Hedwig Jaenichen-Woermann

from Wikipedia, the free encyclopedia
Storchenhaus in Wustrow , Woermann's home and studio

Hedwig Jaenichen-Woermann (born November 1, 1879 in Hamburg , † December 22, 1960 in Wustrow ) was a German sculptor , painter and craftsman .

Life

Woermann was born on November 1st, 1879 as the daughter of the Hamburg shipowner Adolph Woermann and niece of the art historian and art gallery director Karl Woermann . Her aunt Marie Woermann was also a painter.

Training in Worpswede, Paris and Rome

The private teacher of the Friedrich Huch family , a cousin of Ricarda Huch , recommended that she take up training in Worpswede. In her youth she was a student of Fritz Mackensen as a “ painting woman ” in the Worpswede artists' colony , where she worked with Ottilie Reylaender and Paula Modersohn-Becker . In Worpswede she also met Otto Modersohn , Hans am Ende , Heinrich Vogeler , Clara Westhoff and Rainer Maria Rilke . From 1900 she studied sculpture for three years with Antoine Bourdelle in Paris, whose students at that time included Aristide Maillol , Henri Matisse and Alberto Giacometti . Bourdelle, she was the model for the portrait bust The German Schoolgirl . In 1903 Hedwig Jaenichen-Woermann moved to Rome with her friend Ottilie Reylaender . The friends lived in the Palazzo Costaguti on Plazza Mattei. Rilke visited Woermann in Rome and during this time I developed a close friendship with the family of the painter Karl Hofer . In 1907 Fanny zu Reventlow visited Woermann in Rome. During this time she worked as a freelance artist. In 1908 she met the sculptor Johann Jaenichen , whom she married on February 29, 1908. In 1908 the couple moved to Dresden. This year she exhibited for the first time in the E. Arnold art salon in Dresden and in the Hamburger Kunstverein . In 1909 the couple returned to Paris. Martha Hennebert , who was accepted by Rainer Maria, was accepted by Woermann,

Woermann lived with her husband on a farm in Sceaux near Paris until the outbreak of World War I and took part in the Paris autumn salon, the Société du Salon d'Automne, in 1910 and 1911 .

Return to Germany

When the war broke out, they returned from Paris to Dresden in 1914; however Woermann had to leave her previous sculptural works behind. In Dresden, the couple bought the house built by Richard Riemerschmid for the composer Émile Jaques-Dalcroze .

In the new apartment in Hellerau near Dresden , the space was rather cramped, so that she could not pursue the sculpture and began to paint. Woermann began her painting work under the influence of Karl Hofer and Georg Schrimpf . A first exhibition of these works took place in the Emil Richter Art Salon in Dresden in 1917 and 1918. In Dresden she met Alfred Schuler and Ivar von Lück , whom she portrayed and who won him over as a teacher for her foster daughters Hedi and Ella.

Relocation to Wustow, years in Buenos Aires and the last few years

In 1919 they moved to Wustrow and bought the Storchenhaus there in Parkstrasse . It took its name from the storks nesting on it , which at the time were a popular photo opportunity for the community. In 1919 she met Hans Jürgen von der Wense know and support him from 1920 to 1945 with a monthly alimony of 222 marks and 22 pennies.

Wense writes about the first encounter with Hedwig Jaenichen-Woermann:

“Now something very strange happened: after a concert where I performed the highly fantastic Buxtehude I had discovered , Bach's teacher , a black-clad, pretentious blonde invited me to supper , I followed her with caution: she was very rich, she had Palaces in Paris, Rome and Buenos Aires and didn't want the German musician's misery to be repeated in me […] It was the daughter of Adolf Woermann from the Afrika-Linie, a master student and lover of Rodin. "

- Hans Jürgen von der Wense: From carrion to cylinder. Works. The letter work

In 1923 and 1927 Wense was portrayed by Woermann. Heinrich Hauser met Woermann's foster daughter, Hede Zangs, in Wustrow in the winter of 1922/23, whom he married shortly afterwards. Woermann became a member of the Association of Women Artists in Berlin in 1927 , but left it again after three years. She traveled to South America , Asia and Africa . During this time she painted scrolls on silk , which she showed in the Neumann / Nierendorf Gallery in Berlin.

For a few years the artist lived and worked in Buenos Aires , Argentina, and exhibited her pictures there too. In 1936 she returned to Wustrow. Shortly after the Soviet troops marched in on May 3rd, the couple attempted suicide on May 7th, 1945 , which Hedwig Jaenichen-Woermann survived. For the next 15 years she lived in the community with financial problems and ran the Woermann Museum in her home. In 1958 she had to sell the stork house and died two years later. Her grave is in the Fischlandfriedhof in Wustrow.

Works

Woermann's style is classified as sensitive and the New Objectivity of the 1920s. Her pictures were thought to be lost for a long time, until some of them turned up in an estate in the 1990s. The Ribnitz-Damgarten district acquired a total of 80 pictures in 1996. One of them can be seen in the Wustrow Church in the north gallery . Wolf Karge writes about Woermann: “Without question, Hedwig Woermann was one of the most interesting personalities on the German art scene in the first half of the 20th century. Equipped with New Hanseatic self-confidence and worldview through her parents' house, she went her artistic path without any self-doubt. "

Exhibitions

literature

  • Woermann, Hedwig . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 36 : Wilhelmy-Zyzywi . EA Seemann, Leipzig 1947, p. 169 .
  • Woermann, Hedwig . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 5 : V-Z. Supplements: A-G . EA Seemann, Leipzig 1961, p. 159 .
  • Kurverwaltung Ostseebad Wustrow (Hrsg.): Kulturpfad - Ostseebad Wustrow . Klatschmohn Verlag Druck + Werbung, Bentwisch 2008, OCLC 935380343 , p. 14–15 (Ed .: Renate Billinger-Cromm, Susanne Bruhns and others).
  • Ruth Negendanck : Ahrenshoop artists' colony. Verlag Atelier im Bauernhaus, Fischerhude 2001, ISBN 3-88132-294-9 , p. 199 ff.
  • Friedrich Schulz : Ahrenshoop. Artist Lexicon. Verlag Atelier im Bauernhaus, Fischerhude 2001, ISBN 3-88132-292-2 , pp. 190 f.
  • Grete Grewolls: Who was who in Mecklenburg and Western Pomerania. The dictionary of persons . Hinstorff Verlag, Rostock 2011, ISBN 978-3-356-01301-6 , p. 11007-11008 .
  • Werner Kraus: In: Andreas Gebhardt, Karl-Heinz Nickel (Hrsg.): Hans Jürgen von der Wense. Influences - effects - inspirations. kassel university press, Kassel 2012, ISBN 978-3-89958-579-7 , p. 59 ff.
  • “Around us is a day of creation”. From the artist colony to today. Edited by the Ahrenshoop Art Museum . Ahrenshoop 2013, ISBN 978-3-9816136-1-2 , p. 126 f.
  • Renate Billinger-Cromm: Hedwig Woermann: artist and citizen of the world; 1879-1960. Atelier in the farmhouse, Fischerhude 2015, ISBN 978-3-88132-996-5 .

Web links

Individual evidence

  1. ↑ a b c d Werner Kraus: In: Andreas Gebhardt, Karl-Heinz Nickel (ed.): Hans Jürgen von der Wense. Influences - effects - inspirations. kassel university press, Kassel 2012, ISBN 978-3-89958-579-7 , p. 55 ff.
  2. ↑ Ulrich Holbein : Of course incapable of marriage and earning a living. The monstrous private scholar Jürgen von der Wense (1894–1966) was stingy with every minute and crammed the whole world into 1,500 letters. In: Frankfurter Rundschau . April 26, 2006.
  3. ↑ Reiner Niehoff, Valeska Bertoncini (ed.): From carrion to cylinder. Works - Hans Jürgen von der Wense. The letter work. 2 volumes. Zweiausendeins, Frankfurt 2005, ISBN 3-86150-636-X , p. 274.
  4. ^ Wolfgang Bühling: Heinrich Hauser and Jürgen von der Wense. Encounters between two antipodes. In: Daniele Dell'Agli (ed.): Hans Jürgen von der Wense. Force fields and correspondences. Verlag Winfried Jenior, Kassel 2018, ISBN 978-3-95978-054-4 , pp. 59-100, here: p. 76.
  5. ↑ Joachim Gauck : Winter in Summer - Spring in Autumn: Memories . Siedler Verlag (at Random House), 2010, ISBN 978-3-641-03901-1 , p. 20 18 , urn : nbn: de: 101: 1-201111037986 ( limited preview in Google book search [accessed on August 20, 2019] online publication; Gauck only mentions Johann Jaenichen's suicide).
  6. ^ Wolf Karge: Hedwig Woermann 1879–1960 . An artist between Buenos Aires and Wustrow. Ed .: District of North Western Pomerania with the kind support of the Mecklenburg-Western Pomerania Ministry of Culture. Ribnitz-Damgarten 1996 (on the occasion of the personal exhibition in the gallery in the monastery of the Ribnitz-Damgarten eV art association and the Barnstorf / Wustrow art barn from July 6th to August 28th, 1996).
personal data
SURNAME Jaenichen-Woermann, Hedwig
ALTERNATIVE NAMES Woermann, Hedwig (maiden name)
BRIEF DESCRIPTION German sculptor, painter and craftswoman
DATE OF BIRTH November 1, 1879
PLACE OF BIRTH Hamburg
DATE OF DEATH December 22nd, 1960
Place of death Wustrow