Horst Zickelbein

Horst Zickelbein (born December 20, 1926 in Frankfurt (Oder) ) is a German painter and graphic artist.

Career

The son of a civil engineering worker and a homeworker was born as the first of four children. After attending primary school, he completed an apprenticeship as a decorator from 1941 to 1943. The apprenticeship was broken off as a result of being drafted into the labor service. Zickelbein did military service from 1943 to 1945. He was a student pilot and trained as a paratrooper. In 1945 he was taken prisoner of war and returned to Frankfurt (Oder) in 1947.

He received his first painting lessons from Gerhard Steffen. In 1948 he moved to Berlin and attended the technical college for graphics and book trade . 1950–1955 he took a degree in wall painting at the University of Fine and Applied Arts Berlin-Weißensee with Horst Strempel and Bert Heller . In 1950 he married the graphic designer Eva Walther, in 1951 the birth of his son Thomas followed. From 1955 he was a member of the Association of Visual Artists until its dissolution in 1990. 1955–1958 he was a master student at the German Academy of Arts under Heinrich Ehmsen , at the same time with Manfred Böttcher , Ernst Schroeder , Harald Metzkes , who was a master student with Otto Nagel, and Werner Stötzer , who was a master student of Gustav Seitz and Fritz Cremer. Through Heinrich Ehmsen, Horst Zickelbein got to know his wife Lis Bertram-Ehmsen, with whom he had a lifelong friendship. In the 1950s he began to deal artistically with the work of Pablo Picasso and Bernard Buffets . First stays in Darß followed, where pictures such as dead fishermen and barrel riding in Ahrenshoop were made. From 1958 Horst Zickelbein worked as a freelancer in Berlin.

In 1960 he received a grant from the Kulturbund Berlin-Weißensee together with Ronald Paris to work at the LPG Wartenberg and a joint exhibition in the greenhouse of the LPG. The first graphics were created there. Until 1990 he worked in lithography and color offset printing . In 1960 and 1962 he traveled to Romania. Here he met the Romanian painter and sculptor Ion Nicodim. In 1961 he was at the master class exhibition Young Artists. Involved in painting in the Academy of Arts. Harald Metzkes, Manfred Böttcher, Ernst Schröder and Horst Zickelbein were attacked by the art critic in the press and suspected of formalism . In 1962 Zickelbein created a ceramic wall frieze for the Funkversuchswerk in Berlin Adlershof (no longer preserved). In 1962 the art gallery for teacher training in Berlin-Weißensee opened with an exhibition by Horst Zickelbein. In 1963 he moved into a studio on Berlin's Kollwitzplatz. In 1964 he separated from Eva Walther and started a partnership with the graphic artist and children's book illustrator Stephanie Bluhm. Repeatedly he stayed on the Darß, u. a. together with Siegfried Korth , Karlheinz Wenzel and Hanfried Schulz . On the Darss, Zickelbein met Hans Kinder, with whom he remained on friendly terms until his death. After a short phase of painting based on the model of Cézanne , an examination of the work of Soutines and Pollock followed . Zickelbein turned to a dynamic formal language and works such as rear nude 1964, Farnstädt 1965, standing nude 1965 and view of Kollwitzplatz were created .  

In 1965 Zickelbein stayed in Yugoslavia. In 1965/66 he realized the mural Kosmos together with Hans Vent for the company restaurant DIA Chemie (today dismantled). In 1967 his son Stefan was born. 1969–1974, at Fritz Cremer's express intercession, he received an order for a mural for the town hall in Karl-Marx-Stadt, (today Chemnitz ) on the subject: “Copernicus and the liberation of science” (later renamed by the client to “The liberation of science through the socialist revolution ”). At the same time, he created numerous expressive, sometimes psychogram-like, strongly colored fiber pen drawings. They are an idiosyncratic response to Pop Art and are seen as a provocative farewell to the so-called Berlin School.  

In 1970 Horst Zickelbein married Stephanie Bluhm, gave up the studio on Kollwitzplatz and moved to Berlin-Kaulsdorf.

In 1978 and 1979 he traveled to Cyprus . In 1979 he had an exhibition in Nicosia (with Barbara Müller-Kageler ). The Cyprus experience inspired him to find new forms and to return to the painterly sensualism of the 1960s. Through the discovery of ancient building remains, the broken edges of different rock formations and found objects formed by erosion, the fragment became the focus of artistic interest. The emulsion paints used instead of oil painting (which had been abandoned in the 1970s) determined the matt, often finely graduated color scheme with white, which was exhausted up to monochrome painting until the early 1990s. Horst Zickelbein defended his “inner landscapes” against a narrow concept of realism at an early stage. Although the visual vocabulary was always drawn from visual experiences, the motif took a back seat to the autonomy of the image. It was precisely this position that strengthened a younger generation of artists in the GDR who, yielding to a strong urge to self-renounce, were looking for new artistic orientations beyond a nature-eye program or political-thematic ideas of realism. 1986 followed a stay in Paris and participation in the Festival Internationale de la Peinture in Cagnes sur mer as well as the examination of the École de Paris by Serge Poliakoff and Nicolas de Staël . In addition to landscape and figure, there are always references to literature in Horst Zickelbein's work. The word images of beloved writers like Thomas Bernhard , Paul Celan , Octavio Paz , Cioran , Fernando Pessoa or Robert Lax have enriched his imaginary worlds and inspired images of intensity and magic. (e.g. Raumgedichte 1985, series on Octavio Paz, Unter dem Eisen des Mondes 1989, on Thomas Bernhard). In addition to panel painting, numerous wall paintings and glass paintings were created up to 1974.

In 1996 Zickelbein moved to Bornholm. New groups of works were created, owing to the experience of the landscape. He made several trips to Venice. Thanks to new painting materials, he turned back to oil painting.

Zickelbein's works are in public museums, u. a. in the Staatliche Museen zu Berlin , the Stiftung Stadtmuseum Berlin , the art collection of the Akademie der Künste Berlin, in the Kunstsammlungen Chemnitz , the Staatliche Kunstsammlungen Dresden , in the Museum Junge Kunst Frankfurt Oder, in the Staatliches Museum Schwerin , in the art collections of the Klassik Stiftung Weimar and privately owned.

Prices

• 1977 Käthe Kollwitz Prize of the Academy of the Arts (returned in 1990)
• 1986 Special Jury Prize, Festival Internationale de la Peinture in Cagnes sur mer

Exhibitions and publications

• 1960 Gallery concrete, Berlin (participation)
• 1961 Ahrenshoop, Kulturbund
• 1961 Ladengalerie Berlin (West), together with Hanfried Schulz
• 1962 Art Cabinet in the Institute for Teacher Training Berlin-Weißensee, leaflet, text: Lothar Lang
• 1965 Galerie im Turm, Berlin, leaflet
• 1966 Art Cabinet in the Institute for Teacher Training, Berlin-Pankow, leaflet, text: Lothar Lang
• 1969 HZ gouaches, lithographs, drawings. Galerie Wort und Werk, Leipzig
• 1974 Galerie Arkade Berlin, catalog booklet, texts: Klaus Werner and Gottfried Riemann
• 1976 Galerie Eforie, Bucharest, leaflet, text: Klaus Werner
• 1978 Gallery in Friedländer Tot, Neubrandenburg, leaflet
• 1979 Morpho Gallery, Nicosia, Cyprus
• 1980 Galerie Nord, Dresden, leaflet
• 1980 Gallery of the Kulturbund Magdeburg
• 1981 Galerie im Turm, Berlin, folded booklet, text: Horst Zickelbein, text quotations from Klaus Werner, Lothar Lang and Glyn Hughes
• 1983 Gallery in the Cranachhaus, Weimar (together with Friedrich Stachat), 1983, catalog booklet, text: Rainer Krauß
• 1983 Berlin studio. Painting graphic, (participation). Catalog, text contribution: Anita Kühnel
• 1984 Galerie am Prater, Berlin, leaflet
• 1986 Cagnes-Sur-Mer. Festival Internationale de la Peinture (participation), winner
• 1986 painting graphic. Galerie M, Berlin 1986, catalog booklet with text passages by HZ, Klaus Werner, Lothar Lang, Anita Kühnel
• 1987 retrospective - drawings 1972-1978, Galerie Mitte, Berlin, catalog booklet
• 1988 6th Triennial for Painting in Sofia (participation), laureate
• 1989 painting. Galerie am Schönhof, Görlitz, catalog, text: Angela Lammert
• 1989 Rotunde Gallery, Berlin, catalog, text: Angela Lammert
• 1989 Joachim Pohl. Impetus. Pictures of a new generation. Berlin painting at the turn of the 1960s. Berlin, catalog (participation)
• 1991 Gallery of the German Association of Artists Berlin (together with Friedrich B. Henkel)
• 1991 HZ painting, graphics, drawings, collages. Ephraimpalais Berlin, catalog, introductory text: Anita Kühnel
• 1994 Alter Markt Gallery, Berlin-Köpenick, catalog
• 1996 HZ The graphic work. Municipal gallery in the old town hall of Fürstenwalde
• 1996 Stone Age HZ / Seltmann. Painting and objects. Gallery Sophienstrasse Berlin  
• 1997 Studio Fine Arts, Berlin, leaflet, text: Anita Kühnel
• 2001 Marienkirche Frankfurt / Oder, catalog, text: Astrid Volpert
• 2001 Galerie am Wasserturm, Berlin
• 2002 Galerie Mitte, Berlin
• 2003 Kunstverein Schloss Willigrad near Schwerin (together with Friedrich B. Henkel)
• 2005 HZ painting, Galerie am Falkenbrunnen, Dresden
• 2006 Galerie Parterre, Berlin, leaflet, text: Anita Kühnel
• 2007 HZ painting, graphics / Thomas Zickelbein sculpture. Gallery in the packing shed, Glashütte (Baruth)
• 2007 Divertimenti. Painting. Galerie Junge Kunst Frankfurt Oder, leaflet, text: Anita Kühnel
• 2014 HZ painting, art gallery Altes Rathaus Fürstenwalde
• 2015 Galerie Pohl, Berlin
• 2017 HZ. Sensual messages. Galerie Pankow, Berlin, catalog, text: Anita Kühnel
• 2018 obsessions. Beeskow Castle

literature

• Zickelbein, Horst . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 6 , supplements H-Z . EA Seemann, Leipzig 1962, p. 490 .
• HZ., On Problems of Art in Architecture. My experiences with the ceramic series in the Funkversuchswerk Adlershof , in: Bildende Kunst 1962, no. 8, p. 422 ff.
• HZ., What can be painted? in: Bildende Kunst 1963, H. 8, p. 417.
• Peter H. Feist. Laudation for the Käthe Kollwitz Prize. In: Communications from the Academy of Arts of the German Democratic Republic XV. Vol., September / October 1977, p. 19
• HZ Notes, ed. by Winfried Melzer, Dresden 2006.
• Monum. Horst Zickelbein. The Bretagne sketchbook from 2004. Introductory text: Anita Kühnel, ed. by Winfried Melzer and Horst Zickelbein, Bølshavn, Dresden 2011.
• Horst Zickelbein. Bornholm Journal 1996-2014. Text: Anita Kühnel, Bølshavn 2014.
• Horst Zickelbein, monochrome works from 1957 to 1968, text: Anna-Carola Krausse, Bølshavn 2016.
• Horst Zickelbein. Color drawings from the 1970s / gouaches - the 1980 / 90s. With articles by Klaus Werner, Armin Hauer and Anita Kühnel, Bølshavn 2016.

Web links

• Zickelbein on Bildatlas-DDR-Kunst.de
• CV on Neues-Deutschland.de
• some pictures on Bildindex.de

Individual evidence

1. ↑ LATE APPRAISAL - MARTIN STEFKE. Retrieved January 7, 2020 . 
2. ^ Oder-Neisse-Journal - Closing event of the exhibition: Horst Zickelbein. Obsessions. Painting, graphics, construction art. Retrieved January 7, 2020 .