Hanna Nagel

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Hanna Nagel (as Johanna Nagel ; born June 10, 1907 in Heidelberg ; † March 15, 1975 there ) was a German artist who created early work that was critical of patriarchy from 1927 to 1933, campaigning intensively against discrimination and inhumane conditions. She dealt with anti-Semitism and racism, culturally critical, legal, psychological, educational and sexual science issues, paragraph 218 and homophobia and the rights of children. She spoke out in favor of diversity and tolerance and criticized authoritarian structures and ill-considered adaptation. Hanna Nagel is considered to be a representative of verism with surrealist influences. In her late work she deviates greatly from the early motifs. Her oeuvre mainly includes graphics and book illustrations as well as some oil paintings .

Live and work

Hanna Nagel grew up as the eldest daughter of the wholesale merchant Johannes Nagel and his wife Bertha geb. Nuss went to Heidelberg with a sister, Margarete, and an adopted brother, Heinz, where she attended a girls' school. The left-hander began drawing as a child and began an apprenticeship as a bookbinder in 1924. From 1925 to 1929 she studied at the Badische Landeskunstschule Karlsruhe with Karl Hubbuch , Wilhelm Schnarrenberger and Hermann Gehri , most recently as a master student in the etching class with Walter Conz . There she criticized the way she dealt with female students, in particular with Hilde Isay , a Jewish woman who had entered into a love affair with Karl Hubbuch. In numerous portraits and nude drawings, she critically examines the abuse of power and discrimination and describes the resulting consequences.

In autumn 1929, like her future husband, she moved to Berlin and continued her studies at the United State Schools for Free and Applied Arts . There, too, she dealt critically with the distribution of male and female roles. She belonged to the classes of Emil Orlik and Hans Meid . Emil Orlik saw in her a "new Kollwitz ". In 1933, after her release, she bequeathed her a large drawer table from her studio.

In 1931 she married the painter Hans Fischer and finished her studies shortly afterwards, in early 1932. 1933-36 He stayed in the Villa Massimo in Rome after Hanna Nagel and later her husband the Prix de Rome had received. In 1936 the first of over 100 illustrated books, including children's books, was published . Among other things, she illustrated Anton Chekhov's Die Möwe , Maxim Gorkis Nachtasyl and works by Daphne du Maurier . Hanna Nagel's graphic cycles include “Fantasies for 24 Chopin Preludes”, “Die Träumende” and “Angst”.

Today's painter and poet Irene Fischer-Nagel was born in Heidelberg in 1938 as the only child. Her father was called up for military service in 1940 and left the family in 1947. She spent the last 30 years in Heidelberg suffering from pain. In 1963 she had to switch to the right hand after an arm operation.

Some of her extensive works have not yet been published, and most of her artistic estate is privately owned. The Germanisches Nationalmuseum Nürnberg is keeping a partial written estate .

The Hanna Nagel Prize , named after her, is awarded annually by a prominent jury of women (including Jutta Limbach ) in Karlsruhe .

Awards

Exhibitions

literature

  • Caroline Hess: Hanna Nagel's early political work. Images of everyday discrimination . In: University dissertation . Norderstedt 2019, ISBN 978-3-7494-4813-5 (dissertation at the University of the Arts Berlin).
  • Renate Berger : "There is only one thing left: one hand, this one heart." On Hanna Nagel's early drawings (1929–1931), in: Renate Berger: Liebe Macht Kunst, Berlin, Weimar, Vienna 2000. pp. 327–356.
  • Irene Fischer-Nagel (Ed.): Hanna Nagel. I draw because it's my life . With an introduction by Klaus Mugdan. Braun, Karlsruhe 1977, ISBN 3-7650-9012-3 .
  • Irene Fischer-Nagel: Hanna Nagel. In: Luise F. Pusch, Susanne Gretter (Hrsg.): Famous women. A game . 2 × 33 portraits with accompanying book, Insel, Frankfurt am Main and Leipzig 1999, ISBN 3-458-34293-1 , p. 224 ( online with examples of pictures, quotations and a list of literature ).
  • Sylvia Bieber, Ursula Merkel (eds.): Hanna Nagel. Early works 1926–1933 . Städtische Galerie Karlsruhe, Karlsruhe 2007, ISBN 978-3-923344-67-3 (exhibition May 12, 2007 to August 5, 2007, Städtische Galerie Karlsruhe; August 16 to October 14, 2007, Das Verborgene Museum Berlin).
  • Cornelia Nowak: Hanna Nagel . In: Ernst Herrbach (Ed.): Der Erfurter Kunstverein: between avant-garde and adaptation; a documentation from 1886 to 1945 . Angermuseum, Erfurt 2009, ISBN 978-3-930013-14-2 , p. 142-143 .

Web links

Individual evidence

  1. ↑ a b c d e f Caroline Hess: Hanna Nagel's early political work. Images of everyday discrimination . 2019.
  2. ↑ Renate Berger: "There is only one thing left: one hand, this one heart." On Hanna Nagel's early drawings (1929–1931) . In: Renate Berger (ed.): Love makes art . Böhlau, Cologne, Weimar, Vienna 2000.
  3. ^ Caroline Hess: Hanna Nagel's early political work. Images of everyday discrimination . In: University dissertation . Norderstedt 2019, ISBN 978-3-7494-4813-5 , pp. 685 .
  4. ^ Wilhelm Rüdiger (Ed.): Young art in the German Empire. i. A. of the Reich Governor & Reich Leader Baldur von Schirach . Exhibition February - March 1943 in the Künstlerhaus Vienna. Ehrlich & Schmidt, Vienna 1943, short biography pp. 57–58
personal data
SURNAME Nagel, Hanna
ALTERNATIVE NAMES Nagel, Johanna
BRIEF DESCRIPTION German draftsman, graphic artist and book illustrator
DATE OF BIRTH June 10, 1907
PLACE OF BIRTH Heidelberg
DATE OF DEATH March 15, 1975
Place of death Heidelberg