Josef Hegenbarth

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Josef Hegenbarth (around 1915). Photo by Hugo Erfurth

Josef Hegenbarth (born June 15, 1884 in Böhmisch Kamnitz , Austria-Hungary , † July 27, 1962 in Dresden ) was a German graphic artist , draftsman , painter and illustrator .

Life

The Künstlerhaus Dresden-Loschwitz , built by Martin Pietzsch , offered Hegenbarth an apartment and studio.

Childhood and youth

Josef Hegenbarth was the son of Franz Josef Hegenbarth (1846-1916), a glass manufacturer and glass refiner and owner of the company "Hegenbarth & Sons" in Bohemian-Kamnitz. His mother Marie Palme (1860–1929), daughter of the chandelier manufacturer Elias Palme, came from neighboring Steinschönau . He grew up with his two younger sisters Elisabeth (1885-1944) and Gertrud (1890-1965) in his birthplace.

His extraordinary talent for drawing was shown early on. After attending primary school in Böhmisch-Kamnitz, Hegenbarth switched to the secondary school in the kuk district town of Böhmisch-Leipa . Later, in 1934, he wrote about it: "Here the drawing method at that time raped what nature gave me in the form of naive joy." During his school days, a mental illness began that led him to leave the fourth at the age of 13. It was probably caused by an unresolved religious shock, which must have been so strong that he placed himself in clinical care. These youth years and their crisis remain largely in the dark, but were certainly a major impetus for his regained artistic creativity. A few years later he wrote himself: “Only after years of illness should I regain the pleasure in pencils that had withered in me since childhood.” By the age of about 21 he had overcome his mental-religious crisis and at the same time gained a special sensitivity and nervousness that shaped him and his artistic statements for a lifetime.

Dresden years (1905–1917)

Even as a boy, Josef Hegenbarth had often observed his 16-year-old cousin Emanuel Hegenbarth at the easel and was very impressed by him. When he received a call to the Royal Academy of Fine Arts in Dresden in 1903 (animal painting class), Josef Hegenbarth followed him in 1905. He settled in Dresden, worked on his own and submitted his work to Emanuel at regular intervals for assessment and correction. In the winter semester of 1908/09, Josef Hegenbarth entered the Royal Art Academy and began in the drawing room with Richard Müller. However, he soon skipped the drawing class and continued his studies in the painting room, in the upper class of Carl Bantzer; violent arguments broke out with him. In the winter semester of 1909/10 he switched to Oskar Zwintscher's senior class for one semester. From the winter semester 1912/13 he became a master student of Gotthardt Kuehl, as whose student he expressly described himself. Nevertheless, he was aware of the “contradictions in artistic conceptions” that led to strong conflicts. In retrospect, he said: “It was good because it shaped.” From Kuehl, Hegenbarth learned to turn to external reality, in whose artistic design he increasingly developed his own style. With the death of Kuehl and his subsequent departure from the Academy at Easter 1915, he had already achieved a special degree of artistic maturity. And yet he remained a seeker.

Intermezzo: Prague years (1917-1919)

In 1917 Josef Hegenbarth had to be drafted for military service, but was found unsuitable. Since the conditions in Dresden also deteriorated during the war in 1917 and he was seized by the “longing for the Bohemian landscape”, he moved into an apartment in Prague-Dejwitz. He turned to the Prague Art Academy and entered August Brömse's special graphic class. His stay lasted until 1919; he remained lifelong connected to the city on the Vltava, which impressed him very much. In 1919, Brömse's students founded the artist group “Die Pilger”, which came out with four graphic portfolios in which Josef Hegenbarth had participated and which existed until 1923. At Brömse he got to know the drypoint technique. In the previous years in Dresden he had only worked with etching, but the chemical vapors of this technique made his health increasingly difficult. The new technology enabled him to realize his artistic conceptions and projects more quickly. During these years he created a comprehensive work of several hundred etchings, which he realized with extraordinary productivity: on the one hand, materials from the Bible, v. a. of the New Testament, and world literature; on the other hand his ideas of birth, illness and death, of love, marriage, jealousy and of times of day and seasons, of the environment in general. The following portfolios were created during this time:

Edda: Customer of the Wala (10 etchings, not completely preserved, 5 of them in the Josef-Hegenbarth-Archiv (JHA) Dresden, 1914) / Wieland der Schmied (material from the "Edda", 11 lithographs, Emil Richter Art Salon Dresden, 8 of them im JHA Dresden, 1916) / Gilgamesch (11 drypoint etchings, Galerie Ernst Arnold Dresden, 1919) / Strindberg-Phantasien (9 drypoint etchings, Verlag JJ Weber Leipzig, 1920) / Nibelungenlied (23 drypoint etchings, Galerie Ernst Arnold Dresden, 1920) / Moses, Book I and II (17 drypoint etchings, Fritz Gurlitt Berlin publishing house, 1921) / Salambo (based on a novel by G. Flaubert, 20 drypoint etchings, 1921) / Faust (7 lithographs, Society for Reproductive Art Vienna, 1922) / Münchhausen ( 14 drypoint etchings, self-published, 1922) / Shakespeare: Julius Caesar (15 drypoint etchings, Bavaria Verlag, 1922/23) / Shakespeare: Macbeth (15 drypoint etchings, self-published, 1923) / Vasantasena (17 drypoint etchings, Verlag JJ Weber Leipzig, 19 23) / Goethe: Reineke Fuchs (16 drypoint etchings , self-published, 1923) / JG Herder: Voices of the Nations in Songs (36 drypoint etchings , self-published, 1924) / Goethe's Ballads (30 drypoint etchings , self-published, 1924) / Wieland: Pervonte or “Die Wishes ” (17 drypoint etchings, self-published, 1924) / Alexander's move against the Persians (25 drypoint etchings, self-published, 1924). The Tepler German Bible of the 14th Century (5 lithographs, Verlag Stiepel Reichenberg, 1929) / Münchhausen, 2nd version (14 drypoint etchings, self-published, 1929). The episode The Woman has remained unknown so far . In it he formulates his artistic ideas of femininity, which are shaped by cultural history and religion, and sets them down in 10 drafts: "Aphrodite" (Lewinger 20, cf. WV Druckgraphik, in: Kat. Weimar 1980), "Die Dirne" (Lew. 144 ), "The Nun" (Lev. 146), "Innocentia" (not in Lev.), "Judith" (Lev. 115), "Maria" (not in Lev.), "Messalina" (Lev. 21), "Pompadour" (Lev. 145), "Sirens" (Lev. 117), "Venus" (Lev. 137), (10 drypoint etchings as test prints, self-published, 1926).

After Brömse's death, the Prague Secession emerged from the artist group “Die Pilger” in 1928, and Josef Hegenbarth was a member from the beginning to the end of 1937.

Dresden years (1919–1962)

Hegenbarth returned to Dresden in 1919, but kept his apartment in Prague-Dejwitz until 1921. In the same year he bought a house at Calberlastrasse 2 in Dresden-Loschwitz and set up a studio on the top floor. In 1936 he married Johanna Aster (1897–1988), daughter of the Loschwitz architect Georg Aster (1849–1917) and his wife Camilla Olga, b. Schauer (1860–1940), whom he had known for a long time. The marriage remained childless. For several years now, the Hegenbarths had spent several weeks in the summer in their father's house in Böhmisch Kamnitz, where they had a small apartment. In September 1943, the decision was made to stay entirely in Böhmisch Kamnitz for the duration of the war and above all because of the risk of air raids. After the Allied bombings of Dresden in February 1945, Hegenbarth took all of his movable property and his life's work from Dresden to Böhmisch Kamnitz as a precaution, only to lose everything a year later.

In a letter of May 18, 1946 to Ellen Panse, he sums up: “I crossed the border as a volunteer on October 26 and thanked God infinitely for the grace to be able to be with my people again, to be able to speak again and to be understood. I came back with Hanna with 30 kg of luggage each, completely broken physically and mentally. ”Like all other Germans, the Hegenbarths were expelled from Czechoslovakia in 1945 and were able to return to Germany. Hegenbarth spent four months in hospital before he could return to his house. With his strength back, he did not try to recreate what was lost, but took on new projects. Erhard Frommhold, chief editor at Dresden Verlag der Kunst and next to and with Hegenbarth a walker on the paths in Loschwitz, wrote in 1976:

“The reluctance and insecurity that the Nazis' art policy had imposed on him for twelve years had given way to almost unbridled productivity after the liberation. It was also the crux of the Hegenbarth psychological phenomenon. Until then, his work was at rest, despite some individual peculiarities, it placed itself in time, and now it suddenly burst out of itself, pouring over the old banks. Hegenbarth was at least sixty years old when he began to inscribe himself in the history of modern German art with his very own signature. "

It was not until 1957 that Josef Hegenbarth, with the help of the Foreign Minister of the GDR, Lothar Bolz, was given back by the local government some of the works that had remained in the ČSSR, especially the paintings. Some drawings have been lost to this day.

Since the 1920s, drawings and etchings by Hegenbarth have been found in various magazines, journals and calendars, regularly in the illustrated weekly Jugend (1924–1936), in Simplicissimus (1925–1944), and occasionally in Velhagen and Klasing's monthly books (1924/1925) in Scherl's Magazin (1930), in Die Dame (1937 and 1942) and in the Bauhaus- oriented magazine die neue linie (1940–1943). Hegenbarth always sent in a few drawings to choose from, the respective editors selected a picture and wrote a suitable text. The same practice also applied to contributions to other editions e.g. B. for the calendar Art and Life (1928–1941).

From 1924/1925 onwards, Hegenbarth increasingly refrained from depicting visions and depicting abstract concepts such as longing and love. He found new content for his art in the representation of people (heads and nudes) and the reality around them. He recorded the perceived events, his pictures have the titles:   On the street , strollers , children playing , in the tram , garden café , coffee house , cabaret , in the zoo . More and more often he went to the Mary Wigman dance school and the circus. There were sheets such as Manege , From the Revue , Dancer , Traveling Circus , Artists , High School . From the mid-1930s, depictions of animals became the favorite topic.

To make his art known, he sent numerous exhibitions in Germany, Austria and Czechoslovakia. From 1914 he appeared as a member or guest, partly or with interruptions, at the exhibitions of the Munich Secession (1914–1958), the Dresden Artists' Association (1914–1939), the Vienna Secession (1914–1937) and the German Association of Artists (1914–1936) and again 1952–1964), the Berlin Secession (1916–1932), the Prussian Academy of Arts (1924–1939), the Prague Secession (1929–1936), at the Dresden German Art Exhibitions since 1946, the Great Art Exhibition in Munich since 1950 , the Association of German Artists since 1951 and the German Academy of the Arts since 1955. In total, he has participated in more than 400 exhibitions.

During the Nazi era, too , Hegenbarth sent many exhibitions, including in Breslau, Dessau, Dresden, Duisburg, Hamburg, Heidelberg, Leipzig, Nuremberg, Saarbrücken and, after 1940, in Karlsbad, Prague and Vienna. Only to the official exhibitions in the "Haus der Kunst" in Munich was he not invited, because his art did not correspond to the ideas of the Reich Chamber of Culture. In 1936 he was attacked once in the SS weekly Das Schwarze Korps . The unknown author judged Hegenbarth's drawing Der Unglückswurm , which appeared in the October 1936 edition: “Unfortunately, we have to say that the tone we denounced and decidedly rejected has also torn in 'Jugend'. [...] Draftsman [Josef] Hegenbarth depicts some people sitting on a bench in the manner of George Grosz , which reminds us of the heyday of degeneration and decadence. Stupid faces, as [Otto] Dix liked to portray them in his 'Dada time'. ”After that, no further drawings by Hegenbarth were published in his youth . As part of the “Degenerate Art” confiscation campaigns in 1937, some of his works were also confiscated and destroyed, including three paintings, five watercolors and three prints. At the same time, museums also bought drawings by Hegenbarth, for example in Breslau and Görlitz (1938, 1941), Duisburg (1935, 1941, 1943), Bautzen, Dessau, Mannheim, Wuppertal (both 1942), Nuremberg (1942, 1943) ) and Vienna (1943, 1944). Hegenbarth's conception of art was far removed from that of the National Socialists, but he could publish to a limited extent, show himself at exhibitions and was not ostracized. In his actually apolitical attitude, he always kept his distance from those in power. "Hegenbarth", according to the art historian Ingrid Koszinowski, "is an artist of quiet satirical tones, a draftsman who observes and notes, as it were unintentionally, what he has seen: images of reality between satire and grotesque."

In the period after 1933 many illustrations were created: for the fables of Aesop, for Münchhausen and Karl May's Der Schatz im Silbersee  1935, for the fairy tales of Musäus, for the Walthari song and for the Nibelungenlied 1937, for the youth book Die einsame Herd by Christian Munk (pseudonym for Günther Weisenborn ) 1938, to children's songs Des Knaben Wunderhorn and to Grillparzer 1939, to Grimm's fairy tales, stories by Flaubert and ETA Hoffmann and to Wieland's winter fairy tales , to Victor Hugo's Workers of the Sea (lost) 1940, to Till Eulenspiegel and to ETA Hoffmann's cat Murr 1941, to Fräulein von Scuderie , to the tavern in Spessart and other stories by Wilhelm Hauff , to Michael Kohlhaas and other stories by Heinrich von Kleist , to the Wehrwolf by Hermann Löns in 1943 and to Goethe's Reineke Fuchs in 1944. Except Munk's youth book and Löns' Wehrwolf none of the titles mentioned here have been published during this period.

Stylistic development of the illustrations

Until 1945, brush drawings were the focus of Josef Hegenbarth's illustrative work. With black ink he achieved colorful, painterly effects in differentiated gradations between black and gray tones. In the mid-1940s he began to prefer small-format, delicate pen and ink drawings with thin lines and light ruling, which, in contrast to later illustrations, only appear “floating” in the text. A third style used the broad nib instead of the pointed one. With the distinctive contour and the associated abstracting shortening, he succeeded in emphasizing the characteristics of a person, of a process. The expressiveness of the formulation leads to greater rigor in the statement. Another change in style around 1956 reinforced the supporting lines and hatching.

Artistic activity after 1945

Hegenbarth exhibition 1970

After his return to Dresden in October 1945, Josef Hegenbarth received a position at the Hochschule für Werkkunst under the rectorate of Will Grohmann in 1946 and a professorship for painting at the Hochschule für Bildende Künste in April 1947, which he held until 1949. Some ties to his students remained until the end of his life. In the post-war period he took part in important art exhibitions devoted to German contemporary art: Dresden 1946 “General German Art Exhibition”, Augsburg 1947 “Artists of the Eastern Zone”, Baden-Baden 1947 “German contemporary art”, Cologne 1949 “German painting and Plastic of the Present "and in the same year in the other cities of Munich" Art Creation in Germany ", London" Modern German Prints and Drawings "and Zurich" Art in Germany 1930–1949 ".

In 1948, the museum director and art historian Gerhard Händler, Josef Hegenbarth, set up a large exhibition in Halle (Saale) before he went to Duisburg in 1949 and took over the Lehmbruck Museum as director. Will Grohmann also dedicated a monograph to Hegenbarth in 1948, which was published in Potsdam.

From 1946 to 1950 Hegenbarth worked regularly for Ulenspiegel in Berlin and a few times for Simpel in Munich . He experienced the immediate post-war period as a liberating departure. He was recognized in magazines and articles by art historians, many galleries and art associations showed his works, publishers and publishers in East and West Germany gave him illustration orders. His unbroken and renewed creative power is evident in the large number of free sheets and illustrations that he created, and he was the only German artist who was equally present in the GDR and the Federal Republic at this time. This is also evident in the honors he received during this time, such as the National Prize of the GDR 2nd Class in 1954. The following year he became a corresponding member of the German Academy of the Arts, in 1956 an extraordinary member of the Berlin Academy of the Arts and in 1960 a member of the Bavarian Academy of Fine Arts.

Literary illustration and biblical themes remained his drawing focus until his death. The architect Hans Schwippert and Heinz Endres, cathedral priest of St. Hedwig's Cathedral in Berlin, commissioned Hegenbarth with his last major commission: for the newly created lower church, he created 14 black and white brush drawings showing the stations of the cross of Christ. It is the only work that Hegenbarth conceived as part of a total work of art and for permanent viewing in public space.

Grave of Josef Hegenbarth in the Loschwitz cemetery

In the autumn of 1961, a serious illness made itself felt that impaired his work intensity. On July 25, 1962, a last sheet was created - Nocturnal Crossing - as a free drawing in several versions of the legend of St. Julian the Hospitable , which had accompanied him through four decades. On the same day, he went to the hospital for a blood transfusion. The following day he asked his wife to bring him drawing supplies, but he died unexpectedly on July 27, 1962.

His house, which his widow bequeathed to the Dresden Kupferstichkabinett , is now a museum with his studio apartment and the exhibition space of the Josef Hegenbarth Archive with the other rooms . Hegenbarth's artistically designed grave, which he designed himself, is located in the Loschwitz cemetery .

Hegenbarth's nephew is the comic artist Johannes Hegenbarth (1925–2014), known as Hannes Hegen . The actress Wolke Hegenbarth is a great-granddaughter of a cousin of Josef Hegenbarth.

plant

From Josef Hegenbarth's oeuvre, only the works on paper have been scientifically recorded. This catalog raisonné of hand drawings (WV) with approx. 17,730 sheets was developed by Ulrich Zesch and is continuously updated to this day. The idea of ​​a catalog raisonné goes back to the encounter between the author and the artist's widow, Hanna Hegenbarth, in Weimar in 1980.

Zesch divided the work into subjects: Biblical sheets (273), depictions of people (1211 sheets), scenes from everyday life and a few landscapes (2182), circus and cabaret (716), animals (1766), fairy tales and world literature (9144 Leaves). The illustrations for fairy tales and literature represent the majority of Josef Hegenbarth's artistic production. The WV has not yet come to an end, final completion is currently being prevented (as of August 2018). Issues of dating still need to be clarified, and final WV numbers must also be assigned, which are no longer based on the subject as before, but follow the creation of the work chronologically.

A catalog raisonné of approx. 800 oil paintings by Hegenbarth that were created up to approx. 1950 as well as his approx. 1200 graphic works (lithographs, etchings and drypoint etchings) is still pending. Ernst Lewinger has compiled a preliminary and incomplete catalog raisonné of prints. It is published in the Weimar exhibition catalog from 1980.

The illustration drawings on fairy tales and world literature make up two thirds of Hegenbarth's entire oeuvre. A chronological overview of all published literary illustrations by Hegenbarth is available in the catalog raisonné.

Josef Hegenbarth mastered various drawing and painting techniques: oil and glue paint drawings as well as watercolor drawings only take up a small part. Most often he drew with a pen and brush in color or black and white. This shows Hegenbarth's particular virtuosity and his very own way of expression. Two exhibition catalogs provide a good overview.

Memberships and honors

In 1915, Hegenbarth became a member of the Dresden Artists' Association . Since 1921 he was a member of the admissions jury with voting rights, and since 1931 he was a member of the board. Until its dissolution in 1939, he regularly took part in the exhibitions of the artists' association. In 1926 he became a member of the Vienna Secession and in 1929 a member of the Prague Secession. He also joined the German Association of Artists and from 1952 was represented in numerous exhibitions as well as at all major annual West German exhibitions. He was also an honorary member of the Association of Fine Artists of the GDR .

In 1954 Hegenbarth was awarded the National Prize of the GDR, 2nd class, for his illustrations to Gogol's Die toten Seelen and Goethe's Reineke Fuchs . In the same year he was elected full member of the German Academy of the Arts Berlin (East). In 1955 he became a corresponding member of the Akademie der Künste Berlin (West) and in 1956 its extraordinary member. In 1959 he received the Joseph Drexel Prize of the Joseph E. Drexel Foundation and in the same year the German Critics' Prize of the Association of German Critics. In 1960 he was appointed a full member of the Bavarian Academy of Fine Arts in Munich. One year before his death, in 1961, he received honorary membership of the Maximilian Society for Old and New Book Art.

Hegenbarth's drawings and works illustrated by him have been exhibited and recognized posthumously in numerous exhibitions at home and abroad, including at documenta III in Kassel in 1964 and in Linz (1962, 1975), London (1971), Prague (1963, 1976) , 1981) and Vienna (1975).

Important exhibitions (selection)

As early as 1924 Josef Hegenbarth was involved in an exhibition in Dresden with 58 works, in Kiel he had his own in 1925 with 27 drawings and four portfolios. In 1926 he was represented in Prague with 119 works, there also in 1928 with 68 works and in Berlin 1930 with 90 works. However, he received special attention in numerous exhibitions in the post-war period, in both parts of Germany he was - like few artists - equally recognized:

  • Dresden 1954: Josef Hegenbarth on his 70th birthday. State Art Collections Dresden. (180 works).
  • Dresden 1957: Exhibition Josef Hegenbarth. Returned images from the ČSR and the latest graphics. State Art Collections Dresden. (133 works).
  • Duisburg 1958: Josef Hegenbarth. Paintings, tempera works, drawings, illustrated books. Municipal Art Museum Duisburg. (171 works, 20 of which are oil paintings).
  • Berlin and Munich 1959: Josef Hegenbarth on his 75th birthday. Paintings and drawings. National Gallery, Berlin State Museums, and Bavarian Academy of Fine Arts Munich. (257 works).
  • Stuttgart 1966: Josef Hegenbarth. Württembergischer Kunstverein Stuttgart. (392 works).
  • Berlin 1970: Josef Hegenbarth. Drawings and paintings from the years between 1920 and 1962. German Academy of the Arts in Berlin. (169 works).
  • Weimar 1980: Josef Hegenbarth. Works from the estate. (343 works).
  • Dresden 1984: Josef Hegenbarth on his 100th birthday. State Art Collections Dresden. (727 works).
  • Offenbach 1987: The illustrator Josef Hegenbarth 1884–1962. Drawings, colored sheets, graphics and illustrated books. Klingspor Museum (246 works).
  • Cheb / Liberec 2003: Josef Hegenbarth 1884–1962 (139 works).

student

Josef Hegenbarth's pupils included Alexander Alfs , Wolfgang Beier , Robert Diedrichs , Heinz Drache , Heinz Hausdorf , Margarete Jahny , Ernst Lewinger and Gerhard Uhlig .

literature

Web links

Commons : Josef Hegenbarth  - Collection of images, videos and audio files

Individual evidence

  1. ^ Josef Hegenbarth: Autobiographical sketch. Contributions to Sudeten German art history . Episode 2. Böhmisch-Kamnitz 1934, p. I .
  2. ↑ Josef Gülden: Everything came about through the word - also in me. Josef Hegenbarth. In: Catholic house book . Leipzig 1976, p. 22-25 .
  3. ^ Archives National Gallery Prague (ANG), MG Fund / Modern Gallery . Signed AA 1362/2/78.
  4. ^ Fritz Löffler: Josef Hegenbarth. VEB Verlag der Kunst, Dresden 1980, p. 6 f.
  5. ^ Josef Hegenbarth: Autobiographical sketch. Contributions to Sudeten German art history . Episode 2. Böhmisch-Kamnitz 1934, p. I .
  6. ^ Fritz Löffler: Josef Hegenbarth. VEB Verlag der Kunst, Dresden 1980, p. 8 f.
  7. ^ Fritz Löffler: Josef Hegenbarth. VEB Verlag der Kunst, Dresden 1980, p. 9 f.
  8. ↑ R [udolf] H [önigschmid]: For our pictures. In: German work. Monthly for the intellectual life of Germans in Bohemia, 17 (1917/18), issue 8, p. 336.
  9. ↑ See Dressler's art manual. The book of the living German artists, archeologists, art scholars and art writers. Visual arts. 9th year Berlin 1930, p. 386 .
  10. ^ Lutz Gäbler: Reopening of the Hegenbarth House . In: Dresdner Kunstblätter 43 (1999), p. 70 .
  11. ↑ Daniela Günther, Claudia Schnitzer: A love on the Elbhang - Johanna and Josef Hegenbarth . Dresden 2013.
  12. ↑ letter . Josef Hegenbarth Archive Ulrich Zesch, Stuttgart.
  13. ↑ Erhard Frommhold: An inexhaustible topic . In: Hiltrud Ebert (Hrsg.): Texts on the art and cultural history of Saxony . Berlin 2009, p. 162 f .
  14. ^ Fritz Löffler: Josef Hegenbarth. VEB Verlag der Kunst, Dresden 1980, p. 15.
  15. ↑ Diana Orlikowa: Josef Hegenbarth 1884-1962 . Exhibition catalog. Cheb / Eger / Liberec (Reichenberg) 2003, p. 75 .
  16. ↑ Bibliography of the exhibition catalogs in the catalog raisonné. (PDF) Retrieved April 26, 2018 .
  17. ↑ "The Unlucky Worm"
  18. ↑ n.v .: cross section through the "youth" . In: Schutzstaffel der NSDAP (Ed.): The black corps . Vol. 2 (1936), H. 43, pp. 14 .
  19. ↑ Confiscation inventory “Degenerate Art”. Retrieved April 26, 2018 .
  20. ↑ Koszinowski, Ingrid: Between caricature and grotesque - images of reality . In: Ulrich Zesch (ed.): The illustrator Josef Hegenbarth (1884–1962). Drawings, colored sheets, graphics and illustrated books . Edition Cantz, Stuttgart 1987, p. 83 .
  21. ^ Rolf Jessewitsch, Gerhard Schneider (Ed.): Ostracized - Forgotten - Rediscovered. Art of expressive representationalism from the Gerhard Schneider Collection. Cologne 1999, p. 442.
  22. ↑ cf. the pen drawing for Grimm "The Wolf and the Man" (around 1940), in: Josef Hegenbarth. Catalog raisonné of hand drawings: F VI 661. Retrieved on October 19, 2018 .
  23. ↑ cf. Ulrich Zesch: Josef Hegenbarth . In: Lexicon of the entire book industry . tape 3 . Stuttgart 1991, p. 419 .
  24. ↑ cf. the brush drawing for Tolstoy's Polikuschka (around 1960), in: Josef Hegenbarth. Catalog raisonné of hand drawings: F VII 952. Retrieved on October 19, 2018 .
  25. ↑ Konstanze Rudert: In the Network of Modernity. Kirchner, Braque, Kandinsky, Klee, Richter, Bacon, Altenbourg and their critic Will Grohmann . Ed .: Staatliche Kunstsammlungen Dresden. Dresden 2012, p. 160, 366 f .
  26. ^ Will Grohmann: Josef Hegenbarth - 58 pictures and drawings. With a text by Will Grohmann . Ed .: Adolf Behne. (Contemporary art). Potsdam 1948.
  27. ↑ Josef Hegenbarth. Catalog raisonné of the hand drawings. Retrieved August 3, 2018 .
  28. ↑ Josef Hegenbarth. Works from the estate. Exhibition of the Weimar Art Collections in the Kunsthalle on Theaterplatz . (Exhibition catalog), Weimar 1980.
  29. ^ Lieselotte Honigmann-Zinserling (ed.): Josef Hegenbarth. Works from the estate. Weimar 1980.
  30. ↑ Bärbel Zausch (Ed.): Josef Hegenbarth. Viewer of life. Works from 1915–1962 from the collections of the State Gallery Moritzburg Halle State Art Museum Saxony-Anhalt. Hall / S. 1996. ISBN 3-86105-141-9
  31. ^ Fritz Löffler: Josef Hegenbarth , VEB Verlag der Kunst, Dresden 1980, p. 11f.
  32. ↑ kuenstlerbund.de: Archive since 1950 / Exhibitions ( Memento of the original from March 4, 2016 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. (accessed on August 17, 2015) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  33. ^ Fritz Löffler: Josef Hegenbarth , VEB Verlag der Kunst, Dresden 1980, p. 15 and p. 86.
  34. ↑ Bibliography of the exhibition catalogs in the catalog raisonné. (PDF) Retrieved October 4, 2018 .
personal data
SURNAME Hegenbarth, Josef
BRIEF DESCRIPTION German graphic artist and painter
DATE OF BIRTH June 15, 1884
PLACE OF BIRTH Bohemian Kamnitz
DATE OF DEATH July 27, 1962
Place of death Dresden