Karl Rössing

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Karl Rössing (born September 25, 1897 in Gmunden , Austria; † August 19, 1987 in Wels ) was an Austrian graphic artist and book illustrator . He created mainly wood engravings (1917 to 1950), linocuts and wood panel prints (1950 to approx. 1983) as well as oil paintings and picture drawings (1981 to 1987).

Rössing processed, among other things, tendencies of surrealism (montage) and the new objectivity (form) and took up suggestions from film and literature. Unusual combinations of artefacts from the past 2000 years and, among other things, particles from nature make his imagery appear strange and mysterious. On closer inspection, however, they turn out to be critical and / or contemplative inquiries of his time that have lost none of their explosiveness in their realism .

As a university professor he worked in Essen , Berlin and Stuttgart . His students included Heinz Kiwitz , Hermann Schardt and Günther Strupp (Essen), Ullrich Bewersdorff and Heinz Theuerjahr (Berlin), Bernd Becher , Robert Förch, Wolfgang Gäfgen , Dieter Groß, Romuald Hengstler , Christine Heuer , Heinrich Heuer , Friedrich Meckseper , Walter Rabe , Malte Sartorius , Günter Schöllkopf , Hermann Sturm, Hans Peter Willberg .

From 1922 Karl Rössing was with the painter Erika Rössing , b. Glöckner (1903–1977) married.

Life

1897-1921

Rössing was born to German parents. His father was castellan in Cumberland Castle of Ernst August von Hannover (1845–1923), the 3rd Duke of Cumberland. He studied from 1913 to 1917 at the Royal School of Applied Arts in Munich under Richard Riemerschmid with Fritz Helmuth Ehmcke (writing and illustration) and Adalbert Niemayer, members of the German Werkbund .

In this his first exhibition took place in the Graphisches Kabinett Schmidt-Bertsch in Munich in 1915. In 1916 the first publications of works in “Die Furche” and “German Student Work in Field and Home” followed. The first wood engraving was made a year later and he received the first illustration commission from Emil Kugler (House tales of the Kugler children, published in 1920, EM 1.21). This marked out his artistic path. In the years to come, his focus was on illustration and wood engraving.

After the war, Rössing settled in Gmunden again . In 1919 he exhibited at the New Secession in Munich , whereupon Rainer Maria Rilke became aware of him. In Salzburg , Joseph August Lux invited him to work on the magazine “Art and Culture Council” (1919 to 1921) which he edited. In 1921 he took part in the "International Black and White Exhibition" and at the same time the last exhibition of the artists' association "Der Wassermann" founded in 1919 by Felix Albrecht Harta and Anton Faistauer . Artists such as Ernst Barlach , George Grosz , Alfred Kubin and Käthe Kollwitz were there . Rössing received the silver medal of the Republic of Austria.

1921-1931

In 1921 Karl Rössing was appointed to Essen . He took over the book trade and graphics department at the Folkwang School . In 1926 he received the title of professor and became head of the book trade and graphics (illustration) class.

He was a member of the Fritz Helmuth Ehmcke circle (exhibitions and publication organ “Das Zelt”), the Essen Bibliophile Evening and the Cylinder Club.

His greatest successes as an illustrator fell in the booming post-war years. In the mid-1920s, when the book market seemed saturated, he increasingly turned to painting and drawing. He took part in the legendary exhibition “ New Objectivity ” in Mannheim in 1925 .

Trips to Holland and Paris had no visible impact. He owed the most important and lasting impulses to his first trip to Rome in 1930. For the first time, in view of the buildings from different epochs, Rössing was consciously aware of the coexistence and interlocking of the times. The city inspired him to consistently develop artistic approaches further: he took individual motif elements from reality and arranged them in his pictures to form a new unit (for example “dream leaves”).

Italy remained his “third home” for Rössing's life: in 1932, like Max Peiffer Watenphul and Wilhelm Schnarrenberger , he stayed as a student at the Villa Massimo in Rome (grant from the Prussian Ministry of Science, Art and Education ). From 1952 to 1976 he toured the country once or twice a year for several weeks each time.

His explicitly socially critical work was created in parallel to these contemplative graphics. Since childhood and youth he has been concerned with critical literature, in particular with Wilhelm Busch and Karl Kraus . He met the Austrian satirist personally in Essen in 1929 .

There were already critical approaches in his illustrations. From 1927 onwards they were formulated in lithographs and wood engravings on independent topics. The sheets were published in exhibitions and in various magazines that could be assigned to a more conservative direction, such as the youth or Simplicissimus , as well as in left-wing papers such as “Die Büchergilde” . In 1932 100 wood engravings, a selection of the critical sheets, appeared in book form under the programmatic title "My prejudice against this time" by the Gutenberg Book Guild .

1931-1945

In 1931, Karl Rössing's contract of service was no longer extended. The couple returned to Linz / Austria for a short time. Karl and Erika Rössing always spent a few weeks in Berlin and intended to settle there as soon as possible. From 1931 Rössing was supported by the Reichskunstwart Edwin Redslob , among others , who also supported him with applications. Although he was dismissed by the new government in 1933 , in 1934 the officials of the Prussian Ministry of Science, Art and Public Education and Alexander Kanoldt approved Rössing's application to teach the class for painting and drawing at the State University for Art Education in Berlin. In 1939 he became a professor here for life.

Rössing's life during the Nazi era is a reflection of the contradictions of that time. In 1937 the illustrations for “Münchhausen” and the graphic “Immaculate Proceedings” were confiscated in Erfurt - some of the few works by him that are in museums. He was also mentioned in Wolfgang Willrich's infamous book “Cleansing the Temple of Art”. In the same year one of his students defamed him. Thereupon Rössing decided, also at the urging of the director, to officially become a member of the NSDAP . In 1933 he had already tried to become a member - however, he was not registered and after moving to Berlin he no longer paid a membership fee .

In 1941 Rössing traveled to Crete on behalf of Walter Wellenstein in the Reich Aviation Ministry (art procurement department), for which he worked alongside the “ Schiller Theater”. Theater director Heinrich George had his friend, the art historian Dr. Wilhelm Fraenger , a former communist like himself, is engaged as an artistic adviser. Fraenger, who had been released by the National Socialists in Heidelberg , hired Karl Rössing and his pupil from Essen, the communist Günther Strupp.

Most of the motifs in Rössing's pictures suited the regime: landscape pictures that he brought back from his summer stays in Austria and South Tyrol , as well as pictures of historical subjects that interested him throughout his life. At the same time he tried again and again successfully to publish time-critical graphics such as the “Blätter zum Tod”, Goebbels and Göring or, among other things, the “Parachute Cemetery on Crete”.

In 1944, Rössing's house was destroyed in a bomb attack. He lost numerous works and among other things about 1,800 books. He then moved with his wife to Blankenburg (Harz) , where his brother Wilhelm lived. In the same year he was committed to military service. But as in the First World War (1917/18), he also experienced this war - under heavy psychological stress - only peripherally.

1945-1960

After being released from captivity, Rössing returned to Blankenburg, which was occupied by the Soviet Union shortly afterwards . He became a co-founder of the Kulturbund , local group Blankenburg, and chairman of the Blankenburg art circle.

The years of the Nazi era and the immediate post-war period were repeatedly reflected in his letters. Among other things to Alfred Kubin , whom he had met through Emil Kugler and with whom he had been in correspondence since 1928. Letters like these are rare and therefore have a high documentary value.

In 1947 Karl Rössing was appointed to the State Academy of Fine Arts in Stuttgart and finally took over the entire field of free graphics and illustration - professor for life. From 1953 to 1955 he was rector, from 1955 to 1957 vice rector.

He was a member of the German Artist Union , in the literary association "table of 13", and among others in 1953 in Zurich founding member of " XYLON . International Association of Wood Cutters ”, also Vice President for a short time. In Austria he belonged to the artists' association MAERZ together with his wife Erika .

Around 1950 Rössing completed the wood engraving, including around 70 illustrations and graphic sequences, with the " Odyssey ". He switched to linocut, and in terms of style and content, he tied in with the “Traumblätter” (1930–35) and the “Encounters” (1945/46).

In Stuttgart , like other colleagues, Rössing was overshadowed by Willi Baumeister , who became famous in those years . They were human and artistic, but for that very reason they represented a characteristic reflection of the politically motivated art scenes. Both of them based their work on the art of previous years. Baumeister tried to be creative with his seemingly archaic imagery in the spirit of ancient cultures and began with his legendary “zero point”. Rössing, on the other hand, drew on occidental culture and tried to draw an updated picture of the past with unusual combinations of artifacts from the past 2000 years, among other things . He was surprisingly close to young contemporary art. Contemporary artists, however, made use of the latest technical achievements and resorted to the computer to produce images.

1960-1987

In 1960 Karl Rössing retired early at his own request and moved with his wife to Gauting near Munich. After the death of his wife in 1977, he moved on to Austria - to Marchtrenk in the Griesmühle to his niece Inge Linsboth and his great-nephew Josef Brunner.

It was still important to him to show his work in both parts of Germany. In the 1960s and 1970s, as part of the newly awakened interest in the Weimar Republic, the socially critical work was rediscovered in numerous exhibitions and publications. He was never forgotten in the GDR . He owed his relationship to the GDR, which he visited in 1976 and 1978, primarily to his artist friend Heinrich Ehmsen and his wife Lis Bertram-Ehmsen.

Rössing was never really involved politically or in a group. He remained aloof from the art market and donated most of his work to public graphic collections.

From October 28 to November 30, 1977, the Stuttgart Academy presented the exhibition “Karl Rössing on the 80th Birthday”, organized by Rector Wolfgang Kermer and accompanied by a catalog, as a place where Karl Rössing had worked for many years . Rössing was present for the first time in 1959 with the inner, even narrowest circle of his Stuttgart “school” at the Heilbronn Art Association . In addition to Robert Förch, Walter Rabe, Günter Schöllkopf and Malte Sartorius, who were represented at the time, the Stuttgart Academy Exhibition brought together works by Wolfgang Gäfgen, Dieter Groß, Christine Heuer, Heinrich Heuer, Friedrich Meckseper, Walter Schöllhammer and Hans Peter Willberg. “Here and there the leading hand of Rössing can still be felt,” said Erich Pfeiffer-Belli in the Süddeutsche Zeitung at the time , “but they finally swam free: technically perfect and full of phantasy everywhere. [...] A more beautiful homage to Karl Rössing can hardly be imagined ”. When Rössing spoke of "school" on the occasion of the Heilbronn exhibition - in contrast to Willi Baumeister - the word "pupil" should only be reserved for "those who have combined the teacher's knowledge with their own insights and developed something living from it."

Awards

Foundations by Karl Rössing

plant

technology

In 1917 Karl Rössing discovered wood engraving for himself. Together with José Guadalupe Posada (Mexico) and Wladimir Faworski (Russia) he was considered to be the innovator of this technology. Thomas Bewick founded the technology at the beginning of the 19th century. Towards the end of the century it was flattened into a purely mechanical reproduction of paintings and works in popular family magazines such as Die Gartenlaube . Now artists and craftsmen were one person again.

With the exception of the early and post-war period, when Rössing had to resort to softer and more porous fruit woods and maple, he used boxwood, sometimes pear wood. The hard material made furrows possible in all directions and at different depths.

Around 1950 Rössing turned to linocut . The softer material also opened up new artistic possibilities for him, although the transition to the classic Clair-Obscur stitch was fluid. He still worked with the burin and used several plates, each with its own definition of shape, color or tone. In the end, however, he only left the vacuum plate at its constant size. He reduced the remaining plates to a single motif. He could use these so-called stamps as in a montage or mosaic print, but in a controlling sequence, as required. He could combine them with other elements, print them next to or on top of each other, color or change them, add additional plates or a wood engraving from earlier years. Each of the individual hand-printed linocuts was therefore unique. Only in the 1970s did Rössing produce edition prints of a number of motifs.

A special feature in his work between 1965 and 1970 was the wood panel prints. They showed a picture of the linocut from a different side: In a transfer printing process, Rössing printed the print freshly removed from the linocut on a pressboard.

At the beginning of the 1980s, Rössing refrained from printing more and more often and left it with the picture drawings with chalk , ink , felt-tip pens and tempera .

The graphics were all characterized by their printing finesse and were of subtle colors. Even the black and white of the wood engraving was softened with shades of gray thanks to his excellent mastery of the technique (see above). For the linocuts and picture drawings he mainly preferred the colors of the earth and autumn - the ocher of the sand, the olive green of the plants, the umber of the tree bark, the moors, weathered woods and fields, the gray of the stone and rocks.

Style synthesis

In dealing with current styles, Karl Rössing developed a personal visual language in line with the European avant-garde in the course of the 1920s, that of a style synthesis. He integrated Art Nouveau , Expressionism , Realism , Cubism and Futurism as well as Verism and - especially during the Nazi era  - historicizing tendencies into his work. The basis for this was also training in the spirit of the Deutscher Werkbund . Form was subordinated to content here.

Painting and drawing in the New Objectivity style influenced his graphic work in the mid-1920s. The factual and neutral representation of the motifs suited his focus, which was on the design of the picture surface. Slightly varied, he kept this factual representation of the individual motifs until the end of his life.

Assembly

Already at the beginning of his work, Karl Rössing made it clear that he did not comprehend a picture motif holistically. Rather, like the Surrealists, he combined individual elements from reality to create a new reality. The linocut finally offered Karl Rössing the opportunity to gradually develop the “print image” in a controlling sequence (see technology).

For this imagery, composed of fragments, he invented the fictional place Galamataca: “Galamataca cannot be found on any map. I invented it in the first half of the 1950s as an imaginary archaeological find field. ” These“ finds ”included artifacts and particles from nature that he collected or captured in photographs.

Motifs

Rössing's pictures are like a look into the cabinet of curiosities of the 20th century, which unites what is fleeting and what remains. His studio space with the found objects (eagles, battle pictures, ladder etc.), the motif albums and the extensive library and record collection (especially jazz ) reflect his diverse cultural interests.

Illustrations, among other things on French, German, Russian literature, as well as the folk book refer to his great love for literature. Circle of friends and memberships in literary circles underlined this close connection. Suggestions for his work were also found in the literary field, among others Jorge Luis Borges , Lawrence Durrell , Vladimir Nabokov and Marcel Proust . But theater and film also inspired the keen cinema-goer. Direction, camera position and staging can be recognized in his play with perspectives , meanings, fiction and reality, transience and duration, future and past.

Karl Rössing was exclusively committed to Western culture. Like a picture archivist, he integrated fragments of it into his picture world. These were pictures by Albrecht Dürer , works of art from antiquity as well as everyday objects of our time and particles of nature. In his pictures, for example, pyramids , butterflies and moon were found, as well as gas and manhole covers. In doing so, he questioned the present - such as war and terror - and pondered the timeless such as death or harmony.

After the death of his wife, he fell back briefly on the human image. He specifically looked for the defeated and failed like Knut Hamsun or the film character Charlie Chaplin . In the picture drawings he finally circled not only the current problems of the time, but above all his own mood and questioned his own older motifs anew.

Throughout his life, criticism and contemplation were the polar opposites to which Rössing, who himself often acted contradictingly and also contrary to the zeitgeist, had dedicated himself. He preferred to choose authors with a polar worldview like E. T. A. Hoffmann for his illustrations, or he looked specifically for polar situations in a story. In his free graphics he traced the double faced time or a situation.

As a result, Heraclitus from Ephesus (around 540-480 BC), the oldest author of the occidental doctrine of polarity, was also important for him . Timon von Phleius (330–240) called him a "riddle". This rating is also valid for Rössing. The sphinx , which was a popular motif for him, is indicative of this . It was a symbol of the knowledge in a roundabout way. In contrast to the Surrealists , Rössing did not want to unsettle the viewer or lead them astray. He wanted to reveal the connections with the unusual combinations of the picture elements and the connection of different levels of reality. In this he was comparable to John Heartfield , who was more direct and, above all, politically motivated.

The wood engraving from 1917 "Der Profit", in which he shows a fat man with a coin, is considered to be Rössing's first key work. A factory is visible in the background. Titles are always pointers in a certain direction, but always leave room for your own interpretations.

Selection of works

Rössing's works are in the largest graphic collections in Germany and Austria, as well as in the British Museum in London , in the Pushkin Museum in Moscow and in the French National Library in Paris. The graphics are provided on request. Rössing's works are cataloged by the authors Eichhorn-Mair ( EM ) and Elisabeth Rücker ( R ) named in the bibliography .

Illustrations

Cycles

  • Wood engravings
    • The leaves of death, 1933 (EM 3.13)
    • My prejudice against this period, 1927–1931 (EM 1.32)
    • Dream leaves, 1930–1935 (EM 1.35)
    • Picture puzzle in wood engravings (Insel-Bücherei 219/2), 1935
    • Encounters, 1945/46 (EM 1.28)
    • Passion of our days, 1946 (EM 1.34)
    • Apocalypse. The Revelation of S. Johannis in Luther's translation, 1948
  • Linocuts
    • Catulli Carmina, 1977 (R 334, R 343, R 351 - R 355)
    • Charlie Chaplin, 1977/78 (R 366 - R 371, R 385, R 415, R 421)
    • Palimpseste, 1982 (R 460 - R 467, R 469, R 471 - R 473)
    • The aristocrat, 1982 (R 477 - R 480).
  • Pictorial drawings
    • Pandora's bowl, 1986
    • Augen, 1983-1986
    • Typefaces, 1986
    • Pillars, 1987.

Important individual linocuts

  • Via Appia I, 1950 (R 2);
  • Zug der Menschen, 1962 (R 111);
  • Die Mondwerft, 1966 (R 171);
  • Dürer's Dream Face - A Film of the Equality of Times, 1970 (R 241);
  • Butterfly shadow on the warland, 1970 (R 242);
  • Demonstration, 1972 (R 271);
  • Fahrrad im Schnee I, 1973 (R 292);
  • Charlie Chaplin - Hope Failed, 1978 (R 371);
  • The knees of Turin, 1980 (R 413);
  • Adjustment sample II - Kugel und Linie, 1980 (R 431);
  • The last and the first door, 1981 (R 451);

Exhibitions (selection)

Solo exhibitions since 1924 mainly in museums in Germany, Austria, Canada, Holland, Lithuania, France.

  • 1995: Salzburg, gallery in the Traklhaus: "Column cycle" 1987 (K)
  • 1997: Schwetzingen, Xylon Museum; Gmunden, Kammerhofgalerie Gmunden: "My prejudice against this time" and other critical works (F)
  • 1997/98: Germanisches Nationalmuseum Nürnberg : My prejudice against this time (K)
  • 1997/98: Vienna, Palais Harrach (Freyung) (K); Veste Coburg : "Gegenwelten" (K); Albstadt, Municipal Gallery Albstadt (K)
  • 1998: Reutlingen, donation house
  • 1999: Landesmuseum Bregenz; Galerie am Steinweg, Passau (A journey into ancient mythology / as part of the European Weeks Festival); City Museum Bruneck (The finds from Galamataca. Karl Rössing on the search for traces in South Tyrol and Italy)
  • 2001: Kubin House, Zwickledt "Retrovisions"
  • 2002/3: Exhibition tour of the Gutenberg Book Guild , (West) Germany “Wood engravings”;
  • 2002/3: Literaturhaus Magdeburg , Kunstverein Halle "My prejudice against this time & literary alphabet"

Group exhibitions (selection)

  • 1919: Munich, New Secession (K)
  • 1921: Salzburg, Künstlerhaus: International Black and White Exhibition (K)
  • 1924: Kunsthalle Bremen : Karl Rössing, Conrad Felixmüller and Georg Schrimpf
  • 1925: Mannheim, Städtische Kunsthalle (and subsequent cities): New Objectivity. German painting since Expressionism (K)
  • 1928: Munich, Bavarian National Museum : Fritz Helmuth Ehmcke and the Ehmcke Circle:
  • 1933: "Deutsche Graphik", Museum for New Western Art, Moscow.
  • 1937: London, International Graphic Exhibition
  • 1939: "German Painting and Sculpture of the Present", Hamburger Kunstverein
  • 1946: General German Art Exhibition, Dresden City Hall (K).
  • 1947: Baden-Baden: L'art Allemand moderne. German contemporary art (K)
  • 1952: 2nd exhibition of the German Association of Artists: Contemporary Painting and Sculpture, Staathaus am Rheinpark , Cologne (K)
  • 1956: All-German graphic exhibition “Confession to Life”, Munich and East Berlin
  • 1964: East Berlin, National Museums in Berlin. Nationalgalerie Berlin : indictment and appeal. German art between the wars (K)
  • 1971: Nuremberg, Albrecht Dürer Society e. V .: in honor of Albrecht Dürer (C)
  • 1971: Nuremberg, Munich, Berlin (West) German Communist Party: Art as a weapon. The "Asso" and the revolutionary visual arts of the 1920s (K)
  • 1973/74: Kunsthalle Hamburg : Art in Germany 1898–1973 (K)
  • 1974/75: New York, The New School Art Center and Staatsgalerie Stuttgart : Twentieth Century German Graphics. German graphics in the 20th century (K)

Exhibitions with his Stuttgart students: 1959–1977

Exhibitions with his wife Erika Rössing: 1964–1980

literature

  • Albrecht Dürer Society (Ed.): Karl Rössing. Graphics 1915-1972 . Nuremberg 1973
  • Bavarian Academy of Fine Arts (ed.): Karl Rössing. Pictorial drawings 1982–1986 . Munich 1987
  • Karl Blanck: Karl Rössing . In: Archives for Book Trade and Commercial Graphics , 1929, no.4 (special supplement)
  • Otto Breicha : Karl Rössing. His column cycle from 1987 . Salzburg 1995 (publication of the Salzburger Landessammlungen Rupertinum for own collection)
  • Fritz Helmuth Ehmcke : Karl Rössing . Munich, Berlin 1963 and Dresden 1963
  • Uli Eichhorn, Roswitha Mair: Karl Rössing 1897–1987. Bibliography of the graphic works until 1950 for books, magazines and catalogs . With an introduction by Roswitha Mair. Rudolstadt 1991
  • Will Grohmann (WG): Eternal Rome. Art and reality . In: die neue linie , Oct. 1935, no. 2, pp. 17–19, 57
  • Kai Hohenfeld: Karl Rössing (1897–1987) - Endzeit , in: The dark side of the moon. Shadows from art and literature (publications by the Art Museum Albstadt, No. 181/2019), text by Kai Hohenfeld, exhib.-cat. Kunstmuseum Albstadt 2019/20, pp. 30–33
  • Wolfgang Kermer : Karl Rössing on his 80th birthday: Exhibition by former students: Robert Förch, Wolfgang Gäfgen, Dieter Groß, Christine Heuer, Heinrich Heuer, Friedrich Meckseper , Walter Rabe, Malte Sartorius, Walter Schöllhammer, Günter Schöllkopf , Hans Peter Willberg . State Academy of Fine Arts Stuttgart, Stuttgart 1977
  • Wolfgang Kermer: Between book art and book design: book designer at the academy and former arts and crafts school in Stuttgart. Work examples and texts . Ed.Cantz, Ostfildern-Ruit 1996, ISBN 3-89322-893-4
  • Emil Kugler: Karl Rössing . In: Die graphischen Künste , 1931, H. 2/3, pp. 57–62
  • Dieter Kuhrmann, Gunther Thiem (ed.): Karl Rössing. The linocut work 1950–1982 . With catalog of works by Elisabeth Rücker. Stuttgart 1982
  • Roswitha Mair: A Documentation on Karl Rössing (1897–1987) . Frankfurt am Main-Berlin-Bern-New York-Paris-Vienna 1994
  • Nicole Nix-Hauck (ed.), Wolfgang Kermer (catalog): Stuttgart encounters: The donation Wolfgang Kermer ; Municipal Gallery Neunkirchen, May 18 - June 24, 2005 (Neunkircher Kulturgesellschaft gGmbH)
  • Georg Reinhardt (Ed.): Karl Rössing. Pictorial drawings 1981–1984 . Stuttgart 1984
  • Franz Roh : Karl Rössing . In: Die Horen , 1926/27. H. II, pp. 137-144
  • Kristian Sotriffer : Karl Rössing. Equality of times . With a catalog of the linocuts by Elisabeth Rücker. Vienna 1974 and 1978 (special edition)
  • State Gallery Stuttgart (Ed.): Karl Rössing. The linocuts with their designs and wood panel prints . Stuttgart 1977
  • Günther Wirth, Otto Wutzel (eds.): Erika Rössing - Temperabilder, Karl Rössing - Linocuts. An artist community . Linz 1978 (series of publications by the Landeskulturzentrum, Ursulinenhof No. 4)

swell

  • Roswitha Mair: A Documentation on Karl Rössing (1897–1987) . Frankfurt am Main-Berlin-Bern-New York-Paris-Vienna 1994
  • Written estate of Karl Rössing: Archive for fine arts - Germanisches Nationalmuseum Nürnberg

Web links

Individual evidence

  1. ↑ Dr. Emil Kugler: Karl Rössing . In: Society for duplicating art (ed.): The graphic arts . No. 54 , 1931, pp. 57 ( uni-heidelberg.de ).
  2. ↑ kuenstlerbund.de: Full members of the German Association of Artists since it was founded in 1903 / Rössing, Karl ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on December 28, 2015) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  3. ↑ Karl Rössing on his 80th birthday: Exhibition of former students: Robert Förch, Wolfgang Gäfgen , Dieter Groß, Christine Heuer , Heinrich Heuer, Friedrich Meckseper , Walter Rabe , Malte Sartorius , Walter Schöllhammer, Günter Schöllkopf , Hans Peter Willberg . October 28 to November 30, 1977, State Academy of Fine Arts Stuttgart. [Exhibition and catalog: Wolfgang Kermer]
  4. ^ Erich Pfeiffer-Belli: Stuttgart honors Karl Rössing - exhibitions in the State Gallery and at the Weissenhof . In: Süddeutsche Zeitung, No. 263, November 15, 1977, p. 33, cited above. According to: Akademie-Mitteilungen 8 / State Academy of Fine Arts Stuttgart / For the period from June 1, 1976 to October 31, 1977 / Stuttgart: State Academy of Fine Arts Stuttgart, March 1978, p. 138
  5. ^ Karl Rössing: Teachers and students . [Catalog text for the exhibition "Karl Rössing and his school - Robert Förch, Walter Rabe, Günter Schöllkopf, Malte Sartorius", Kunstverein Heilbronn, 1959] Reprinted in: Karl Rössing on his 80th birthday: Exhibition by former students: Robert Förch, Wolfgang Gäfgen, Dieter Groß, Christine Heuer, Heinrich Heuer, Friedrich Meckseper, Walter Rabe, Malte Sartorius, Walter Schöllhammer, Günter Schöllkopf, Hans Peter Williberg . October 28 to November 30, 1977, State Academy of Fine Arts Stuttgart. [Exhibition and catalog: Wolfgang Kermer], o. P. [15]
personal data
SURNAME Rössing, Karl
BRIEF DESCRIPTION Austrian graphic artist and book illustrator
DATE OF BIRTH September 25, 1897
PLACE OF BIRTH Gmunden
DATE OF DEATH August 19, 1987
Place of death catfish