Horst yearling

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Horst Yearling (2009)

Horst Jahresling (born February 25, 1922 in Erfurt ; † February 4, 2013 ) was a German artist , painter , graphic artist , architecture restorer , art educator , university teacher and bell designer as well as bell scratcher .

Live and act

Childhood, youth, studies

Horst Jahresling's father came from Rheinhessen , his mother from the Principality of Schwarzburg-Rudolstadt . The family moved from Erfurt to Apolda in 1923 because the father was employed there as a Reichsbank official. Yearling attended elementary school from 1928 to 1932 and from 1932 to 1940 high school in Apolda. After high school and military service (1941-1945) yearling studied 1947-1951 at the State University for Architecture and Fine Arts Weimar with Felix Jacob , Albert Schaefer-Ast and Otto Herbig . His studies remained without a degree because the visual arts department was detached from the university in Weimar and relocated to Dresden, while Jahrling stayed in Weimar. In 1952 he became a member of the Association of Visual Artists .

Lecturer and freelancer

Horst Jahresling at a lecture (in 2009)
Anniversary bell designed by Horst Jahresling from 1976 with the inscription Bells from Apolda in the town hall of Apolda: The occasion for the casting was the 150th anniversary of the bell foundry Ulrich and Schilling (since 1826). Cast by Apolda's last master bell founder, Peter Schilling

From 1953 to 1962 he was a lecturer in architectural color and building history at the workers and farmers faculty at the University of Architecture and Building in Weimar, after which he became a freelance painter.

For the Evangelical Adult Education Thuringia in Jena, Horst Jahresling gave lectures and conducted study trips from 1996 to around 2008.

Painter and artist

The main subject of his artistic work as a freelance painter from 1962 on was yearling's Thuringian homeland, its landscape and architecture. In the 1990s he concentrated more on painting again, he "indulged in colors", as he said, and designed numerous exhibitions. Yearling's pictures are mostly unsigned and without the year.

Exhibitions

  • 1963: Sondershausen Castle
  • 1964: Art exhibition in Kühl Dresden and Engewald bookshop, Leipzig
  • 1965: Mühlhausen City Museum
  • 1968: Katharina Becker bookstore, Weimar
  • 1977: Angermuseum Erfurt
  • 1978: Cabinet at Goetheplatz Weimar (with Horst Hausotte )
  • 1979: Thuringian Museum Eisenach (with wife Anneliese Jahresling)
  • 1982: Lucas-Cranach-Gesellschaft Weimar
  • 1992: Weimar City Museum in the art gallery on Goetheplatz
  • 1993: Weimar court studio
  • 1994: Profil gallery, Weimar and Apolda bell museum
  • 1996: Galerie & Kunsthaus Hebecker, Weimar (with Otto Paetz )
  • 1997: Galerie Profil, Weimar and Art Cabinet on Goetheplatz, Weimar
  • 2002: Kunsthaus Apolda (on the occasion of the 80th birthday)
  • 2012: " Harry Graf Kessler " art gallery , Weimar (on the occasion of the 90th birthday)
  • 2016: Kulturfabrik Apolda, May 7th to June 30th

as well as exhibitions in Berlin , Fulda and Kromsdorf Castle (period currently unknown)

Monument conservator and church restorer

From 1965 on Yearling also worked as a freelancer at the Institute for Monument Preservation in Erfurt. He was involved in the restoration of Wilhelmsburg Palace in Schmalkalden and in the restoration of historical city centers (drawing up color arrangements for facades) in Weimar (1975), for the Anger in Erfurt (1976–1978, there more than 60 buildings were colored), in Arnstadt (1977–1978) and Nordhausen . He also created the color concept for Greifswalder Strasse and what was then Klement-Gottwald-Strasse in Berlin . Yearling “used courage and persuasiveness to bring color into everyday gray in the past decades of the GDR era” ( Christine Lieberknecht , 1997).

“The compact mass of the Wilhelminian-style buildings in the immediate vicinity of the Angermuseum were colored down to the smallest detail in order to take away their dominance. I thought it would be a good idea to color the background of a building and leave the structure in sandstone as a colored contrast. For other buildings I did the opposite; the surface in its material, the structure in color. In this way the baroque building regained its primacy. I set the colors on the Wilhelminian style buildings in light value contrast and in cold-warm tension, the sounds grotesquely increased in order to make the bizarre design language of the late 19th century even more visible. (...) The buildings of the twenties of our century are set in graphic tension, that is, light walls contrast with the dark window sills. The window timbers should give an accent in blue or red. (...) I always assumed that I would create a promenade and not an architecture museum . (...) The color design possibilities were used to the full - through complementary tensions, light value contrasts, active-passive relationships, nuances, proportional contrasts and cold-warm tensions. When the scaffolding fell, to my great joy the people of Erfurt fully embraced the new face of their Angers. "

- Horst Jahresling (1978) on his concept for the redesign of the Angers in Erfurt

Since the mid-1960s, Horst Jahresling has been responsible for the coloring of historical buildings and the interior design of churches. He brought fresh colors to around 150 churches, such as the Martinskirche (Apolda) , St. Severi (Blankenhain) (1981), the church in Kapellendorf , the Trinitatiskirche (Legefeld) , the village church Oettern and in 1988 also the church Oldisleben and after 1994 in the church in Schöndorf near Weimar.

Restored buildings and streets

Bell designer and scribe

Horst Jahresling's versatility was also evident in his creative work for the bell foundry in Apolda . In 1949, the bell founder Franz Schilling in Apolda commissioned him with a cycle of drawings for the manufacture of bells. From then on, Schilling repeatedly engaged the artist as the designer and scribe of his bells.

Yearling has employed two techniques for decorating the bells the one hand, by means of applying of inscriptions, ornaments and figurative representations of wax on the "wrong bell" (with this technique - the lost wax - were decorated most bells) and the other with the bell Ritz drawing , so the carving of inscriptions and figurative representations into the bell mantle (this was the more interesting and demanding technique preferred by Franz Schilling).

“A bell wins through the peculiarity of an artistic font (...). If the artist cut the legend out of thin wax tablets after prior recording, the result was a moving typeface, as with the scratching technique , because he could design any word as he wanted. Freehand letters cut from wax appear even more spontaneous, a type of lettering on bells that Horst Jahresling from Weimar in particular used - for over thirty years responsible for writing and relief decoration in the Apolda foundry. His style of expression avoided a wealth of details and was subordinate to a generous, flowing form in calm lines; he let the surface dominate as an appearance both in the writing and in the decoration and thus triggered a harmony of independent character. "

- Margarete Schilling

The bell carving requires extraordinary concentration and discipline; the artist must draw freely on the given surface and have a sure hand. The slight break-out of the written clay gives these works - fixed in ore - a very lively charm and lets the drawings emerge fresh.

An example of yearling artistic work on bells found in Erfurt in the Church of St. Severi : The New Martha 1961 wearing one of his bells engravings that Christopher is.

His bell jewelry was created in four decades of business and artistic partnership between Franz Schilling and Horst Jahresling. The relationship was characterized by a similar mindset, and in addition to professional tasks, there were also private contacts. Yearling's artistic work declined after the forced nationalization in 1972 and after Peter and Margarete Schilling left their de facto expropriated family business (due to the rapidly declining quality of the bells, for which the Schilling couple were neither directly nor indirectly responsible and why their contractual cooperation quit there), since the design of the bells was also neglected. Yearling was still working as a freelance artist for the VEB Glockengießerei Apolda from time to time - until it closed in 1987.

The connection between bell and church and the resulting worldwide contacts to musicians, painters, sculptors, writers and clients of bells brought the Apolda bell-founders and the yearlings constant MfS monitoring, which is documented in extensive files.

In 1999 Horst Jahresling was able to design bell jewelry again, for the Gelmeroda motorway church : He was responsible for the design of this last bell of the Schilling bell-founding dynasty from Apolda, which was cast on the market in Weimar by the Rudolf Perner bell foundry from Passau.

Private

During his studies, Horst Jahresling met his future wife, the painter Anneliese Kopf. The couple married in 1949 and had a daughter, Anna − Barbara Wuttke yearling, in Weimar in 1951. The couple lived in Weimar until the end of their lives . Anneliese Jahresling (1918–2006) worked as an independent artist.

Last resting place of Horst Jahresling in Weimar
Grave slab for Horst yearling

The common grave of Horst and Anneliese Jahresling is in the historical cemetery in Weimar .

Awards

  • Architecture Prize of the German Democratic Republic 1980, awarded as a collective prize
  • Weimar Prize 1997, awarded on October 3, 1997: “The city of Weimar honors the painter and graphic artist Horst Jahresling. Through his work as an artist as well as his commitment as a restorer and teacher, he has gained recognition far beyond the borders of Thuringia and thus rendered outstanding services to Weimar. The city of Horst Jahresling awards the 1997 WEIMAR PRIZE for his outstanding achievements. "
  • Art prize of the jenacon foundation gGmbH in Jena, at the same time personal exhibition in the Jenaer Kunstverein, April 17th - May 13th 2009

"Libera nos domine" - "Free us, Lord!"

Around 1950, the then student Horst Jahresling met the master bell founder Franz Schilling in Apolda , who had bought a poplar drawing from a local bookbinder. This first contact turned into a friendship and cooperation and friendship that lasted almost four decades. During this period, the artist yearling was responsible for the decoration and inscription of numerous new bell rings by Schilling.

The exterior of several bells from this time, which the SED , the GDR government and other state institutions in Apolda had commissioned from Schilling, were designed with appropriate symbols, ornaments and slogans "politically charged" at their behest. Without the client's knowledge, some of these bells wore and still carry a small, fine symbol of civil-religious protest against the GDR: At the bottom, in small letters in Latin, are the words “Libera nos domine” (in German: “Liberate us , Lord! ”) - a quick prayer that yearling had secretly inserted into the mold before casting.

See also

literature

  • Thomas Bahr: Horst Jahresling in memory . In: Apoldaer Geschichtsverein e. V. (Hrsg.): Apoldaer Heimat - Contributions to the nature and local history of the city of Apolda and its surroundings . Issue 31. Apolda 2013, p. 50-54 .
  • Manfred Hofmann: The Apoldaer bell foundry - old and new secrets. Weimar 2014, ISBN 978-3-86160-415-0 .

Publications by and about Horst Jahresling

  • Jenaer Kunstverein (ed.): Horst Jahresling - painting and drawing . Catalog for the exhibition at the Jenaer Kunstverein, April 17 - May 13, 2009, Jena 2009, without ISBN. Exhibition on the occasion of the award of the jenacon foundation art prize to Horst Jahresling
  • Margarete Schilling: Horst Jahresling - graphic representations for the Apoldaer bell foundry and the bell foundry family Schilling. Apolda 2008, without ISBN. In the holdings of the DNB
  • Thomas Bahr: Color in urban space and in churches. Horst Jahresling for his 85th birthday. In: Apoldaer Heimat. Contributions to the natural and local history of the city of Apolda and its surroundings. 25th year, Apolda, 2007, p. 24
  • Margarete Schilling : Horst Jahresling and the bell foundry in Apolda. In: Weimarer Heimat, Blätter für Natur, Geschichte, Kultur des Kreis Weimarer Land, Issue 12, 1998.
  • Catalog Horst Jahresling - Painting 1962–1997 for the exhibition in the art cabinet at Goetheplatz, December 4, 1997 to March 1, 1998. Weimar 1997, without ISBN, edition: 1000 copies. First personal catalog of the artist. With a greeting from Christine Lieberknecht , a detailed article about the artist by Karl-Heinz Hüter (p. 4–8), an interview from June 24, 1997 with Horst Jahresling (p. 12–19), a list of yearling's restoration work ( P. 20), information on the ten mostly overcrowded evenings of the event series Ars Omnis from October 1984 to March 1988 on the coexistence of music, painting and literature with Michael Berg, Horst Jahresling and Eberhard Haufe in the hall "Am Palais" of the Hochschule für Musik " Franz Liszt ” , numerous illustrations in black and white (p. 9–11) and color (p. 23–49) and artist biography with exhibition overview (p. 50). Published by the Stadtmuseum Weimar and the Profil gallery.
  • Festive brochure Weimar Prize 1997 - Speeches on the award of the Weimar Prize on October 3, 1997 (including speech by the Lord Mayor and laudation by Michael Berg (musicologist) for Horst Jahresling, who was 40 years old friend at the time). Published by the Stadtkulturdirektion der Stadt Weimar, Weimar 1997, without ISBN
  • Lore Plietzsch, Horst Jahresling: Gallery in the Cranachhaus, Weimar, exhibition July 27 - September 3, 1982.
  • Horst Jahresling: A promenade, not an architecture museum. For the color redesign of the Erfurt Angers. S. 581 in: Fine Arts No. 12/1978, published by the Association of Fine Artists of the GDR.
  • Horst Hausotte and Horst Jahresling: painting / graphics . Catalog for the exhibition in Weimar from May 4 to June 15, 1978 in the Kabinett at Goetheplatz (today: Kunsthalle " Harry Graf Kessler " ), organized by the Kabinett für Kulturarbeit Weimar-Stadt.
  • Horst Jahresling in the original sound in conversation with Manfred Kiedorf in: "Oh you nymphs, who live in the trees" - two painting bohemians in Weimar in the fifties. Memories by Manfred Kiedorf , directed by Matthias Thalheim, Mitteldeutscher Rundfunk 1993.

Web links

Commons : Horst Jahresling  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Mourning for Horst Jahrling. In: meinAnzeiger. FUNKE Thüringen Wochenblatt GmbH, Erfurt, February 6, 2013, accessed on August 30, 2020 .
  2. ↑ GND 120570912
  3. ↑ p. 13-14 in the 1997 yearling catalog
  4. ↑ P. 5 and 50 in the 1997 yearling catalog
  5. ↑ This pre-study department was closed in 1962; it made it possible for gifted young people who had not been able to attend high school to catch up on their Abitur. Source: p. 5 in the 1997 yearling catalog
  6. ↑ a b c d Michael von Hintzenstern: Master of color. The painter Horst Jahresling celebrates his 90th birthday. In: Belief and Home , February 26, 2012.
  7. ↑ p. 16 in: Jenaer Kunstverein (ed.): Horst Jahresling - painting and drawing. Catalog for the exhibition at the Jenaer Kunstverein, April 17 - May 13, 2009, Jena 2009, without ISBN.
  8. ↑ a b p. 50 in the 1997 yearling catalog
  9. ↑ Archive link ( Memento of the original from October 15, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kulturfabrik-apolda.com
  10. ^ Catalog Horst Jahresling - painting and drawing for the exhibition at the Jenaer Kunstverein, April 17th - May 13th 2009, p. 16.
  11. ↑ On the occasion of the millennium in Weimar 1975, Jahresling designed the old town area, the classicistic ring development, the palace area and the axis to the Weimar train station - there the different urban areas could be contrasted with each other.
  12. ^ Horst Jahresling: A promenade, not an architecture museum. For the color redesign of the Erfurt Angers . S. 581 in: Fine Arts No. 12/1978, published by the Association of Fine Artists of the GDR
  13. ↑ According to the biographical information (p. 18) in: Horst Hausotte and Horst Jahresling: Painting / Graphics . Catalog for the exhibition in Weimar from May 4 to June 15, 1978 in the Kabinett on Goetheplatz (today: Kunsthalle "Harry Graf Kessler" ), organized by the Kabinett für Kulturarbeit Weimar-Stadt.
  14. ↑ p. 2 in the 1997 yearling catalog
  15. ^ Horst Jahresling: A promenade, not an architecture museum. For the color redesign of the Erfurt Angers. P. 581–584 in: Fine Arts No. 12/1978, published by the Association of Fine Artists of the GDR
  16. ^ Source: Information from retired pastor Martin Steiger, Weimar, on January 31, 2020
  17. ↑ p. 20 in the 1997 yearling catalog
  18. ↑ After the Second World War , Franz Schilling tried to find new ways in the external design of his bells, to dispense with traditional models for writing and ornament and resorted to scratching techniques practiced in the early Middle Ages - a decorative technique that is almost exclusively used today found in bell casting. Although the bell carvings belong to the graphic arts, which are close to metal engraving and copperplate engraving, they differ from it because they cannot be reproduced. In bronze solidifies by means of artistic intervention in the technical process, the drawing is fixed and the bell forms with its ruling. The drawings can cover almost the entire height or surface without affecting the shape of the bell's body. The artist has a lot of leeway, but as with woodcut or copperplate engraving, he restricts himself to the typical and dispenses with unnecessary decorative elements; his lines demonstrate the symbol or an idea.
  19. ↑ More on this in the book "Die Apoldaer Glockengießerei" by Manfred Hofmann, published in 2014
  20. ↑ Margarete Schilling: Bells from Apolda . Apolda 1986, p. 32
  21. ↑ P. 51 in: Franz Peter Schilling: Erfurter Glocken - The bells of the cathedral, the Severikirche and the Peterskloster zu Erfurt. Berlin 1968.
  22. ↑ Margarete Schilling : Ridge walks. The Stasi files "Jasmin". Details from the 600 pages Margarete and Peter Schilling files from 1980. Apolda 1999.
  23. ↑ Painting and textile pictures. In: Anna-Barbara Wuttke yearling. Accessed August 30, 2020 .
  24. ↑ Anneliese Jahresling (* 1918 in Kaiserslautern as Anneliese Kopf ; † March 26, 2006 in Weimar) began studying at a drawing school in Munich after elementary school and high school in Kaiserslautern in 1941. From 1942 to 1945 she studied painting at the Weimar Academy of Art with Professors Hugo Gugg and Walter Klemm, and in 1948 also at the Karlsruhe Academy with Professor Hubbuch. In 1949 the artist married Horst Jahresling and lived with him in Weimar.
    After watercolor painting and printmaking, Anneliese Jahresling devoted herself to textile design at an early stage, mainly appliqué. She covered the entire surface with sewn-on pieces of fabric of various tones, shapes and structures. Compared to weaving technology, for example, this opened up greater creative possibilities for her. The great color often gave their hangings an almost painterly effect. With this sewing technique she produced "fabric paintings" of extraordinary quality. Anneliese Jahresling's works present themselves in blooming imagination and a unique wealth of ingenuity in terms of colors, shapes and materials. Their imaginatively designed antependums still contribute to the decoration of many churches in Thuringia.
    Between 1972 and 1977 Anneliese Jahresling wrote meditative reflections for the Thuringian church newspaper “ Glaube und Heimat ”, which she also illustrated.
    The yearlings were at home in Weimar, An der Falkenburg 3, until the end of their lives.
  25. ↑ Margarete Schilling: Bells - graphics and watercolors by Anneliese Jahresling. Apolda 2006, ISBN 3-86611-164-9
  26. ^ Michael von Hintzenstern: Anneliese Jahresling died in Weimar . In: Church newspaper “Glaube und Heimat”, Weimar, April 9, 2006
  27. ^ Information from Anna Barbara Wuttke-Jahresling
  28. ↑ According to the biographical information (p. 15) in: Festival brochure Weimar Prize 1997 - speeches on the award of the Weimar Prize on October 3, 1997 to Horst Jahresling. Published by the City of Weimar Department of Culture, Weimar 1997,
  29. ↑ Quoted from p. 3 of the festival brochure Weimar Prize 1997 - speeches on the awarding of the Weimar Prize on October 3, 1997 to Horst Jahresling. Published by the Stadtkulturdirektion der Stadt Weimar, Weimar 1997, without ISBN
  30. ↑ a b DNB 953709604
  31. ^ Note on cover page 4 from: Jenaer Kunstverein (ed.): Horst Jahresling - Painting and Drawing . Catalog for the exhibition at the Jenaer Kunstverein, April 17 - May 13, 2009, Jena 2009, without ISBN
  32. ↑ Manfred Hofmann: The Apoldaer bell foundry - old and new secrets . Weimar 2014, p. 158
  33. ↑ Archived copy ( memento of the original from January 10, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.wartburgverlag.net
  34. ↑ DNB 1036702596
  35. ↑ Table of contents , accessed on January 30, 2020
  36. ^ Martinskirche (Apolda) #Literature
  37. ↑ DNB 015535711
  38. ↑ a b DNB 881304425
personal data
SURNAME Yearling, Horst
BRIEF DESCRIPTION German painter, graphic artist, architecture restorer, art educator and bell designer / scribbler
DATE OF BIRTH February 25, 1922
PLACE OF BIRTH Erfurt
DATE OF DEATH 4th February 2013