Hein Heckroth

from Wikipedia, the free encyclopedia
Hein Heckroth. Bronze bust by Detlef Kraft , 2007

Hein Heckroth (born April 14, 1901 in Gießen ; † July 6, 1970 in Alkmaar , Netherlands) was a German-British painter, set designer and film designer. In 1949 he received the Oscar in the category "Best Art Direction (Color)" for the equipment for the ballet film The Red Shoes .

Beginnings

Born in 1901, Hein Heckroth grew up in the central Hessian university town of Gießen . He attended elementary school and then learned the trade of printer and typesetter. After completing his apprenticeship in spring 1919 and working as a journeyman for several months, Heckroth moved to the Städelsche Kunstinstitut in Frankfurt am Main, where he began training as a painter in the winter of 1919/20. Heckroth stayed at the Städelschule for just under a year. He then studied for another year at the Hanau Drawing Academy . One of his teachers there was Reinhold Ewald .

The fact that Heckroth was represented with his work in the legendary Ludwig Schames art salon on Frankfurt's Börsenplatz at the age of 21 is clear evidence of the recognition he enjoyed in the art scene at a young age. The Flechtheim gallery in Frankfurt also sold works by the young Heckroth.

Turning to stage design

From 1924 onwards, Heckroth's theatrical art was a priority. Instead of working as a freelance painter, from then on he had permanent engagements as a stage designer at the theater, initially in Münster. Everything points to the fact that the turn to scenic interior design had economic reasons and was related to his new marital status. 1924 is namely the year of his marriage to Frieda Diana Maier (1902–1994), known as Ada, who came from a Jewish family and whose mother was a née Rothschild .

After three seasons in Münster, Heckroth moved to the stages of the city of Essen in 1927 and initially held the position of an artistic advisory board. In 1929 he succeeded Caspar Neher (1897–1962) as head of equipment at the municipal theaters of Essen. Even at the beginning of his activity in Essen, Heckroth had taken over the management of the stage design class at the Folkwang School for Music, Dance and Language, which was founded in 1927.

Kurt Jooss (1901–1979), who significantly influenced the history of modern dance theater, is one of the founders of the Folkwang School . Jooss achieved world fame as the choreographer of the anti-war ballet The Green Table , which premiered in Paris in 1932 and won first prize in the first Concours International de Chorégraphie. As an outfitter, Heckroth had a decisive influence on this successful piece.

In the late twenties and early thirties guest engagements took the now renowned set designer Heckroth to Düsseldorf, Cologne, Frankfurt am Main, Berlin, Dresden, Munich and Vienna. The appointment of the 31-year-old to a professorship for stage design in Dresden, which was pronounced on the eve of the Nazi dictatorship, crowned Heckroth's career so far, but soon presented him with the most difficult and most important decision of his life. The new rulers declared the divorce from his Jewish wife to be a prerequisite for employment. Heckroth renounced the professorship. He was soon banned from painting and teaching.

Exile in France and England

In the spring of 1933 Hein Heckroth was on tour with Kurt Jooss and his dance company ( Ballets Jooss ) in the Netherlands. When he was surprised there by the news that he could expect his arrest in Germany, he followed his wife Ada, who had left Germany immediately after the Nazis came to power on January 30, 1933, to Paris. An important aspect of Heckroth's existence in Paris is material hardship. The attempt to make ends meet as a freelance painter in the art metropolis of Paris turned out to be extremely difficult.

The unsecured material existence was also the reason why Heckroth accepted an offer from London in 1935: Kurt Weill had offered him to stage the premiere of the musical A Kingdom for a Cow at the Savoy Theater . The Heckroths came to England, received British citizenship in 1947 and stayed there until 1956.

A Kingdom for a Cow (1935) received a lot of unpleasant criticism. The music journalists panned the piece in unison, and the audience did not enjoy it either. A Kingdom for a Cow was nevertheless an important door opener for Hein Heckroth for further engagements in London and Glyndebourne . Through this production he also met Dorothy Whitney Elmhirst (1887–1968), a wealthy American whose patronage was linked to social engagement.

In the following years, Heckroth settled in Dartington (County Devon) in the south of England and taught at Dartington Hall School , an art school with a reform pedagogy that was founded by Dorothy Whitney Elmhirst and her husband Leonard Elmhirst in 1926. Prominent, widely honored artists have worked in Dartington, such as the American painter Mark Tobey (1890–1976). The ideals of cosmopolitanism that had inspired many European intellectuals and artists after 1918 were still lived in Dartington in the late 1930s. When England took on the role of a war party in 1939, Heckroth, now director of Dartington Hall Art Studios, went back to London.

The following year was dramatic: Heckroth was interned by the English in the spring of 1940 and deported in the summer of the same year. As a foreigner from an enemy state ("enemy alien"), Heckroth was brought to Australia on board the HMT Dunera , which left the port of Liverpool on July 10, 1940. The destination of the trip was an internment camp near the small town of Hay, about 600 kilometers west of Sydney. In November 1940, only two months after the arrival of the deportees, the camp inmates presented a play with music, the title of which was Hay Fever ( hay fever ) ironically referring to the place name. Hein Heckroth designed the set. His work at the Camp Theater, as the English-language exile stage in Hay was called, was short-lived. Because as early as 1941 Heckroth was allowed to return to England. Herbert Read , the leading art critic of this era, and other well-known figures in cultural life had campaigned for Heckroth to be released.

Heckroth as production designer

In the 1940s, Heckroth entered a phase of life and creativity that was largely determined by the medium of film. Heckroth entered the film business in 1944 as a costume designer for Gabriel Pascal's monumental Shaw film Caesar and Cleopatra (1945).

Only a little later, Heckroth began to work for the production company The Archers , initially in a subordinate and later in a managerial position. As the lead architect and designer, he succeeded Alfred Junge (1886–1964), who had designed a total of six films for Archers between 1943 and 1947 . The production team The Archers consisted of two people, the British director Michael Powell and emigrated from Germany screenwriter Emeric Pressburger . The collaboration between Powell and Pressburger as producers is one of the most important and creative collaborations in English film history. In his autobiography A Life in Movies (1986), Michael Powell described the Archers' film aesthetics succinctly: “Our business was not realism, but surrealism. We were storytellers, fantasists. This is why we could never get on with the documentary film movement. ”Alongside Alfred Junge, Hein Heckroth was able to become the Archers' most important film outfitter , because as an artist he was not a“ realist ”either. Heckroth was almost never interested in a nature-like reproduction of found extracts of reality.

In July 1946, the first sketches for the ballet film created The Red Shoes ( The Red Shoes ), which was awarded in the category "Best Art Direction (Color)" at the Oscars 1949th For this film, Heckroth was the responsible production designer for the first time, but also designed the costumes. Over long stretches, Heckroth created the colorful film images like paintings, without relying on the greater realism of the film architecture. Also and above all in the twenty-minute dance sequence, which represents the middle and climax of the film and visualizes the premiere of a fairy tale ballet, the design of the set leads to a “delimitation of the stage space to a cinematic space in which the laws of gravity and temporal and spatial Logic are canceled. "

Since film criticism and film studies in the second half of the 20th century were mostly inclined to attribute author status only to the directors (and now and then to the producers), it is not surprising that Hein Heckroth's conceptual contribution to the "Red Shoes" was underestimated for a long time. In recent research, however, it has become clear that Heckroth had given the film its future character through his designs, even before Michael Powell even stepped on the scene as a director. Martin Scorsese had nothing else in mind when he wrote: "In The Red Shoes [...] decor and narrative cannot be separated from each other." It therefore seems only logical that Hein Heckroth was able to explain programmatically in 1962 that the work of the production designer in the making of a film must have a fundamental and groundbreaking character: “The production designer's task is not just to invent his fantasies, but to work on the overall form of the film.” This claim is fulfilled in The Red Shoes .

In 1950 and 1951, Heckroth worked on the drafts for a second major ballet film on behalf of Powell and Pressburger: The Tales of Hoffmann ( Hoffmann's stories ). Again a template was chosen that contained numerous fantastic motifs: Jacques Offenbach's opera Les Contes d'Hoffmann , which was rarely performed until the middle of the 20th century. The Tales of Hoffmann brought Heckroth two Oscar nominations in 1952, in the categories "Best Art Direction (Color)" and "Best Costume Design". At the Academy Awards, however, Heckroth came away empty-handed. The well-known Italian film critic Mario Verdone recognized even then that Heckroth's designs represented the starting point of the entire film, and ironically remarked that The Tales of Hoffmann was reminiscent of “a 'film about art': the art of Hein Heckroth”.

To this day, film historians find emphatic tones when the joint works by Powell, Pressburger and Heckroth have to be historically classified and evaluated. In 1999 the British Film Institute selected The Red Shoes (1948) as the ninth best British film of all time .

The films that made production designer Heckroth internationally famous were made in exile. Heckroth has thus achieved something that only a few emigrant artists have achieved: he has prevailed.

After the exile

Despite the probation in emigration, Heckroth moved back to Germany. In February 1956, the Heckroth couple returned to their home country, as Hein Heckroth had been appointed head of equipment at the Städtische Bühnen in Frankfurt am Main: a new beginning at the place of his beginnings. What followed were 15 years of intensive theater work under the artistic director Harry Buckwitz in Frankfurt, interrupted and enriched by various guest engagements. Until his death in 1970, Heckroth worked as a set designer for numerous German and foreign film productions, including Das Spukschloß im Spessart (Kurt Hoffmann, 1960) and The Threepenny Opera (Wolfgang Staudte, 1962). He also had contact with the Quadriga painters group .

In August 1965, Heckroth went to Hollywood for six months to furnish a film by Alfred Hitchcock : Torn Curtain ( The Torn Curtain , 1966). It was to be Hitchcock's fiftieth film, and it was Hitchcock's express wish to work with Hein Heckroth on his anniversary film. The fact that the plot of this espionage adventure culminates in a ballet performance presumably played a role here.

Even in his later years, Heckroth still worked as a painter as far as possible, but also as an outfitter for the new medium of television. Anyone looking at the artist's various fields of probation should think that he was primarily a stage and film designer. From a quantitative point of view, that is certainly correct. But Heckroth himself saw himself primarily as a freelance artist throughout his life. His international successes as a set designer and production designer did not question his primary identity as a painter. It is part of this self-fixation as a painter that, in Heckroth's opinion, the boundary between "practical art" and art ran in an emphatic sense between stage design and free painting. As an applied art, scenic interior design was second-rate art from the start.

Death and burial

After a holiday in North Holland, Hein Heckroth died of a heart attack on July 6, 1970 at Alkmaar train station . The urn with the ashes of the deceased was first buried in the New Cemetery in Gießen and in November 1970 transferred to the Oberrad Forest Cemetery in Frankfurt am Main. The Frankfurt sculptor Hans Steinbrenner (1928–2008) was commissioned with the design of the grave monument .

Honors and fame

Hein Heckroth has been recognized by several posthumous exhibitions: Frankfurter Kunstverein (1970); State Art Collections Kassel (1977); German Film Museum Frankfurt am Main (1991); Dietgard Wosimsky Gallery, Giessen (1993, 1998, 2001); Kunsthalle Gießen (1998).

Although Heckroth, who achieved international fame through his work in the British film industry, never had an engagement as a set designer in his hometown of Giessen, Giessen has become the most important place of memory for the artist. The memory of Heckroth's artistic life achievement has been maintained by the Hein-Heckroth-Gesellschaft Gießen e. V. kept awake. The Hein Heckroth stage design prize , which is at the center of the association's activities, is awarded every second year in the Stadttheater Gießen to an artist who has given important impulses to the younger and most recent developments in stage design. Erich Wonder , Karl-Ernst Herrmann , Achim Freyer , Robert Wilson , Christoph Schlingensief , Anna Viebrock , Bert Neumann and Gero Troike are the previous winners. The Hein Heckroth stage design award is the most important guarantee for the survival of the Hein Heckroth name in today's theater culture.

In 1977, in Gießen, the town of Heckroth's birth, Bergstrasse on the edge of the city center was renamed Hein-Heckroth-Strasse. In 2007 a portrait bust of Detlef Kraft was set up in the Gießen Theater Park in memory of Heckroth.

Filmography (selection)

literature

  • Mario Verdone: Hein Heckroth. In: Bianco e Nero. Volume 13, No. 12, 1952, pp. 40-54.
  • Sylvia Rathke-Köhl (arrangement): Hein Heckroth 1901–1970. Frankfurt am Main 1970 (exhibition catalog of the Frankfurter Kunstverein).
  • Karlheinz Gabler: Hein Heckroth 1901–1970. Bärenreiter Verlag, Kassel 1977 (exhibition catalog of the Staatliche Kunstsammlungen Kassel).
  • Hilmar Hoffmann , Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition of the German Film Museum Frankfurt am Main).
  • Sabine Herder: Hein Heckroth. The set design work for the music theater. 1924-1933. 2 volumes, Cologne 1993 (unpublished master's thesis, speaker: Prof. Dr. Theo Girshausen).
  • Friedhelm Häring : Hein Heckroth (1901–1970). In: Messages from the Upper Hessian History Association, Giessen. Volume 78, 1993, pp. 209-218.
  • Dietlind Stürz: Hein Heckroth 1901–1970. From life and work , ed. from the cultural office of the university town of Giessen, Giessen 1998 (without ISBN).
  • Andrew Moor: Hein Heckroth at The Archers: Art, Commerce, Sickliness. In: Journal of British Cinema and Television. Volume 2, 2005, pp. 67-81.
  • Nannette Aldred: Hein Heckroth and The Archers. In: Ian Christie, Andrew Moor (Eds.): The Cinema of Michael Powell. International Perspectives on an English Film-Maker. London 2005, pp. 187-206.
  • Dagmar Klein: On Heckroth's trail in Cologne. Dietgard Wosimsky prepares the award ceremony - Prof. Peter Marx has agreed to speak. In: Gießener Allgemeine Zeitung . 23 October 2014.
  • Henning Engelke, Tobias Hochscherf : Color Magic at Pinewood: Hein Heckroth, The Archers and Avant-Garde Production Design in The Red Shoes (1948). In: Journal of Design History. Volume 28, No. 1, 2015, pp. 48-66.

Web links

Individual evidence

  1. ^ Karlheinz Gabler: Hein Heckroth 1901–1970. Bärenreiter, Kassel 1977 (exhibition catalog of the Staatliche Kunstsammlungen Kassel), p. 8; Beate Alice Hofmann: "To be left over for the most distant times, as we felt". Reinhold Ewald in the cosmos of the Hanau Drawing Academy. In: Expressive. Experimental. Headstrong. Reinhold Ewald 1890–1974. Imhof, Petersberg 2015, ISBN 978-3-7319-0252-2 (exhibition catalog for the double exhibition in the Museum Giersch of the Goethe University Frankfurt am Main and in the Historisches Museum Hanau Schloss Philippsruhe), pp. 205–219, here: p. 207.
  2. ↑ Press kit for the double exhibition Expressive. Experimental. Headstrong. Reinhold Ewald 1890–1974. 2015/2016 as a PDF file
  3. ^ Sylvia Rathke-Köhl (arrangement): Hein Heckroth 1901–1970. Frankfurt am Main 1970 (exhibition catalog of the Frankfurter Kunstverein), p. 18; Karlheinz Gabler: Hein Heckroth 1901–1970. Bärenreiter, Kassel 1977 (exhibition catalog of the Staatliche Kunstsammlungen Kassel), p. 26; Andreas Hansert: friend and mediator of the expressionists. Ludwig Schames and his Frankfurt art salon. In: Expressionism in the Rhine-Main area. Artist - dealer - collector. Imhof, Petersberg 2011, ISBN 978-3-935283-22-9 (exhibition catalog of the Giersch Museum of the Goethe University Frankfurt am Main.), Pp. 233–241.
  4. ^ Karlheinz Gabler: Hein Heckroth 1901–1970. Bärenreiter, Kassel 1977 (exhibition catalog of the Staatliche Kunstsammlungen Kassel), p. 26.
  5. ↑ For the history of the marriage, see Frank Arnau: Gelebt, geliebe, hated. A life in the 20th century. Desch, Munich 1972, pp. 112-118.
  6. ^ Käthe Klein: From the history of the Folkwang School of Design (Essen becomes Folkwangstadt). According to archival files and contemporary documents. Folkwang School of Design, Essen 1965, pp. 33–35. The Folkwang School for Music, Dance and Language was preceded by the so-called Westphalian Academy for Movement, Language and Music in Münster, which was founded in 1925 by Kurt Jooss, Rudolf Schulz-Dornburg, Hein Heckroth, Rudolf von Laban, Hermann Erpf and Vilma Mönckeberg. This academy was a private school that prepared all “expressive arts” for the existing state exams.
  7. ↑ Heinz Keller: Memories: Ada Heckroth at the side of a large stage and film designer. ( http://www.juden-in-weinheim.de/de/dokumente/e/erinnerungen-ada-heckroth-an-der-seite-eines-grossen-buehnen-und-filmausstatte.html ) Retrieved on September 29 2018.
  8. ^ Karlheinz Gabler: Hein Heckroth 1901–1970. Bärenreiter, Kassel 1977 (exhibition catalog of the Staatliche Kunstsammlungen Kassel), p. 27.
  9. ^ Marianne Kröger: An obituary for Ada Heckroth. In: Black thread. Volume 16, No. 1, 1995, pp. 50-51, here: p. 50.
  10. ↑ David Farneth, Elmar Juchem, Dave Stein: Kurt Weill. A life in pictures and documents. Ullstein, Berlin 2000, ISBN 3-89834-004-X (English-language original edition: Woodstock / New York 2000), pp. 171–173.
  11. ↑ Stephen Hinton: Weill's Musical Theater. Stages of Reform. University of California Press, Berkeley 2012, pp. 219-220.
  12. ^ Nannette Aldred: Hein Heckroth in England. In: Hilmar Hoffmann, Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition at the German Film Museum Frankfurt am Main), pp. 23–32, here p. 24.
  13. ↑ Michael Young: The Elmhirsts of Dartington. The Creation of an Utopian Community. Routledge & Kegan Paul, London / Boston / Melbourne / Henley-on-Thames 1982, ISBN 0-7100-9051-X .
  14. ^ François Lafitte: The Internment of Aliens. Penguin, Harmondsworth 1940, p. 79.
  15. ^ Albrecht Dümling: Snow White in Uniform. Sergeant Snow White's music revue in Melbourne in 1943. In: Peter Petersen, Claudia Maurer Zenck (Ed.): Music theater in exile during the Nazi era. Report on the international conference at the Musicological Institute of the University of Hamburg, February 3 to 5, 2005. von Bockel, Hamburg 2007, ISBN 978-3-932696-68-8 , pp. 292–322, here: p. 299. Cf. Sylvia Rathke-Köhl (arrangement): Hein Heckroth 1901–1970. Frankfurt am Main 1970 (exhibition catalog of the Frankfurter Kunstverein), p. 19.
  16. ^ Nannette Aldred: Hein Heckroth in England. In: Hilmar Hoffmann, Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition of the German Film Museum Frankfurt am Main), pp. 23–32, here pp. 23–24.
  17. ^ Laurie N. Ede: British Film Design. A history. IB Tauris, London / New York 2010, ISBN 978-1-84885-107-8 , pp. 55 and pp. 67-68.
  18. ^ Laurie N. Ede: British Film Design. A history. IB Tauris, London / New York 2010, ISBN 978-1-84885-107-8 , pp. 50-55. Cf. in general Tobias Hochscherf: The Continental Connection. German-Speaking Émigrés and British Cinema, 1927–1945. Manchester University Press, Manchester 2011, ISBN 978-0-7190-9747-8 .
  19. ↑ Michael Powell: A Life in Movies. To Autobiography. Heinemann, London 1986, ISBN 0-7493-1177-0 , p. 532.
  20. ↑ Michael Powell: A Life in Movies. To Autobiography. Heinemann, London 1986 (1992 paperback edition), ISBN 0-7493-1177-0 , pp. 628-633.
  21. ^ Susanne Marschall: Color in the cinema. 2nd, revised edition. Schüren, Marburg 2009, ISBN 978-3-89472-394-1 , p. 331.
  22. ↑ Mark Connelly: The Red Shoes. IB Tauris, London / New York 2005, ISBN 1-84511-071-4 , pp. 28-31; Sarah Street: Color Films in Britain. The Negotiation of Innovation 1900-55. Palgrave Macmillan, Basingstoke 2012, ISBN 978-1-84457-312-7 , pp. 187-193; Henning Engelke, Tobias Hochscherf: Color Magic at Pinewood: Hein Heckroth, The Archers and Avant-Garde Production Design in The Red Shoes (1948). In: Journal of Design History. Volume 28, No. 1, 2015, pp. 48–66, here: pp. 48–54.
  23. ^ Martin Scorsese: Foreword. In: Hilmar Hoffmann, Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition of the German Film Museum Frankfurt am Main), p. 7.
  24. ↑ Hein Heckroth: About my work as a set designer, film architect and television designer. Unpublished and undated lecture manuscript, 1962 (?), Private collection Jodi Routh, Langen, sheets 11–12. The handwritten manuscript probably served as the basis for a lecture that Heckroth gave at a Rotary club meeting in March 1962 in the Villa Bonn in Frankfurt am Main.
  25. ↑ Mario Verdone: Hein Heckroth. In: Bianco e Nero. Volume 13, No. 12, 1952, pp. 40–54, here: p. 42: "[…] il film potrebbe quasi assomigliarsi a un 'film sull'arte': l'arte di Hein Heckroth."
  26. ^ Susanne Marschall: Color in the cinema. 2nd, revised edition. Schüren, Marburg 2009, ISBN 978-3-89472-394-1 , p. 329.
  27. ↑ BFI Top 100 British Films. ( BFI Top 100 British Films ) Retrieved September 28, 2018.
  28. ^ Marianne Kröger: An obituary for Ada Heckroth. In: Black thread. Volume 16, No. 1, 1995, pp. 50-51, here: p. 51.
  29. ↑ Helmut Grosse, On the work for the scene. In: Sylvia Rathke-Köhl (arrangement): Hein Heckroth 1901–1970. Frankfurt am Main 1970 (exhibition catalog of the Frankfurter Kunstverein), pp. 10–13, here: pp. 11–12; Albert Richard Mohr: Magic World. Stage designs for the Frankfurt Opera from two centuries. Greno, Nördlingen 1986, pp. 33-34, Figs. 479-482, 490-494, 499-507, 511-512, 517-531, 536-542, 554-555, 564-565, 568-569, 576 -579, 590-591, 609-610, 614-615, 618-619, 624-627, 629-631, 640-643, 647-652, 658-660, 709-713, 724-726.
  30. ↑ See the letter from Alfred Hitchcock's personal assistant Peggy Robertson to Lutz Scherer, the managing director of Universal Filmverleih Inc. (Frankfurt am Main.), Dated June 23, 1965 as well as the letter from Hitchcock himself to Hein Heckroth of the same day, printed by Hilmar Hoffmann, Walter Schobert (Ed.): Hitchcock in Frankfurt (= cinematograph. No. 15). Frankfurt am Main 2000, pp. 18-19.
  31. ↑ Katharina Spielhaupter: Introduction. In: Hilmar Hoffmann, Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition at the German Film Museum Frankfurt am Main), pp. 9–12, here: p. 9.
  32. ^ Hubertus Gaßner: Hein Heckroth - The painter. In: Hilmar Hoffmann, Walter Schobert (Ed.): Hein Heckroth: Film-Designer (= cinematograph. No. 7). Frankfurt am Main 1991, ISBN 3-88799-038-2 (book accompanying the exhibition at the German Film Museum Frankfurt am Main), pp. 13–22, here: p. 13.
  33. ↑ Excerpt from the death register: Koninkrijk der Nederlanden, Gemeente Alkmaar, Uittreksel uit de registers van de burgerlijke stand omtrent een overlijden, issued on July 20, 1970, private property Jodi Routh, Langen.
  34. ^ Website of the Hein-Heckroth-Gesellschaft Gießen e. V. ( http://www.hein-heckroth-ges.de) / Retrieved September 28, 2018.
personal data
SURNAME Heckroth, Hein
BRIEF DESCRIPTION German painter and set designer
DATE OF BIRTH April 14, 1901
PLACE OF BIRTH to water
DATE OF DEATH July 6, 1970
Place of death Alkmaar