Hugo Haberfeld

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Hugo Haberfeld (born November 24, 1875 in Oświęcim , † February 6, 1946 Paddington , London) was an Austrian gallery owner and art connoisseur. He made a name for himself as the operator of the Miethke Gallery in Vienna in the early 20th century. Under the political pressures of National Socialism , Haberfeld emigrated with his family to Paris in the 1930s , where his trace is lost.

Biographical

Haberfeld grew up as the son of the factory owner Julius Haberfeld and his wife Rosa in the midst of the local Israelite religious community, of which he later became a member.

After graduating from the state high school in Bielitz, Haberfeld studied law and philosophy in Berlin and Vienna before he received his doctorate in 1900 in Breslau on Piero di Cosimo . He had studied art history, archeology, history and philosophy there beforehand. His professors included Ernst Robert Curtius , Max Dessoir , Richard Förster , Richard Muther , Max Semrau and Georg Simmel .

Haberfeld married Paula Köberl on March 30, 1902 in Lipnik-Biala . In 1904 his daughter Marianne was born on April 16. Haberfeld secured his livelihood through contributions as a freelance writer z. B. for the Viennese newspaper "Die Zeit" and the Berlin magazine "Kunst und Künstler" , edited by Paul Cassirer . Just seven years after receiving his doctorate, Hugo Haberfeld became the business manager of the Miethke Gallery in Vienna in 1907 . Hugo Haberfeld kept in touch with Wilhelm von Bode , the director of the Royal Museums in Berlin . Haberfeld also made a name for himself in other German-speaking art circles, so that in 1912 he became a 'sworn treasurer and expert for old and modern paintings' at the Vienna Commercial Court. He was in close contact with Adolf Loos and probably also with the Wiener Werkstätten .

In April 1912 he received the Viennese homeland law.

As the director of the Miethke gallery and a freelance writer, Haberfeld stayed in his apartment at Reisnerstrasse 15 until February 4, 1938, as noted by the Vienna Registration Archives. His trail is lost to Paris on February 22nd of the same year.

Miethke Gallery

Haberfeld joined Galerie Miethke in 1907 as a replacement from Emil Maria Steininger . The newly won peace within the company did not last long - Hugo Haberfeld and Carl Moll had established themselves equally - and a lively competition developed between the two protagonists. Moll lost this and on July 31, 1912, terminated his employment relationship with the gallery. Haberfeld pleaded for equal rights within the management team of the gallery, which Moll rejected; the company owner Emma Bacher-Paulick opted for Haberfeld, Moll went.

Under the mantle of the Miethke Gallery, Haberfeld also took over the exhibition operations of the municipal art gallery in Karlsbad / Bohemia in 1913 and thus managed to expand the gallery operations geographically. He impressed with innovative exhibitions - e.g. B. on the development of modern French painting - and numerous shows that could be programmatically linked to the Viennese galleries.

With exhibitions from the fund of private collections, Haberfeld succeeded in opening up a new field for Galerie Miethke, which had not yet been taken into account at the time. In 1912 he exhibited works of art from the collections of the art critics Ludwig Hevesi and Richard Muther . An exhibition from the Dr. Oskar Reichel followed and it became clear that Haberfeld was particularly interested in the European avant-garde . This was particularly evident in the overview show 'Die Neue Kunst' in 1913. Exhibitions on Picasso and André Derain followed in 1914 . In general, Haberfeld shaped the image of the gallery through the presentation of both age - e. B. Goya - like New Master. As a gallery operator, he also did not close himself off to photography. Knowledge and interest form the basis for an exhibition program that is ambitious from today's perspective.

Hugo Haberfeld bought Galerie Miethke in the spring of 1917, immediately after the First World War . He shifted the focus away from the innovative exhibition business to the old master trade and occasionally acted as an auctioneer for the Glückselig auction house . Since Haberfeld was unable to tie in with the pre-war program - the competitive situation had changed, the connection to Klimt broke and the demand for European modernism declined or was served by others - he failed with Galerie Miethke. The reason for Haberfeld's failure has not yet been determined. The Miethke gallery was deleted from the commercial register on October 1, 1940. There are no further indications.

Hugo Haberfeld and Adolf Loos

It can be assumed that Haberfeld and Loos had a close friendship, so it is hardly surprising that Haberfeld entrusted Loos with the design of the home furnishings in Alser Strasse in the ninth district in Vienna. It is one of his early works. Loos set up a dining room, study and bedroom in Haberfeld's apartment. Reform-modernist tendencies can be discerned and point to the revolutionary role that Loos would later assume as the innovator of architecture . Image documents from this period, such as B. published in 1904 in the magazine "Das Interieur 4" , represent Haberfeld as a financially independent man who was extremely interested in the burgeoning modernity and had a feeling for the fashionable of his time. Conspicuous lamps, heavy-looking furniture, club armchairs, floor-to-ceiling bookcases dominate the image of the study. The living and dining room, on the other hand, looks lighter. Ornamental patterns run through the selected fabrics, the principle of ornament can also be found on the wall in the sequence of pictures. Otherwise, traditional materials such as wood are confronted with modern materials such as glass or brass.

Hugo Haberfeld and Christian Morgenstern

Haberfeld and Morgenstern probably became friends in Berlin in the winter semester of 1895/96. In 1911, Morgenstern dedicated the poem ODI PROFANUM to Haberfeld. Haberfeld reviews Morgenstern's poems IN PHANTAS SCHLOSS and HORATIUS TRAVESTITUS in the Wiener Rundschau.

Important publications

dissertation

“Piero di Cosimo”, Dr. R. Galle's printing press: Breslau, 1902.

The art for everyone. Monthly magazine for fine and applied arts

Slide show about Gustav Klimt; published in: The art for everyone . Monthly magazine for free and applied arts, vol. 13, issue 4, January 1912, pp. 173-183.

Forewords from catalog publications of Galerie Miethke z. B.

Haberfeld, Hugo: “Ferdinand Waldmüller. Galerie Miethke Exhibition of works of old and modern art. November-December 1904 ”, Chwala: Vienna, 1904.

Various publications in the monthly "Art and Artists"

Vienna correspondence in the editions:

1902-1903

1904

1905

1906

“Religious Art in the Vienna Secession”, in: Kunst und Künstler, 1906, pp. 164–170.

Various publications in the Viennese edition "Die Zeit" z. B.

"Berliner Secession" from September 15, 1900 vol. 23, no. 311 "Our exhibitions" from December 1, 1900 vol. 23, no. 322

Applied arts sheet

“The sculptor Franz Metzner”, in: Kunstgewerbeblatt, 18th year, Seemann: Leipzig, 1907, pp. 89-102.

Art revival in Austria

  • "Modern Plastic Work in Austria", in: Holme, Charls (ed.): "The Art-Revival in Austria"
  • "The Architectural Revival in Austria", in: Holme, Charls (ed.): "The Art-Revival in Austria"

German art and decoration

  • “German-Bohemian Art”, in: German Art and Decoration, Vol. 19, Nov. 1906, pp. 139–160.

New Vienna Journal

Others

Haberfeld, Hugo: "The Viennese Amateur Photographers", in: Die photographic art in 1906, pp. 34–48.

literature

  • Breitner, Katharina; Cureau, Maurice; Gumtau, Helmut; Kiessig, Martin ; Kretschmer, Ernst (ed.): Christian Morgenstern. Works and letters. Urachhaus, Stuttgart 2005.
  • Haberfeld, Hugo: Piero di Cosimo . Dr. R. Galles printing press, Breslau 1900.
  • Natter, Tobias G. (Ed. On behalf of the Jewish Museum of the City of Vienna): The Miethke gallery. An art shop in the center of modernity . Publishing house of the Jewish Museum Vienna, Vienna 2003.
  • Rukschico, Burkhardt; Schachel, Roland: Adolf Loos. Life and work . Residence, Salzburg / Vienna 1987.

further reading

Shapira, Elana: Tailored Autorship. Adolf Loos and the Ethos of Men's Fashion. In: Podbrecky, Inge; Franz, Rainald (ed.): Life with Loos. Bölau: Vienna / Cologne / Weimar, pp. 53–72.

Individual evidence

  1. ↑ FreeBMD Entry Info. Retrieved May 3, 2017 .
  2. ↑ a b c d e Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 75
  3. ^ Haberfeld, Hugo: Piero di Cosimo 1900, p. 115.
  4. ↑ a b c d e f Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 76
  5. ↑ a b Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 74
  6. ↑ Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 80, footnote 78
  7. ↑ a b c d Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 179
  8. ↑ a b c d e f Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 77
  9. ↑ Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 78
  10. ↑ Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, pp. 7 and 78
  11. ↑ Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernity 2003, p. 79ff
  12. ↑ a b Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernity 2003, p. 178
  13. ↑ Natter, Tobias G .: The Miethke Gallery. An art dealership in the center of modernism 2003, p. 178f
  14. ↑ Rukschico, Burkhardt; Schachel, Roland: Adolf Loos. Life and Work , 1987, p. 1899.
  15. ↑ a b c Breitner, Katharina; Cureau, Maurice; Gumtau, Helmut; Kiessig, Martin; Kretschmer, Ernst (ed.): Christian Morgenstern. Works and letters. 2005, p. 1051
  16. ^ Art and artists: illustrated monthly for fine arts and applied arts (1.1902-1903). Retrieved March 19, 2019 .
  17. ^ Art and artists: illustrated monthly for fine arts and applied arts (2.1904). Retrieved March 19, 2019 .
  18. ^ Art and artists: illustrated monthly for fine arts and applied arts (3.1905). Retrieved March 19, 2019 .
  19. ^ Art and artists: illustrated monthly for fine arts and applied arts (4.1906). Retrieved March 19, 2019 .
  20. ^ Art and artists: illustrated monthly for fine arts and applied arts (4.1906). Retrieved March 19, 2019 .
  21. ↑ Kunstgewerbeblatt: Organ of the Kunstgewerbevereine Berlin, Dresden, Düsseldorf, Elberfeld, Frankfurt a. M., Hamburg, Hanover, Karlsruhe IB, Königsberg i. Prussia, Leipzig, Magdeburg, Pforzheim and Stuttgart (NF 18.1906-1907). Retrieved March 19, 2019 .
  22. ^ Robarts - University of Toronto: The art-revival in Austria . London Offices of 'The Studio', 1906 ( archive.org [accessed March 19, 2019]).
  23. ↑ ( Page no longer available , search in web archives: Link (April 22, 2011) )@1@ 2Template: Dead Link / www.research-design.co.uk
personal data
SURNAME Haberfeld, Hugo
BRIEF DESCRIPTION Austrian gallery owner
DATE OF BIRTH November 24, 1875
PLACE OF BIRTH Oświęcim
DATE OF DEATH February 6, 1946
Place of death Paddington , London