Ida Carola Ströver-Wedigenstein

Ida Carola Ströver-Wedigenstein , also Ida Caroline Bertha Hermine Stroever , (born September 16, 1872 at Gut Wedigenstein (today: Porta Westfalica ), † February 2, 1955 in Minden ) was a German artist and writer.

biography

Ströver was the daughter of the landowner Carl Justus Bernhard Stroever and his wife Luise Christiane, b. Bödecker. She spent her childhood and youth on her mother's estate Wedigenstein near Porta Westfalica near Minden. Her first training as a housewife and landlady took place in the early 1890s.

In addition to her love for nature, she discovered painting and drawing at an early age and was supported in this by her deaf-mute and artistically trained mother. After the estate's economic decline and the death of his parents, Ströver went to the so-called women's academy of the Munich Artists ' Association for artistic training in 1893 . In addition to studies of nudes, he created posters and his first oil paintings. In addition, after a trip to Holland, she dealt more extensively with the work of Rembrandt van Rijn . A trip to Italy followed. In 1904, as a member of 700 Munich women, she campaigned for the women's issue at the International Women's Congress in Berlin .

In 1903 (according to another source in 1906) Ströver went to Bremen where she lived with her aunt until 1930 and also studied in Munich until 1906. Her works, especially the large murals, found recognition only with difficulty. Her artistic breakthrough came in 1912 on the occasion of the exhibition The Woman in Home and Work organized by Hedwig Heyl . For this exhibition Ida Ströver created a monumental wall frieze Weg der Frau . In 1916 she illustrated an edition of Heliand , the early medieval epic about the life of Jesus; 65,000 copies were published, 20,000 of which were field editions for soldiers.

After the First World War , the Bremer Sturmtage were created in 1919 , a collection of drawings about the revolution for the Bremen Soviet Republic and in 1922 the Amazonen lithography portfolio . Ströver turned to graphics. The result was the expressive, large-format linocut issues, Sequences from Zarathustra and Confessors . At the beginning of the 1930s, Ströver was commissioned to paint the Heilandskirche in the Wittekindshof near Bad Oeynhausen . She also made chalk drawings of the Anabaptist uprising in Münster, which were published in 1933.

The emerging National Socialism also influenced Ströver. She moved to Berlin in 1933. Here a cycle of drawings was created on the biographical career of Adolf Hitler known in 1933 . She also dealt with frescoes, portrait and landscape painting as well as allegorical pictures. When the Berlin studio was bombed, she lost all of her works, including the plates and artwork, and was thus robbed of an essential part of her livelihood. She went to Murnau . Here she was limited to painting small landscapes. In 1952 there was another retrospective of her work in her native city of Minden. Ida Stöver spent the last three years of her life in her old home at Gut Wedigenstein, where she was buried in the hereditary funeral there after her death in 1955 .

She also wrote an autobiography of her childhood entitled The Golden Gate . Some works are preserved in the Museum of the City of Minden , among others . The Bremen art gallery exhibits them regularly. In retrospect, the artistic life of a woman emerges who was passionate about women, who was Christian and German-national.

Works (selection)

• Way of the Woman , painting, 1912
• Wittekindbilder in Enger (Westphalia), painting, 1913
• Heliand Church in Bad Oeynhausen , frescoes, 1913
• Die Unfesselten , lithographs, 1915/16
• The Heliand , 1916
• The Golden Gate , 1919
• Bremen Storm Days , 1919
• Liberation of the prisoners , 1919
• The Call of Work , 1919
• Homecoming , 1919
• Amazons , 1922
• Ver Sacrum , painting, 1923, in the old grammar school , Bremen
• The Anabaptists in Münster , 1930
• Born of Science , painting, 1933, Münster

literature

• Barbara Korn: God, home and fantasy - the life and work of the Westphalian painter, graphic artist and writer Ida Caroline Ströver-Wedigenstein . Announcements of the Minden History and Museum Association, year 37 (1965), pp. 1–76 including a list of the works as well as photos of the artist and some works.
• An artist with a “somewhat masculine style”, Ida C. Stroever (Ströver). In: Hannelore Cyrus : Between tradition and modernity. Artists and fine arts in Bremen until the middle of the 20th century . Pp. 48-57. Hauschild Verlag , Bremen 2005, ISBN 3-89757-262-1 .
• Kurt Roselius: Ida Caroline Bertha Hermine Stroever In: The Historical Society Bremen and the State Archives Bremen (ed.): Bremische Biographie 1912-1962 , Bremen 1969, p. 508.
• Hannelore Cyrus: Between tradition and modernity - female artists and the visual arts in Bremen until the middle of the 20th century . Bremen, Hauschild 2005.
• Gisela Hildebrand: Ströver, Ströver-Wedigenstein, Ida Caroline Bertha . In: Frauen Geschichte (n) , Bremer Frauenmuseum (ed.). Edition Falkenberg, Bremen 2016, ISBN 978-3-95494-095-0 .
• Heinrich Rüthing: The Wittekindsberg near Minden as a "holy place - 1000 to 2000" , pp. 93–117, Verlag für Regionalgeschichte, Bielefeld 2008, ISBN 978-3-89534-685-9
• Literature commission for Westphalia: Lexicon of Westphalian authors .
• Herbert Black Forest : The Great Bremen Lexicon . 2nd, updated, revised and expanded edition. Edition Temmen, Bremen 2003, ISBN 3-86108-693-X (and supplementary volume, Bremen 2008, ISBN 978-3-86108-986-5 ).

Web links

• Ida Carola Ströver-Wedigenstein in the Lexicon of Westphalian Authors

Individual evidence

1. ↑ Neue Westfälische: Memory of a courageous painter