Joseph Friedrich Gustav Binder

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Joseph Friedrich Gustav Binder (born March 31, 1897 in Ludwigshafen am Rhein , † March 30, 1991 in Lindenberg / Allgäu ) was a German graphic artist and painter .

Life

After finishing school in Ludwigshafen and studying art with Wilhelm Deffke and Lucian Bernhard in Berlin , Binder settled in 1922 as a freelance artist in Saarbrücken , where he was given a teaching position at the Academy for Fine and Applied Arts in Saarbrücken. In 1923 he married Suzanne Winterkorn from Metz. From the early 1960s on, Binder devoted himself entirely to free painting; the last known work is a portrait of the poet James Joyce (1972), with whose son George Binder was on friendly terms. In the art world nowadays there are always confusions between Joseph Friedrich Gustav Binder and the Austrian poster artist Joseph Binder . Most recently it happened in the feature section of the Süddeutsche Zeitung .

Create

Binder as an industrial designer

1927 Foundation of the Binder Studio in Ludwigshafen. The period up to 1936 was followed by what was probably the most creative and economically most successful phase with major orders for multiple award-winning trademarks for Knorr , Reemtsma , Tekrum , Elida , Minera, Dujardin , Stella , and Mercedes-Benz . During this time, Binder consolidated his fame as a style-defining industrial designer. In total, by the early 1960s, Binder had created well over 2,000 stamps and posters.

Binder achieved his international breakthrough as an industrial designer when he emerged as the winner in a competition for a logo for IG Farben , created in 1925, created the so-called IG piston and asserted himself against the Bauhaus elite. A year earlier, in 1924, Binder caused a sensation at the International Exhibition of Modern Decorative and Industrial Arts in Paris when he designed a pavilion for the Jyldis cigarette brand entirely with the Jyldis males he had created.

In the mid-1920s, Binder met the painter and caricaturist Olaf Gulbransson in Munich , one of his places of work alongside Berlin, Paris and Ludwigshafen . This resulted in a remarkable cooperation in 1927: Binder, who was working on a new campaign for Jyldis at the time, combined Gulbransson's caricatures with his trademarks.

In 1928, Binder and Ludwig Hohlwein emerged victorious from an international competition for the 1933 World Exhibition in Chicago. After the National Socialists came to power, the posters by the German artists were not shown.

In 1936, against the backdrop of National Socialism, Binder gave up his studio in Ludwigshafen. Together with his wife, a half-Jewish woman, he retires to rural Beilstein. There the couple felt safe from the National Socialists. Binder continues to work as an industrial designer - also for armaments companies. But because Binder repeatedly expressed disrespect for the National Socialists, he was called up for military service at the age of 46.

Binder as a painter

Free painting was far less in the limelight than his graphic work, although Binder saw himself more as a painter. His graphic designs were almost always created with a brush, as illustrated by designs for the “Knorr-Gockel”, Orient cigarettes and the Theatiner roastery. For the first time in 1963 the art gallery of the city of Ludwigshafen brought together the two areas of Binder's work in the exhibition "Joseph Binder - Painting and Graphics", by showing both graphics and free painting since the mid-1920s. In his free painting, Binder is influenced by Cubism , the Bauhaus and the group “ Blaue Reiter ”. Already in the 1920s he designed his pictures in strict geometric elements, the structure of triangles, rectangles and circles is determined. The geometrically stylized form is of great importance for the painter, because "tamed nature is geometry", so Binder in an interview in the Ernest-Wiens-Report, published in the 1960s.

For this purpose, Binder prefers to work with unmixed colors, which give his work a powerful color. The discipline that becomes visible in painting, the subordination of nature to geometric shapes, is part of Binder's personality. The artist is also quoted in the Ernest Wiens Report when asked about the artist and his goals with the sentence: “When and where a painter was born is ultimately irrelevant. The essential thing is the quality of the service. It has to match the claim. "

With his first painterly works around 1920, the art historian Helge Bathelt locates the most extensive review of Binder's life and work to date with the title “Binder”, published by the Binder Collection Esslingen, at the head of a second and international phase of Cubism and more nor with Orphism . For Binder, the focus is not so much on how to grasp the object as such, but rather on observing the relativity of the visible as an empirical experience of everyday observations.

reception

Overall, there are few analyzes of Binder's painterly work after the 1960s. What earlier and later recessions have in common is that numerous Binder commentators find it difficult to classify his work as a painter. The main reason for this is that, although Binder, encouraged by Hans Purrmann , concentrated exclusively on artistic activity as a painter from 1961, he largely stayed out of the cultural scene. His extraordinary success as a commercial artist made matters worse. As a consequence of this, the Binder exegetes always sought the trace of the advertising artist in the painter Binder, but did not endeavor to establish intellectual connections between Binder and the free painting of his time. Dealing with his work requires some archeology in order to locate Binder's work where, according to Bathelt, they belong, “in the line of tradition of Orphism and the Blue Rider.” This is where Binder belongs according to ideology and execution as one with “extreme Consistency and constancy was himself an exegete of the changing intellectual powers of his time with the means of his art. ” At the exhibition opening in Ludwigshafen in 1997, Wendelin Renn, former director of the municipal gallery in Villingen-Schwenningen , showed the painter's closeness to rayonism .

This consistency with which Binder has pursued his style since the mid-1920s sometimes raises a different problem today. Over the decades, he has repeatedly taken up motifs from earlier years, which sometimes makes it difficult to categorize the creation of the works in terms of time.

Exhibitions

  • 1963 Solo exhibition by the Kunsthalle Stadt Ludwigshafen in the Ludwig-Reichert-Haus. Establishment of the "Binder-Saal" there with nine works by the artist
  • 1964 Solo exhibition in Stuttgart antiquarian bookshop
  • 1965 Solo exhibition at Galerie Schuhmacher, Munich
  • 1967 Special exhibition at Galerie France, Paris
  • 1970 Participation in the 4th Artes Graphiques Bienale in Brno
  • 1970 Special exhibition at the Kunstforum Pavlista, Garmisch-Partenkirchen
  • 1971 Participation in the International Artists Festival, Zurich-Pfäffikon
  • 1972 Invitation to the Picasso homage in Vallauris
  • 1989 Binder "Free and Applied Art" 1989 City Museum Ludwigshafen
  • 1997 “Joseph Binder” Stadtmuseum Ludwigshafen on the occasion of the painter's 100th birthday

literature

  • "Abstraction and Realism - The Design Pioneer Joseph Binder as a Painter", Weltkunst / Heft 7 1999, author: Ursula Wolf
  • Binder Leben und Werk, 1990 Ed .: Binder Collection Esslingen, Authors: Helge Bathelt, Frank Volk (The “Binder” brochure is available from F. Volk, Adlerstrasse 5a, 86899 Landsberg a. Lech)
  • Binder “Free and Applied Art”, publication for the 1989 exhibition Stadtmuseum Ludwigshafen, publisher: Stadtmuseum Ludwigshafen
  • “The work of art as a branded article”, accompanying document to the exhibition “Joseph Binder, Painting and Graphics”, published in 1963 as a special edition by Weltwoche Zurich; Author: Manuel Gasser
  • "Art and technology - The artist satisfies the engineer", Ed .: Binder 1954
  • Trademarks, registered trademarks of Binder, 1951 and 1955
  • Binder industrial art with a foreword by Werner Suhr, 1959

Web links

Individual evidence

  1. ^ Binder "Free and Applied Art", publication for the 1989 exhibition Stadtmuseum Ludwigshafen, publisher: Stadtmuseum Ludwigshafen
  2. ↑ Binder Leben und Werk, 1990, Ed .: Binder Collection Esslingen, Authors: Helge Bathelt, Frank Volk, p. 26 (The “Binder” brochure is available from F. Volk, Adlerstrasse 5a, 86899 Landsberg a. Lech)
  3. ↑ Binder Leben und Werk, 1990, p. 26
  4. ↑ https://www.austrianposters.at/2010/10/10/binder-or-binder/
  5. ↑ https://www.sueddeutsche.de/kultur/grossformat-ein-knallbunter-orient-1.2892760
  6. ↑ https://www.sueddeutsche.de/kolumne/korektivenen-joseph-friedrich-binder-1.2920228
  7. ↑ Binder "Free and Applied Arts"
  8. ↑ Binder Leben und Werk, 1990, p. 18
  9. ↑ Binder Leben und Werk, 1990, pp. 8, 12
  10. ↑ Binder Leben und Werk, 1990, p. 14 ff.
  11. ↑ Binder Leben und Werk, 1990, p. 14 ff.
  12. ↑ https://www.worldcat.org/title/binder-ein-ernest-wiens-report/oclc/83681536
  13. ↑ https://www.worldcat.org/title/binder-ein-ernest-wiens-report/oclc/83681536
  14. ↑ Binder Leben und Werk, 1990, p. 30 ff.
  15. ↑ Binder "Free and Applied Arts"
  16. ^ "Abstraction and Realism - The Design Pioneer Joseph Binder as a Painter", Weltkunst / Heft 7 1999, author: Ursula Wolf
personal data
SURNAME Binder, Joseph Friedrich Gustav
BRIEF DESCRIPTION German graphic artist and painter
DATE OF BIRTH March 31, 1897
PLACE OF BIRTH Ludwigshafen am Rhein , Germany
DATE OF DEATH March 30, 1991
Place of death Lindenberg im Allgäu , Germany