Heinz Lederer

from Wikipedia, the free encyclopedia

Heinz Alexander Gustav Lederer (born November 9, 1905 , date of death unknown) was a German sculptor and art functionary of the Nazi regime (NSDAP member No. 348 077 since November 1, 1930). He gained importance as the head (regional director) of the Berlin section of the Reich Chamber of Fine Arts , and because his political activities were occasionally attributed to his father Hugo Lederer .

Life

Heinz Lederer was the first of three children of the sculptor Hugo Lederer (1871–1940) and his wife Anny nee. Lauffs (1877–1952) born, his siblings were Hilde (1907–1984) and Helmut (born May 20, 1912) Lederer. At the age of six he was Kaiser Wilhelm II in 1911 . met on the occasion of a monument inauguration in Aachen.

His schooling consisted partly of private tuition, he did not learn a proper profession. From the age of 14 he was an assistant, from the age of 17 he was a private student and secretary of his father. Worked as a sculptor since the age of 20. Privately instructed in sculpture by his father, he created a. a. a bust of the Berlin mayor Gustav Boess a portrait bust of his father and other small sculptures. In 1933 he lived with his parents in Berlin, Knesebeckstrasse 45. From 1936 to 1939 he worked full-time for the Reich Chamber of Fine Arts as head of Berlin. He then tried his hand at writing and applied for admission to the Reichsschrifttumskammer in September 1940 (without producing a single publication). After the death of his father, the Goebbels ministry signaled to him, now only in his function as "the son of the deceased sculptor Hugo Lederer", that he was not interested in his father's artistic legacy. He then spent them in several freight cars in 1941 to Znojmo (Znojmo), Hugo Lederer's birthplace.

At the beginning of the Second World War , the passionate pipe smoker appeared as the author of frivolous stories from the Berlin artist milieu, for entertainment for frontline soldiers. After 1945, like his sister Hilde Lederer, he apparently tried to sell small sculptures based on his father's models in the art trade. It was around 1950 when he ("a novelist") handed a plaster model of the Heine monument in Hamburg, created by his father around 1910, to the art foundry Richard Barth in Berlin-Britz for the production of bronze casts. He also apparently worked as a set designer, for example in Freiberg / Saxony and in 1961 at the State Theater in Eisenach.

Activity for the Reich Chamber of Fine Arts

Message to the sculptor Gerhard Marcks

Since 1931 he has worked as a propaganda leader in various local NSDAP groups, and in September 1935 Heinz Lederer was appointed assistant to the Reich Chamber of Fine Arts. From May 1, 1936 to November 18, 1939, he was the full-time head of the Berlin section of the Reich Chamber of Fine Arts with a monthly salary of around RM 400. His authority with 11 employees, the Berlin state management of the Reich Chamber of Fine Arts, resided in 1935 at Derfflingerstraße 7 (Tiergarten), since April 1937 at Ahornstraße 2 (Zehlendorf), and since September 1938 at Kirchweg 10 (Nikolassee). His authorized signatories included a. the sculptor August Kranz (1893–1974), the architect Werry Roth (1885–1958), the painter Fritz von Ikier (1888–1964), Mr. Artur Schmidt (treasurer, manager of the regional management), Richard Lesnick, Barnim Anders and Mr. / Mrs. Granzow.

The state management was responsible for the 9,269 members of the Reich Chamber living in Berlin (sculptors, painters, architects, graphic artists, designers, art dealers and art publishers). It acted on the orders of the Reich Chamber President (since December 1, 1937 Adolf Ziegler ) or the Propaganda Minister Joseph Goebbels and was bound by instructions. In addition to professional tasks, she had to “monitor what is happening in the fields of the visual arts” since April 10, 1935 and also approve exhibitions and auctions. While questions regarding membership and Aryan proof were dealt with directly by Ziegler and Goebbels, the administration, control and social concerns of the artists fell under the responsibility of the state management. The national management was also responsible for collecting membership fees and reporting to the president.

Heinz Lederer was responsible for the confiscations in accordance with the Goebbels decree of June 30, 1937 of "works in German imperial, state or municipal possession since 1910 in the field of painting and sculpture" for the exhibition "Degenerate Art" not involved (nor his father Hugo, contrary to statements to the contrary.) Censorship was primarily exercised by Ziegler and Goebbels, country manager Lederer usually only acts as a bureaucratic assistant. In December 1937, for example, he conveyed to the sculptor Ernst Barlach the prohibition imposed by Ziegler on publicly exhibiting three specific sculptures and six drawings. Heinz Lederer also had to inform the artist about Ziegler's ban on exhibiting sculptures by Gerhard Marcks (see illustration).

Since 1936, “the notorious Lederer junior” was supposed to judge works of art according to Goebbels and Ziegler at his own discretion. In the process, there were repeated differences with higher-level political institutions in the context of the dispute between Rosenberg and Goebbels in terms of art policy . A selection made by himself and (Gustav-Adolf?) Engelhardt in 1936 of works of art by needy artists for purchase by the Propaganda Ministry was rejected by Goebbels in 1937. The following harsh reprimand from President Ziegler was countered by Lederer within the authorities. In 1936 he campaigned for the public exhibition of the sculpture Großer Schreitender by Hermann Blumenthal , which in 1937 was confiscated as " degenerate ". On January 31, 1938, on the other hand, he judged the painter Karl Hofer , who was considered to be “degenerate” , “that the effects of his work and activity must be regarded as downright devastating”.

In the autumn of 1937, Lederer received instructions from Ziegler to check the annual exhibition of the Ateliergemeinschaft Klosterstrasse : “However, you take responsibility for ensuring that this exhibition complies with the cultural policy of the Reich and, in particular, that it does not contain any products of decay.” Lederer only ordered the removal of the paintings Xanten and the Baltic Sea by Hermann Teuber from the exhibition. The Berlin state management worked with gallery owners such as Karl Buchholz , Ferdinand Möller , Wolfgang Gurlitt and others for the benefit of the Nazi regime.

In the course of the “de-Judaization” policy that began in 1935, Lederer called for a list of studios and studio apartments that had become vacant for Jewish tenants. When in 1937 the Propaganda Ministry wanted to "align" the studio community at Klosterstrasse 75 in an association, he pleaded for consideration for the Prussian Ministry of Culture, the host of Klosterstrasse 75 (which forbade the plans - the association did not take place). Käthe Kollwitz , who must have been familiar to him from childhood - after all, his father and Kollwitz had worked and lived in the studio house Siegmundshof 11 for more than 10 years up to 1924 - was able to work relatively undisturbed in the atelier community at Klosterstrasse until November 1940 and did not become part of the Reich Chamber locked out. The communist sculptor Heinz Worner (1910–2008) was able to flee the Gestapo from the studio community in 1937 (first to Prague and then to London).

In the course of austerity measures in the Propaganda Ministry, and possibly also because of internal conflicts, Heinz Lederer was released on November 18, 1939. August Kranz took over his post as head of state on a voluntary basis from 1940 to 1942, NSDAP member since 1925. Until 1941 letters to the Berlin state management were addressed to Heinz Lederer.

literature

  • Akademie der Künste (Ed.): Exhibition catalog. Atelier community at Klosterstrasse Berlin 1933–1945. Artist in the time of National Socialism. Edition Hentrich, Berlin 1994, ISBN 3-89468-134-9 .
  • Anja Tiedemann (Ed.): The Chamber is writing again. The regulations for trading in modern art under National Socialism. (Series of publications by the research center “Degenerate Art”, Volume X.) De Gruyter, Berlin / Boston 2016, ISBN 978-3-11-044212-0 .

Individual evidence

  1. ↑ Christine Fischer-Defoy: Art, power, politics: the Nazification of the art and music colleges in Berlin . Ed .: Press office of the Berlin University of the Arts on behalf of the President. Elefanten Press, Berlin 1988, p. 86 .
  2. ↑ General artist lexicon . de Gruyter, Berlin 2016.
  3. ^ Deutscher Wirtschaftsverlag AG Berlin (ed.): Reichs Handbuch der Deutschen Gesellschaft. The handbook of personalities in words and pictures . tape 2 . Berlin 1931, p. 1084-1086 .
  4. ^ Hugo Lederer to Max Liebermann , July 28, 1930
  5. ^ Historical archive, Prussian Academy of the Arts . Sign. PrAdK 1130, PrAdK 1133: 13.03.02 Bl.7,35,184,194.
  6. ↑ Hugo Lederer . Int. Biographer. Archive. In: Archiv f. Journalistic work . October 8, 1931, p. 1690 , Federal Archives Sign NS 5 / VI, archive no. 17648 .
  7. ↑ Libor Šturc: Hugo Lederer (1871-1940). Sochařské dílo ve sbírce Jihomoravského muzea ve Znojmě (The sculptural work in the collection of the South Moravian Museum in Znojmo). Thesis. Art history seminar of the Philosophical Faculty of Masaryk University in Brno, Brno 1997.
  8. ↑ Georg Kolbe Museum Archive - Part of Hugo Lederer's estate, sign. HL 9.
  9. ^ Historical archive of the Prussian Academy of the Arts, Sign. 1104-0.4 pp. 136-138.
  10. ↑ handwritten curriculum vitae, written on January 17, 1940. Heinz Lederer personal file. Landesarchiv Berlin A Rep. 243-04, No. 5117
  11. ^ Hans Hinkel on October 17, 1940; Heinz Lederer personal file. Landesarchiv Berlin A Rep. 243-04, No. 5117
  12. ^ Ullstein picture: Heinz Lederer. Sculptor. 1929, Retrieved October 14, 2019 .
  13. ^ Heinz Lederer: Blue haze . A cheerful book by pipes and women. With pictures by Reinhard Beuthien. In: Series Funny Books . Field post issue. 4th edition. tape 16 . Carl Stephenson, Berlin / NS-Druck Wartheland Posen 1940.
  14. ^ Ernst-Adolf Chantelau: The historical Heine-Bozzetti by Hugo Lederer. (PDF) Retrieved October 31, 2019 .
  15. ↑ Swanhild Vogel: Program 1 Landestheater Eisenach 1961 . Albert Lortzing's armorer. Musical director: Dr Herbert Lindner, production: Karl-Heinz Kaiser, stage equipment: Heinz Lederer. With Helmut Hansmann, Marianne Kauschmann, Kurt Kögel, Harald Joachim. Ed .: State Theater Eisenach, Artistic Director Richard Rückert. Self-published, Eisenach 1961.
  16. ↑ Caroline Flick: Structure, occupation, everyday life . The Berlin state management of the Reich Chamber of Fine Arts. In: Anja Tiedemann (ed.): The chamber is writing again . The regulations for trading in modern art under National Socialism. (=  Series of publications by the research center “Degenerate Art” . No. X ). De Gruyter, Berlin / Boston 2016, ISBN 978-3-11-044212-0 , pp. 19-48 .
  17. ^ Dossier on Nazi art policy and its effects on private collections of modern art. Andreas Hüneke, Christoph Zusatz, accessed on January 10, 2018 .
  18. ↑ Finding aid . Reich Chamber of Fine Arts - State Management Berlin. In: Landesarchiv Berlin (Ed.): A Rep 243-04 . Preface. S. II .
  19. ↑ Nina Kubowitsch: The Reich Chamber of Fine Arts. Setting boundaries in artistic freedom. In: Wolfgang Ruppert (ed.): Artists in National Socialism. "German art", art politics and the Berlin art college. Böhlau Verlag, Cologne / Weimar / Vienna 2015, ISBN 978-3-412-22429-5 , pp. 75–96.
  20. ↑ for example in the case of Hugo Lederer, see information to Landesleiter Heinz Lederer from May 6, 1939, BArch R / 9361 / I archive number 102652
  21. ↑ For example, on behalf of the state management, Artur Schmidt reported to the President of the Reich Chamber of Fine Arts on December 1, 1937 that, after personal consultation, Hugo Lederer's application would be granted to waive his contribution payments because he had no significant income from freelance artistic work have achieved more. S .: Bundesarchiv Sign R / 9361 / I archive number 102652
  22. ↑ SW Staps: Lederer, Hugo . In: General Artist Lexicon . International artist database. De Gruyter, Berlin 2016.
  23. ↑ Rolf Michaelis: All wolves against me. Fifty years ago died miserably: Ernst Barlach. In: The time . October 21, 1988. Retrieved January 10, 2018 .
  24. ↑ Arthur Kersten: Statement about the book and art dealer Karl Buchholz, Berlin . Karl Buchholz. Book and art dealer in the 20th century. Ed .: Godula Buchholz. Dumont Literature and Art Publishing, Cologne 2006, ISBN 3-8321-7943-7 , p. 66–69, here p. 67 .
  25. ↑ Hildegard Brenner: The art in the political power struggle of the years 1933/34 . In: Institute for Contemporary History (ed.): Quarterly Issues for Contemporary History Volume . Volume 10, No. 1 . Munich 1962, p. 17–42 ( ifz-muenchen.de [PDF]).
  26. ↑ Angela Lammert: Documentation . In: Akademie der Künste (Ed.): Exhibition catalog. Atelier community at Klosterstrasse Berlin 1933-1945 . Artist in the time of National Socialism. Edition Hentrich, Berlin 1994, ISBN 3-89468-134-9 , pp. 158-215 .
  27. ↑ Hans Jürgen Meinik: The Ateliergemeinschaft Klosterstraße within the National Socialist art and cultural policy . Exhibition catalog. Atelier community at Klosterstrasse Berlin 1933–1945. Artist in the time of National Socialism. Ed .: Academy of the Arts. Edition Hentrich, Berlin 1994, ISBN 3-89468-134-9 , pp. 13-39 .
  28. ↑ Wolfgang Schöddert: Art trade in the chamber's field of vision. The Ferdinand Möller gallery in Berlin W 35 . In: Anja Tiedemann (ed.): The chamber is writing again . The regulations for trading in modern art under National Socialism. (=  Series of publications by the research center "Degenerate Art", Volume X ). De Gruyter, Berlin / Boston 2016, ISBN 978-3-11-044212-0 , pp. 270-281 .
  29. ^ Walter Schuster: The "Gurlitt Collection" of the Neue Galerie. (PDF) Archive of the City of Linz, 1999, accessed on January 27, 2018 .
  30. ↑ Landesarchiv Berlin A Rep. 243-04 No. 97
  31. ^ Academy of the Arts: exhibition catalog. Atelier community at Klosterstrasse Berlin 1933–1945 . In: Artists in the time of National Socialism . Edition Hentrich, Berlin 1994, ISBN 3-89468-134-9 , pp. 24, 184, 187 .
personal data
SURNAME Lederer, Heinz
ALTERNATIVE NAMES Lederer, Heinz Alexander Gustav
BRIEF DESCRIPTION German NSDAP art functionary and sculptor
DATE OF BIRTH November 9, 1905
PLACE OF BIRTH Berlin
DATE OF DEATH 20th century or 21st century