Karl Hurm

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Karl Hurm (2010)

Karl Hurm (born December 29, 1930 in Weildorf ; † June 8, 2019 in Balingen ) was a German painter . The works of the autodidactic artist are naive art and have been shown in a permanent exhibition at the Städtisches Kunstmuseum Ölmühle in Haigerloch since 1998 .

Life

Karl Hurm was born in 1930 as the seventh of eight children. As a child he drew the rural surroundings of his hometown Weildorf, "painting was always part of it" he said himself. After graduating from school in 1946, he began an apprenticeship as a painter . In addition, Hurm found out about regional painters, visited the Düsseldorf painter Friedrich Schüz (1874–1954) and heard about the young artists who worked in the Bernstein Monastery . In 1949, Hurm took over his parents' fruit and vegetable business in Weildorf. He also used his weekly trips to the wholesale market in Stuttgart to visit museums. Hurm later named the works of Picasso and Paul Klee , Henri Rousseau and Paul Gauguin , Marc Chagall and Jean Tinguely as inspiration for his painting technique and motifs, in addition to the works of old masters .

In 1955 Karl Hurm and Anni Huber (1935–2019) married. The marriage had four children, including the Americanist Gerd Hurm . Hurm continued to work in the fruit and vegetable wholesaler, drawing and painting in his free time. In 1970 Karl Hurm left the company due to a serious illness and has since devoted himself exclusively to painting. In 1972 he won the first prize in the “Sunday Painters Competition” for hobby artists from the Eisenmann company, Böblingen, with the picture Woman on TV . In the same year he had his first solo exhibition in the gallery the black stairs in Haigerloch. Since then, Karl Hurm has presented his pictures in over 200 group and solo exhibitions in Europe, the USA and Japan. Karl Hurm painted and lived in the Haigerloch district of Weildorf.

plant

"Animals on the Mountain", oil, 20 × 16 cm

Karl Hurm's works, which have been created since the 1970s, are difficult to assign to a particular style, and are often grouped under the term "naive art". Hurm started from the ranks of the “ Sunday painters ” and created an extensive, independent work. He presents his pictures mostly painted in oil on hardboard. The small formats are held in self-made wooden frames. In the early 1970s, Hurm painted animated scenes in a naive manner (“Noah's Ark”, 1973). With a few exceptions in the picture, every object, every living being has its place, its realistic coloring. Early on, Hurm guided the viewer in the picture through an idiosyncratic interpretation of the proportions (Das Paradies, 1972). The Swabian homeland in the change of the day and seasons served as the basis for many pictures until the end. Central features are people, houses, cows, horses, meadows and forests, the landscape as the seasons change, and scenes from everyday life. In doing so, Hurm by no means remained caught in the cliché of a rural idyll; he perceived breaks and edges of modernity without judgment. He played with these themes in many different ways, so that no two pictures are the same, each one is unique. Karl Hurm moved away from depicting in the course of his work. The colors applied in many layers with a fine brush, the forms removed from reality, the use of emotional colors due to the mood, resulted in a parallel reality in his pictures. In an irrepressible imagination, Hurm alienated moments of everyday life, set accents in the weighting through idiosyncratic standards. The small, squat men seem to hide from the tall, round, red-haired women (Viadukt in der Winterlandschaft, 1988), while the man stands facing nature as a lonely observer (Gelber Hügel, 1998). Houses pile up to form mountains (tower in the winter landscape, 1986), birds take on the contours and colors of the bushes (large bird with three trees, 1986). Winter landscapes and interiors gave the painter the opportunity to sound out "idiosyncratic color dominance" (bouquet of flowers with yellow curtain, 1989). Hurm experimented with the colors red, white, blue, and brown, which are placed as filters over the image motif (Blauer Bezirk, 1988). In the 1990s, color developed a life of "delimitation", detached from the object. It includes groupings (Green Birds with the Cows, 1999), sets expressive, high-contrast emphases. Hurm initiated a tendency towards abstraction reminiscent of cave paintings. (Animal herd in winter, 2000).

Material images

In the 1990s, Karl Hurm increasingly began to incorporate everyday objects into his paintings, to take his pictures into the third dimension. Tights, shoelaces, brush bristles, chain links, wire netting, shopping nets, twigs and beechnuts were placed in collages. Chewing gum, pressed into shape as a bas-relief, make the figures appear three-dimensional. At the same time, pictures were created on old oven doors, iron plates, metal sheets or pieces of wood. Karl Hurm used this material to create images that have come down to us from a distant past. Structures found in the material are interpreted through hints in color.

drawings

Hurm started drawing as a child and teenager. This early work has not survived, just as the sketches on the back of business papers that were made while working as a fruit and vegetable wholesaler. The drawings that have been preserved since the 1960s are not to be understood as drafts, they are composed precisely and with great attention to detail as independent works of art. The drawings were always made when the easel and colors were not available.

Exhibitions and purchases

Oil mill in Haigerloch

From 1969 Karl Hurm took part in exhibitions of naive artists in the Galerie Eisenmann, Böblingen, and in 1972 he won first prize. In 1972 Karl Hurm was honored in the first solo exhibition in the gallery "the black staircase" by Hermann-Josef Speier in Haigerloch. Over 200 exhibition participations followed, including:

From 1998 Karl Hurm presented a permanent exhibition with works from his entire creative period in the Städtisches Museum Ölmühle in collaboration with the city of Haigerloch . The Würth Collection , Künzelsau, offers a representative cross-section of Karl Hurm's work (a total of over 200 oil paintings, material pictures, steles and drawings). The State Museum of Baden-Württemberg, Waldenbuch Castle, has owned pictures by Karl Hurm since 1990.

literature

  • Alexandra Cyrkel (Ed.): Karl Hurm for his 60th birthday . Probst, Villingen-Schwenningen 1990, ISBN 3-925221-06-9 . (Festschrift)
  • Karl Hurm, with an introduction by Karl Arndt : The painter Karl Hurm . Goettingen 1980, OCLC 314792404 .
  • Barbara Lipps-Kant, Karl Arndt: Karl Hurm in the Haigerloch oil mill . Tübingen 1998. (exhibition catalog)
  • Barbara Lipps-Kant, Karl Arndt: Karl Hurm - paintings, material pictures, drawings 1980–2000 . Tübingen 2000.
  • Günther Wirth: German Sunday painters . Braun, Karlsruhe 1978, ISBN 3-7650-9013-1 .

Web links

Individual evidence

  1. ↑ a b Andrea Spatzal: artist Karl Hurm and wife Anni died. In: Südwestpresse , June 11, 2019. Accessed June 11, 2019.
  2. ^ Conversation with Karl Hurm . In: Alexandra Cyrkel (ed.): Karl Hurm on his 60th birthday . Probst, Villingen-Schwenningen 1990, p. 86.
  3. ↑ Hurm, Gerd . In: Alexandra Cyrkel, Karl Hurm on his 60th birthday . Probst, Villingen-Schwenningen 1990, p. 10
  4. ↑ Rüdiger Zuck: Karl Hurm - Naive Pictures in: Alexandra Cyrkel (ed.) Karl Hurm on his 60th birthday , Probst Villingen-Schwenningen 1990, pp. 22-23
  5. ↑ Barbara Lipps-Kant: The landscape, the people, the gently gazing animals above all ... in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm in the Haigerloch oil mill , Tübingen 1998, p. 16
  6. ^ Karl Arndt: The painter Karl Hurm , Göttingen 1980, p. 24
  7. ^ Karl Arndt: Observed - Dreamed - Painted , in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm in der Ölmühle Haigerloch , Tübingen 1998, p. 11
  8. ↑ Rüdiger Zuck: Karl Hurm - Naive Pictures in: Alexandra Cyrkel (ed.) Karl Hurm on his 60th birthday , Probst Villingen-Schwenningen 1990, p. 23
  9. ^ Karl Arndt: Finds as Pictures - Pictures as Finds in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm - paintings, material pictures , drawings 1980–2000 , Tübingen 2000, p. 34
  10. ↑ Barbara Lipps-Kant: The world firmly in view in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm - paintings, material pictures, drawings 1980–2000 , Tübingen 2000, pp. 22–23
  11. ^ Karl Arndt: Finds as Pictures - Pictures as Finds in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm - Paintings, material pictures , drawings 1980–2000 , Tübingen 2000, pp. 26–34
  12. ^ Lipps-Kant: The world firmly in view in: Barbara Lipps-Kant, Karl Arndt: Karl Hurm - paintings, material pictures, drawings 1980–2000 , Tübingen 2000. pp. 19–20
  13. ↑ Terry Ann Neff: Naive and outsider painting from Germany and paintings by Gabriele Münter . Museum of Contemporary Art Chicago, Chicago 1983, ISBN 0933856121 . (Catalog for the exhibition from March 26th to May 29th 1983)
personal data
SURNAME Hurm, Karl
BRIEF DESCRIPTION German painter of naive art
DATE OF BIRTH December 29, 1930
PLACE OF BIRTH Weildorf
DATE OF DEATH June 8, 2019
Place of death Balingen