelmsburg: from the beginning to the present. P. 151. Reinstorf incorrectly concludes in the footnote of the page that it could not be right that Speckter and the Genslers saved the pictures. But Helm's words were: ... After the paintings, under my instruction, the crowns (etc.) ... were saved. So after the paintings were rescued (it doesn't say by whom they were saved and whether he gave instructions), he gave instructions. The second point is that he was only giving instructions, and the items were saved by others. In addition, artists were already present at the attempt to rescue the church tower, according to previous evidence ( attempt at a story of the great fire in Hamburg from May 5th to 8th, 1842. p. 149), so probably after the unsuccessful rescue, during the rescue of the objects.
  27. ^ Address of the widow Hinsch in the Hamburg address book for 1842
  28. ^ Address of Marcus Haeselich in the Hamburg address book for 1842
  29. ↑ Map of the fire area and the development of the fire with times etc. (by clicking the map becomes larger)
  30. ^ List of the support authority for the burned down from 1842
  31. ↑ Mention of the loss of the painting by Jacob Gensler in Neue Hamburgische Blätter No. 27, July 5, 1843, p. 225, right
  32. ↑ Karl Heinrich Schleiden attempt at a history of the great fire in Hamburg from 5 to 8 May 1842. Hoffmann und Campe, 1843, 233. .
  33. ^ Gisela Jaacks : "Das Alte Hamburg" in the documentation by artists and photographers. S. 7th .
  34. ^ Jörgen Bracker : From the Hamburg antiquities collection to the Museum of Hamburg History. P. 2. (PDF file)
  35. ^ Gensler: Drei Hamburger Maler ( Memento from September 24, 2015 in the Internet Archive ), website of the Hamburger Kunsthalle
  36. ^ Morgenblatt for educated readers. 7 March 1843, p 224 .
  37. ↑ St. Petri Hamburg on the website hamburg.de
  38. ↑ The architectural and art monuments of the Free and Hanseatic City of Hamburg. Volume 3, 1968, p.83 .
  39. ^ Artist coat of arms at Heraldik-Wiki
  40. ↑ The banner. In: Bernhard Endrulat : The Schiller Festival in Hamburg: on the 11th, 12th and 12th. November 13, 1859. Meissner Verlag , 1860.
  41. ^ Wilhelm Weimar : The daguerreotype in Hamburg. Museum of Arts and Crafts in Hamburg in 1914, p.29 . (digitized online)
  42. ^ Names for the daguerreotype with 15 artists
  43. ^ Names for the daguerreotype with 19 artists
  44. ↑ Address of Sohrmann in the Hamburg address of the 1857th
  45. ^ The club cup of the Hamburg artists' association in Die Gensler - Three Hamburg painter brothers of the 19th century. P. 46.
  46. ^ Medal in Medals Hamburg: 1549 - 2009
  47. ↑ Ulrich Schulte-Wülwer: Kieler Künstler - Kunstleben und Künstlerreisen 1770-1870 , Volume 1, Gesellschaft für Kieler Stadtgeschichte (ed.), Boyens, Heide 2014, p. 85, footnote 243
  48. ↑ Lukaspokal , p. 17 in Herrmann Kauffmann and the art in Hamburg 1800–1850 by Alfred Lichtwark
  49. ↑ The auction price in: Nadine Rinke: Now it's back! Hamburg “Lukaspokal”: The end of an art thriller , Hamburger Morgenpost , June 12, 2015
  50. ↑ Article on the auction of the Lukas Cup from March 30, 2015.
  51. ↑ Illustration of the Lukspokal, photo by Franz Rompel 1932
  52. ↑ The Hamburger Künstlerverein and its cup in: Friedrich Eggers (Ed.): Deutsches Kunstblatt , March 1858, pp. 73–76
  53. ↑ Ulrike Renz: Bourgeoisie and fine arts in Hamburg in the late 18th and 19th centuries. Dissertation. 99. .
  54. ↑ Hanseatic Cross of the Hanseatic Legion
  55. ^ The procession of the Hamburg artists' association in the Schiller pageant (in the III. Main department) on November 13, 1853 In: Bernhard Endrulat: The Schiller Festival in Hamburg: on the 11th, 12th and 12th. November 13, 1859. Meissner Verlag, 1860.
  56. ^ Article on the drawing by Runges, Kunst West 2013.
  57. ↑ Article with photos (only the drawing is referred to as a print here), Deutsche Welle 2013.
  58. ↑ Mention of the portrait showing Otto Sigismund Runge in Julius Oldach by Alfred Lichtwark , Hamburger Kunsthalle 1899.
  59. ^ Illustration of the portrait of Steinfurth showing Hermann Wilhelm Soltau.
  60. ↑ Mention of the painting in Das Bildnis in Hamburg , chapter portrait painting by Alfred Lichtwark, Volume 1, quote: The artists' association must also be mentioned at this point, which has some valuable drawings and watercolors in its album and in its club room and the like. a. owns the delicious portrait of Soltau von Steinfurth.
  61. ↑ Neue Münchener Zeitung. 1855, S. 1571 .
  62. ↑ Brief note on this in: Altonaer Nachrichten , October 26, 1902, p. 2
  63. ^ Biography of Louis Gurlitt at Ketterer Kunst
  64. ^ Biography of Karl Kluth
  65. ↑ Page 44 of the PDF file, Lübeck archive
  66. ^ Entry ( memento from April 2, 2015 in the Internet Archive ) Kollmann in Lexicon of Hamburg writers
  67. ^ Proof of membership of Carl Kuiper
  68. ^ Illustration by Friedrich Wilhelm Lucas
  69. ^ Text on Friedrich Wilhelm Lucas, p. 78, plate 6
  70. ↑ Biography of Ascan Lutheroth
  71. ↑ Year of birth taken from pages on the Internet. In the list of members in Hundred Years of Hamburg Art. 1832–1932 (digitized under publications ), however, is November 24, 1828. Since there are some errors in the list, this could also be one.
  72. ↑ Ludwig Hermann Philippi in German Drawings 1450–1800 , Volume 2, Böhlau Verlag Köln Weimar, 2007 (excerpt from Google Books)
  73. ↑ Hamburg Artists Association . In: Dressler's Art Yearbook 1907 (2. 1907), p. 253
  74. ↑ Article Vogel's rediscovered pictures , Hamburger Abendblatt, May 31, 2005
  75. ↑ Article about the exhibition in 1838 in the Morgenblatt für educated estates , Kunstblatt, 1838
  76. ↑ Article about the exhibition in 1843 in Neue Hamburgische Blätter No. 27, July 5, 1843, p. 224.
  77. ↑ Bayerische Zeitung , 1863, p. 291
  78. ^ Exhibition 1908 in: Annual report of the art association in Hamburg for 1908 . P. 10 (PDF-p. 71). PDF file from kunstverein.de
  79. ^ Exhibition 1909 in: Annual report of the art association in Hamburg for 1909 . P. 18 (PDF-p. 97). PDF file from kunstverein.de
  80. ^ Exhibition directory 1910 in: Annual report of the Kunst-Verein in Hamburg for 1910 , p. 15 (PDF-p. 9)
  81. ↑ List of participants in the 1916 exhibition in: Annual report of the Kunstverein in Hamburg, 1916 , p. 12 (PDF-p. 27)
  82. ^ War aid for artists in: Altonaer Nachrichten , January 30, 1916, p. 5
  83. ↑ List of participants in the 1917 exhibition in: Annual report of the Kunstverein in Hamburg, 1917 , pp. 12–13 (PDF-p. 45)
  84. ↑ List of participants in the 1918 exhibition in: Annual report of the Kunstverein in Hamburg, 1918 , pp. 14–15 (PDF-p. 64)
  85. ↑ List of participants in the 1919 exhibition in: Annual Report of the Kunstverein in Hamburg, 1919 , pp. 9-10 (PDF-pp. 78-79)
  86. ↑ Exhibition 1921 , Hansa workshops (some names)
  87. ^ Christmas exhibition of the Hamburger Künstlerverein in: Altonaer Nachrichten , November 25, 1925, p. 9
  88. ^ From Hamburger Kunstsalons , Altonaer Nachrichten , December 16, 1926, p. 2
  89. ↑ Exhibitions ( Memento from October 29, 2014 in the Internet Archive ) at the Kunstverein in Hamburg, list, PDF file
  90. ↑ List of exhibitors 1932
  91. ^ Spring exhibition - The Hamburg artist association in the house of the art association in: Altonaer Nachrichten , April 15, 1935, p. 2
  92. ^ Exhibition 1968 on the website of Hans Wrage
  93. ↑ Manuscript at the University Library Hamburg