Hildebrand House

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The Hildebrandhaus from the southwest, 2019
The north facade

Coordinates: 48 ° 8 ′ 36.8 ″  N , 11 ° 35 ′ 56.2 ″  E The Hildebrandhaus is an artist's villa in Munich 's Bogenhausen district , Maria-Theresia-Straße 23, built in 1898 for the sculptor Adolf von Hildebrand according to his own plans was built and offered both an apartment and a studio for him and his family. The house in the local style on the Maximiliansanlagen on the high bank of the Isar was built by the architect and building contractor Gabriel von Seidl .

It was owned by the von Hildebrand family until 1934. After being sold, it was Aryanized in 1941 . After the end of the Nazi era, it belonged to the American military government and then to the Evangelical Lutheran Church in Bavaria . From 1967 to 1974 it was an object of speculation and should be demolished. It was saved and renovated by the monument protection law .

Since 1977 it has housed the municipal literature archive of Monacensia with a library and exhibition. From 2013 to 2016, it was completely renovated in accordance with listed buildings, with the architect Lorenz Wallnöfer adding a small, modern extension made of glass. The building has been on the Bavarian list of monuments since 1973 .

architecture

Building plan with additions by von Hildebrand, ground floor. East is up
1st floor
The tower room
The big gate from the studio

The Hildebrandhaus has been almost completely in its original condition since the renovation from 2013 to 2016. From the outside, only the glass extension facing south on the east wing differs from the appearance of the construction period.

The floor plan shows three T-shaped wings. The house consists of an angle to the west and south, oriented towards the sun and the Isar. The studio wing adjoins it in the east. The house has two main floors and an attic, the latter has the full height of the room and only appears to be subordinate to the other floors thanks to the mansard hipped roof . In the corner of the house, largely drawn into the facade, stands the turret with a slightly oval cross-section. Its onion dome hood protrudes only slightly over the ridge. The studio wing also consists of the 12 × 12 meter large and 7.5 meter high main studio with a simple hipped roof , further rooms are assigned to it in the north of the building.

The façades of the living area are loosened up by window crowns in a baroque style , a small balcony with a bulbous railing and high-contrast shutters. A relief depicting a nymph from Hildebrand's own hand faces west. A terrace is located in front of the west side of the south wing, to which the living rooms open up in generous round arches. Next to the terrace stairs is a small basin with a wall fountain. The roof landscape is characterized by a strikingly three-dimensional shape of the mansard roof. The roof of the mansard storey is drawn in through a cove so that it appears to swing out over the bend. The roof is strongly structured by dormers in the mansard floor, bat dormers in the loft and chimneys, as well as the tower dome. The facade was originally plastered with a yellowish tinge, the decorative elements remained white and the louvre shutters were held in a dark green.

The entrance is on the north side, through a modest door with a small canopy. The vestibule behind it opens to the left to the studio wing, straight ahead it goes up a few steps into the living area. The residential wing is accessed through a corridor that turns in a curve to a hall, to which the spiral staircase in the slightly oval tower opens. The outer wall of the corridor is just as three-dimensional as the arched entrances to the tower. The dining room, salon and terrace are arranged around the hall, from here a second, unadorned staircase in the east leads to the other floors. Temporary exhibitions are shown in the corridor and hall, while the dining and living space are used for small events and work meetings.

In addition to the bedrooms, there were two smaller studio rooms on the upper floor, which Hildebrand set up for his daughters Irene and Elisabeth. They were facing north. Today the center and south wing are used for the Monacensia library, the west wing contains the office and reading room of the literature archive. In the attic there were children's rooms, rooms for guests and staff, today there are offices and a work space for scientists. The kitchen and utility rooms were in the basement under the south wing. Von Hildebrand used the tower room in the attic with a tiny balcony to the southwest as his library, the ceiling was painted with Italian plant motifs by his daughters.

The studio wing in the east has a slightly indented north wall opposite the residential building, which is broken open and structured by large windows. In this way, the house avoids a monumental front on the north side on Siebertstrasse. It begins to the left of the vestibule with a small room in which von Hildebrand only made busts and the south wall of which follows the curve of the corridor behind. Here the Monacensia is showing a small exhibition on the history of the house today. Behind it is von Hildebrand's main work room, today an exhibition on Adolf von Hildebrand's time and culture with exhibits about the poets, painters and folk artists around the turn of the 20th century in Munich who went in and out of the von Hildebrand family. Here von Hildebrand had large shelves with templates and models in plaster and designed his works here. The large studio room in the east with a ceiling height of seven and a half meters and a huge gate to the courtyard was mainly used by Hildebrands' assistants, who carried out his designs in stone. Today this is a spacious lounge and reading room for visitors, and large events such as readings and concerts take place here.

The house is described as “open and yet reserved”, especially when compared to other villas that artists had built in Munich. Franz von Lenbach and Franz von Stuck focused on representation with the portico and courtyard at the Lenbachhaus and huge columns and friezes at the Villa Stuck . On the other hand, von Hildebrand stayed in the tradition of the conservative architectural language of a “baroque castle and manor”, ​​which was just too “rural”, integrated into the suburban character of the quarter away from the main streets and the scenic location on the slope edge and Isar.

The original facility was primarily chosen by Irene von Hildebrand. It is described as "strict, almost Spartan". Free-standing furniture in Italian style in light, bright rooms. No pretentious representative rooms, but a private residence for the family and guests. Von Hildebrand had adorned the corridor and salon with paintings by his former friend Hans von Marées , which he valued as a “great, pure view of nature”.

Building history

The Hildebrandhaus after completion. Photo around 1900.

The sculptor Adolf von Hildebrand lived and worked in Florence since 1874, where he had prepared the former monastery of San Francesco di Paola as a studio and residence. But he worked almost exclusively for German clients. After participating in the architectural competition for the monument to Kaiser Wilhelm I in Berlin in 1888 , he was appointed to the competition jury in 1889, which was to decide on a fountain on Munich's Lenbachplatz . The project was intended to complete Munich's first water supply and only Munich artists were allowed. When the jury got the impression that none of the submitted designs did justice to the architectural and at the same time the sculptural task, Hildebrand put down the work of the jury in order to participate in the competition himself. Despite protests from Munich artists, his design for the Wittelsbacher Brunnen won after he had declared his willingness to settle in Munich.

After the completion of the fountain in 1895, Hildebrand was celebrated and he decided, not least because of his upcoming 50th birthday in 1897, to build a house for himself and his family in Munich. The Künstlerhaus had matured into an independent building type since the late Renaissance . Visual artists, especially painters and sculptors, not only looked for functional working conditions in studios built for their needs, they also expressed their creative personality, the house "became a demonstration of an idea, a programmatic visualization of artistic experience and existence". In Germany, the founding period did not create the conditions for this type of building to spread. Before the unification of the empire in 1871, the “cramped conditions”, the “particularism of its constituent states” and the “irrationalism of the politically influential bourgeois intelligentsia” had delayed its development. The self-staging and representation of the artist through the design of his own house is considered specific to Munich at this time.

Hildebrand asked for and received from the city of Munich support of 15,000 marks for building the house in recognition of the work at the Wittelsbacherbrunnen and in order to “obtain an outstanding artist in Munich”. From this he acquired a building plot in a prominent location. The former farming village of Bogenhausen was incorporated into Munich in 1892 and opened up in the following years. It was to become the most exclusive residential area in the city.

Maria-Theresia-Strasse could only be built on on one side in the east. In the west were the Maximiliansanlagen , directly on the slope edge of the Isar terrace . In 1895, Adolf von Hildebrand secured one of the properties with an unobstructed view of the park on the river. The property at Maria-Theresia-Straße 23 was 2179 square meters and cost 76,611 marks. The location on the corner of Siebertstrasse guaranteed that the north side, which is necessary for the studio, could not be shaded by neighboring buildings.

Since moving to Munich and years before choosing a building site, von Hildebrand sketched various designs for a residential and studio building. In the course of his life, von Hildebrand planned or built a total of eight buildings and left behind in his collected writings also architectural-theoretical texts and autobiographical works in which he explained his approach. Von Hildebrand had claims to art theory and education, but decidedly rejected academic art theory. He only accepted his friend and patron Konrad Fiedler and Heinrich Wölfflin , who was personally connected to him .

He began with the requirements for the construction: A "large sculptor's studio, illuminated from the north, connected to a spacious residential building, both of which had to fit in with the character of the villa district in the radiation area of Prinzregentenstrasse and Friedensengel ."

Basic elements emerged early on in the sketches for Bogenhausen: the T-shaped floor plan, the hipped mansard roof and the tower. Individual architectural parts have also been laid out here, such as the arched windows to the terrace, in which he adopted the shape of the Renaissance loggia of San Francesco di Paola in Florence. As a sculptor, von Hildebrand created a three-dimensional clay model at an early stage of the design, which he revised several times and executed in ever greater detail. The surviving designs show how Hildebrand thought of the proportions. The arrangement and structure of the buildings were at the center of the eminently sculptural design. In doing so, he took up the situation of the building site in a special way, lines of sight along the street became directions, the rhythm of the buildings and their gradation should create a "most far-reaching object image". The astonishingly large building masses are concealed by the T-shape and dissolved into the villa character, corresponding to the quarter.

The office of the architect and builder Gabriel von Seidl, who was a friend of von Hildebrand's friends, converted his sketches and the model into precise construction plans. Construction management also took over from Seidl's office . Construction began in 1897 and was completed the following year. The technical equipment was the most modern of the time. The house had electricity in every room and a telephone connection. The studio had rails in the floor and a pulley block under the ceiling.

In 1911 it was carefully rebuilt when Hildebrand's son-in-law Carlo Sattler built a self-contained apartment for Irene von Hildebrand and her husband Theodor Georgii on the first floor and the attic. The studio for Elisabeth von Hildebrand was closed and converted into a dining room with utility room for the remaining apartment of August and Elisabeth von Hildebrand.

In the time of National Socialism , many small, uncoordinated installations and conversions were carried out in order to provide at least rudimentary sanitary facilities for the constantly growing number of residents.

In the post-war period the house largely fell into disrepair. Renovation began only after the expropriation in 1974 by the Free State of Bavaria and the subsequent donation to the city of Munich. The rooms were converted until 1977 for use by the Monacensia literature archive. The building work was coordinated by the conservationist Enno Burmeister , who considered the dimensions of the studio rooms to be worth preserving and restoring in particular. Almost all furnishing elements could be preserved, shutters and other wooden parts had to be partly re-manufactured. Several wrought iron bars were lost and had to be reconstructed from photos. The original fireplace in the former living room was lost; instead, a timely one was installed. Some other changes were due to the new use or the fire protection.

From 2013 to 2016 the Hildebrandhaus was completely renovated in accordance with the listed buildings . Since then, the interior and exterior walls have been kept in their original colors again. In the interests of accessibility , elevators were installed to all rooms accessible to users of the archive. The architect Lorenz Wallnöfer placed a small, modern glass extension in front of the large studio space in the southeast . Today the museum café Mon is housed in it.

The residents until 1934

Adolf von Hildebrand, 1912

The Hildebrand family's house was all about art. Adolf was the patriarch , to whose daily rhythm life in the house had to adapt. He also played the viola with enthusiasm but only limited technique. Almost all of the six children were artistically active and in the course of time some of them were given their own studios in the house. Irene Hildebrand became a sculptor herself, Elisabeth painted, Silvia wrote plays, Eva and Berta became musicians, Berta also composed as a child and later married the composer and pianist Walter Braunfels . Only son Dietrich von Hildebrand became a philosopher. The young Wilhelm Furtwängler was one of the regular guests . Despite compulsory schooling, the children were brought up exclusively by private tutors who went to Florence with the family for months in the summer.

The morning in the Hildebrand house was devoted to one's own creation. Guests were invited to lunch almost every day. The family went out frequently and together in the afternoon. You went to museums and concerts. Or you were invited to dignitaries and clients. Von Hildebrand was a close friend of the Wittelsbach family; especially with Prince Regent Luitpold and Crown Prince Rupprecht . Artists like Rudolf von Seitz and Hans Thoma belonged to the circle of friends, as did the writers Annette Kolb and Isolde Kurz . But also the general music director Hermann Levi , the Berlin museum directors Richard Schöne and Wilhelm von Bode and the industrial families Werner and Arnold von Siemens , Zander and Helmholtz from Munich, Borsig from Berlin and philosopher Götz Martius from Kiel were regular guests. With the art historian Heinrich Wölfflin , the philosopher Hans Cornelius , the reform pedagogue Georg Kerschensteiner and the architect Theodor Fischer he worked together on art viewing and art education. The house on Maria-Theresia-Strasse was a focal point of artistic and upper-class society in Munich during the time of the Prince Regent .

In 1910 von Hildebrand suffered a stroke and could no longer work with the heavy marble himself. From then on he only made plaster models, which his assistants used to carry out the actual work. After Adolf von Hildebrand's death in 1921, the house went to his son Dietrich von Hildebrand, philosophy professor at Ludwig Maximilians University, and his daughter Irene Georgii. Dietrich had to flee to Florence in 1933 after Hitler was appointed Chancellor and later went to the USA via Vienna, Switzerland and France. Irene was banned from working as a sculptor in 1936 after she and Theodor Georgii had gone to Vienna from 1935 to 1938. The house was sold in 1934, but some family members stay in it.

1934 to 1941

The house was sold to Elisabeth Braun in 1934. Braun had deliberately converted to the Protestant faith, but from 1935 onwards, according to the Nuremberg Race Laws , was considered a fully Jewish woman. At first only her stepmother Rosa Braun moved into the apartment on the first floor. The studio and a small apartment in the south wing of the top floor were rented together with the sale for seven years to Theodor Georgii and his wife Irene, née Hildebrand. In 1934 the pianist Wolfgang Ruoff rented one of the studios and living rooms on the 1st floor . The violinist Wilhelm Stross also lived in the house from January 1936 to mid-1937 .

From January 1937, Elisabeth Braun took in acquaintances in the Hildebrandhaus, all of whom were listed as non-Aryans under Nazi law. In November 1938, the owner had to leave her main residence on Tegernsee and moved to Maria-Theresia-Straße herself. When the house was evacuated in the summer of 1941 and the non-Aryan residents were interned, Elisabeth Braun sheltered 15 people in the house.

1941 to 1945

On August 16, 1941, Rosa Braun, over 70 years old, organized the move from the Hildebrandhaus to the “home complex” for Munich Jews in Berg am Laim . At that time, her daughter Elisabeth Braun was in prison in the Munich penal institution for reasons unknown today . The other non-Aryan residents of the Hildebrandhaus also had to gradually leave it. Some of them also moved to the “home complex”, others were interned in the Milbertshofen Jewish camp. At the end of 1941 no “non-Aryan” people lived in the Hildebrandhaus any more. However, the house still belonged pro forma to Elisabeth Braun until all of her assets were Aryanized in October 1941 and confiscated by the German Reich.

Elisabeth and Rosa Braun were deported and murdered a short time later. Elisabeth Braun was killed on November 25, 1941 in the mass shooting in Kauen concentration camp , now Lithuania . Rosa Braun died in 1945 in the Theresienstadt concentration camp . None of the other “non-Aryan” residents survived the Holocaust either .

While Rosa Braun had to organize the move out of the Hildebrandhaus, the Brauns apartment was moved into on August 14, 1941 by the Munich pianist and music teacher Rosl Schmid , her husband Ernst Schmidt and their daughter. It is unknown whether Rosl Schmid knew about the history of her new apartment when she moved in. However, she will have found out about it at the latest from the other artistically active tenants. In the final years of the war, Schmid moved to the countryside to avoid the bombing raids on Munich. During this time, the apartment and a room on the top floor were used to accommodate "aircraft injured".

Besides Schmid, Theodor Georgii, sculptor and son-in-law of Adolf von Hildebrand, lived with his family, the pianist Wolfgang Ruoff, and the sculptors Ernst Geiger (since 1939) and Ernst Andreas Rauch (since 1938) in the Hildebrandhaus . The latter signed a sublease contract in 1941 with the sculptor and fresco painter Wilhelm Nida-Rümelin , who used the large studio but did not live in the Hildebrandhaus.

1945 to 1948

After the end of the war, on December 28, 1945, the house was confiscated by UNRRA . Like many other “Aryanized” buildings, it was to be returned to its rightful owners, but in the meantime it was to be used by authorities or made available to those persecuted by the Nazi regime. That same evening, the residents and their families began to take action against the confiscation. They complained to high-ranking personalities and organized a confirmation for the cultural value of the house at the Bavarian State Office for Monument Preservation . Despite the help of the Commissioner for Racially Persecuted Persons, Hermann Aumer , and the Bavarian Interior Minister, Josef Seifried , on December 30, 1945 a Jewish aid organization made another attempt to confiscate the house. However, the residents of the house obtained from the American occupiers that they were allowed to put "Off Limits" signs on the entrance doors and were able to ward off those interested. Georgii's son-in-law Franz Treppesch was also able to avert another attempt in February 1946 to confiscate the house by contacting the Bavarian Prime Minister Wilhelm Hoegner . Treppesch also testified that Dietrich von Hildebrand , who was now a US citizen, wanted to claim the house. This statement seems to have been the main reason why the authorities refrained from seizing the goods.

After Wilhelm Nida-Rümelin had committed suicide in 1945, his son Rolf moved into the large studio and lived in the Hildebrandhaus with his wife Margret and children Martine and Julian . The couple invited to discussions on various cultural topics in the Hildebrandhaus. Soon seminars of the Academy of Fine Arts took place in the house and Wolfgang Ruoff taught some of his students there. Further residents were Theodor Georgii, Rosl Schmid and the sculptor Martin Mayer . All of this led to the Hildebrandhaus becoming a meeting place for Munich artists again.

In 1946 the Bavarian State Office for Asset Management and Reparation took over the Hildebrandhaus, trustee was chief finance president Alexander Prugger.

After Rosa and Elisabeth Braun were officially declared dead in 1947 and 1948, respectively, Elisabeth Braun's will was opened at the Munich District Court . The Evangelical Lutheran Church was established as the sole heir.

1948 to 1973

The Protestant church left the previous tenants, including the artists, in the house. The regional church office has never developed its own use. In 1965 she decided to sell the Hildebrandhaus. The reasons given are that the hoped-for sales proceeds should be used to buy apartments for church employees and a building as the new seat of the regional church council . Three interested parties had very different plans for the Hildebrandhaus. Hans Joachim Ziersch wanted to keep the house because of its artistic past and use it as a cultural center or as a social facility for children. At the same time he saved the nearby Villa Stuck with the Stuck Art Nouveau Association . The Ministry of Culture offered to buy the building or to exchange it for a piece of land in which the church had an interest. The third interested party was real estate entrepreneur Edgar Heckelmann from Deutsche Wohnbau (DEBA). As part of the sales negotiations, he stated that he wanted to keep the villa and offered the church to build student accommodation for theology students in it.

After Heckelmann was awarded the contract in 1967 for DM 650,000, he decided to demolish the building. Its architect Ernst Maria Lang had dry rot and Mauersalpeter found in buildings and Heckel man did not consider it appropriate remediation. Lang stated that the Hildebrandhaus was "no longer a living contribution to the preservation of Hildebrand's memory". The building committee of the city of Munich refused to demolish it at the beginning of 1969, whereupon DEBA sold the building to the real estate branch for 1.6 million DM in the summer of 1969 Augsburger Messerschmitt AG resold.

Protests by monument conservationists and art historians rose against the demolition, and members of the Hildebrand family also campaigned for its preservation. Last but not least, the artists who remained in the house mobilized politics and the public. At the beginning of 1970 Messerschmitt AG, now renamed Raulino Treuhand, brought an action for a demolition permit. Amazingly, Edgar Heckelmann now took part in a coalition of monument preservationists as the “Association for the Preservation of the Hildebrand House”, which he ran together with Hans Joachim Ziersch and Hildebrand's grandson Wolfgang Braunfels . They wanted to purchase the building with their own money and funds from cultural funding. Heckelmann admitted his complicity in the situation and wanted to provide extensive funds to buy back the house.

The courts decided in the first and second instance in favor of the owner Raulino Treuhand, a monument protection law did not yet exist. On the initiative of the City Councilor Walter Grasser, the city of Munich invoked the Nazi law on expropriation for reasons of the common good , which was passed in 1933 and not repealed in 1945. The common good was not defined in more detail in the law, so the city pleaded that, in accordance with a public awareness that had changed in the meantime, monument protection would now fall under it. In retrospect, Julian Nida-Rümelin speaks of the large number of citizens, journalists and politicians as well as the remaining residents of the house who have worked together to preserve it. Heckelmann also let his contacts with the CSU play, and in July 1971 the Bavarian state government decided on the expropriation in accordance with the law . In November 1971 , the Bavarian Administrative Court dismissed a lawsuit by Raulino Treuhand directed against this . Raulino planned to appeal the decision to the Federal Administrative Court . In a very short time, the Bavarian State Parliament, only a few 100 m away from the Hildebrandhaus, passed a Bavarian Monument Protection Act that had been discussed for a long time and had not yet been fully discussed , which came into force on October 1, 1973. The Hildebrandhaus was the first building to which the new law was applied. In the meantime, on the one hand, the building had fallen into disrepair due to a lack of maintenance measures, on the other hand, the price of land in Bogenhausen rose enormously. As compensation for the owners, the Bavarian Monument Fund finally paid 2.5 million DM, far more than a purchase would have cost a few years earlier. The Free State then transferred the building to the City of Munich on July 31, 1974 for cultural use.

In retrospect, the Protestant regional church in Bavaria was not satisfied with its role in the proceedings. She decided not to use the proceeds from the sale in real estate in Munich, but to create a "special fund Elisabeth Braun". This funded encounters between Christians and Jews as well as an old people's home in Haifa , Israel .

Monacensia

After a renovation from 1974 to 1977 for almost 2.5 million DM, the Munich Literature Archive Monacensia opened on October 19, 1977 in the Hildebrandhaus. The large studio was the reading room, the catalogs were in the small studio. In the course of the planning for the Gasteig cultural center in Munich , which was opened in 1984/85, the question arose whether the Monacensia should move to the new headquarters of the Munich city library , only a few hundred meters away . The Hildebrandhaus could then have offered studios for visual artists and living space for scholarship holders. It didn't come to that, the Monacensia stayed in the Hildebrandhaus.

Another renovation took place from 2013 to 2016. Since then, the large studio has been available for events, and the two small studios show exhibitions on the history of the house and the time of Adolf von Hildebrand. The rooms on the first floor are library and archive, under the roof there are offices and a work room for scientists. Most of the archive holdings are housed in the basement, while the cellars of the Gasteig serve as book stores.

literature

  • Enno Burmeister, Christine Hoh-Slodczyk: The Hildebrandhaus in Munich: Its builder - its residents . Hugendubel 1981, ISBN 3-88034-066-8
  • Wolfgang Kehr, Ernst Rebel: Between worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9
  • Christiane Kuller, Maximilian Schreiber: The Hildebrandhaus - A Munich artist villa and its inhabitants during the National Socialist era . Allitera Verlag 2006, ISBN 978-3-86520-130-0

Web links

Commons : Hildebrandhaus  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ List of architectural monuments in Bogenhausen: D-1-62-000-6516
  2. ↑ Detailed building description from: Christine Hoh-Slodczyk: Das Hildebrandhaus , In: Enno Burmeister, Christine Hoh-Slodczyk (Hrsg.): The Hildebrandhaus in Munich: His builder - his residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 37-61, 48ff.
  3. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 127
  4. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 128
  5. ↑ Enno Burmeister, Christine Hoh-Slodczyk 1981, p. 19
  6. ↑ Enno Burmeister, Christine Hoh-Slodczyk 1981, p. 22
  7. ↑ Enno Burmeister, Christine Hoh-Slodczyk 1981, pp. 28–32, 137
  8. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , pp. 9f
  9. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 26
  10. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 50
  11. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 122
  12. ^ Dorle Gribl : Prominence in Bogenhausen . Volk Verlag 2009, ISBN 978-3-937200-61-3 , p. 114
  13. ↑ Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9 , p. 17 f.
  14. ↑ Christine Hoh-Slodczyk: The Hildebrandhaus , In: Enno Burmeister, Christine Hoh-Slodczyk (ed.): The Hildebrandhaus in Munich: His builder - his residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 37-61, 40
  15. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , pp. 122-128
  16. ↑ Hildebrand as early as 1893, quoted from Christine Hoh-Slodczyk: The artist's house in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , p. 123
  17. ↑ Christine Hoh-Slodczyk: The Hildebrandhaus , In: Enno Burmeister, Christine Hoh-Slodczyk (ed.): The Hildebrandhaus in Munich: His builder - his residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 37-61, 50
  18. ↑ Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9 , p. 29
  19. ↑ Christine Hoh-Slodczyk: The house of the artist in the 19th century . Prestel 1985, ISBN 3-7913-0734-7 , pp. 126, 169
  20. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 154-156
  21. ↑ Enno Burmeister: The restoration: development of a concept and implementation of the measure. In: Enno Burmeister, Christine Hoh-Slodczyk (Ed.): The Hildebrandhaus in Munich: Its builder - its residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 100-108
  22. ↑ Enno Burmeister, Christine Hoh-Slodczyk: The Hildebrandhaus in Munich: Its builder - its residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 70 f.
  23. ↑ Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9 . P. 34
  24. ↑ Enno Burmeister, Christine Hoh-Slodczyk: The Hildebrandhaus in Munich: Its builder - its residents . Hugendubel 1981, ISBN 3-88034-066-8 , pp. 72, 84
  25. ↑ Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9 . Pp. 69 ff, 71
  26. ↑ Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - person, house and effect . A1 Verlag 1998, ISBN 3-927743-39-9 . P. 47
  27. ^ Dorle Gribl : Prominence in Bogenhausen . Volk Verlag 2009, ISBN 978-3-937200-61-3 , pp. 77-79
  28. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 30, 46, 56, 62ff.
  29. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , p. 116 f.
  30. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , p. 64
  31. ^ A b Research Center for Contemporary Church History: Elisabeth Braun: Accommodation for the persecuted
  32. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , p. 123
  33. ↑ Christine Kuller, Maximilian Schreiber: Das Hildebrandhaus . Ed .: Monacensia Literature Archive and Library, Dr. Elisabeth Tworek. Allitera Verlag, Munich 2006, ISBN 978-3-86520-130-0 , p. 119-123 .
  34. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 127-132
  35. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , p. 129
  36. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 133-139
  37. ↑ a b c Christiane Kuller, Maximilian Schreiber: The Hildebrandhaus - A Munich artist villa and its residents in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 140-153
  38. ^ Elisabeth Müller: The memorial in front of the court. Dispute over the Munich Hildebrand House . In: The time . No. 11/1970 , March 13, 1970 ( online on Zeit Online ).
  39. ^ Walter Grasser, Hans J. Ziersch: The legal aspects of the preservation of the Hildebrand house . In: Enno Burmeister, Christine Hoh-Slodczyk: The Hildebrandhaus in Munich: Its builder - its residents . Hugendubel 1981, ISBN 3-88034-066-8 . Pp. 95-99
  40. ↑ a b Julian Nida-Rümelin: Afterword . In: Wolfgang Kehr, Ernst Rebel: Between Worlds: Adolf von Hildebrand (1847 to 1921) - Person, House and Effect . A1 Verlag 1998, ISBN 3-927743-39-9 . Pp. 139-143
  41. ↑ Christiane Kuller, Maximilian Schreiber: Das Hildebrandhaus - A Munich artist villa and its inhabitants in the time of National Socialism . Allitera Verlag 2006, ISBN 978-3-86520-130-0 , pp. 154-159