Hans Müller-Dachau

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Hans Müller-Dachau (full name: Johannes Maximilian Gustav Müller , also Hans Müller for short ; * January 21, 1877 in Hanover , † June 25, 1925 in Dachau ) was a German painter and poster artist.

Life

1898 advertising poster designed by Müller-Dachau for Günther Wagner's Pelikan Künstlerfarben in Hanover ; Lithography , C. Angerer & Göschl , Vienna ; Museum of Modern Art (MoMA), New York City

Johannes Maximilian Gustav Müller was born in Hanover in the early days of the German Empire as the son of an actor and director. Even as a child he showed a talent for painting, so that at the age of 17 he was able to attend the local art academy in Berlin . While Müller's Berlin teacher Julius Ehrentraut primarily taught him genre painting , the impressionist Max Liebermann became aware of the young artist, whom he is said to have suggested taking lessons from Adolf Hölzel as a private student.

Before that, however, Müller attended the art academy there in Munich in 1895 to study in the class of the history and genre painter Johann Caspar Herterich .

In 1895, at the age of 19, Hans Müller went to Dachau for the first time to attend Adolf Hölzel's painting school, and now he switched from studio to outdoor painting. The works he created afterwards, however, never became "impressionistic" in the sense of his advisor Liebermann, but rather were designed in the style of the old masters with numerous "[...] underpaintings until they reached an enamel-like surface."

In 1897, the now twenty-year-old attended the Académie Julian , a private painting school in Paris , which at the time was almost overrun with painters, especially American women, as women were generally not admitted to state academies at the time. In the private school, which is divided into several painting studios, Müller worked for the portraitist, nude and woman painter Jules-Joseph Lefebvre .

In 1900 Müller exhibited in the Salon, but left Paris that same year to return to Dachau. There he lived at first on Münchener Strasse , possibly at number 4, a house that was demolished in 1964.

On September 27, 1901, Müller married Rosette Josephine Hutzler , who came from the USA and with whom he was to have three sons. Rosette's mother had married the Austrian actor Josef Kainz in her second marriage .

By 1905 awarded to him Rome Prize Müller was a year in Rome and Florence to spend, where he copied some works by Italian masters. Not least because of Hölzel's departure from Dachau - also in 1905 - Hans Müller was able to build one of the largest painting schools in Dachau himself after his return. In the former Dachau artists' colony, he moved into the house of the painter Max von Seydewitz and then used the separate studio next to it.

In 1911, Hans Müller-Dachau was appointed to the chair of the Grand Ducal Badische Kunstschule in Karlsruhe as the successor to the late Ludwig Schmid-Reutte .

After the outbreak of the First World War , Hans Müller-Dachau, who had never done military service because of a congenital heart failure , volunteered as a paramedic for a service in 1915 , which he then performed until the end of the war. He recorded some scenes from this time on sketch sheets.

Expressive bouquet as a still life , 1919

But the war had apparently overwhelmed Müller-Dachau's strength; At the beginning of the Weimar Republic in 1919, he was no longer able to continue the teaching post, which was exhausting for him. So he voluntarily resigned his professorship and returned "[...] to the still beloved and scenic Dachau."

Numerous painting assignments ultimately motivated Hans Müller-Dachau to build his own studio on what was then Augustenfeld 1 (today: Schleißheimer Straße 32 ), which his widow later converted into an apartment. Before the building was completed, however, Müller-Dachau lived temporarily in Etzenhausen and “[...] in the studio house of Dr. Richard Gans ”, which can be found today at Hermann-Stockmann-Straße 17 .

In his own studio, Müller-Dachau presumably developed a lively artistic activity that evidently extended beyond the portrait paintings that had previously been in the foreground. He is said to have partially carried out orders from abroad, especially from Sweden , at the client's location. In the midst of an unfinished commissioned work on a trilogy with mine motifs, which was intended for the town hall of the city of Witten an der Ruhr, the 49-year-old artist collapsed on his easel.

About a year after his death, the largest exhibition of Müller-Dachau's works took place in 1926 at the Munich Art Association . The catalog with an introduction by the art historian Georg Jacob Wolf in the style of an epilogue recorded 91 works by Müller from around 1897 to 1924. Few works by Hans Müller could still be found posthumously in Dachau - for example the artist's wife, who was painted in oil in Art Nouveau style or the painting Dachau Farmer with Farmer's Wife, which can be found in the Dachau town hall in two life-size counterparts from 1924 .

During the Second World War - two sons of the late Hans Müller-Dachau were "in the field", his third son was staying with the sick widow in America - the artist's paintings disappeared. Due to a flood , presumably around 1940, Müller's red chalk drawings perished, while lead and charcoal drawings were saved. Until the beginning of the 21st century, the whereabouts of a large part of Müller's works could only be clarified in individual cases.

literature

Web links

Commons : Hans Müller-Dachau  - Collection of images, videos and audio files

Individual evidence

  1. a b c d e f g h i j k l m n Ottilie Thiemann-Stoedner: In memory of the painter Hans Müller - Dachau , in Amperland , volume 8 (1972), pp. 250–254 (as PDF document ) , last accessed April 8, 2017
  2. Sally Schöne: Advertising advisor , publication accompanying the exhibition advertising art from Hanover. From Leibniz biscuit to Pelikano in the August Kestner Museum from September 15, 2016 to January 29, 2017, publisher: Landeshauptstadt Hannover, Der Oberbürgermeister, Museum für Kulturgeschichte, Hannover: Museum August Kestner, 2016, ISBN 978-3-924029-57 -9 , p. 35