Hedwig Dülberg-Arnheim

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Portrait of Hedwig Arnheim ( Rudolph Dührkoop , 1918)

Hedwig Dülberg-Arnheim (born Hedwig Arnheim ; born January 7, 1894 in Hamburg , † 1944 in Auschwitz concentration camp ) was a German embroiderer , nude artist and wood cutter .

Life

Hedwig Arnheim came as the eldest child of the doctor Felix Arnheim and his wife Lisbeth, nee. Samuel to the world. With her brother Hans (* 1895) and the two sisters Eva Karoline Friederike (* March 24, 1902) and Ruth Anna Frieda (* April 16, 1912) she grew up in the Protestant faith. Hedwig was described as a very beautiful woman, versatile and endowed with a rich imagination, ambitious and demanding. After finishing school, she went to Great Britain for a while at the age of 18. Artistically gifted, she had been a student at the Hamburg School of Applied Arts before 1914 , where she studied applied arts and design with Friedrich Adler . However, she was particularly interested in artistic embroidery . She married her teacher in nude and portrait drawing, the painter and wood cutter Ewald Dülberg , in 1915. Her daughter Esther Maria was born in 1918. However, the marriage ended in divorce three years later.

Hedwig Arnheim went to the Weimar Bauhaus with her daughter , attended courses there with Johannes Itten and apprenticed to webmaster Gunta Stölzl . In 1923 she married the lighting and jewelry artist Naum Slutzky and broke off her training. The couple lived in Berlin, where the workshops visual art of Franz Singer worked. They then lived in Vienna for a short time and returned to Hamburg for economic reasons in October 1924, where they lived in Hedwig's parents' house, Isequai 5. As a freelance artist, Hedwig earned her living as a “craftsperson and interior designer”, later doing excellent tailoring. She divorced Naum Slutzky in 1930. The Hamburg art historian Maike Bruhns describes her further artistic activity as follows: “She designed and embroidered e.g. B. abstract tone-on-tone compositions or female nudes on a yellow background in yellow wool with blue hair and blue glass beads ”.

Until she emigrated to France on February 15, 1936, after moving to Haynstrasse 10, she continued to live in her father's apartment. She emigrated to the south of France, where she settled in Nice . There she earned her living doing tailoring. Due to a denunciation on September 20, 1943, she was interned with a group of 345 Jewish prisoners on September 23, 1943 in the Drancy assembly camp. On October 7, 1943, she was deported to Auschwitz in convoy No. 60 , where she presumably died in the gas chamber .

A stumbling block at Isekai 5 reminds of the artist.

Work and reception

Still life with flowers, lithograph (1912)

Hedwig Arnheim was “one of the well-known embroiderers of the decade” of the 20th century and, together with her husband Ewald Dülberg, was one of the artistic “innovators” particularly emphasized by the contemporary press. Their “stylistic strength” and the extraordinary maturity of the technology were particularly praised. Her art was described in the Berliner Börsenzeitung in 1917 as follows: "... of great color beauty, but sometimes quite daring in the motif." According to Maike Bruhns, her ornamentation and curved lines are reminiscent of Islamic art . One of her commissioned works, two wall screen compositions for Bernhard Hoetger, looked rich and very festive according to a review by Alfred Salmony in the Kölner Tageblatt . Hoetger thanked her for this with a modeled portrait.

In 1914 Hedwig Arnheim illustrated two books by the Jewish journalist and writer Adolf Götz (1876–1944) with woodcuts . After her marriage to Ewald Dülberg, she implemented his “fantastically luminous painting” in embroidery and carpets, so that she achieved a “balance between art and applied arts”. In addition, she worked according to her own expressive designs, which were in the border area between textile work and painting. Some of the works by Ewald Dülberg show works that presumably originate from her hand.

In 1919 Hedwig Arnheim was a founding member of the Darmstadt Secession and was represented at the group's exhibitions in 1919, 1920 and 1921. Works by her are in the collections of various museums and have been shown in retrospective exhibitions, such as the Von der Heydt Museum Wuppertal , the Bauhaus Archive Berlin, the Bauhaus Dessau Foundation , the Weimar art collections , the Museum of Applied Arts (Cologne) , the Museum of Hamburg History , in the August-Macke-Haus and most recently in 2011 in the Giersch Museum .

Solo exhibitions

  • 1916 Kunstgewerbemuseum Cologne
  • 1924 Exhibition at her residence on Isequai 5 in Hamburg

literature

  • Michael Heyder: Arnhem, Hedwig . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 5, Saur, Munich a. a. 1992, ISBN 3-598-22745-0 , p. 197.
  • Maike Bruhns : Art in Crisis. Volume 2. Artist Lexicon Hamburg 1933–1945: ostracized, persecuted - lost, forgotten . Dölling and Galitz, Hamburg 2001, ISBN 3-933374-95-2 , pp. 363-364.
  • Volkhard Knigge , Harry Stein (ed.): Franz Ehrlich . A Bauhaus member in the resistance and concentration camp. (Catalog for the exhibition of the Buchenwald and Mittelbau-Dora Memorials Foundation in cooperation with the Klassik Stiftung Weimar and the Bauhaus Dessau Foundation in the Neues Museum Weimar from August 2, 2009 to October 11, 2009.) Weimar 2009, ISBN 978-3-935598- 15-6 , p. 145 (birthday there January 17)

Individual evidence

  1. ↑ Stolpersteine ​​Hamburg
  2. ↑ cf. Anton Lindner: Ewald and Hedwig Dülberg. In: Neue Hamburger Zeitung . January 31, 1917.
  3. ↑ a b Expressionism in the Rhine-Main area. Artist, dealer, collector. Catalog for the exhibition in the Giersch Museum. Frankfurt / M. 2011.
  4. ↑ cf. Corinna Isabel Bauer: Bauhaus and Tessenow students. Gender aspects in the tension between tradition and modernity. Phil. Diss. University of Kassel 2003.
  5. ↑ a b c d e Fled from Germany. Hamburg artist in exile 1933–1945. [on the occasion of the exhibition Fled from Germany - Hamburg Artists in Exile 1933–1945 in the Museum of Hamburg History, September 7 to December 9, 2007]. Hamburg 2007, p. 80f.
  6. ↑ a b c Maike Bruhns: Art in the Crisis. Volume 2. Artist Lexicon Hamburg 1933–1945. Hamburg 2001, p. 364.
  7. ^ A stumbling block for Hedwig Arnheim and her father
  8. ↑ a b The Bauhaus weaves. The textile workshop at the Bauhaus. Annual exhibition of the working group of independent cultural institutes AsKI. Berlin 1998, p. 18.
  9. ^ Graphische Kunst (1996/2), Issue 47, p. 48.
  10. ^ Anton Schnack : German Expressionism Darmstadt 1920. In: Deutsche Kunst und Decoration 46 (1920), pp. 206–221, here: p. 221 ( online ); Wilhelm Michel : First exhibition of the "Darmstadt Secession". In: German Art and Decoration 45 (1919/20), pp. 131–142, here: p. 141.
  11. ↑ s. a. Thomas Sternburg: Nazis didn't fit that face. In: Ostseezeitung . January 24, 2009.
  12. ↑ a b Darmstadt Secession. Contacts to Rhenish Expressionism 1919–1929. Exhibition catalog August Macke Haus. Bonn 1999, p. 84f.
  13. ↑ From the Heydt Museum Wuppertal 1987: Sculpture Collection [inventory]. Wuppertal 1987, p. 99.
  14. ^ Museum for Applied Art, Cologne. Chronicle 1888–1988: Museum, art and city in the mirror of the press. Cologne 1988, p. 232.

Web links

Commons : Hedwig Dülberg-Arnheim  - Collection of pictures, videos and audio files


personal data
SURNAME Dülberg-Arnheim, Hedwig
ALTERNATIVE NAMES Arnheim, Hedwig; Slutzky, Hedwig
BRIEF DESCRIPTION German artist
DATE OF BIRTH January 7, 1894
PLACE OF BIRTH Hamburg
DATE OF DEATH 1944
Place of death Auschwitz