Josef Oberberger
Josef Oberberger (born December 21, 1905 in Etzenricht in the Upper Palatinate, † December 2, 1994 in Kreuth ) was a German painter , draftsman , caricaturist , glass painter and art professor.
Life
School and study
Josef Oberberger was born on December 21, 1905 in Etzenricht, Neustadt district in the Upper Palatinate, as the son of the station servant Josef Oberberger and his wife Katharina, born. Beer, born. He spent his childhood in Grass near Regensburg. From 1915 to 1921 he attended high school in Regensburg and became a member of the Regensburger Domspatzen .
From 1921 to 1924 he completed his apprenticeship as a glass painter in the Georg Schneider (now Josef Frank) court glass painting company in Regensburg. He then spent four semesters at the Academy of Applied Arts in Munich, where he met the budding art teacher Mathilde Schmeckenbecher, whom he married in 1939.
In 1925 he began studying at the Academy of Fine Arts in Munich with Olaf Gulbransson , whose master class he became and with whom he had a lifelong friendship until his death in 1958. In one of his letters to Oberberger, he referred to himself as Your Christ Olavus and named him Johannes . During this time, Oberberger met the circle of artists around the Simplicissimus : the artist Karl Arnold , the cabaret artist Karl Valentin and the sculptors Joseph Wackerle , Karl Knappe and Bernhard Bleeker .
Between studies and World War II
After completing his studies in 1932, he headed the glass painting workshop at the Academy of Fine Arts until 1935. From 1936 to 1937 he worked on the magazine Die Jugend . He made his first study trip to Paris in 1937 and also visited the cathedrals of Chartres and Le Mans. In the following years he became a teacher for free painting and graphics at the Academy for Applied Arts in Munich. His colleagues there included Josef Henselmann , Josef Hillerbrand , Karl Heinz Dallinger and Anton Marxmüller.
War years
Soon after his marriage to Mathilde Schmeckenbecher on October 24, 1939, Josef Oberberger was called up for military service, initially with the infantry in France. He was officially appointed as a "war draftsman". Whether he fulfilled this role to the satisfaction of the National Socialist authorities can be doubted in view of the traditional images, which relentlessly portrayed the hardships and hardships of the civilian population. From 1941 to 1944 he was - with interruptions - as an infantryman in Russia. Here too, drawings and paintings were created, especially in Ukraine. Said interruptions, however, led him several times to the cathedral in Naumburg, where his competence was in demand to professionally expand the precious medieval glass windows there under the direction of the Munich Doerner Institute in order to protect them from feared bombings, which was also successful. In October 1944 there was finally a transfer to the Air Force in Schongau-Altenstadt. Although Oberberger was able to avoid being deployed at the front, his Munich apartment fell victim to a bomb attack in December 1944, which destroyed a significant part of his artistic oeuvre. A few months earlier he had taken part in an exhibition in the Städtische Galerie in Munich with three drawings from the war years. During this time he met the French painters André Derain and Maurice de Vlaminck , whose participation in the exhibition was arranged by their artist friend Arno Breker .
Professor at the Academy
Despite the fact that Oberberger refused to join the NSDAP as well as to take part, for example, in the “Great German Art Exhibition” that took place annually between 1937 and 1944 in the Munich “House of German Art”, it was seven years after the war before he received his own professorship at the Academy of Fine Arts (August 12, 1952). Only a year earlier he had been appointed as a civil servant for life. During the period up to his retirement in 1974 he made numerous study trips to Paris, northern and southern France, England and Istanbul. He visited his friends Jean Deyrolle and Robert Jacobsen. Over 400 students have studied with Josef Oberberger over the years.
One of them was Jürgen Reipka (1936–2013), who was professor at the Munich Academy from 1973 and its president from 1976 to 1979. Karl Schlamminger (1935–2017) taught as a professor at the art academies in Istanbul and Tehran. The director of the academy's glass painting workshop, Arno Bromberger (1921–2006), was appointed professor. At Munich Airport there is a geoglyph , the earth symbol Eine Insel for the time of Wilhelm Holderied (* 1940), which he created in collaboration with Karl Schlamminger. The Japanese Sumiko Kudo (* 1943) became known among other things for her calendar Die Bonner Samurai with caricatures of politicians. Georg Sternbacher (1933–1995) started out as an art glazier, but switched to the academy, became a master student of Oberberger and later a freelance artist. Sigurd Rakel (* 1943), originally a technical draftsman, was Oberberger's assistant, from 1974 an art teacher in Krumbach and has his own gallery there, in which works by his teacher were also shown. Reiner Zimnik (* 1930) is a painter, draftsman, illustrator and writer. His stories for children and adults such as Der Lektro or Sebastian Gsangl became great successes thanks to being broadcast on television. The embroiderer Franziska Weber-Müller embroidered motifs by and for Professor Oberberger, but also mitres for an abbot, an auxiliary bishop, a cardinal and a pope, as well as the state flag for the Free State of Bavaria. Hilda Sandtner (1919–2006) founded the Mindelheim Textile Museum with a collection of fabrics, lace and costumes. The painter Max Wimmer (1935–2015) became known in Germany and France ; he lived in Munich and southern France. The Jesuit Michael Kampik (1948–2016) wrote speeches and texts about Oberberger, among other things, was initially his collaborator and made glass windows in all of southern Germany.
From 1946 to 1952 Oberberger lived in Freising for a while . There he met the folk singer Roider Jackl , with whom he was lifelong friendship. After becoming a professor, he moved to Munich-Schwabing with his wife Mathilde. In private circles, he reduced his last name to Obe and often signed his works with a Far Eastern calligraphic giant O.
The last few years
In 1977 his wife Mathilde died. After her death, Oberberger moved into an apartment in a retirement home in Kreuth in addition to his Schwabing apartment, where he died in 1994. In these years, which were among his most artistically productive, he constantly commuted between Munich and Kreuth. Some of his most important works, such as the large stained glass windows in Regensburg Cathedral, fall during this period.
Numerous sketches in concise formal language were created in Kreuth, often with short texts. From his balcony he looked out over a mountain he called Fujiama . In many of his last drawings he depicted himself, the landscape and this mountain.
Prizes and awards
- 1969 Culture Prize East Bavaria OBAG Regensburg
- 1978 Culture Prize of the City of Regensburg
- 1980 Schwabing Art Prize of the City of Munich
- 1981 Bavarian Order of Merit
- 1983 Bavarian poet thaler from the Munich tower scribe
- 1986 Bavarian Maximilian Order for Science and Art
- 1987 Gulbransson Medal
plant
Images from the war
In a letter from 1941 to his friend Olaf, Oberberger wrote:
- I have never seen such strange wild trees, strange village ponds, paths, crooked high, deep, like rivers. The villages have grown into it. In between, humans, animals move, as in paradise. You would like that too. The Polish women walk around like Maillol sculptures ... One would have to be Rembrandt here - Menzel is no longer enough.
The soldier Oberberger sketched this landscape with its thatched-roof houses, windmills and wicker fences in notebooks and letters. Common subjects are soldiers, farmers and their animals. Muted, pastel colors dominate. The painting Peasant Women in Ukraine shows some barefoot women with their children under a blue-gray sky.
Oberberger drew a portrait of Adolf Hitler , whom he knew only briefly. In the cartoon he has swastikas instead of pupils. The returnees , a pencil drawing torn out of a spiral pad, is a soldier in 1945. He stands there in worn boots with hanging arms, his rifle slung around his neck, his helmet in hand. His face bears the features of Oberberger. He also made a drawing of a soldier crawling out of his shelter and discovering a blooming snowdrop in front of him. Many years later, Oberberger continued to paint variations of these sketches, influenced by his experiences in the war, and combined them to create new pictures.
Stained glass
Free cutting
Oberberger's working method deviated from the usual glass painting design. The decisive and important thing for him was the free cutting of glass without templates. Normally, the individual pieces of glass in a window are cut using stencils that are made from a precise drawing. This means that the shape and arrangement of the glasses has already been determined by the drawing. Oberberger's employees, Josef Auer, Hans Bernhard and Helmut Leukert, cut freely and without templates. This gave them the opportunity to change the shape and color of the glass parts at any time and to adapt them to the panes next to them. Oberberger did not have a 1: 1 template, but only a preliminary, non-binding sketch of the idea, usually in several variations. All development work should take place on the window itself and not on paper, because shape, color and brightness work differently in the transparent glass window than with a paper template.
The exact outlines of the lead fields were drawn on large panes of carrier glass, the artist then painted the cut lines of the glasses and noted or discussed the coloring. In a vertical position on a transparent easel, the employees cut pieces of glass together like a mosaic and attached them to the support disk with adhesive wax. Oberberger constantly checked the effect and often intervened to improve the shape and color. After finishing the cutting of the glass, painting began. The next steps were the usual; Removal of the painted glasses, baking of the glass enamel paints, lead and cement. The method of free cutting, namely free design, improvisation, checking and improving changes without being hindered by initial determinations, made Oberberger the basis of his artistic work. There are also many variations in other areas, for example in his drawings, caricatures and paintings. The Oberberger team practiced this technique of free cutting for half a century for churches, cathedrals and cathedrals.
Church window from 1930 to 1984
Very early on, around 1930, Oberberger designed colored glazing for sacred buildings, such as the Herz-Jesu-Kirche in Regensburg . Six choir windows with scenes from Passion and Resurrection were created in 1937 for the Wendelink Chapel in Bobingen; for the Pentecost miracle motif , he worked with the faces of contemporaries and immortalized himself with a self-portrait. He also married in the Wendelinkapelle. A large Oberberger window in the east choir of Augsburg Cathedral was destroyed in the war. In 1936, after an international competition, he and his colleague Franz XW Braunmiller designed six figural stained glass windows for the princely box of the cathedral in Luxembourg. In it he artistically implemented the country's medieval history. Around 1939 he created glass paintings for churches in Jena, Regen, Waldsassen, Buchloe and Berlin. For the baptistery window in Naumburg Cathedral , he combined broken glass into a cross and coat of arms. In 1941 he received an order for a window in a Bavarian chapel from the antique dealer Bernheimer in Venezuela.
After the war, Oberberger made the choir window for the Evangelical Church in Bebra in Hesse in 1949, and in 1950 a lead field in Gothic style for the Benedictine Chapel of Freising Cathedral in the Hornpeck window. In 1954, a Jesse family tree was designed by the architect Sep Ruf Church of St. Johann von Capistran in Munich-Bogenhausen. At the same time, the artist was commissioned to replace the window in the Augsburg Cathedral that had been destroyed in the war . As a motif he chose the Visitation of Mary in the Tree of Life. In the sixties he painted church windows for Donauwörth ( Liebfrauenmünster ), Bad Vilbel, St. Bonifaz in Regensburg and Ihrlerstein (architects Klaus and Kurt Oberberger). For the north choir of the Regensburg Cathedral he created large glass paintings with depictions of St. Erardus, St. Emmeranus, St. Rupertus and St. Wolfgangus, the four evangelists and star ornaments. The windows are numbered 11 to 14 on the site plan.
My client is the cathedral , was a recurring statement from Oberberger. The anonymous masters of the glass windows demand the anonymous timeless companions, not the self-promoter. When visitors to a church asked where the new windows actually were, he saw himself confirmed in his work, namely that glass paintings always have to subordinate themselves to the surrounding architecture.
From 1962 to 1967 he made tall glass windows in the chapel wreath around the east choir of Augsburg Cathedral with the motifs of the Ten Commandments, St. Augustine, St. Conradus and cross ornaments. On behalf of Bishop Rudolf Graber, the St. Wolfgang stained glass was created in 1973 for the Archbishop of Prague. In the same year he made windows for the church in Landau an der Isar. The colored glazing in the new Runding church center in the Bavarian Forest dates from 1975. A year later he painted two smaller windows for the Washington Cathedral. In 1979 a stained glass window was created for Burglengenfeld, which depicts St. Joseph with child and was mainly painted with silver yellow. Shortly one after the other, ornamental windows for the Church of the Transfiguration of Christ in Rain and 14 wall panels with the Stations of the Cross painted on plexiglass (1981), a square window with depictions of stars and galaxies and a glass meteorite (tektite) in the center for the chapel of the senior citizens' home in Kreuth (1983 ) as well as a glass painting Madonna and Child for the Church of St. Nikolaus in Munich-Freimann (1984). A nephew of the artist designed the church in Parkstetten; Oberberger created colored ornamental windows for this and painted a St. Cecilia, patroness of church music, and two angels.
Church window from 1985 to 1989
The highlight of his work from the age of 80 was the design of the Regensburg Cathedral with 16 stained glass windows from 1985 to 1989 during the tenure of Provost Vinzenz Guggenberger . The upper cladding windows of the nave, which were previously blank-glazed, brought the interior space too bright and inconsistent light distribution and at the same time strong incident light on the medieval glass paintings. This made them appear colorless, almost invisible. Oberberger wanted to remedy this impairment of the cathedral in consultation with the Office for the Preservation of Monuments and the Regensburg Land Building Office by means of a new, Gothic-style lighting system. He put together the eight cliff windows from freely cut diamonds of differently tinted and painted glasses. As in the Middle Ages, they create a subdued light inside. In the four windows on the south side (No. 1 to 4) there are the coats of arms of Regensburg and the Upper Palatinate and the crucifixion with Maria and Johannes. The tracery shows leaf and star ornaments as well as angels. In a middle three-pass you can see Mary with child and two glass painters; underneath is the slogan: O Mary, help now, we are poor glass painters. The opposite windows on the north side (No. 5 to 8) are decorated with the coats of arms of some Regensburg bishops, the cathedral chapter and Pope John Paul II . Above it are the resurrection, the women and the angels at the open grave and the tablets with the Ten Commandments. In the tracery there are leaf ornaments, stars and the cosmic; The sun and the eye of God are each in a quatrefoil . Seven small lantern windows (No. 15 to 21) in the base zone of the main choir closure show cross and leaf ornaments; the northernmost ends with a cathedral sparrow.
The large Pentecost window (No. 9) on the west side of the north transept shows God the Father, Son and the Holy Spirit in the middle, framed by Mary and the apostles. The tracery depicts the cosmic, creation and the fall of Adam and Eve from paradise. A triangular part (gusset) of the tracery contains the moon with two astronauts as a contemporary document. The window was installed in 1989 on the occasion of the 1250th anniversary of the diocese. This closes all the gaps that had emerged over the centuries, and the cathedral is completely glazed in color again, as in the Middle Ages. The entire development and creation of the cathedral windows was documented photographically by Hans Bernhard and is, among other things, in the archive of the Regensburg agricultural office.
Oberberger's last glass painting commission was for the windows for the Ursulakirche in Schnuttenbach in 1989. Among other things, he recorded the passion and resurrection of Christ in silver yellow painting .
Profane windows
Around 1930, Oberberger designed and designed windows without stencils and lead for his friend Olaf. He attached freely cut and painted pieces of glass to carrier panes with glass putty. On the occasion of a visit to Olaf Gulbransson, the publisher Reinhard Piper noted: The guest room was built into a corner of the stable. It also had a door straight outside. A brightly colored glass picture of Oberberger, a student of Olaf, was embedded in this.
In 1954, glass windows were installed for the cafeteria of the Technical University and for the studio glass room of the Deutsches Museum in Munich. In 1967 the world exhibition took place in Montreal. Oberberger designed a glass wall for the German Pavilion.
In 1979 the Bavarian Main State Archives in Munich ordered glass windows from him. He opted for the depiction of cinnamon , exquisite archive materials from the treasures of the manuscript collection, technically designed with silver-yellow paint. The texts were supplemented by a blown glass picture, the glass painting school .
Cabinet disks
In the Mayer stained glass workshop in Munich, from 1974 onwards, in addition to the church windows, numerous smaller glass pictures, so-called cabinet panes with a wide variety of themes, were created. The artist often added suitable signatures to his glass paintings or drawings. Dedications, greetings and words of thanks can also be found on his works. Under the head of a saint it says: Get it, don't copy. In the case of the plowing arable farmer , the accompanying text reads: Work doesn't make you rich, but it makes you hump. Another saying goes: God gave us the time, but he said nothing about haste. The motifs on the panes range from the Yin Yang symbol to Santa's glass painter to the nose drill. Sometimes the larger pictures were pieced together from several pieces. For these stained glass paintings, Oberberger mostly used a mixture of weak and strong silver yellow. This gives his pictures their own style with shades from the most delicate yellow to the darkest brown.
Paintings and drawings
Motives of Oberberger
Oberberger used style elements from Egypt, China, Africa and Russia in his pictures. He valued the ancient Chinese and Zen painters, Rembrandt van Rijn , Adriaen Brouwer , Wilhelm Busch , Hans von Marées , Edgar Degas , Henri de Toulouse-Lautrec , Paul Cézanne , Pablo Picasso and his teacher Olaf Gulbransson. All of this is reflected in his pictures; a consistent style is difficult to discern. Christl Karnehm writes about Oberberger's motives:
- From the arrow-shooting Cupid to the freshly baked plum dachi, there was nothing that he found not worth portraying.
He painted the clown Charlie Rivel as well as a simple cup of tea, a pile of wood or a cowshed. Archaic-looking owl sculptures were made from stacked paving stones. He did not commit to any specialty and also recommended his students to study the fine arts extensively over the millennia. The composition, the light-dark distribution in the picture and the resolution of the representation in surfaces and lines were more important to him than the subject.
Paris
In the course of his life, Oberberger frequently visited Paris, of which he said: God is everywhere, but he has a small apartment in Paris. Back then, the city was a center for artists, can-can and chanson. The sketchbooks on these trips show narrow skylights and chimneys, French people with berets, dancers and singers, cafés with tables set, restaurants, waiters and antique dealers. He portrayed the writer Colette and the painter Toulouse-Lautrec from photos. The chansons of the singer Monique Andrée Serf, called Barbara , embodied the French way of life for him.
Nudes, portraits, people
Oberberger worked with pen, pen, charcoal, chalk or brush and paint; he did not paint in oil. Painter and model is a common theme with him. He often drew Olaf Gulbransson, his wife Dagny and other friends, such as Roider Jackl and Ludwig Thoma . Politicians like Ludwig Erhard, Herbert Wehner and Franz Josef Strauss, whom he knew well personally, and artists like Charlie Chaplin and François Villon were also caricatured. There is a red chalk drawing by Karl Valentin and a wax crayon drawing by Liesl Karlstadt as a confirmation .
There are numerous self-portraits by Oberberger. In 1937 he painted himself with a pipe, in 1940 with a brightly colored striped jacket. His wife Mathilde can be found alone or with him in a picture. He presented himself as a rococo painter, as an abstract painter with an easel, as a monument. Fascinated by the monuments on Easter Island, he added his own heads. He distinguished himself with top hats, various costumes and uniforms, with wings and a halo.
Above showed models in all variations. He was never vulgar; he rejected the files of his colleagues Heinrich Zille and Egon Schiele . Leonardo da Vinci painted the Mona Lisa , Obe the Mona Liserl . He sketched a couple embracing or making love, a pianist, a musician, the Munich child or a couple of housekeepers. He often framed his drawings with strong horizontal brushstrokes, especially in the Far Eastern-inspired depictions of monks, Zen masters and the Yin Yang symbol.
Bavarian
Gerd Holzheimer described him as a Zen painter from Bavaria , a Bavarian Chinese or a Chinese Bavarian. Whether finger-hacking, playing zithers, shoe platters, windowing or mucking out the cowshed, he portrayed typical Bavarians, often in costume, in hand a Bavarian flag, an agricultural tool or a beer glass.
- Oberberger once paints - probably a self-portrait from behind - such a wise man: The yellow-gold of his beer in the glass is the same color as the moon that you see sharpening between the tree tops in the beer garden; He devotes his contemplation to the moon and beer, nothing else - his glass is still half full.
There are many variations in different techniques of this well-known sheet, as in most of Oberberger's works. The Stammtisch is the name of a picture that also adorns the first Paulaner artist beer mug: In an inn, farmers crouch on low benches around the wooden table, leaning over their beer glasses.
Schwabing
The artist's apartment was in the middle of Munich- Schwabing . The Leopoldstrasse with the poplar avenue and the Siegestor was his backdrop, the young and old people strolling by served as a motif. Mardi Gras was also important to him. For the Schwabylon artists' festival , he and his painting class designed posters that were heavily criticized in the Third Reich. Munich was also previously a city of outstanding posters, such as those of Franz von Stuck or Ludwig Hohlwein ; those from Schwabylon are now collector's items and some of them have already become classic.
In later years the television with video function was of great help to him. He sketched frozen dancers and other scenes in the desired pose on the screen without having to leave the apartment. Having his own photocopier allowed him to make copies of his pictures and to edit them.
He has not dated and signed all of his works. Often he just put his stamp with the Obe sign underneath. With the last drawings in Kreuth, he threw a message in a bottle into eternity , in his own words . The broken painting stick often depicted on it is reminiscent of Hermann Hesse's poem Creaking a Kinked Branch.
Josef Oberberger said about the diversity of art:
L'ART POUR DIEU
L'ART POUR L'HOMME
L'ART POUR L'ART
L'ART POUR MOI
Book illustrations
- 1954 Small swarm for Schwabylon by René Prévôt
- 1963 Fair of my life by Ernst Hoferichter
- 1977 Zammglaabt , anthology of Upper Palatinate dialect poetry by Adolf J. Eichenseer (Ed.)
- 1977 Considerations of the Saccharias Zuckerlmeier on diabetes by Helmuth Rottenhöfer
- 1978 Bavarian rarities from Kurt Wilhelm
- 1978 26 Kurt Wilhelm's tower scribe
- Oberberger made illustrations for several Turmschreiber calendars.
- 1978 O Maria help, immediately so that it becomes a real Bavarian from Kurt Wilhelm
- 1980 Kreuther Ballade by Richard May
- 1980 Seven ballads by Michael Kampik
- 1980 The Roider Jackl
- 1983 's Fetthaferl, BAIRISCHE VERSERL by Werner Jansen, self-published and manufactured by Bertsch printing company, Straubing
- 1984 Everything is not so important by Walter Sedlmayr
- 1985 Revue Obe
- 1986 The creation of the kiss by Michael Kampik
- 1987 Now dokta have to come from Richard May
- 1990 Josef Oberberger - Hymn to Femininity
- 1992 Upper Palatinate dialect reading book edited by Erika Eichenseer
- 1993 Yes, yes - the Kunscht! by Kurt Wilhelm
- 2003 Turmschreiber - Stories, Thoughts, Poems
various
- from 1930 festival decorations and posters for artist festivals in Schwabylon
- 1952 Design of a meeting room in the Bayerische Vereinsbank in Munich. Wall painting and frieze, motif: 4 continents
- 1952 painting in the Freimann television studio
- 1954 after a competition commission for a large mosaic for the papal church of San Eugenio in Rome (donation of thanks by the German people to Pope Pius XII by Federal President Theodor Heuss), motif: Mother God enthroned
- 1954 Figural relief in the courthouse at Maxburg, Munich, newly built by Sep Ruf
- Interior design of the foyer of the Prinzregententheater, Munich
- Decorations for artist festivals Schwabylon , interior decoration in the Regina Palast, Munich, posters
- 1958 Large tapestry for the congress hall in the Brussels World's Fair, now the National Gallery in Berlin, motif: fall of hubris
- 1959 mural with Christ on the cross, flanked by Maria and Johannes, in the clinic on the right of the Isar, church "Maria Heil der Kranken"
- 1960 International competition, prize, wall design at the Max Planck Institute, Munich
- 1961 Three bronze doors for the commercial vocational school, Munich
- 1962 Stations of the Cross painting in the church in the Klinikum rechts der Isar, Munich
- 1966 stamp for the 81st German Catholic Day
- 1967 postage stamp for the German Evangelical Church Congress
- 1975 Wall painting in the side chapel in the Klinikum rechts der Isar, Munich, motif: miraculous image of a "Madonna of the Sick and Mourning"
- 1975 Way of the Cross on plexiglass
- 1979 Printing of an Obe portfolio with lithographs
- 1981 CHARIVARI, magazine for art, culture and life in Bavaria: "I am a Profi" - An encounter with the Munich painter Josef Oberberger.
- 1986 Round mosaic for the Olaf Gulbransson Museum in Tegernsee
- 1993 Beer mug with pewter lid, 1st Paulaner artist mug, motif: "The regulars' table"
- 2001 Tegernseer Tal, magazine for culture, landscape, history, folklore: In memory of Prof. Josef Oberberger, message in a bottle for eternity
- 2008 Exhibition and catalog "Towards Paradise" - About Death in Pictures, Museum Obermünster, Regensburg
Exhibitions
Art exhibitions during his lifetime
- 1944 Participation in the so-called “3-sheet exhibition” with three drawings from the war years in the Städtische Galerie, Munich
- 1958 Exhibition in the Ferdinandeum Innsbruck: Olaf Gulbransson and Josef Oberberger
- 1969 honorary member of the autumn salon in the Haus der Kunst, Munich
- 1969 Glass paintings in the Handwerk Gallery, Munich
- 1974 Retrospective exhibition of 154 former students at the Academy of Fine Arts in Munich: Working exhibition of the Oberberger painting school after 35 years of teaching
- 1974 Exhibition A Schwabinger paints Schwabing in the Hypobank, Munich
- 1975 Participation in the art salon, Haus der Kunst, Munich
- 1975 Exhibition 1905–1975, a retrospective for his 70th birthday in Haus Heuport, Regensburg
- 1977 Exhibition in the art center of the Engelhorn Foundation, Munich-Neuperlach
- 1977 Exhibition in the town hall in Krailling
- 1978 Exhibition in the Galerie Rakel, Krumbach
- 1978 Exhibition in the Olaf Gulbransson Museum, Tegernsee
- 1979 Caricatures by Josef Oberberger in the Mühleisen Gallery, Memmingen
- 1980 Exhibition at Dresner Bank (Leopoldstrasse branch), Munich
- 1980 Exhibition in Kreuth for the 25th anniversary of Haus Bruneck
- 1981 Exhibition of Josef Oberberger on his 75th birthday in the Städtische Galerie Regensburg in the 'Empty Bag' (together with Olaf Gulbransson)
- 1982 Exhibition in the Antiques Huber Gallery, Landsberg
- 1982 Josef Oberberger in the Faber-Castell artist exhibition, Stein near Nuremberg
- 1984 New works (painting and graphics) in the Galerie Rakel, Krumbach
- 1985 Exhibition with Wilhelm Holderied in the Kornhaus Museum, Weiler (Allgäu)
- 1988 works from his studio in the art dealer Ehmer, Munich
- 1990 Works on paper in the Duensing Gallery, Gmund am Tegernsee
- 1992 caricature and satire in the Hypokunsthalle, Munich
Art exhibitions posthumously
- 1995 In memory of the artist Josef Oberberger in the Gulbransson Museum, Tegernsee
- 1996 Homage to Obe in the Künstlerhaus, Munich
- 1997 Exhibition in St. Ulrich in Regensburg in connection with the Diocesan Museum, Regensburg
- 1997 Homage to Obe in the Galerie Rakel, Krumbach
- 1997 Memories on paper in the Small Gallery, Regensburg
- 1998 St. Martin works on paper by Josef Oberberger and embroidery by Franziska Weber-Müller in the town hall of Gundremmingen
- 1998 Works on paper in the Duensing Gallery, Gmund am Tegernsee
- 1999 Images of women and about love - works on paper in the pavilion in the Old Botanical Garden, Munich
- 2000 Mia san mia - Bavarian food by Josef Oberberger of the Kester-Haeusler Foundation in the Fürstenfeld monastery in Fürstenfeldbruck
- 2001 watercolors and drawings, 7th art and culture days in Rottach-Egern. Works from private ownership (Bernhard family and Elisabeth Leutheusser-von-Quistorp) at “Antiquitäten am See”, Rottach-Egern am Tegernsee
- 2001 painting and drawing in the small gallery, Christine Berg, Kempen
- 2002 Exhibition together with Ingeborg Bernhard in the interim, Munich-Laim
- 2002 Ludwig Erhard in the caricature , 19 works by Josef Oberberger in the Heimatmuseum, Gmund am Tegernsee
- 2002 Drawings, paintings, church windows, Museumfreunde Mertingen e. V.
- 2002 Josef Oberberger, Wilhelm Holderied, Eckart Rotter in the Neuendorf Gallery, Memmingen
- 2003 Homage to Josef Oberberger in the Asam foyer, Freising
- 2003 Josef Oberberger in the Olaf Gulbransson Museum, Tegernsee
- 2004 Josef Oberberger, Sandner Collection, MZ Gallery, Augsburg
- 2004 draftsman of the gallery in the small gallery, Christine Berg in Kempen
- 2005 On the 100th birthday: Josef Oberberger , in the Olaf Gulbransson Museum, Tegernsee
- 2005 Professor Josef Oberberger, 1905–1994 in the Duensing Gallery, Gmund am Tegernsee
- 2005 100 years of Josef Oberberger, 1905–2005 in the Small Gallery, Regensburg
- 2005 Josef Oberberger 100th birthday, drawings, letters, photos, 1944–1994, City of Munich, cultural department , in the Kunstarkaden, Munich
- 2007 Josef Oberberger - retrospectively for his 101st birthday , in the Peter Bäumler gallery, Regensburg
- 2008 40 drawings in the development association Gempfinger Pfarrhof
- 2008 Josef Oberberger in the Zehenthof Art Cabinet, Weyarn-Gotzing
- 2008 Josef Oberberger, draftsman and glass painter , in the Germering town hall
- 2011 Josef Oberberger, arrived at Olaf's at the Olaf Gulbransson Museum, Tegernsee
- 2011 Josef Oberberger, 1905–1994, in the Galerie Wimmer, Munich
- 2011 Josef Oberberger, 1905–1994, in the galerie-atelier ck-f, Munich
- 2011 The painter, draftsman and glass painter Josef Oberberger , in the Kreissparkasse Starnberg
- 2015 Josef Oberberger: The glass painter , in the Olaf Gulbransson Museum, Tegernsee
- 2019 Heavenly-Earthly-Bavarian , paintings, drawings and glass pictures in the Gempfing rectory
Permanent exhibitions
Films about Oberberger
On the occasion of the retrospective exhibition of former students in 1974, Percy Adlon shot the film Obe goes about the master and his class at the academy in the same year . Some of his students, such as Rakel, Schlamminger or Bromberger, have their say here.
In 1985, Bayerischer Rundfunk commissioned a documentary about the creation of the Whitsun window in Regensburg Cathedral: Filled with the Holy Spirit . In conversation with his employees in the glass painter's workshop, Oberberger developed variations of the Godfather head by constantly improving the painting. The technique of free cutting is demonstrated here. Walter Koch (Unda-Film) shot the scenes, the text comes from the head of the Regensburg Landbauamt, Hans Habermann; Hans Bernhard was a photographic employee.
Atelier and Cathedral is the name of a film made by Walter Koch in 1995 on behalf of the Oberberger Foundation; the text is by Michael Kampik. Here you can gain an insight into Oberberger's apartments in Munich and Kreuth. The main part of the film shows church windows designed by Obe in Luxembourg, Naumburg, Augsburg, Regensburg, Lengenfeld Castle, Bobingen, Tirschenreuth, Gersthofen and Schnuttenbach. Further contents are glass windows in the main state archive in Munich, smaller glass painting panes and drawings from his work.
Individual evidence
- ^ Josef Oberberger . Exhibition catalog of the Olaf Gulbransson Society, Tegernsee 2003 ISBN 3-922865-81-0 , p. 5
- ^ Artist archive, Museum of European Art in Nörvenich Castle, North Rhine-Westphalia
- ^ Erich Pfeiffer-Belli in Süddeutsche Zeitung of January 25, 1974
- ↑ Horst Haub and Michael Kampik (eds.): Josef Oberberger, called Obé. The draftsman . Munich 1995
- ^ Regensburg Cathedral, New Glass Paintings by Professor Josef Oberberger . Edited by the Bavarian State Building Administration, Regensburg Landbauamt 1990
- ^ Olaf Gulbransson, Works and Documents . Archive for fine arts at the Germanisches Nationalmuseum Nürnberg, Prestel-Verlag, Munich 1980 ISBN 3-7913-0530-1 , p. 21
- ^ Josef Oberberger . Exhibition catalog of the Olaf Gulbransson Society, Tegernsee 2003, p. 60
- ↑ Eds. Horst Haub and Michael Kampik: Josef Oberberger, called Obé
- ^ Josef Oberberger . Exhibition catalog of the Olaf Gulbransson Society, Tegernsee 2003, p. 41
- ^ Gerd Holzheimer in Josef Oberberger . Exhibition catalog of the Olaf Gulbransson Society, Tegernsee 2003, p. 42
- ↑ The most beautiful poems by Hermann Hesse . Small Diogenes paperbacks. 70046, Diogenes Verlag, Zurich 1996. ISBN 3-257-70046-6 , p. 107
- ↑ Kurt Wilhelm: Yes, yes - the Kunscht! Bayerland publishing house, Dachau, p. 9
- ^ Verlag Braun & Schneider, Munich 11458B
- ↑ BLV Verlagsgesellschaft Munich
- ^ Verlag Friedrich Pustet, Regensburg ISBN 3-7917-0501-6
- ^ Verlag Kirchheim, Mainz ISBN 3-87409-001-9
- ^ Franz Ehrenwirth Verlag, Munich ISBN 3-431-02050-X
- ^ Verlag W. Ludwig
- ^ Rosenheim publishing house Alfred Förg, Rosenheim ISBN 3-475-52235-7
- ↑ a b c d e private printing
- ^ Rosenheimer Verlagshaus Alfred Förg, Rosenheim ISBN 3-475-52298-5
- ^ Rosenheim publishing house Alfred Förg, Rosenheim ISBN 3-475-52414-7
- ↑ W.Ludwig Verlag, Pfaffenhofen ISBN 3-7787-3298-6
- ^ Book publisher of the Mittelbayerische Zeitung, Regensburg ISBN 3-921114-42-X
- ^ Publishing house Bayerland, Dachau ISBN 3-89251-158-6
- ↑ Turmschreiber Verlag, Pfaffenhofen ISBN 3-930156-77-6
literature
- Horst Haub and Michael Kampik (eds.): Josef Oberberger, called Obé. The drawer. Munich 1995.
- Oberberger Foundation (Ed.): Josef Oberberger. The glass painter . Contributions by Achim Hubel (Bamberg), Christl Karnehm (Munich), Norbert Leudemann (Augsburg) and Michel Schmitt (Luxembourg). Munich, 2005.
Web links
- Literature by and about Josef Oberberger in the catalog of the German National Library
- Olaf Gulbransson Museum of Graphics & Caricature
| personal data | |
|---|---|
| SURNAME | Oberberger, Josef |
| ALTERNATIVE NAMES | Above |
| BRIEF DESCRIPTION | German painter, draftsman, caricaturist, glass painter and art professor |
| DATE OF BIRTH | December 21, 1905 |
| PLACE OF BIRTH | Etzenricht |
| DATE OF DEATH | 2nd December 1994 |
| Place of death | Kreuth |