Hanne-Nüte Chamberlain

Hanne-Nüte Chamberlain

Hanne-Nüte Kämmerer (born May 6, 1903 in Dessau , † June 22, 1981 in Detmold ) was a German textile artist. She has received awards and prizes primarily for her outstanding artistic work in the fields of embroidery, sewing and plastic lace. However, she made one of her fabric designs known nationwide: her so-called chicken pattern has been printed for 75 years.

education

Born in 1903 in Dessau as the daughter of the late businessman Justus Kämmerer, she began her training in 1919 by attending the textile class at the Dessau Crafts School. This was followed by a visit to the Reimann School for Arts and Crafts in Berlin . From 1921 to 1924 she worked in the editorial department of the textile publisher Otto Bayer in Leipzig. She then went into business for five years with a needle embroidery workshop at the Gildenhall Craftsmen at Ruppiner See . In 1929 she was appointed to the arts and crafts school in Münster , where she worked as an assistant to the painter Joos Jaspert (1891–1939) before taking over the management of the textile class.

Work in the Second World War

Like her colleagues Franz Guntermann , Joos Jaspert and Hans Pape from the Münster School of Applied Arts , she joined the NSDAP on May 1, 1933 . One possible motive could be the uncertain status of the school. Since the institution was still to be recognized by the state, Hanne-Nüte Kämmerer and Joos Jaspert planned to found the workshop for Westphalia fabrics from 1933 onwards . The business registration took place in 1935. Hanne-Nüte Kämmerer did not take over any functions in the party. In 1948, the denazification examination committee classified her in Group V as an opponent of the NSDAP. The reason stated that she had advised others not to join the party or one of its organizations. The promotion of religious works and the acquaintance with Professor Adolf Reichwein also had a positive effect.

Teaching

At the age of 26, Hanne-Nüte Kämmerer began teaching in Münster. Former students report that they always expected a high degree of commitment and discipline, but at the same time tried to encourage all students individually and to educate them to deal creatively with material, color and motif. In terms of topics and techniques, she was extremely versatile. In 1944 classes were suspended due to the war. Hanne-Nüte Kämmerer taught embroidery and print design again from Easter 1949. In recognition of her artistic and educational life's work, she was appointed professor in July 1965. She retired from the Werkkunstschule in 1968 at the age of 65, but remained in close contact with individual students.

Artistic success

Hanne-Nüte Kämmerer could look back on many awards. In 1954 she received the gold medal at the 6th German Crafts Fair in Munich as well as the Bavarian State Prize with the workshop for Westphalia fabrics . In 1962 the Hessian State Prize for German Arts and Crafts followed for the work of pearl wreaths and in 1965 the State Prize NRW Textiles for the Pentecost Antependium . Numerous solo and group exhibitions document her creative power. In addition to Germany, she presented her work in Monza (1925 and 1928), at the Triennale Milan (1951 and 1957) and at the World Exhibition in Brussels (1958). In addition, her works have been shown in Switzerland , England , Canada , France , Spain , Portugal , Japan , the USA and Iran . Because of its importance for the Werkkunstschule and its unmistakable, internationally recognized artistic work, it was also awarded the Cross of Merit 1st Class of the Federal Republic of Germany in 1973 . She died on June 22, 1981 in Detmold. Her works can be found in numerous German museums such as Detmold, Cologne, Leipzig, Münster and Nuremberg.

embroidery

During her first years as a textile artist, Hanne-Nüte Kämmerer worked with white embroidery on tulle and voile . With her self-established needle embroidery workshop in the “Handwerkschaft Gildenhall”, Hanne-Nüte Kämmerer tried to build up an existence as a freelance artist as a young woman. As early as the 1920s, she set her own accents and developed a material-appropriate pattern with so-called damask stitches and up-to-date work. However, influences of medieval embroidery can also be seen well into the 1950s . Then her style changed to freer designs with motifs that corresponded to the zeitgeist . The 1960s brought abstract images and the rejection of more conventional formats with it. In the last decade of her work, Hanne-Nüte Kämmerer developed a new format in embroidery. She created relief images with glass beads, which, through economical but pointed design, put mainly natural phenomena into the picture.

Plastic sewing tips

Until the 20th century, the function of traditional lace was mainly limited to the ornamental decoration of garments. After the Second World War, Hanne-Nüte Kämmerer concentrated on this technique because it required little material and only linen thread was available to her. After she had explored the scope of traditional techniques with several works, she began to develop her own forms, and unconventional works with her very own artistic form of expression emerged. It was a long way to the development of the three-dimensional tips, as many experiments were necessary, including with new materials, in order to realize three-dimensional fully round sculptures. If she stabilized her first works with white starch , Kämmerer then created her unique sculptures out of yarn by adapting a new material - nylon thread - and making it usable for her purposes. Hanne-Nüte Kämmerer's three-dimensional tips - this is the term she coined - are sculptures of touching complexity and elegance, which in their sophistication and lightness need fear no comparison with the masterpieces of contemporary sculpture.

Workshop for Westphalia fabrics

The first plans to found a workshop for Westphalia fabrics were forged in 1933. After the state recognition of the arts and crafts school ensured that Hanne-Nüte Kämmerer and Joss Jaspert were still teaching, two students - Herta Drunkenmölle and Grete Spuida - registered the trade on April 1, 1935 and ran the business. Both operated the shop on Königsstrasse in Münster with samples from Jaspert and Kämmerer, while the execution was left to professional printers. Initially in blueprint , with the end of the 1930s machine-made by the meter . Due to the massive destruction of the city center of Münster during the Second World War, the business was evacuated to Detmold, where it remained for the coming decades. Until 1972, the designs of the printed fabrics were mainly made by Hanne-Nüte Kämmerer. Whole generations associate childhood memories with the “chicken” pattern. In a loosely sketched box grid, the designer placed cocks and hens, but also schematic fish and moons. With a well-calculated degree of abstraction, she created a classic , shaped by the Bauhaus and the artist Paul Klee , which is innovative and traditional, individual and versatile at the same time. When her business partner Grete Spuida died in 1970, Hanne-Nüte Kämmerer was looking for a successor to manage the fabric publishing house and found him in 1972 in Johannes-Jürgen Mackenbrock. The company returned to Münster and has grown to 40 employees (as of 2009). In addition to the printed fabrics, the range is now primarily made up of woven fabrics in accordance with Öko-Tex Standard 100 .

Selection of solo exhibitions

• 1969 Münster, community hall in the town hall
• 1969 Bruges, Huidevetterhuis
• 1970 Belgium, then Trondheim, Oslo, Lillehammer, Stavanger
• 1970 with Prof. Elisabeth Treskow Hagen, Osthausmuseum
• 1973 Within manufactu '73 of the AdK, Landesmuseum Münster
• 1973 Room gallery Sybille Schmidt, Detmold
• 1977 Lippische Gesellschaft für Kunst eV, Detmold
• 1980 Adult Education Center in the old Hanseatic city of Lemgo
• 1980 Westphalian State Museum for Art and Cultural History , Münster (Drostenhof Wolbeck)
• 2003 “Art with a needle and thread - Hanne-Nüte Kämmerer”, Detmold State Archives
• 2009 “Westphalia fabrics and other lace. The textile artist Hanne-Nüte Kämmerer ”, Münster City Museum

Choice of literature

• Rommé, Barbara (ed.), Westphalia fabrics and other lace, catalog for the exhibition in the Münster City Museum, Verlag für Regionalgeschichte, Münster 2009.
• Kambartel, Helga, Hanne-Nüte Kämmerer (1903–1981) and the Nadelspitze, Part 1, in: Die Spitze, Heft 3 (2006), pp. 21-25, Part 2, in: Die Spitze, Heft 1 (2007) , Pp. 17-21.
• Rommé, Barbara (ed.), I think of Münster… Of souvenirs and the image of the city, exhibition catalog of the Münster City Museum 2002, Münster 2002.
• Müller, Lieselotte, Hanne-Nüte Chamberlain. An important textile artist of the 20th century, in: Die Spitze. Journal of the German Lace Association, Issue 3 (1999), pp. 57–60.
• Dickbertel, Helmut (Ed.), Form and Material, Material and Form. Work by eight designers based in Lippe. Helmut Dickbertel, Ulrich Heinemann, Hans Jähne, Hanne-Nüte Kämmerer, Hermann Mies, Wilhelm Niemöller, Hans-Helmuth von Rath, Wolfgang Rauhut, catalog for the exhibition in the gallery of Sparkasse Detmold 1986, Detmold 1986.
• Hasenkamp, ​​Johannes, sculptures made from lace. Two decades of needlework by Hanne-Nüte Kämmerer, in: Westfälische Nachrichten of February 7, 1981.
• Kämmerer, Hanne-Nüte, pearls and lace, text by Leonie von Wilckens, Münster 1980.
• Chamberlain, Hanne-Nüte, embroidery and lace, exhibition of the Werkkunstschule Münster in the Bürgerhalle in the Münster Town Hall in 1969, Münster 1969.
• Hanne-Nüte Kämmerer, embroidery and lace, special exhibition within the state exhibition of the North Rhine-Westphalia Arts and Crafts Association for the determination of the State Prize winner Manufactum '73, Münster 1973.
• Hanne-Nüte Kämmerer: lace and embroidery, Elisabeth Treskow: jewelry, catalog for the exhibition in the Karl Ernst Osthaus Museum Hagen 1970, Hagen 1970.
• Hanne-Nüte Chamberlain. Broderi og kniplinger, catalog for the exhibition in the Nordenjfeldske Kunstindustrimuseum in Trondheim, Kunstindustriemuseet in Oslo, Scandinaviske Samlinger Lillehammer, Stavanger Kunstforening 1969/1970, ed. v. the Werkkunstschule Münster, Münster 1969.
• Pieper, Margarete, the embroiderer Hanne-Nüte Kämmerer, in: The art and the beautiful home, vol. 48, issue 9 (1950), pp. 346–347.

Schmitz-Veltin, Wilhelm, Westphalian blueprint in old and new times (= From Westphalian museums. Publications from the Westphalian museums, vol. 1), 2nd exp. Ed., Münster 1942.

• Kämmerer, Hanne-Nüte, edges and inserts in breakthrough work for fine linen and blouses, in: Deutsche Frauenkleendung und Frauenkultur, Heft 4 (1926), p. 120.

Individual evidence

1. ↑ Swantje Kuhfuss-Wickenheiser, The Reimann School in Berlin and London 1902–1943. A Jewish company for international art and design education up to the destruction by the Hitler regime, Aachen 2009, p. 539 ISBN 978-3-86858-475-2
2. ↑ Announcement of awards of the Order of Merit of the Federal Republic of Germany. In: Federal Gazette . Vol. 25, No. 111, June 16, 1973.

swell

• Federal Archives Berlin (NSDAP membership cards)
• German Art Archive in the Germanic National Museum Nuremberg (estate of Leonie von Wilckens)
• North Rhine-Westphalia State Archives, Rhineland Department (NW-1037-BIV-2081, NW-1060-883, NW 1039-K3474, Files NW 327 No. 418, NW 257 No. 256, NW-O No. 9638, NW-O No. 20809)
• Lippisches Landesmuseum Detmold (estate of Hanne-Nüte Kämmerer)
• Münster City Archives (Administrative Archives Culture Office Office 41 No. 3, Administrative Archives Education Office Office 40 No. 24, Administrative Archives Education Office Office 40 Office 40 No. 47, V-DEZ-IV-160)

Web links

• Literature by and about Hanne-Nüte Kämmerer in the catalog of the German National Library