Hans Emmenegger (artist)
Hans Emmenegger (born August 19, 1866 in Küssnacht ; † September 21, 1940 in Lucerne; resident in Flühli ) was a Swiss painter , draftsman , etcher and philatelist .
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Life
Hans Emmenegger grew up as the son of a glass manufacturer in Reussbühl . After attending the Lucerne School of Applied Arts , he attended the Académie Julian in Paris from 1884 to 1885 . He then continued his training in the studios of Gustave Boulanger , Jules-Joseph Lefebvre and Jean-Léon Gérôme as well as in Munich with Karl Raupp and again at the Académie Julian until 1891. In the winter of 1890/1891 he traveled with Max Buri for a study visit to Biskra in Algeria . Back in Munich he received his first etching lessons from Albert Welti and Hugo Degenhard .
1893 Emmenegger left after the death of his father in his childhood home in Emmen Quartier stove Schwand , where he lived as a bachelor until his death. Between 1895 and 1897 he studied with Albert Welti and the landscape painter Bernhard Buttersack . Further study visits took him to Ticino, northern Italy and southern France. Hans Emmenegger was friends with numerous artists of his generation, such as Cuno Amiet , Max Buri, Giovanni Giacometti and Hugo Siegwart . He owned an important art collection. Among other things, as President of the GSMBA section in Lucerne, Emmenegger was also involved in art politics.
Philately was one of his numerous other interests; he was the main collaborator of Franz Xaver Andres on the large manual of the stamps on Swiss stamps 1843–1882 , which appeared between 1931 and 1940. Emmenegger was next to the founder of the Section Central Switzerland of the association Swiss Heritage Society , co-founder of the Lucerne lecture society free association of like-minded , the section of Luzern Swiss Peace Association , the Lucerne Association for cremation and the Antiquarian Society Lucerne .
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Initially, Emmenegger mainly painted landscapes and still lifes, influenced by Arnold Böcklin from the late 1890s . Art Nouveau and Ferdinand Hodler are among his later influences . In 1914/1915 Emmenegger took an artistic turn, destroyed many of his works and focused his interest on the representation of motion sequences. Even if these pictures are reminiscent of chronophotography , Emmenegger expressly rejected the use of photographic recordings as templates and insisted on painting “exclusively according to my observations”.
literature
- Ulrich Gerster: Emmenegger, Hans . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 33, Saur, Munich a. a. 2002, ISBN 3-598-22773-6 , p. 483 f.
- Franz Zelger (Ed.): Wonderfully desolate, lonely area. Hans Emmenegger - a painter between Böcklin and Hodler. An exhibition by the Art History Department of the University of Zurich in collaboration with the Lucerne Art Museum . Kunstmuseum Luzern, Luzern 1988, ISBN 3-267-00069-6 (catalog for the exhibition in the Kunstmuseum Luzern and Kunstmuseum Solothurn ).
- Fanni Fetzer, Heinz Stahlhut (eds.): Emmenegger . Snoeck, Cologne 2014, ISBN 978-3-86442-089-4 (catalog for the exhibition at the Kunstmuseum Luzern).
- Emmenegger, Hans. In: New Swiss Biography. Report House, Basel 1938, p. 132.
Web links
- Ulrich Gerster: Emmenegger, Hans. In: Sikart
- Tapan Bhattacharya: Emmenegger, Hans. In: Historical Lexicon of Switzerland .
Individual evidence
- ↑ Franz Zelger (ed.): Wonderfully desolate, lonely area. P. 67.
| personal data | |
|---|---|
| SURNAME | Emmenegger, Hans |
| BRIEF DESCRIPTION | Swiss artist and philatelist |
| DATE OF BIRTH | August 19, 1866 |
| PLACE OF BIRTH | Küssnacht |
| DATE OF DEATH | September 21, 1940 |
| Place of death | Lucerne |