Hans Trog

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Hans Trog (born January 20, 1864 in Basel , † July 10, 1928 in Zurich ) was a Swiss art historian and journalist, especially a theater critic .

Life

education

First he attended a private school and in 1873 switched to high school. In Basel “I was enrolled as 'Studiosus philosophiae' in the summer semester of 1882 after having had a good Matura and devoted myself to studying history, philosophy, ancient languages ​​and art history. In 1884/85 I spent two rich semesters in Berlin with the gorgeous Treitschke . ”In December 1886 Trog completed his studies at the University of Basel with a doctorate in history, art history and philosophy with the assessment level insigni cum laude .

Journalist and publicist

At the beginning of 1887, Trog started working as an editor for the Allgemeine Schweizer Zeitung in Basel. In 1898 he published “the fundamental biography of Jacob Burckhardt .” He dedicated publications to various painters, including: a. Ferdinand Hodler , Cuno Amiet , Sigismund Righini or Hermann Huber In 1899 Trog qualified as a professor in modern literature and gave lectures at the University of Basel . “With him, a new spirit moved into the German business there, which according to the representation at the time was still dominated by linguistics and cultural history . Trog first read about Goethe and Schiller in front of an impressive audience . ”In 1901 he was appointed feature editor of the Neue Zürcher Zeitung (NZZ) and developed into“ the actual organizer and supervisor of a feature section of a scientific nature ”.

He held this office until his death and published countless articles in this capacity on the various fields of art , literature and theater . His successor was Ulrich Christoffel .

Marianne von Werefkin: Ascona impressions , Dr. Dedicated trough

Marianne von Werefkin has handwritten her “Ascona impressions” to Dr. Dedicated trough. According to the NZZ, they were “written and illustrated in the summer of 1928”, at a time when “suffering was already draining Trog's strength”. Obviously Werefkin felt a need to distract Trog from his illness and cheer him up with her Ascona story. Regarding Werefkin's relationship with Trog, a later letter to her Zurich friends provides information: “I am now completely impressed by the death and terrible suffering of Dr. Trough. He was a good friend of mine, I owe him my entire position in Zurich and I loved my pictures without knowing me and happily stood up for them. We became friends later when we met. I deeply mourn him for him. ”How Werefkin thought of the“ species [art] critics ”, she also gave him Trog to understand the“ Ascona impressions ”through words and images. Humorous and ironic at the same time, she told him an incident which, thanks to the colorful pictures she had made, she would have [...] experienced several times: “I show my pictures to solid connoisseurs. These are the worst. […] After I have […] swallowed all the jokes about my work, I hand them Thé and biscuits. While chewing and slurping I am asked why I afford myself the sadistic joy of raping God's beautiful world in such a way. Then the room glows red. [...] Above the Lago the whole "le diable l'emporte" of an Alba Rossa. The sky is blazing, mountains with scarlet gray stripes close Lake Maggiore, in which violet-black boats with and without sails sway on flowing dark blood. [...] 'Just like your pictures!' said a man in curly hair, [...] 'Just like your pictures!' 'Yes, I hiss furiously, the good Lord sometimes imitates me.' - The Lord no longer greets me. "

Obituaries

In obituaries , Trog received extremely high, expert recognition for his professional and human achievement. In its editions of Tuesday, July 10, 1928, the day of his death and afterwards, the NZZ devoted above-average space to reports of sympathy : “It is with deep sadness that we share with the readership of the“ NZZ ”the early morning departure of our well-deserved Feuilleton editor at the point and in the area of ​​our paper with which Dr. Hans Trog has been writing for more than a quarter of a century with a comprehensive spirit, a confident pen and ultimate devotion. Readers suspect his passionate loyalty to the part, in order to serve the whole in detail, when they learn that someone marked by death has been moving his editorial desk into the hospital room with interruptions for years, standing on standby to achieve the almost impossible, Done a lot of correspondence and dragged the rotten body into the Kunsthaus in order to wring an art chronicle ten days before its end, as if it had to be the case that this real originator of the systematic and constant art criticism in the Swiss daily newspapers should lay down his pen with an art criticism. "

literature

  • Lydia Burger: Hans Trog as a theater critic (= Swiss Theater Yearbook 24). Theaterkultur-Verlag, Thalwil 1955 (= dissertation University of Zurich 1955).
  • Lydia Burger: Bibliography of the theater contributions by Hans Trog in the "Allgemeine Schweizer Zeitung", Basel, the "Neue Zürcher Zeitung", Zurich, and the magazine "Wissen und Leben" . Zurich 1955.
  • Hilda Trog: Editor Dr. Hans Trog 1864-1928. In: Oltner Neujahrsblätter 18, 1960, pp. 51–54 ( digitized version ).
  • Tobias Hoffmann-Allenspach: Hans Trog . In: Andreas Kotte (Ed.): Theater Lexikon der Schweiz . Volume 3, Chronos, Zurich 2005, ISBN 3-0340-0715-9 , p. 1968 f.
  • Gabrielle Schaad: Hans Trog. In: Historical Lexicon of Switzerland . 4th July 2012 .
  • Bernd Fäthke : Marianne Werefkin: Clemens Weiler's Legacy. In: Tanja Malycheva, Isabel Wünsche (Ed.): Marianne Werefkin and the Women Artists in her Circle. Brill, Leiden / Boston 2016, ISBN 978-9-0043-2897-6 , pp. 8-19, here pp. 14-19 ([JSTOR 10.1163 / j.ctt1w8h0q1.7]).

Individual evidence

  1. Hans Trog: In: W. Köhler: The funeral service for Dr. Hans Trog. In: Neue Zürcher Zeitung July 13, 1928, sheet 2.
  2. Neue Zürcher Zeitung July 10, 1928, sheet 5. Dissertation Rudolf I and Rudolf II of Hochburgund .
  3. ^ Neue Zürcher Zeitung July 10, 1928, sheet 5.
  4. Bernhard Fehr: Remembrance and Thanks. In: Neue Zürcher Zeitung July 15, 1928, sheet 2.
  5. ^ Neue Zürcher Zeitung July 10, 1928, sheet 5.
  6. Frederic Jensen (Ed.): Marianne Werefkin, Impressionen von Ascona. Galleria Sacchetti, Ascona 1988, undated, (67 pages, 10 colored gouaches).
  7. Neue Zürcher Zeitung June 26, 1938. Only three out of ten gouaches are shown there in black and white.
  8. Paul Stefan: Reminder and Thanks. In: Neue Zürcher Zeitung July 15, 1928, sheet 2.
  9. Werefkin's confidante in Zurich was the couple Carmen and Diego Hagmann, see Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 236, Figs. 258 and 259.
  10. ^ Marianne Werefkin: Letter to Carmen and Diego Hagmann. Second half of July 1928.
  11. Frederic Jensen (Ed.): Marianne Werefkin, Impressionen von Ascona. Galleria Sacchetti, Ascona 1988, undated, color illus. (Page 15).
  12. Bernd Fäthke: Werefkin's homage to Ascona. In exh. Cat .: Series of publications by August Macke Association House: Marianne Werefkin, The color bites my heart. Bonn 1999, p. 31 ff.
  13. See the issues of the Neue Zürcher Zeitung of July 13th and 15th, 1928.
  14. ^ Neue Zürcher Zeitung July 10, 1928, sheet 5.