Karl Steinbart

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Max Slevogt: Portrait of Carl Steinbart , 1910

Karl Emil Steinbart , also Carl Steinbart , (born on February 25, 1852 in Klein-Plowenz, Strasburg District in West Prussia (today Płowężek , Gmina Jabłonowo Pomorskie ); died on October 26, 1923 in Berlin ) was a German bank manager, art collector and patron . He amassed an extensive collection of works by contemporary artists, including more than 70 works by Max Slevogt .

Life

Karl Steinbart was born in 1852 as the son of the landlord Emil August Steinbart and his wife Auguste, née Liedtke, in Klein-Plowenz, West Prussia. He had ten siblings who were born between 1844 and 1857. In the literature, Steinbart was repeatedly wrongly assigned a Jewish origin because of his bank activities and art sponsorship. Instead, the family had been evangelical for generations. Karl Steinbart was baptized on March 16, 1852 in Groß Leistenau (today Lisnowo ). He attended the Thorner Gymnasium as a student and then completed a commercial training at a trading company in Gdansk . After completing his training, Steinbart began his professional career at the Mendelssohn & Co. bank in Berlin. There he became a collective authorized signatory in 1897, and in 1909 an individual authorized signatory , he was promoted to head of human resources. He stayed with the bank until the end of his life. For his professional services he was appointed to the Prussian Council of Commerce . Karl Steinbart was married to Anna Käthe Kaiser. This marriage produced five children. The daughter Dora Steinbart married Paul Stach, who also worked for the Mendelssohn & Co bank in Berlin and from 1920 worked in the bank's Amsterdam branch, where he rose to become a partner. The son Kurt Steinbart became an art historian and later a member of the NSDAP and the SA . Karl Steinbart lived with his family in various places in Berlin and Groß-Lichterfelde (today Berlin-Lichterfelde ).

As a banker, Karl Steinbart had made a considerable fortune. In 1908 he was listed as a simple millionaire in the Yearbook of Millionaires' Wealth and Income . This financial background enabled him to build up an extensive art collection. In doing so, he sometimes came into direct contact with artists. In 1913 he visited the Norwegian painter Edvard Munch on the island of Jeløya and bought some of his works from the artist. The daughter Irmgard Steinbart, who traveled with them, was portrayed by Munch on this occasion. Steinbart sold the acquired portrait of his daughter a little later, as he could see little resemblance to the one depicted. Steinbart's favorite artists also included Max Slevogt , whom he is said to have traveled after in order to purchase the painter's latest works. The painter Max Pechstein affectionately called Steinbart his "valued patron". Both Pechstein and Slevogt created portraits of Steinbart. As a patron, he mainly supported the Berlin National Gallery . In 1906, for example, he donated a youthful self-portrait by Bernhard Pankok to the museum . In the same year, together with the banker Carl Hagen , he financed the purchase of the painting The Church of Saint-Germain-l'Auxerrois by Claude Monet . In 1907, together with Carl Hagen, Monet donated the painting Wiese in Bezons to the National Gallery. Karl Steinbart died in Berlin in 1923.

collection

The exact holdings of the Steinbart Collection are difficult to reconstruct. In some cases the collector sold works again after a while, in some cases only titles have survived that cannot be clearly assigned to works. Overall, the Steinbart Collection consisted mainly of works by contemporary artists. One of the earliest works was a version of Gustave Courbet's The Wave . In the 1880s Steinbart acquired a number of works by the Swiss symbolist Arnold Böcklin . The author Cella-Margaretha Girardet commented that he was “probably really a Böcklin lover”. Böcklin's works in the collection included the paintings Raid by Pirates ( Wallraf-Richartz-Museum & Fondation Corboud , Cologne), Pan im Schilf ( Kunst Museum Winterthur - Reinhart am Stadtgarten , Winterthur), Self-Portrait with Wine Glass ( National Gallery , Berlin) and Spring hymn ( Museum of Fine Arts , Leipzig). Later works by the German impressionist Max Slevogt formed the focus of the collection. Steinbart owned more than 70 paintings by this painter alone. These included, for example, the works Hartschierwache by Prince Regent Luitpold , Ritterschlag Georgifest and Kleine Weinernte (all Max Slevogt-Galerie, Villa Ludwigshöhe , Edenkoben). Slevogt also painted several portraits of Karl Steinbart (a version in the Wallraf-Richartz-Museum & Fondation Corboud). A number of paintings by Max Liebermann were also found in the Steinbart Collection, including the works Strand in Nordwijk bei Sturm , Garten in Nordwijk-Binnen and Dorfstrasse in Noordwijk (all private collections). Steinbart owned a portrait of a Tyrolean woman with a cat (private collection) by Lovis Corinth, and a landscape by Theo von Brockhusen .

In addition, Steinbart brought together some works of Expressionism . So he bought a series of pictures from Edvard Munch , who painted Steinbart's daughter in two versions ( Munch Museum , Oslo and Mildred Lane Kemper Art Museum , St. Louis). The Steinbart collection included the portrait of Ingeborg Kaurin ( Museum of Fine Arts, Boston ). Steinbart also owned numerous works by Max Pechstein , such as the still life with putto and calla and the picture Fishing Cutter in the Afternoon Sun (both private collections). In addition, Emil Nolde created the painting Red and Yellow Roses (Wallraf-Richartz-Museum & Fondation Corboud, Cologne), Ignacio Zuloaga the painting El Requiebro (private collection), Ludwig Meidner the works I and the city and a self-portrait and Hans Purrmann an interior .

  • Arnold Böcklin: Self-Portrait with Wine Glass , 1885n

  • Max Slevogt: Hartschierwache , 1910

  • Max Liebermann: Beach in Nordwijk during a storm , 1908

  • Lovis Corinth: Tyrolean woman with a cat , 1913

  • Edvard Munch: Irmgard Steinbart , 1913

literature

  • Rolf Andree: Arnold Böcklin, the paintings . Prestel, Munich 1977, ISBN 3-7913-0413-5 .
  • Cella-Margaretha Girardet: Jewish patrons for the Prussian museums in Berlin, a study on patronage in the German Empire and in the Weimar Republic . Hänsel-Hohenhausen, Egelsbach 1997, ISBN 3-8267-1133-5 .
  • Johanna Heinen: A "Jewish" Patronage for Modern French Art? The case study of the Nationalgalerie in Berlin during the Wilhelmine era (1882–1911): a cultural and socio-historical study . Peter Lang Edition, Frankfurt am Main 2016, ISBN 978-3-631-64864-3 .
  • Johann Georg Prinz von Hohenzollern , Peter-Klaus Schuster (ed.): Manet to van Gogh, Hugo von Tschudi and the struggle for modernity . Exhibition catalog Nationalgalerie Berlin and Neue Pinakothek, Munich 1996, ISBN 3-7913-1748-2 .
  • Berthold Roland: Max Slevogt: Palatinate landscapes . Hirmer, Munich 1991, ISBN 3-7774-5520-2 .
  • Berthold Roland: Castle "Villa Ludwigshöhe," with the Max Slevogt Gallery: Activities, acquisitions, 1980–1993 . Von Zabern, Mainz 1994, ISBN 3-8053-1697-6 .

Web links

Individual evidence

  1. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 197
  2. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 197
  3. ^ Cella-Margaretha Girardet: Jewish patrons for the Prussian museums in Berlin, a study on patronage in the German Empire and in the Weimar Republic . P. 222.
  4. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 197.
  5. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 197.
  6. ^ Entry on Carl Steinbart in Edvard Munch's Tekster Digitalt Arkiv
  7. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 163.
  8. ↑ Information on Carl Steinbart and his friendly relationship with Pax Pechstein on the website of the auction house Karl & Faber, Munich
  9. ↑ Information on the painting Jugendliches Selbstbildnis by Bernhard Pankok in the online database museum-digital.
  10. ^ Johann Georg Prinz von Hohenzollern, Peter-Klaus Schuster: Manet bis van Gogh, Hugo von Tschudi and the struggle for modernity , p. 90.
  11. ↑ Johann Georg Prinz von Hohenzollern, Peter-Klaus Schuster: Manet bis van Gogh, Hugo von Tschudi and the struggle for modernity , p. 98.
  12. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , Pp. 198-199.
  13. ^ Cella-Margaretha Girardet: Jewish patrons for the Prussian museums in Berlin, a study on patronage in the German Empire and in the Weimar Republic . P. 222.
  14. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 464
  15. ^ Berthold Roland: Max Slevogt: Palatinate Landscapes , p. 82.
  16. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 464
  17. ^ Johanna Heinen: A "Jewish" patronage for modern French art? , P. 464
personal data
SURNAME Steinbart, Karl
ALTERNATIVE NAMES Steinbart, Karl Emil (full name); Steinbart Carl (further spelling)
BRIEF DESCRIPTION German banker, art collector and patron
DATE OF BIRTH February 25, 1852
PLACE OF BIRTH Klein-Plowenz (today Płowężek )
DATE OF DEATH October 26, 1923
Place of death Berlin