Karl Hofer

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Karl Hofer, photographed by Hugo Erfurth .

Karl Christian Ludwig Hofer (spelling also Carl Hofer , born October 11, 1878 in Karlsruhe , † April 3, 1955 in Berlin ) was a German painter of expressionism and expressive realism . He was director of the Berlin University of Fine Arts .

Memorial plaque on the house at Grunewaldstrasse 44 in Berlin-Schöneberg

Life

Hofer was born in Karlsruhe in 1878. Four weeks after his birth, his father, the military musician Karl Friedrich Hofer, died of a lung disease. Since his mother Ottilie (sister of the sculptor Theodor Hengst and the glass painter Max Hengst ) had to earn a living, Karl was housed with two great aunts from 1879 before he lived in an orphanage from 1884 to 1892. At the age of 14, Karl began an apprenticeship as a bookseller, which he completed three years later. In 1896 he met Leopold Ziegler , who was three years his junior .

In 1897 Hofer began studying painting at the Karlsruhe Art Academy . His talent was recognized early on and he received a grant from the Grand Duke of Baden's grant fund. After Hans Thomas was appointed to the Karlsruhe Art Academy, Hofer became his pupil in 1899. In the same year the first stay in Paris followed. During his second stay in Paris in 1900, he made the acquaintance of Julius Meier-Graefe. Hofer became a master student with Thoma in 1901 and a year later with Leopold von Kalckreuth an der Kgl. Academy of Fine Arts in Stuttgart. During this time his friendship with the sculptor Hermann Haller began .

In 1903 Karl Hofer and Mathilde Scheinberger married in Vienna. Mathilde belonged to a Jewish family, but was not brought up in the Jewish faith and later entered the Protestant church. The couple had three sons, Karl Johannes Arnold, called Carlino, born in 1904, Titus Wolfgang, born in 1905, who died in 1906, and Hans-Rudi, born in 1911.

In 1902 Hofer signed a five-year contract with the Swiss entrepreneur and patron Theodor Reinhart , in which regular support was agreed. In return, Reinhart received three and later four pictures by Hofer each year. The contract was later extended for five years to 1913. Reinhart's scholarship enabled Karl and Mathilde Hofer to move to Rome. The Hofer family lived in Paris from 1908 to 1913, and moved to Berlin in 1913.

Since 1905 Hofer's pictures have been shown regularly at exhibitions, in 1908 he was represented at the exhibition of the “Berlin Secession” founded by Max Liebermann . In 1913 Hofer became a member of the new “Free Secession” and was represented at its first exhibition in 1914, together with Max Liebermann, Erich Heckel , Ernst Ludwig Kirchner , Max Pechstein and Karl Schmidt-Rottluff . In 1910 and 1911 Hofer traveled to India. In the summer of 1914, the Hofer family was surprised by the outbreak of the First World War while they were staying in the French seaside resort of Ambleteuse and interned. Mathilde and the sons were allowed to return to Germany at the end of 1914. Hofer was released to Switzerland through Reinhart's mediation in 1917, first to Churwalden, then to Zurich.

In 1919 Hofer returned to his family in Berlin. In 1920 he was appointed to the University of Fine Arts in Charlottenburg, and in 1921 he was appointed professor. In 1924, the College of Fine Arts was merged with the teaching institute of the Kunstgewerbemuseum to form the United State Schools for Free and Applied Arts . In recognition of his services as an artist and as a university lecturer, Hofer was accepted into the Prussian Academy of the Arts in 1923 . Between the art movements of the twenties, Hofer represented his own style, which was later referred to in art history as "magical realism". Hofer's pictures were represented in many museums. In 1928 he was invited to the Carnegie Institute International Art Exhibition in Philadelphia.

In the early twenties, Karl Hofer took up a relationship with Elisabeth Schmidt, whom he had met as a model. In the summer of 1926 he had a short-term love affair with Ruth Wenger . Karl and Mathilde lived separately from 1927, but remained married.

During the National Socialist era , Hofer's complete works were ostracized as " degenerate ". He had already positioned himself against National Socialism before 1933. In 1931, for example, he turned against criticism in the Goebbels newspaper, The Attack , which claimed that Hofer was a Jew and would ensure that the State Prize of the Academy of the Arts was awarded to Jews. In the same year he participated with the contribution Fascism, the dark reaction! in the survey How do we fight against a Third Reich? of the Berlin newspaper Welt in the evening . In this he argued for a non-partisan initiative against the NSDAP. On April 1, 1933, Hofer was defamed on a poster together with Oskar Schlemmer and other teachers from the Berlin Art School as “representatives of the corrosive liberal-Marxist-Jewish demon”. He was then on leave and released in the summer of 1934. Despite his rejection of National Socialism, Hofer was initially unable to understand his ostracism, as he understood his art to be German and considered his leave of absence to be collateral damage. In the exhibition of the Berlin Secession in the summer of 1933, the catalog foreword said that Germanism would reveal itself in Hofer's art. At the same time he took part in a series of appearances on German art in the Deutsche Allgemeine Zeitung with the article Der Kampf um die Kunst . There he argued, among other things, that apart from the military, no other area of ​​society was as “free of Jews” as art. He also invoked the danger that individual artists would be exposed as national and the others would be destroyed. At the beginning of the National Socialist rule, Hofer also tried to deal with his ideology to a certain extent. Hofer later hid his article in the DAZ when he criticized his friend Leopold Ziegler for his attempt to highlight similarities between his position and the ideology of the National Socialists in a speech in 1934 in order to achieve his appointment as rector of Frankfurt University.

In 1937 he was represented with eight works in the Nazi propaganda exhibition "Degenerate Art" in Munich. Heinz Lederer, the head of the Berlin state management of the Reich Chamber of Fine Arts , attested on January 31, 1938 that Hofer had himself

“... developed from an originally usable talent to one of the most dangerous system time art sizes through an experimental change to fashionable circumstances. (...) In particular, numerous younger artists have been confused by Hofer as teachers and role models to such an extent that the effects of his work and work must be viewed as downright devastating ... "

In 1938 he was expelled from the Prussian Academy of the Arts. Because of his marriage to Mathilde, who was considered a Jew under the National Socialist marriage laws , although she belonged to the Evangelical Church, Karl Hofer was also threatened with expulsion from the Reich Chamber of Fine Arts . In July 1938, Karl and Mathilde were divorced. Since the confirmation of the divorce reached the Propaganda Ministry late, Karl Hofer was expelled from the Reich Chamber of Fine Arts in October 1938. As a result, he was no longer allowed to sell his works in public in art dealers or at auctions; the exclusion was therefore considered a professional ban. In November 1938, Karl Hofer and Elisabeth Schmidt, an “Aryan” according to Nazi regulations, married. As a result, Hofer was accepted back into the Chamber by the President of the Reich Chamber in February 1939, and the ban on the profession was thus lifted.

After the divorce, Mathilde Hofer was no longer protected by what the Nuremberg Laws called a “privileged mixed marriage” . She was deported and murdered on November 21, 1942 in the Auschwitz-Birkenau concentration camp . Hofer's studio in Berlin was bombed out in March 1943 and many works were completely destroyed; in November 1943, Karl and Elisabeth Hofer's apartment was also destroyed. Carlino, the son of Mathilde and Karl Hofer, was killed by one of the perpetrators in 1947 while trying to catch two burglars in a shoe shop.

After the end of the war, Hofer was involved in setting up the Academy of Fine Arts, of which he had been director since July 1945. In 1948 he received an honorary doctorate from Berlin University . He was also awarded the Order Pour le mérite for science and the arts in 1952 and the Great Cross of Merit of the Federal Republic of Germany in 1953 . His autobiographical illustrated book From Life and Art was published in 1952, his autobiography Memoirs of a Painter a year later.

In 1955 there was a public dispute between Hofer and the art critic Will Grohmann about figuration and abstraction. The controversy was the reason for Ernst Wilhelm Nay , Willi Baumeister and Fritz Winter to leave the German Association of Artists . Hofer died of a stroke during the confrontation on April 3.

Artistic development

Early work

Hofer began his artistic career in 1897 with studies at the Karlsruhe Art Academy under Leopold von Kalckreuth and Hans Thoma . The first artistic influence exercised on him around 1900 the symbolism ( Odilon Redon , Arnold Böcklin , Edvard Munch ). The acquaintance of the Swiss merchant Theodor Reinhart , who supported Hofer as a patron from 1903 and enabled the artist to move to Rome, was essential for further development . The second important personality for Hofer in this phase was the art writer Julius Meier-Graefe , whom he had already met in Paris in 1901 and who drew his attention to the work of the German-Roman artist Hans von Marées, which had been completely forgotten . He later considered Marées' frescoes in the “Statione Zoologica” in Naples to be “the only modern solution to a fresco task since the Renaissance and antiquity .” In Rome, where, according to Hofer, the “atmosphere of form” prevailed, the heavily symbolic, symbolic, vanished Influence and from then on he dealt - like his great role model Marées - with the shape and color problems in the design of the picture surface. In an exchange with his patron and friend, the art theorist Konrad Fiedler, Marées was on the trail of the autonomous work of art, which wanted to throw off any content-related, narrative ballast that was required in official German art between 1850 and 1900, especially in history painting.

Hofer only stayed in Rome for five consecutive years, but the city remained the starting point for his artistic destiny. The artist can be described as the last of the late classically oriented and idealistic German Romans (Böcklin, Feuerbach , Marées).

At the end of his stay in Rome, the strong influence of the formal elements and the neglect of the purely painterly appeared to him to be a danger. In 1908 - again encouraged by Meier-Graefe - he moved to Paris, where he had already seen the Cézanne retrospective, comprising around 50 works, in the autumn of 1907. The works of the great French innovator Paul Cézanne , whose art finally opened the way to Cubism ( Picasso , Braque ), once again changed Hofer's painting with the influence of El Greco , which sometimes also appeared .

In 1909 Hofer became a member of the New Munich Artists' Association (NKVM). In the exhibition of 1909 (NKVM cat.no.29) - organized by the Goltz Gallery - Hofer was represented with his work “Am südlichen Strand” (see catalog of works Wohlert, Karl Hofer WV No. 149), today the Hartwig Garnerus collection . In 1911, the NKVM became the editorial office of the Blue Rider .

Undoubtedly, with the outbreak of the First World War, as Hofer himself said, “a gray curtain came before this world, which became even darker with the Second War. Anyone who did not know life before this time does not know how beautiful, cheerful and carefree life could be even in modest circumstances. "

Medium creative period and maturity

Life changed suddenly for Hofer when he was arrested with other Germans during a summer stay in the French seaside resort of Ambleteuse near Boulogne shortly after the outbreak of the First World War, and interned until 1917. After a stopover in Switzerland, he did not return to Germany until 1919. In Berlin, a two-year contract with the art dealer Cassirer secured its existence for the time being after his patron Reinhart died that same year.

During this time, the now over forty-year-old artist developed his unmistakable, expressive style and typical color palette, e.g. B. in Yellow Dog Blues around 1924/25 (private collection). At the same time he experienced his final artistic breakthrough, which can be documented in numerous national exhibitions (Galerie Flechtheim Berlin, Galerie Caspari Munich, Städtische Kunsthalle Mannheim), but also internationally (Carnegie Institute Pittsburgh).

From then on his painting took on Cassandra-like , prophetic features. “You are surprised”, Hofer wrote to Hans-Carsten Hager in 1947 , “that there is much foreboding of what is to come in my work. The artist is just a seismograph that pre-registers the disaster. This phenomenon is not only found in me ”. Like Werner Heldt in the march of the zeros (1933/34), he foresaw the coming calamity and created magical metaphors, for example in The Prisoners of 1933 (Berlin, Berlinische Galerie), which thematized the degradation and de-individualization of people. His success as an artist and university professor came to an abrupt end in National Socialist Germany when he, professor at the Berlin University of the Arts, was relieved of his post in 1933. The worst stroke of fate artistically, however, was the destruction of almost all of his early work and that of the middle creative period in his Berlin studio during an Allied bombing raid on March 1, 1943: “About one hundred and fifty pictures,” Hofer reports in his memoirs, “over a thousand drawings and everything What tied me to my previous existence, everything that could have illustrated these notes, was gone, except for the key that I carried in my pocket. "

Late work

After the end of the Second World War, Hofer was appointed director of the University of the Arts in Berlin in July 1945. During this time he mainly devoted himself to cultural and political work. He was a founding member of the Kulturbund and its vice-president (1945-1947), which had set itself the goal of a democratic renewal of Germany. Together with Oskar Nerlinger he edited the magazine Bildende Kunst until 1949 and in 1950 became the first president of the re-established German Association of Artists . Nevertheless, the late Hofer felt that his adherence to the ideal of the human image and the German tradition of figurative painting did not understand. After the catastrophe of the “ Third Reich ”, the internationalization and predominance of abstract art began in Germany , which primarily accommodated a basic mood, namely to be able to dare a new beginning with the illusion of the “ zero hour ”, which should rule out any abuse of art for purposes of power . The confrontation between figuration and abstraction finally culminated in the so-called Darmstadt Conversation on the Mathildenhöhe in 1950 , in the center of which the theses of the art historian Hans Sedlmayr ( loss of the center ) on the one hand and the convictions of the representatives of abstraction like Willi Baumeister on the other were.

In 1955 a public, polemical dispute broke out between Hofer and the art critic Will Grohmann - a vehement advocate and supporter of abstract art - about non-representational art . While Hofer counted the art critic among the “ panegyricians ” of international abstract art, the latter accused him of attacking contemporary art out of an “almost enigmatic hate psychosis”. Hofer actually planned a comprehensive written attack, the title of which was directed against the manifesto of abstract art par excellence, namely against Wassily Kandinsky's first published in 1912 and again in 1952 in Nina Kandinsky’s authorized edition “About the Spiritual in Art” . Hofer did not live to see the publication of his campaign pamphlet “On the legal in the visual arts” , because in the same year 1955, at the height of the dispute, the artist suffered a stroke, which he died a little later.

Part of the text was published posthumously in an edited form by Kurt Martin in 1956 . However, the book had no significant impact. Parts of the manuscript have perished, and the entire fragment that has been preserved was viewed by Daniel Kupper on behalf of Elisabeth Hofer-Richold in the Hofer archive and published in 1995 with comments. Together with Christine Fischer-Defoy 's “Speeches and Statements” , also published in 1995, it is now possible to glimpse into a way of thinking and creating that had a major impact on the development of German painting in the first half of the 20th century.

Some of his works were shown posthumously at documenta 1 in Kassel in 1955 . The importance of Hofer for post-war German painting lies in his insistence that the antinomy of figurative and abstract painting is nonsensical; To him, the “value distinction between representational and non-representational appeared to be a senseless absurdity.” The historical development had turned the German-Roman Hofer into a “disaffected idealist” German painting given between the wars. There was a person who began with a circumscribed dream of beauty and a vision of the classic; and then it was the encounter with reality that shattered this dream. ”( Werner Haftmann ) [The quotations are taken from the literature listed below].

At documenta 14 , Hofer's husband was exhibited in ruins in the Kassel Neue Galerie .

student

Karl Hofer Committee

In summer 2012 VAN HAM Art Publications, which published the catalog raisonné of the paintings in 2008, took over the archive of the catalog raisonné author Karl Bernhard Wohlert. In the course of this, the Karl Hofer Committee was also founded. Independent experts from different fields - Borries Brakebusch, Felix Krämer and Gerd Presler - continue the research and expertise of Karl Bernhard Wohlert in order to be able to adequately answer all questions regarding the works of Karl Hofer in the future. With its work, the Karl Hofer Committee supports museums and curators and at the same time represents a link to Hofer collectors and the art trade.

Works

Early work 1898–1920

  • 1901: Praying children , oil / canvas, private property, Karlsruhe
  • 1903: Karl and Thilde Hofer , oil / canvas, former Hofer estate Berlin
  • 1907: Three young men bathing , oil / canvas, Kunstmuseum Winterthur
  • 1911: In the storm , oil / canvas, Kunstmuseum Winterthur
  • 1912: After the bathroom / interior , oil / canvas, Ludwig collection
  • 1913: Self-portrait , oil / canvas, Bavarian State Painting Collections, Munich
  • 1913: Standard bearer , oil / canvas, Städtische Kunsthalle Mannheim
  • 1914: In the sea sand , oil / canvas, State Art Gallery Karlsruhe
  • 1917: Self-portrait with hat , oil / canvas, Hartwig Garnerus collection
  • 1918: Portrait of Theodor Reinhart , oil / canvas, Volkart Brothers Winterthur
  • 1920: Woman with a flower , oil / canvas, permanent loan from the Pinakothek der Moderne Munich, Hartwig Garnerus collection

Middle creative period 1920–1933

  • 1922: Masquerade or three masks , oil / canvas, Museum Ludwig Cologne
  • 1922/1923: Girlfriends , oil / canvas, Kunsthalle Hamburg
  • 1924: Large table company , oil / canvas, Kunstmuseum Winterthur
  • 1924: Der Rufer , oil / canvas, Gemäldegalerie Neue Meister, Dresden
  • 1925: Kniebild Albert Steinrück , City Museum Berlin
  • 1926: Two friends (formerly David and Jonathan ), oil / canvas, Städel Museum, Frankfurt am Main
  • 1927: Boy with a ball , oil / canvas, Hartwig Garnerus collection
  • 1928: Great Carnival , oil / canvas, Bavarian State Painting Collections, Munich
  • 1928: Yellow Dog Blues , oil / canvas, private collection
  • 1930: Self-portrait with demons , oil / canvas, former Hofer Berlin estate

Mature work 1933–1945

  • 1933: Prisoners , oil / canvas, Berlinische Galerie Berlin
  • 1935: Tower blower , oil / canvas, former Hofer Berlin estate
  • 1936: Agnuzzo - Italian Landscape , Oil / Canvas, The Detroit Institute of Art Detroit
  • 1936: Die Sinnende , oil on canvas, Deutsche Bundesbank art collection , Frankfurt am Main
  • 1937: Man in ruins , oil / canvas, Staatliche Kunstsammlungen Kassel
  • 1943: The Black Rooms (2nd version), oil / canvas, Neue Nationalgalerie Berlin
  • 1943: Joseph and his brothers oil / canvas, Hartwig Garnerus collection
  • 1944: The letter , oil / canvas, private property
  • 1944: Black moon night, oil / canvas, former Hofer estate Cologne

Late work 1945–1955

  • 1947: Hell journey , oil / canvas, former Hofer estate Cologne
  • 1947: Ruinennacht , oil / canvas, former Hofer estate Cologne
  • 1948: Schwarzmond (2nd version), oil / canvas, former Hofer Cologne estate
  • 1950: Im Gestein , oil / canvas, 60 × 40 cm, private collection South Germany, Wohlert 2892 (addendum)
  • 1951: Two women (double portrait), oil / cardboard, 42 × 55 cm, former Cologne estate, now private collection
  • 1954: Two masks , oil / canvas, former Hofer Berlin estate
  • 1954: Three girls between ladders , oil / canvas, 110 × 75 cm, former Cologne estate, now private collection, Wohlert 2385
  • 1954: Father and daughter , oil / canvas, 105 × 75 cm, former Hofer estate Cologne, now private collection, Wohlert 2788
  • 1955: Young man with wreath of flowers , oil / canvas. 48 × 39 cm, private collection, Cologne (acquired from the artist's widow in 1968) / private collection, Switzerland

Honors

Grave site (honor grave)

Publications

  • About the legal in the fine arts. Ed. Kurt Martin. Berlin 1956.
  • Memories of a painter. Munich 1963.
  • Karl Hofer: Painting has a future. Letters, essays, speeches. Kiepenheuer, Leipzig / Weimar 1991, ISBN 3-378-00478-9
  • Christine Fischer-Defoy (Ed. Karl Hofer Society): I said what I mean! - Speeches and statements by Karl Hofer on art, culture and politics in Germany 1945–1955. Berlin 1995.
  • Daniel Kupper (ed.): Karl Hofer - writings. Gebrüder Mann, Berlin 1995, ISBN 3-7861-1839-6 .
  • The fight for art. In: Supplement: life data and personal reports. to the picture portfolio Examples: Art in pursuit. Degenerate Art (exhibition) 1937 in Munich. Edited by the State Institute for Education and Training in Stuttgart. Neckar, Villingen-Schwenningen (1998), pp. 35–37 (with detailed biography; also texts by Gustav Schiefler on Die Brücke zu Erich Heckel ; by Max Beckmann , Paul Klee , Oskar Schlemmer and others) first: Supplement to Deutsche Allgemeine Zeitung dated July 13, 1933

literature

life and work

  • Ernst Rathenau: Karl Hofer - The graphic work. Berlin 1969.
  • Wolfgang Freiherr von Löhneysen:  Hofer, Carl. In: New German Biography (NDB). Volume 9, Duncker & Humblot, Berlin 1972, ISBN 3-428-00190-7 , p. 381 ( digitized version ).
  • Hans-Jörg Schirmbeck: The life and work of Karl Hofer in the period from 1918–1933. Thesis . HU-Berlin, 1974.
  • Katherine Rigby: Karl Hofer. New York / London 1976.
  • Elisabeth Furler (ed.): Karl Hofer - life and work in data and images. Frankfurt am Main 1978.
  • Elisabeth Hofer-Richold, Ursula Feist, Günther Feist: Karl Hofer. Berlin 1983.
  • Renate Hartleb : Karl Hofer. Leipzig 1987.
  • Ursula Feist, Günther Feist (ed.): Karl Hofer - Theodor Reinhart. Painter and patron. A selection of letters. Berlin 1989.
  • Jürgen Schilling: Karl Hofer. Unna 1991, ISBN 3-924210-31-4 .
  • Gerd Presler: A crosshead of the first class, in: ART - Das Kunstmagazin, May 1997, pp.54-63,100-101
  • Hartwig Garnerus: Karl Hofer. Exemplary works. Preface by Peter-Klaus Schuster et al. Heidelberg 1998, ISBN 3-8295-7007-4 .
  • Karl Bernhard Wohler; Markus Eisenbeis (Ed.): Karl Hofer, Catalog raisonné of the paintings , 3 volumes, Van Ham Art Publications, Cologne 2008, ISBN 978-3-00-021487-5
  • Gerd Presler; Markus Eisenbeis (Ed.): Karl Hofer. Catalog raisonné of the sketchbooks . Van Ham Art Publications, Cologne 2015, ISBN 978-3-9815510-1-3
  • Peter Dittmar: Tools for memorizing. The catalog raisonné of Karl Hofer's sketchbooks . In: Art and Auctions , September 18, 2015, p. 52
  • Karl-Heinz Weis: Karl Hofer 1878–1955. Ergon, Würzburg 2008, ISBN 978-3-89913-631-9 .
  • Katharina Henkel (ed.): Karl Hofer. Of the haunted life and quiet beauty. Wienand, Cologne 2012, ISBN 978-3-86832-093-0 .
  • Gerd Hardach : Parallel Lives: Mathilde Scheinberger and Karl Hofer . Hentrich & Hentrich, Berlin 2016, ISBN 978-3-95565-167-1 .

environment

  • Hans Gerhard Evers (Ed.): Darmstadt Conversation - The image of man in our time. Darmstadt 1951.
  • Exhibition catalog: In Memoriam Will Grohmann - Trailblazer of Modernism. Stuttgart 1987/1988.
  • Exhibition catalog: Abstraction and Figuration. Gallery Pels-Leusden. Berlin 1989.
  • Exhibition catalog: Eros, Dream and Death. Between symbolism and expressionism. The early graphics by Karl Hofer, Wilhelm Laage and Emil Rudolf Weiß. Städtische Wessenberg-Galerie Konstanz and Städtisches Kunstmuseum Spendhaus Reutlingen. Constance / Reutlingen 2012.
  • Exhibition catalog: Karl Hofer am Bodensee. Municipal Wessenberg Gallery. Constance 2012.

Web links

Commons : Karl Hofer  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Hans-Werner Schmidt: Willi Baumeister Karl Hofer - Encounter of Images. [On the occasion of the exhibition of the same name in the Museum of Fine Arts in Leipzig from December 19, 2004 to February 27, 2005] . Museum der Bildenden Künste, Leipzig 2005, ISBN 3-938025-10-7 , p. 26.
  2. ↑ Andreas Hüneke: Karl Hofer and National Socialism . In: Wolfgang Ruppert (ed.): Artists in National Socialism. "German art", art politics and the Berlin art college . Böhlau, Cologne 2015, ISBN 978-3-412-22429-5 , pp. 167–, 175 167.
  3. ↑ Andreas Hüneke: Karl Hofer and National Socialism . In: Wolfgang Ruppert (ed.): Artists in National Socialism. "German art", art politics and the Berlin art college . Böhlau, Cologne 2015, ISBN 978-3-412-22429-5 , pp. 167–, 175 168.
  4. ↑ Andreas Hüneke: Karl Hofer and National Socialism . In: Wolfgang Ruppert (ed.): Artists in National Socialism. "German art", art politics and the Berlin art college . Böhlau, Cologne 2015, ISBN 978-3-412-22429-5 , pp. 167–, 175 169 f.
  5. ↑ Andreas Hüneke: Karl Hofer and National Socialism . In: Wolfgang Ruppert (ed.): Artists in National Socialism. "German art", art politics and the Berlin art college . Böhlau, Cologne 2015, ISBN 978-3-412-22429-5 , pp. 167–, 175 170.
  6. ↑ and not his father Hugo Lederer , as Fischer-Defoy erroneously claimed in 1988, see Christine Fischer-Defoy: Art, Power, Politics: the Nazification of the art and music colleges in Berlin . Ed .: Press office of the University of the Arts, Berlin, on behalf of the President. 1st edition. Elefanten Press, Berlin 1988, p. 86 .
  7. ↑ s. Quote from the Hofer file ( Berlin Document Center ). In: Christine Fischer Defoy: Art makes politics. The Nazification of the art and music colleges in Berlin . P. 330
  8. ^ Chairwoman of the German Association of Artists since 1950 . kuenstlerbund.de; accessed on August 29, 2015
  9. ↑ Fig. In large format by Norbert Berghof (Red.): Art in the persecution: Degenerate art (exhibition) 1937 in Munich. 18 examples. and supplement: life data and personal testimonials. both Neckar, Villingen 1998
  10. ↑ Memorial plaque on the house where Carl Hofer was born
personal data
SURNAME Hofer, Karl
ALTERNATIVE NAMES Hofer, Karl Christian Ludwig
BRIEF DESCRIPTION German expressionist painter
DATE OF BIRTH October 11, 1878
PLACE OF BIRTH Karlsruhe
DATE OF DEATH April 3, 1955
Place of death Berlin