Heinrich Hoerle

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Self-Portrait (1931)

Heinrich Hoerle (born September 1, 1895 in Cologne ; † July 3, 1936 there ) was a German painter . It began in Rhenish Expressionism and after the First World War was part of the Cologne Dada group around Johannes Baargeld and Max Ernst . With his wife, the painter Angelika Hoerle , he pulled away from Max Ernst's Dada international trend and joined Anton wheels Scheidt Group stupid to. From the mid-1920s, he and his friend Franz Wilhelm Seiwert belonged to the core of the revolutionary group of progressive artists . There are purist, strict constructivist pictures by Hoerle, others are in the tradition of the pittura metafisica by Giorgio de Chirico (from 1919) and of surrealism . In 1931/1932 he switched to wax painting , which is the culmination and end point in his work.

Live and act

The worker , 1922/1923

Heinrich Hoerle was an autodidact as a painter ; in 1912 he sporadically attended the arts and crafts school in Cologne . In 1913 he set up his first studio in his parents' apartment in Cologne. There followed his participation in the Gereons Club . In 1913 he became a member of the artist group " Lunisten ", which also included Max Ernst and Otto Freundlich . 1916–1918 Hoerle was a soldier as a telephone operator in the field artillery. In 1917 he published his first work in Franz Pfemfert's magazine Aktion and in Simplicissimus .

Heinrich Hoerle married Angelika Fick on June 25, 1919. Her brother Willy Fick was also a painter. Hoerle got to know Franz Wilhelm Seiwert , with whom he remained close friends until shortly before his death, Hans Schmitz-Wiedenbrück and Ret Marut . In February and March 1920 he worked with Alfred Grünwald on the Dada weekly magazine Der Ventilator . At the autumn exhibition of the Expressionist Society of the Arts in the Kölnischer Kunstverein, Hoerle exhibited in the Dadaist room. It is not certain whether Hoerle took part in the “Exhibition for the Working People” in the Kunstgewerbemuseum (1919). His expressionist cripple portfolio , which was accusatory after the war , was exhibited in the atrium of the Kunstgewerbemuseum. The Hoerles were not represented at the Dada exhibition in the Brauhaus Winter (April 1920). Max Ernst spoke of a secession from Dada Cologne (i.e. from Johannes Baargeld, Max Ernst and Hans Arp ). The Hoerles wanted an art that was more political and less oriented towards France and focused on regional painters. They joined Anton wheels Scheidt Group stupid to.

Hoerle's first strictly constructivist phase began in 1920 and lasted until 1923, another from 1930 to 1932.

Two women , 1930

Hoerle befriends Gerd Arntz and Gottfried Brockmann , who lived in Düsseldorf. The Hoerles visited Seiwert in the Simonskall artists' colony in the Kall valley in the Eifel. They only stayed briefly, Hoerle was a city dweller. In 1923 Hoerle met August Sander , who photographed many of his pictures. Sander also photographed Hoerle at work.

Angelika Hoerle fell ill with consumption (1922) and died in September 1923. Hoerle's father and sister Marie also died of tuberculosis.Hoerle had survived as a child, but died on July 3, 1936 in his apartment in Cologne-Buchforst at the age of 40 years of larynx tuberculosis. Hoerle had been married to actress Gertrud "Trude" Alex since 1933. Before that, in 1924 he had his second marriage to Martha Kleinertz, b Pütz married.

Hoerle was a successful artist. In 1926 the Kunstmuseum Düsseldorf , the museums in Elberfeld and Hagen, the Wallraf-Richartz-Museum , Cologne, the Kaiser-Wilhelm-Museum in Krefeld and the Kunsthalle Mannheim owned pictures by Hoerle. Also the Museum in Detroit and the State Academy of Fine Arts in Moscow. During the “ Third Reich ”, 21 of his works were confiscated from German museums and probably destroyed.

Hoerle founded the " group of progressive artists " in Cologne together with Seiwert, Freundlich and others . From 1924 on they exhibited in collective exhibitions a. a. in Cologne, Nuremberg, Berlin, Amsterdam, Paris and Chicago. In 1929 the magazine "a bis z" was founded as an organ of the group. Hoerle published the first 21 issues. Issues 22 to 30 are from the Cologne group . 1930 was the group's most successful year, with exhibitions in Cologne, Hanover, Nuremberg, Berlin, Düsseldorf, Amsterdam, Prague, Chicago and Paris. In 1931 they exhibited in New York, Cologne, Düsseldorf and Berlin. 1932 in Cologne, Düsseldorf, Copenhagen. In addition, a large group exhibition was held at the Kölnischer Kunstverein. In 1933 this art was defamed as " degenerate ". Hoerle fell out with Seiwert in 1932, who died in 1933, and Heinrich Hoerle exactly three years later to the day.

plant

Out of socialist impulses, he wanted art for the masses in the big cities. The forms are shaped by the New Objectivity , the Constructivists and Leger, a combination of realistic and constructivist elements. The human serves him as a symbolic figure. He painted him as a cripple, as a mechanical jointed doll without a face, as a slave to technology. The worker becomes an unsubstantial robot. The machine has devoured his humanity, destroyed his individuality.

With the progress of time, Hoerle's attitude changed. Towards the end of the 1920s, under the influence of Max Ernst, Giorgio de Chirico and Juan Gris, relaxed, surreal pictures were created.

In the 1920s and 1930s, the Cologne painter Heinrich Hoerle, along with Franz Seiwert and Gerd Arntz and the younger Gottfried Brockmann and Otto Coenen (1907–1971), was one of the figurative constructivist artists of the Rhineland.

literature

  • Hans Schmitt-Rost : Heinrich Hoerle. Aurel Bongers, Recklinghausen 1965.
  • Hoerle and his circle. Art Association, Frechen 1970.
  • Heinrich Hoerle, 1895–1936, works from the estate. From the Heydt Museum , Wuppertal 1974.
  • Dirk Backes (text and catalog of works) with contributions by Wolfram Hagspiel and Wulf Herzogenrath : Heinrich Hoerle, Leben und Werk, 1895–1936. Rheinland Verlag, Cologne 1981. (For the exhibition October 16, 1981 - January 10, 1982 at the Kölnischer Kunstverein , Cologne.)
  • Ruhrberg, Schneckenburger, Fricke, Honnef: 20th Century Art. Edited by Ingo F. Walther, Part I (painting) by Karl Ruhrberg . Cologne 2000.
  • Paul Vogt: History of German Painting in the 20th Century. Cologne 1989.
  • 20th century art. Museum Ludwig Cologne, Cologne 1996.
  • Horst Richter: History of painting in the 20th century, styles and artists. Cologne 1998.

Web links

Commons : Heinrich Hoerle  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Death certificate no. 391 from July 4, 1936, registry office Mülheim. In: LAV NRW R civil status register. Retrieved July 15, 2020 .
  2. ↑ Angelika Hoerle, b. Margaretha Angelika Fick, born November 20, 1888 in Cologne, † September 9, 1923 in Cologne with tuberculosis . See the website of her Canadian great niece, the art historian Angelika Littlefield ( angielittlefield.com )
  3. ^ Sabine Kimpel-Fehlemann (editor): Städtisches Museum Abteiberg Mönchengladbach . Inventory catalog I. 1981, p. 211.
  4. ↑ Hans Schmitt-Rost: Heinrich Hoerle. Recklinghausen 1965, p. 20. ("He mainly used the wax pencils cold.")
  5. ↑ a b c d e German Historical Museum : The second creation. In: Website dhm.de. Retrieved July 27, 2009 .
  6. ↑ Aurel Bongers: The Rheinische Expressionisten, August Macke and his painter friends. Recklinghausen 1980. (traveling exhibition 1979), with an excerpt from Franz M. Jansen's autobiography, as a source for Olga Oppenheimer's Gerons Club , p. 47ff.
  7. ↑ Summary résumés from Hans Schmitt-Rost: Heinrich Hoerle. 1965, life data , p. 22f. and Dirk Backes: Heinrich Hoerle, 1895-1933. 1981. / Heinrich Hoerle, biography. P. 158 f. In Backes, 1981: Angelika Hoerle, 1888-1923. Biography, catalog of works, pp. 289–314.
  8. ^ Walter Vitt : In search of the biography of the Cologne Dadaist Johannes Theodor Baargeld. With numerous works and texts by Baargeld as well as a reprint of the weekly “Der Ventilator” from 1919. Keller Verlag, Starnberg 1977. Seiwert, Freundlich, Ernst were
    among the employees of the ventilator .
  9. ↑ The Bulletin D of Group D was seized by the British for a political article by Otto Freundlich.
  10. ^ Eduard Prüssen (linocuts), Werner Schäfke and Günter Henne (texts): Cologne heads . University and City Library, Cologne 2010, ISBN 978-3-931596-53-8 , pp. 58 .
  11. ↑ Krüppel, 12 lithographs in a portfolio by Heinrich Hoerle. 1920. self-published by HH, Cologne-Lindenthal, Bachemer Str. 243. Werbeblatt bei Backes, p. 101. The publisher then called itself Schloemilch-Verlag and published the schammade and a Max Ernst portfolio of Fiat Modes . The Krüppel portfolio and Fiat Modes were financed by the Cologne Artists' Working Group , i.e. the City of Cologne.
  12. ↑ Werner Spies : Max Ernst, collages. Dumont, Cologne 1974. Against Schmitt-Rost, p. 22. The exhibition was closed by the police, but reopened under the banner “Dada wins”.
  13. ↑ Spies
  14. ↑ Wilhelm Fick, both Hoerles, Räderscheidt and his wife Marta Hegemann and Seiwert are represented in the catalog stupid 1 (Backes, p. 27). Seiwert called the group Neukölnische Malerschule, Hildeboldplatz 9, in autumn 1919 . Letter to Pol Michels (Backes, p. 30). Gottfried Brockmann spoke of the "new Cologne painting school on a proletarian gold background" (Schmitt-Rost, p. 9)
  15. ↑ Backes, p. 158.
  16. ↑ junker house-Simonskall
  17. ↑ Hoerle draws the boxer Hein Domgörgen , Backes, p. 48. In Backes (p. 89–95) also Hoerle Atelier Photographien (1930/1931) by the self-taught Cologne photographer Hannes Maria Flach
  18. ↑ Martha Kleinertz had previously been married to the architect Willi Kleinertz.
  19. ↑ Invitation to the Heinrich Hoerle exhibition in the Dr. Becker-Newman, Cologne, Wallraf Platz (Backes, p. 39). In addition, museums in Bonn, Essen, Neuss, Saarbrücken, Leningrad and Vienna had Hoerle works (Schmitt-Rost, 1965, p. 23).
  20. ↑ Schmitt-Rost, 1965, p. 23.
personal data
SURNAME Hoerle, Heinrich
BRIEF DESCRIPTION German painter of progressive Rhenish constructivism, Cologne Dadaist
DATE OF BIRTH September 1, 1895
PLACE OF BIRTH Cologne
DATE OF DEATH July 3, 1936
Place of death Cologne