Hans-Ulrich Buchwald

Hans-Ulrich Buchwald (born December 20, 1925 in Breslau ; † February 18, 2009 in Hanover ) was a German painter, graphic artist, ceramist, set designer and mask maker. His complete works include around 10,000 drawings, woodcuts and linocuts, paintings, ceramics, wooden sculptures and masks. It is shaped by a variety of artistic forms of expression. Buchwald felt obliged to classical modernism, which he only got to know after the war. He was inspired by George Grosz , Pablo Picasso , Edvard Munch , August Macke , Franz Marc , Oskar Schlemmer , Fernand Léger , but was looking for his own style in various areas.

Self-portrait by the artist Hans-Ulrich Buchwald

Life

First impulses

Buchwald's grandfather was a painter, as was his uncle Alfred Ferdinand Buchwald. His father was also fond of the fine arts, but for financial reasons he took up the "bread-and-butter" job of a cook and opened a gourmet restaurant in Wroclaw in the early twenties, where artists, writers, theater people and their admirers frequented. Some painters even frequented the Buchwald house, such as Otto Mueller ("Zigeunermüller"). When Hans-Ulrich was born, the father had to close the restaurant, but supported the son in every possible way in developing his artistic talent, which was evident at an early age. He sent him to the Waldorf School. When the Weltanschauungsschule was closed by the Nazis in 1940, the father applied for a special permit for the 15-year-old to attend the Werkkunstschule and the young Buchwald received a place in the commercial graphics class at Rump. Two years later he was drafted into labor service, and a short time later into the military. He became an American prisoner of war and was released in 1947. During this time he continued to paint and draw.

Reed pen drawing of a street scene in Hameln

Studied painting, marriage and employment

After his release from captivity and a short stay in Cologne, he settled in Hameln . Everything he had painted and drawn in his youth had been lost. The 22-year-old received free painting lessons from Josef Apportin and got to know the founders of the Hamelin Art Circle, Rolf and Charlotte Flemes and Hans Seutemann. The Hamelin Art Circle arranged for him travel grants to Morocco and Sweden, which he used extensively for exercises in watercolor and drawing. From 1950 to 1952 he had Erich Rhein put the “finishing touches” on him at the Werkkunstschule Hannover. In 1952, when the Hamelin art group became the “Arche” art association, Buchwald was invited to become a member. Then he relocated to Hildesheim and worked for four years (1952–1956) as a set designer at the city theater. The experiences of this time later benefited his “Hinge Theater”, but they were also reflected in his graphics. In 1956 he married the art teacher Hella Feyerabend, whom he had met with Erich Rhein. Then he took a job as a draftsman in the paleontological department at the Lower Saxony State Museum in Hanover and stayed there until his early retirement in 1980. The couple rented an apartment in Hanover, in which both would live for the rest of their lives. Hella Feyerabend brought her daughter Gundel into the marriage. Hella and Hans-Ulrich Buchwald had two further daughters, Marianne (born 1957) and Luise (born 1959), who also became artistically active.

The artistic creation

drawings

Buchwald constantly refined his ability to capture the world with drawings. Some drawings have even been preserved from the American captivity. In the 1940s and early 1950s, Buchwald worked a lot with charcoal, pencil and reed pen to capture everyday impressions, animals from the zoo or landscapes in drawings.

Buchwald's endeavor was to throw everything that came before his eyes onto paper, lifelike and at the same time typifying, with sweeping lines. During hours of visits to the zoo, he made animal studies. He often took his subjects from people's everyday lives. He also orientated himself on Vincent van Gogh and his approach of paying tribute to the supposedly “unsightly” everyday life of ordinary people. Buchwald drew prisoners of war and musicians, people harvesting potatoes, in the factory or collecting garbage, on the market when buying and selling, on the street and in the automobile.

Three customers in a hairdressing salon

Woodcuts and linocuts

The fact that Buchwald turned intensively to woodcuts and linocuts can be seen on the basis of a particularly historical, specifically German art tradition that extends into the 15th century. In the distribution of light and dark and in the development of surface and space, Buchwald initially followed the design principles of the great Expressionists. Buchwald received his first ideas for his woodcut technique at the Hanover School of Applied Arts from E. Rhein. At first he stylistically followed the Expressionists, who often reduced the complicated world like woodcuts. The bulky material forces a strict form. In the distribution of light and dark and in the development of surface and space, influences from Erich Heckel , Ernst Ludwig Kirchner , Frans Masereel and Edvard Munch are unmistakable. When Buchwald discovered linocut for himself, he was able to give the softer material - in the opinion of the classics unsuitable for artistic representation - much more pronounced drawing qualities. Instead of working over a large area, the linocut allows a differentiated use of shapes, hatching, curved lines, grids and ornamental lines. With his ingenious line technique, with which Buchwald drew his pictures with fine line nets, he showed himself to be a master of the art of cutting. He achieved large-format linocuts that look like drawings. Rüdiger Joppien notes about the graphic artist: “Self-imposed control and discipline of the means are the determining factors in Buchwald's understanding of graphics. Buchwald knows about the severity and brittleness of his material, but it is these properties that stimulate him to constant formal variation and to explore new possibilities of graphic expression, as if he wanted to prove how much can be made of this material. ”In his wood and linocuts, Buchwald started out from the representational, but often alienated the subjects in a surrealistic way, including mythological figures. So he repeatedly showed the originally animal nature of homo sapiens, made the animal form of humans visible, which comes along as a vital force or as a subtle threat such as the Minotaur .

Discus thrower when throwing

The set designer as a graphic artist

Buchwald's time as a set designer in Hildesheim also rubbed off on his graphics. Often the images are designed like stages: curtains billow in the background or over the scene, the central perspective is used to put the most important actor in the middle, walls or cage grids form the background of the stage on which the depicted events are presented. All of this often gives his graphics something theatrical-baroque, the protagonists represent themselves. For self-portrayal you need spectators, even if it is your own reflection ... "Its lines, its expressive abbreviations, simplifications and exaggerations, its ornament-laden, tense, The densely packed image mirror, on the one hand his style of expression penetrating into metaphysical depths and on the other hand pushing the boundaries of the bizarre, even more into surrealistic areas, is based entirely on Buchwald's own being. What he creates is a true reflection of himself ... His works communicate with the viewer in the same way that Buchwald shows himself in personal encounters: thoughtfully and verbally overloaded ... profoundly enigmatic, always amiable, courteous, helpful, tolerant and of great kindness, at the same time imaginative and always positively affirmative. ”In addition to Buchwald's monumental graphics, which often fall back on mythological motifs, it can be seen that he was also a representative of critical graphics. A clerk from an authority in Buchwald was given the head of a dog in order to unmask his bureaucratic principles when dealing with the applicants. There is the lady whose cat love goes so far that she walks the animal like a hat. The shoe buyer crouches fearfully in front of the customer, whom she perceives with his condescending demeanor like a bird of prey. Not only in linocuts, but also in some of Buchwald's watercolors, the other side of human existence, the mirror image, the reversed and the oblique of the human being, repeatedly come to light. With such images, Buchwald also made a contribution to “critical graphics”, which flourished again in the 1970s and 1980s, not least in Hanover, for example with WP Eberhard Eggers and Hans-Georg Kanitz .

Watercolors

The painters of the Kunstkreis Hameln attached great importance to the use of brush and color. A good opportunity for the artist-to-be to refine his use of oil paints and his watercolor technique. Especially the boat trips to Sweden or North Africa sponsored by the Kunstkreis Hameln allowed Buchwald to further develop his watercolor technique. At the same time, these watercolors were created in a holiday mood, in a sunny atmosphere of freedom and the joy of discovery. The lightness of being resonates in his watercolors. Buchwald himself spoke of "happy representationalism". He recalled: “My watercolors are often created during the holidays, in the hotel, in a millionaire mood”. Despite the relaxed atmosphere in which the watercolors were usually created, they were executed with great mastery. There is almost no overpainting. And Buchwald mastered the technique of including the white paper in the picture by leaving out color, presumably even without using masking liquid.

Regarding the topics, it could be said that the models in his watercolors also changed over time. Motifs of boat trips and beach vacations, of Moroccan bazaars and park landscapes, but increasingly also city motifs such as elegant women in front of the fashion salon or hat shop, in the café or at the buffet, cars in Paris or on the “Blue Bridge”, roller-skaters appeared again and again and soccer players. And although Buchwald was still based on the representational, the portrayed were increasingly typified and sometimes even merged with the architecture of the environment.

Haje Weser ferry in front of the village

Rudolf Jüdes, Hanoverian journalist and editor of several artist biographies at Steintor Verlag , wrote:

“The watercolors occupy a special position in Buchwald's pictorial work. For the artist, it is notes of experiences and journeys, works that are quickly written down to capture fleeting impressions. But with what certainty in the choice of colors and in the compositional structure this happens! Buchwald first paints his watercolors wet on wet with colors flowing into one another, but, as he reports, he got used to this in 1951. Gradually he prefers painting in which he can also apply glazes in watercolor. In the fifties and sixties the direct view of things was captured in such watercolors. Everyday life is an inexhaustible reservoir of this outlook. And first of all Sunday, the days of traveling ... The watercolors show the spontaneous practice of realization techniques. There are a number of combinations: watercolor and chalk, watercolor and pen and ink. Set designs are added to the travel pictures. "

Oil paintings

Elegant Lady with a red blouse

After the war, Buchwald was shocked to find that classical modern painting had practically passed him by, ostracized and partly destroyed as “degenerate”. In the late 1940s, for example, he took every opportunity to see exhibitions by the persecuted artists and to learn from them.

“In thirty oil paintings from 1949 alone, suggestions for form from Grosz, Picasso, Kandinsky, Munch, Macke, Marc, Schlemmer, Léger, the Futurists and the German Expressionists can be made out. None of this is a copy, everything is experienced just as one experiences a motif - and transforms and makes it one's own. And the object is never given up. "

Wooden sculptures

From around 1963, Buchwald developed wooden sculptures . The trigger was his children hungry for new games. But as an artist, Buchwald went beyond this momentary motivation and dealt with the possibilities of building artistically valuable sculptures from nested wooden disks. In this way, three-dimensional structures such as animals, people, ghosts or unusual clothes racks were created from two-dimensional basic shapes. He later developed this technique of joining two-dimensional forms together to form the first figures of his "Hinge Theater".

Ceramics

It was not until the 19s that Buchwald made closer acquaintance with the technique of ceramics. In the pottery village of Duingen he got the opportunity to use the raw material in a clay factory that produced sewer pipes and not only to build his ceramic sculptures on the spot, but also to have them burned. This origin can still be seen in the cylindrical shapes of the terracottas that were created in this way. It was typical for him that Buchwald decorated or painted his ceramics with many graphic elements and again - as with graphics - came to figurative animal and human figures.

Free-angled acrylic paintings

Several surfers on their surfboards in a free-angled image

As a child, Buchwald had already experienced reservations about right angles at the Waldorf School , which actually does not occur anywhere in nature. At first he couldn't do anything with this skepticism, but later, after visiting the Goetheanum near Basel and studying Le Corbusier's Church in Ronchamp, he dealt more with the criticism of the "dead corners". Visiting the baroque paintings in Weissenstein Castle (Pommersfelden) also provoked him to deal more thoroughly with renouncing right angles. But it wasn't until 1980 that he got around to translating his thoughts on the subject into images. He was now trying out a new kind of self-made picture frame without right angles. With his "free-angled" acrylic paintings, Buchwald wanted to get out of the rectangular narrowness of the panel painting. The form and content should correspond. The free-angled borders created new "framework conditions". This is how he created unusual eye-catchers. He also took up acrylic paints because “the turpentine smell of oil painting has always bothered him”. For Jüdes, Buchwald's free-angled pictures are “a special act of liberation from the constraints of cultural legal orientation. A Dionysian attitude towards life manifests itself ”.

The hinged theater

The hinged theater is the name for a figure and mask theater that was founded by Hella and Hans-Ulrich Buchwald in 1969. The name is derived from Buchwald's early technique of holding arm and leg joints, but also the "profile disks", which, when opened, formed the head, by means of hinges, be it adhesive tape, to hold together and make it mobile. Buchwald received important impulses for his later hinged theater through his work as a set designer at the Hildesheim City Theater (1952–1956) and through his early interest in puppets and masks. In the 1960s, he built small stick dolls for his children that adopted the movement principle of Javanese wayang figures (a wooden stick forms the backbone, the arms are moved by sticks). From the very beginning, Buchwald had the idea of ​​making the initially two-dimensional heads visible from all sides by plugging different cuts of the head together, thus increasing mobility in the game. Based on the model of these first figures, Buchwald built figures that could be moved on a stage: Either the sticks that formed the backbone were put into a rollable card stand or the player could strap the doll on and transfer his own movements to the figure.

Development of the hinged theater

An occasion to test this principle arose from a large exhibition with works by Hella and Hans-Ulrich Buchwald in June 1969. The Kunstverein Hannover provided the artist's house with a theater for this purpose. Further performances, radio and television made the new theater public and soon a circle of interested players was found. Film and theater directors, ballet dancers, pantomimes Jean Soubeyran , musicians like Willi Vogl and Fredrik Vahle , writers like Hans-Joachim Haecker and other artists also took part, set different accents and enriched the puppet play with their art. Quite a few of the players have now also started their own business and developed Buchwald's approaches independently (Gabriele Marschall-Grundke founded the poetic “Traumtanztheater” and Steffi Gaetjens founded the “Art Tremondo” theater). Buchwald also further developed the shape of the playing figures. While Buchwald had started with flat figures with hinged heads made of cardboard, in the 1970s he developed full masks made of wire and fabric, into which the players could now slip and thus act independently of a stage, i.e. also outdoors, at walk acts, street parties or at exhibitions. In the beginning, the players became invisible according to the principle of black theater : In front of a black stage background, they acted completely covered by black clothing.

Buchwald's masks, to which a large part of his work has been dedicated since the 1970s, grew - like his linocuts and acrylic paintings - more and more 'beyond themselves' to 'hardly wearable' figures up to 3 m high. The figures of the "hinge theater" are still used today for theater work, for walk acts and public actions.

Buchwald is rehearsing with a pelican costume

The further development of the hinged theater

Over the decades, over 100 productions with thousands of masks have been created: animals of all kinds, figures based on the Comedia d'elle Arte, mythological figures, caricatures. As the masks continued to grow, the city of Hanover kept making new rooms available: in the Lister Tower, in the cellar of the Brothers Grimm School, offices in Bornum and finally (in spring 2015) some of the masks found shelter in the attic of the puppet theater Theatrio. The founding of the association “Scharniertheater Hannover eV” (1998) proved to be particularly helpful after the deaths of Hella († 2000) and Hans Ulrich Buchwald († 2009). In this way, continuity could be preserved, which is personified in a special way by Ralf-Peter Post , Buchwald's master student and current artistic director of the hinged theater. He staged many of the pieces for the Little Festival in the Herrenhausen Garden together with Buchwald and developed new generations of masks. Post continued the tradition with regional and international walking acts. Buchwald's daughters continued the tradition of the hinged theater in a similar way: Gundel Zschau-Buchwald in and around Hamburg and Marianna in Chicago, but also in Germany.

Exhibitions (selection)

Solo exhibitions

Hans-Ulrich Buchwald with the mask of an Aztec god

• 1960: Göttingen Municipal Museum
• 1964: Märkisches Museum Witten
• 1965: Hameln Art District
• 1966: Reuchlinghaus Pforzheim
• 1968: Bad Waldsee
• 1968: Galerie am Abend, Berlin
• 1969: Association of Visual Artists, Hanover
• 1971: Funkhaus Hannover
• 1973: Rotenburg an der Wümme, near Bremen
• 1974: Theater am Ägi, organized by the Kunstverein Hannover
• 1974: Galerie Internationale, New York
• 1977: House on Lützowplatz, Berlin
• 1979: Cologne Chamber of Crafts
• 1979: Meiborssen Gallery
• 1980: Municipal Museum, Göttingen
• 1980: Park Gallery Witten
• 1984: Herrenhausen Orangery, Hanover
• 1985: Kunstkreis Hameln
• 1985: Esslingen Artists' Guild
• 1988: Small Gallery Bad Waldsee
• 1988: Galerie Kühl, Hanover
• 1989: Association of Visual Artists, Hanover
• 1990: Presentation of the Lifesaver Edition in the Kunst der Zeit gallery, Leipzig
• 1991: Xylon Museum, Schwetzingen Castle
• 2010: Lortzingart Gallery, Hanover
• 2010: and 2012 Burgdorf, Scena cultural association
• 2012 and 2014: Café Alte Posthalterei, Syke
• 2014: Kunsthaus am Schloss, Mirow
• 2015: Autohaus Vorbeck, Wentorf near Hamburg

Participation in exhibitions from 1961 to 2009 (selection)

• 1961 and 1962: Böttcherstrasse Bremen
• every 4 years Xylon Geneva
• 1964–1969: Contemporary prints of Germany in Corvallis, Oregon / USA
• 1966: Kunsthalle Baden-Baden
• 1969: Biennale in Pistoia / Italy
• 1973: Galerie Internationale New York
• 1973: Art Association Schwetzingen
• 1973: Rheinisches Landesmuseum, Bonn
• 1971 Gallery in the Rahmhof, Frankfurt
• 1977: House of Art, Munich
• 1991: Xylon Museum, Schwetzingen Castle
• Graphics Biennale Biella / Italy
• Munich Antiques Fair,
• Gurlitt Gallery, Munich
• The Leigh Gallery, Chicago
• Murphy Hill Gallery, Chicago

Performances by the Scharniertheater Hannover (selection)

and campaigns for exhibition openings and street festivals (selection)

• 1969: Hanover: Aspects for the opening of the art exhibition by Hella and Hans-Ulrich Buchwald in the Künstlerhaus Hanover. Direction: Gundel and Hella Buchwald.
• 1970: Braunschweig: Coming and Going by Samuel Beckett. Director: Hartmut Forche
• 1970: Braunschweig. Doll and human . 5 movements by Anton von Webern. Choreography: Richard Adama, Braunschweig
• 1971: Hanover: Peter and the Wolf , Director: Susanne Swoboda
• 1971: Hanover: Revue Grotesque . Libretto Gundel and Erich Zschau. Music: Pink Floyd. Director: Susanne Swoboda
• 1971: Hanover; Funkhaus Hannover, small broadcasting hall. Exhibition by Heinz-Georg Kanitz, Hella and Hans-Ulrich Buchwald. With figures and masks by Hans-Ulrich Buchwald and Heinz-Georg Kanitz, text: Carol K. Martyn.
• 1973: Hanover: The wonderful love story of the beautiful Magelone , by L. Tieck, with songs by Joh. Brahms Musikschule Hannover. Dramatization and direction: Hartmut H. Forche Pantomime Jean Soubeyran
• 1975: Hanover: Matta exhibition, Kestner Society. Art in action with figures by Hans-Ulrich Buchwald
• 1976: Hanover: Actions for the opening of the Ihme Center, Hanover
• 1977: Berlin: House on Lützowplatz, Berlin, exhibition of figural terracottas by the Buchwald family
• 1977: Hanover: Opening of the Raschplatz Hanover as well as the INFA, Hanover, actions with dolls and masks
• 1976/77: Bochum (on the occasion of FIDENA): The farmer Gidius von Ham A fairy tale by JRR Tolkien Dramatization and direction: Martin Ulrich Music composition Wolfgang Burhenne
• 1977: Hanover: The magic of birds . Idea by Jochen Krüger. Music: Lower Saxony Chamber Orchestra.
• 1978: Hanover: The engagement under the lantern . by Jacques Offenbach. Idea: Claus-Ulrich Heinke. Music: Lower Saxony Chamber Orchestra.
• 1978/79: Hanover: The stolen bear , children's theater. Idea and text: Gundel Zschau-Buchwald, music: Manfred Kühn
• 1979: Hanover: The Seven Deadly Sins . Director: Luise Buchwald. Music: Manfred Kühn
• 1979: Cologne: Exhibition of the Chamber of Crafts in Cologne with pictures and terracottas by the Buchwald family, director: Bernd Seidel
• 1980: Hanover: Images for the World Congress of Puppeteers in Washington - participation in an exhibition at Ballhof, Hanover
• 1980 Hanover: The lion and the four bulls , a fable idea and direction: Hans-Ulrich Buchwald Music: Bernd Korstock
• 1981 Hanover: Stroll around the Schorsen for the opening of the pedestrian and promenade zone Georgstrasse
• 1980/82: Hanover: The secret of becoming . Idea: Frank Fuhrmann. Director: Willi Forwick. Music: Manfred Kühn
• 1981: Hamburg: Hamburger Kirchentag: News from Noah . Direction: Gundel and Erich Zschau. Music: Manfred Kühn
• 1982: Hanover: The awakening of the animals . Director: Bettina Vahlbruch
• 1983: Hanover Herrenhausen: Circus Scharnierelli . Director: Bettina Vahlbruch.
• 1983: Bochum, Fidena, International Puppet Festival : Wire Spring , Suprematist Symphony. Director: Denise Formann. Music: Percussion Ensemble Hannover
• 1984: Hanover: 15th anniversary of the hinged theater in the Herrenhausen orangery
• 1984: Hanover: Spanish fairy tale . Script: Gundel Zschau-Buchwald. Director: Marianne Buchwald
• 1985: Hanover Herrenhausen, Handel Festival: Courtly bestiary in the half moon . Director: Marianne Buchwald. Music: Nikolaus Lampasiak
• 1986: Hamburg, Kunsthaus: Crossing Borders . Director: Loek Grobben. Music: Patanga.
• 1986: Hanover: Small festival in the Great Garden: Vogelpromenad . Director: Marianne Buchwald. Music: Nikolaus Lampasiak
• 1986: Bad Segeberg, Evangelical Academy: The Seven Deadly Sins . Directed by Gundel Zschau-Buchwald. Music: M.Kühn
• 1987: Hanover: African fairy tale . Direction: Abdulfettah Diouri, music: Nikolaus Lampasiak
• 1988: Hanover: Small party in the Great Garden of Capitano and Isabella (Commedia dell'arte). Director: Günter Schaller. Music by Nikolaus and Johannes Lampasiak
• 1988: Hanover: The colorful pelican . Director: Gundel Zschau-Buchwald. Music: Nikolaus Lampasiak
• 1989: Hanover NDR — Funkhaus: Concert premiere of Willi Vogl's music for Der Kessel der Weisheit
• 1989: Hanover: The lion in the hairdressing salon . Music and direction: Nikolaus Lampasiak
• 1989: Hanover: A festival in the opera - 300 years of Hanover Opera . Walk acts and scenes.
• 1990: Hanover, Theater am Aegi: Celtic visions by Gundestrup . Director: Jean Soubeyran. Music Willi Vogl.
• 1990: Hanover, Zoologischer Garten - zoo animals conference , on the occasion of the zoo's 125th anniversary. Director: Hans-Ulrich Buchwald. Music: Nikolaus Lampasiak & Abdulfettah Diouri
• 1990: Hanover: A festival in the opera - dance in many forms Ball of the animals . Director: Heide Schwochow. Mime Jean Soubeyran
• 1991: Hanover, Theater im Hof. On the occasion of the 70th birthday of M. Jean Soubeyran: earth, sun, plants . (based on an African fairy tale). Direction and staging Marianne Buchwald u. Earl Mc. Comb / Chicago
• 1991: Hanover-Herrenhausen: Small festival in the Great Garden: Birds of Paradise . Director: Marianne Buchwald
• 1991: Hamburg: Feather-light bird pantomime . For the citizens' festival of German unity. Director: Gundel Zschau-Buchwald
• 1995: The Enchanted Brothers (Russian fairy tale) Lister Tower leisure home
• 1997: African fairy tale for the Little Festival in the Great Garden , Hanover-Herrenhausen.

reception

Testimonies from contemporaries

Roland Geiger:

“None of what is shown here can be measured by ordinary standards. - Hans-Ulrich Buchwald is a full-blooded artist, a creator with a human temperature that is nothing strange. - This man follows himself, and it becomes visible. "

Rudolf Jüdes:

“Buchwald (s)… artistic work, diverse, haunting, just as committed to the moment as to the far-reaching memory of living nature and the creative culture of man, has established an existential inventory that cannot completely disappear in time. There is something that lasts. A world theater is here. "

Rüdiger Joppien :

"Among contemporary artists, Hans-Ulrich Buchwald is one of the few masters of the art of wood and linoleum cutting ... Buchwald's personal life is characterized by the search for diversity, the collection of impressions and their communicative reproduction ... It is his character traits that dominate him, Kindness and wit, as well as cunning and anger; Comedy serves as a mirror for him to look at. "

Klaus Kowalski:

“It is the everyday, the experienced, that Hans-Ulrich Buchwald implements in the various areas of his art in often oversized dimensions. For this versatility, today's freelance artist is honored at home and abroad with international recognitions, exhibitions and numerous art prizes. "

Franz Heins :

“Buchwald is almost the only artist who, following on from the time before 1933 and up to the present day, has opened up serious opportunities for expression to the puppet theater of the Federal Republic. Above all in his large figures and masks, which never show the smooth beauty of colored surfaces, but always the adventure and excitement of graphic breakthroughs and irritations, the artist has found his convincing forms of expression in puppet theater. Buchwald's work will surely have to serve as a fig leaf one day for the fact that in the puppet theater of the first 35 years of the Federal Republic there was not only honest craftsmanship. "

Andreas Stolz on a performance of Stravinsky’s “Story of the Soldier”:

“And that was one of the pillars of this excellent performance, masks by the set designer and mask maker Hans-Ulrich Buchwald, who died in 2009, were used. They are gigantic in terms of format and visual impression, and they achieve a phenomenal effect. The performance exuded the aura of the absolutely unique and grandiose. "

Movie and TV

• 1970: ZDF turntable, aspects (about a performance at the UNIMA festival in Braunschweig)
• 1970: NDR Nordschau: Coming and Going by Samuel Beckett
• 1971: Stuttgarter Fernsehen and NDR Nordschau: Revue Grotesque
• 1977: NDR Nordschau and Belgian television: Peter and the Wolf .
• 1979: NDR Nordschau: The Seven Deadly Sins
• 1980: Süddeutscher Rundfunk: Secret of Becoming
• 1984: ARD - Hello Lower Saxony Spanish fairy tale
• 1985: N3: The Buchwalds
• 1990: NDR - Hello Lower Saxony: The Celtic Visions of Gundestrup .
• 1991: ZDF: Excerpts from the appearance at the Small Festival in the Great Garden
• 1997: N3: Peter Kellner: Encounter with the other species
• 2003: Film by Ralf-Peter Post: The small party in the Great Garden 2003 . (On behalf of the City of Hanover)
• 2009: ZDF: Treasure or trash
• 2009: Film by Ralf-Peter Post: "... what brings you to life ". The artist Hans-Ulrich Buchwald.

Works in museums

Museum for Arts and Crafts, Hamburg

literature

To the complete works

• Jüdes, Rudolf: Hans-Ulrich Buchwald. Lower Saxony contemporary artists Volume 38. New series. Edition 'libri artis' Th. Schäfer Verlag, 1991. Published by the Lower Saxony Ministry for Science and Culture.

About the graphic work

• Hans-Ulrich Buchwald. Graphics. with an introduction by Rüdiger Joppien, Druckhaus Quensen KG. Lamspringe 1974
• Xylon 19: Hans-Ulrich Buchwald, Heinz Diekmann Otto Mindhoff, Diether Ritzert, Ernst Wolfhagen. Zurich 1970.
• Xylon 36: Hans-Ulrich Buchwald, special issue with 13 woodcuts. Zurich 1976
• Hans-Ulrich Buchwald: Woodcuts and linocuts (The Black Book) with an introduction by Ludwig Schreiner and a contribution by Rudolf Lange, Arte Factum Verlagsgesellschaft mbH. Nuremberg 1987

About Buchwald's watercolor painting

• Zschau, Erich: Hans-Ulrich Buchwald: watercolors and drawings. Einhorn Presse Verlag, Hamburg, 2011

About Buchwald's terracottas

• Buchwald's figural terracottas. Catalog of the terracottas by Hans-Ulrich. Hella. Marianne and Luise Buchwald and Gundel Buchwald-Zschau. Introduction Harald Seiler. Printing house EA Quensen KG. Lamspringe 1975

• G. Reineking v. Buck. 20th century ceramics / Germany. Munich. Keyser 1979

About the hinged theater

• Hinge Theater Hanover. Hella and Hans-Ulrich Buchwald. Publishing house dolls and masks. Frankfurt 1982
• Martina Liedtke: How the Celts sing. Anniversary performance of the hinged theater, Nobilis April 1989, Hanover
• Buchwald's fantasy boat with contributions by Ernst Schremmer. Ferdinand Wiebecke. Stefan Menck.
• Celtic visions from Gundestrup. Theater ticket of the hinge theater in Hanover 1991, idea and visual design Hans-Ulrich Buchwald
• Celtic visions. A mask play / hinge theater in Hanover. Hella and Hans-Ulrich Buchwald dolls and masks, Frankfurt, 1992

Exhibition catalogs and programs

• Hans-Ulrich Buchwald. Exhibition catalog of the Märkisches Museum Witten with a text by Dr. Nice man. 1964
• Hinge Theater Hanover. Program of the Stadthalle Wattenscheid
• Hans-Ulrich Buchwald. Exhibition catalog of the Galerie Internationale. New York 1974
• Celtic visions from Gundestrup. Theater ticket of the hinge theater in Hanover 1991, idea and visual design Hans-Ulrich Buchwald

Pictures to poems

• Encounter., Poems by Hans-Joachim Haecker on ceramics and woodcuts by Hans-Ulrich Buchwald. Graphic Dr. Heinrich Mock. Munich 1978
• In the mirror. Poems by Hans-Joachim Haecker. on woodcuts by Hans-Ulrich Buchwald, Verlag Graphikum
• Hannelies Taschau . Tangled route, poems with four original rubber cuts by H.-U. Buchwald, publisher. Hermit Press. Stierstadt / Taunus 1961–1962
• Hannelies Taschau. Die Kinderei, with rubber cuts underlaid in four colors by H.-U. Buchwald, Verlag Eremiten-Presse. Stierstadt / Taunus 1963

Articles in books, catalogs and magazines

• Art. International catalog of contemporary art. Rimeco Editioni, Milan 1980
• W. Beuermann: Hans-Ulrich Buchwald, Nobilis June / July 1984, Hanover
• The common way 36/84, magazine of the Ostdeutscher Kulturrat Foundation. Bonn 1984
• Masks and hinges, Nobilis Oct. 1990, Hanover

Web links

• Website of Hans-Ulrich Buchwald
• Hinged Theater website
• Buchwald in Hanover Art
• Website International Art Adventures / Marianna Buchwald / Marianna Buchwald presents the hinged theater

Individual evidence

1. ^ Rüdiger Joppien in: Hans-Ulrich Buchwald. Graphics. Druckhaus Quensen KG. Lamspringe 1974.
2. ^ Ludwig Schreiner in: Hans-Ulrich Buchwald: Wood and Linocuts, Arte Factum Verlagsgesellschaft mbH. Nuremberg 1987, p. II f
3. ^ Rudolf Jüdes: Hans-Ulrich Buchwald, Hanover. 1991, p. 11.
4. ^ Rudolf Jüdes: Hans-Ulrich Buchwald, Hanover. 1991, p. 11.
5. ^ Rudolf Jüdes: Hans-Ulrich Buchwald, Hanover. 1991, p. 9 f.
6. ^ Rudolf Jüdes: Hans-Ulrich Buchwald, Hanover. 1991, p. 35.
7. ^ Rhein-Neckar-Zeitung, August 10, 1991 about an exhibition in Schwetzingen
8. ^ Rudolf Jüdes: Hans-Ulrich Buchwald, Hanover. 1991, p. 5.
9. ↑ Hans-Ulrich Buchwald. Graphics. with an introduction by Rüdiger Joppien, Druckhaus Quensen KG. Lamspringe 1974.
10. ↑ THE BUCHWALDS. AN ARTIST FAMILY. Supplement to the GDOK exhibition from April 10 to 29, 1994 in the GDOK gallery in Hanover.
11. ↑ in WDR on July 21, 1985: The Buchwalds and their hinged theater in Hanover:
12. ^ Wolfsburger Nachrichten, November 8, 2012