Katharina Szelinski-Singer
Katharina Szelinski-Singer b. Singer (born May 24, 1918 in Neusaß Gritzas, Heydekrug district , East Prussia ; † December 20, 2010 in Berlin ) was a German sculptor . She lived in Berlin from 1945.
The artist was a trained stone sculptor and master class student of Richard Scheibe at the Berlin University of the Arts . Shortly after graduating in the mid-1950s, she was commissioned to design the memorial to honor the rubble women in Berlin 's Volkspark Hasenheide - her most famous work in public space. After smaller follow-up orders, she lived from 1956 to 1986 mainly from restoration work for Charlottenburg Palace . The "outsider" of the art business created a sculptural work in addition to her professional activity, of which she only showed individual works in group exhibitions. It did not appear again until 1987/1988 when the Georg Kolbe Museum in Berlin devoted its first major solo exhibition with 45 exhibits to its work.
Her purely figural oeuvre includes around one hundred sculptures and sculptures . Their female bodies and heads, the majority of their figures, often have self-portrayal features or are determined by biographical themes. With the series Heads in particular , she broke away from the artistic influence of her teacher Richard Scheibe in the 1970s and found her own sculptural form of expression. Art historians see their work in the tradition of the Berlin sculpture school .
Life
From childhood on the farm to Tilsit and training as a sculptor in Poznan (1918–1945)
Katharina Singer was born in the village of Neusaß Gritzas, where the family ran a farm. It was in the German-Russian border area near the town of Heydekrug and belonged to the former district of the same name in East Prussia. Her father died before she was born. After the mother remarried in 1920, the family moved to the East Prussian village of Schernupchen (after renaming in 1938 Kirschland) in the Insterburg district , where the stepfather owned a farm. From 1929 to 1936 Katharina Singer attended the Königin-Luise-Lyzeum in Tilsit and during this time lived with an uncle who lived there, a teacher.
According to her own statement, the artist decided to become a sculptor at a young age. At the age of 10 she was already forming figures from clay , clay and wax and in the course of time developed a skill that went well beyond the playful, child-like kneading . At the age of twenty she happened upon an extensive exhibition catalog in a Königsberg antiquarian bookshop, in which figures by the sculptor Richard Scheibe , a close friend of Georg Kolbe , were depicted. She was very impressed by Scheibe's works and strengthened her desire to become a sculptor.
There were some musical talents in the Katharina Singers family, such as their cousin, the painter Paul Schmolling , who was known in East Prussia at the time . Nevertheless, the family found Singer's plan to become a sculptor adventurous. Her mother, in particular, considered sculpture to be a man's job and argued that “you have to have the strength of a man for it”. Since Katharina Singer did not want to burden the family with "something as adventurous," she first worked, most recently in Poznan , which after the German invasion of Poland in 1939 was occupied German (see. Wartheland ) as a forest secretary and correspondent to the means for their education to get together. She had moved to Poznan because the Poznan Master School for Designing Crafts alone offered the opportunity to begin training as a sculptor. From 1943 to 1945 she attended the sculpture class and paid special attention to working with stone. In addition, she took subjects such as geology, life drawing and anatomy.
Since the National Socialists in occupied Polish territory attached great importance to “proving that they were a cultural nation”, they sponsored institutions such as the master school. Since the city was rarely the target of Allied air raids , Katharina Singer was able to work undisturbed until the arrival of the Red Army in January 1945. Nothing is known about their attitude towards National Socialism or the NS-German Student Union .
Master student in Berlin and early career highlight (1945–1956)
The workshop weekly book, which she had kept in Poznan to the end, helped Katharina Singer, after her escape in March 1945, to gain admission to the journeyman's examination as a stone sculptor at the Berlin Chamber of Crafts . The journeyman's piece that she had made for the exam - a woman's head made of shell limestone - was destroyed shortly before the appointment when a bomb hit the studio. In view of the adverse circumstances, however, she received her journeyman's certificate as a stone sculptor even without this work. The master craftsman put Katharina Singer of 1948 during their studies.
In 1946 she started studying as a master class student under Professor Richard Scheibe at the College of Fine Arts. This fulfilled her long-cherished wish to be able to study with Scheibe since she saw the first photos of his work in the Königsberg exhibition catalog. At the time of her studies there were competing positions at the university. Richard Scheibe was increasingly sidelined as an artist, while Hans Uhlmann , for example, with his metalwork - still defamed as Degenerate Art by the Nazis - came to the fore. As a master student, Katharina Singer had a studio next to Uhlmann, whose art she said she did not touch. She stayed with the figurative conception of the disk.
While studying, Katharina Singer worked as an au pair in an American family. When this family moved to Paris in 1952 , they gave up their last semester and took the opportunity to go to Paris. The lady of the house, who was interested in art, gave her enough time to “look around at the art market. So the time in Paris became a study visit for [Katharina Singer]. "
After her return in 1953, with the intercession of Scheibe, she was commissioned by the State of Berlin to create the monument for the rubble women , which was inaugurated in 1955 in the Hasenheide park . In 1956 Katharina Singer was able to produce two more larger figures for the city of Berlin, and in the same year she won first prize in the competition “The Man of Our Time” for Berlin painters and sculptors. The public commissions and the award as a prizewinner pointed to a successful sculpting career, which however did not materialize. The artist sees the reason for this in the fact that “the time [...] for the figurative work as I was able to do it [was] not favorable. The abstract tendencies were preferred. I couldn't join this art direction. "
Restorer and retreat into private life (1956–1986)
From 1956 until the end of her professional career in 1986, Katharina Singer earned her living as a restorer in Charlottenburg Palace . Securing life through restoration work in public institutions is not uncommon for sculptors. Singer worked in the palace with Günter Anlauf , Karl Bobek , Joachim Dunkel, Harald Haacke and Emanuel Scharfenberg , among others . Most of the restoration and reconstruction work was carried out on marble fireplaces. As part of this work, for example, she molded a fireplace in Rheinsberg Castle with special permission from the GDR authorities and, after the molding, worked on the fireplace of Frederick II's library in the Knobelsdorff wing of Charlottenburg Palace.
The job left Katharina Singer little time for her own work. Nevertheless, around 40 sculptures and sculptures were created in her spare time during these thirty years. In 1960 she won the sculpture prize at the Great Berlin Art Exhibition with a self-portrait in stone . In 1969/70 the artist received her fourth and last public commission for two figures at the restored fairy tale fountain in Neukölln's Von-der-Schulenburg-Park . In 1962 she married the journalist Johannes Szelinski and from that year had the double name Szelinski-Singer. In 1970 she set up a large studio in Lankwitz .
While her figures from the 1950s were heavily influenced by their master Richard Scheibe, she broke away from his influence in the mid-1970s with her series “Heads”. The artist changed her figures over and over again over the years and took “all of the plastic back to the skeleton.” She did not like to go public with her works because her “statement was not really trendy felt appropriate ”. Due to her secure financial basis, Katharina Szelinski-Singer was not forced to produce for the art market.
As a member of the sculptor group “Plastik 71”, she only took part in a few group exhibitions between 1972 and 1981. In 1980 the gallery in the Cismar monastery presented works by Berlin sculptors from Charlottenburg Palace. The focus was on the restoration and the "posthumous implementation of a planning concept from 1705", in which six sculptors were involved, who presented their work in the reconstruction of the palace as a monument as well as their own sculptural work. Katharina Szelinski-Singer presented several works, including the group of three Waiting Women (1967/77) made of shell limestone.
New step in public (1986-2010)
After finishing her professional activity in 1986, the sculptor had time to concentrate on her own work. In the period from 1986 to 1997 she created around 20 other figures, including the large seated figure, which for the art historian Helmut Börsch-Supan, as a “ball at rest”, perhaps corresponds most to the artist's essence.
From December 1987 to February 1988 the Georg Kolbe Museum presented the artist's work with 45 selected exhibits in a first major solo exhibition. In the opening speech to the exhibition, Helmut Börsch-Supan pointed out that it was not easy to get the sculptor to go public with this “retrospective, which is actually a perspective. She shies from the limelight because of the risk of disturbing the balance between inwardness and outwardness and thus losing the ground under her feet, on which the constant should flourish as an “outsider” of the art world.
At the end of 1997 a second solo exhibition with the title "Katharina Szelinski-Singer - Stone and Bronze" followed in the Kreuzberg Deutschlandhaus, which was also presented in the spring of 1998 at the Albrechtsburg in Meißen .
Katharina Szelinski-Singer rated her work in 1987 with the words:
“The more time goes by, the more people there are, I believe, who are interested in the synthesis that sculptors like me strive for. To offer something formally acceptable is a good thing. To grasp the human figure and to do so in a formal language appropriate to our time seems much more difficult to me - but perhaps also more important. I'm on my way. "
The sculptor died at the age of 92. The urn burial took place on January 17, 2011 at the Waldfriedhof Heerstraße in Berlin-Westend (grave location: II-W 4-38).
Work and artistic development
Katharina Szelinski-Singer's artistic path began after completing her studies with commissioned work in Berlin districts. The female figures that she executed between 1955 and 1957 are influenced in form and expression by the figures and portraits of her teacher Richard Scheibe. Her work in the 1970s and 1980s was mainly characterized by the series of heads and various busts , including some portraits . In addition, small-format sculptures made of bronze or stone were created in all phases . In 1970 the sculptor received her last public commission for two additional figures at the Neukölln fairy tale fountain. A complete catalog of works by Katharina Szelinski-Singer is not yet available. The exhibition catalog Stone and Bronze from 1997, which lists 53 works, provides a partial overview.
In the succession of Richard Scheibe - municipal commissioned work
The artist's public figures are not in the vibrant cityscape of Berlin, but in protected places in green spaces : the memorial in memory of the rubble women in Volkspark Hasenheide, the “water carrier” in the spacious park cemetery Neukölln and the fairytale fountain in Schulenburgpark. Even the smallest sculpture in public space, the “crouching” or “crouching” on Wartburgplatz in Schöneberg , is set up on the roadside surrounded by greenery.
Rubble Woman (1955)
The monument to commemorate the achievements of the Berlin rubble women was created at the suggestion of the President of the House of Representatives and later Governing Mayor Otto Suhr and Neukölln's District Mayor Kurt Exner on the Rixdorfer Höhe , a mountain of rubble in the Hasenheide park. After her return from Paris, Katharina Szelinski-Singer was commissioned to carry it out with the support of her teacher Richard Scheibe and in 1954 she made four models out of plasticine . The selected version was executed by the sculptor in shell limestone . It was ceremoniously unveiled on April 30, 1955 by the former mayor Louise Schroeder .
The sculpture shows a figure 2.40 meters high with a cape, headscarf and rough shoes. The hands are in the lap and hold a hammer. The thoughtful and tired drawn woman sits on a loose pile of bricks and looks thoughtfully at the sky. According to Endlich / Wurlitzer, the monument depicts “not a heroic, but a realistic, tender and thoughtful image of a woman”, into which Helmut Börsch-Supan “has incorporated a lot of personal information.” In 1986, the figure was restored by Katharina Szelinski-Singer and then moved to a new location set up in the lower part of the Volkspark at the northern entrance to Graefestrasse .
Crouching (1956)
One year after the “Trümmerfrau”, the artist created the 1.25 meter high sculpture “Kauernde” or “Hockende” on Wartburgplatz on behalf of the Schöneberg district. The model for the free sculpture, a 22 centimeter high bronze figure, was in the possession of Katharina Szelinski-Singer. The executed sandstone figure from 1956 represents a life-size female half-nude . The figure with its head turned sideways is kneeling in the grass. The right hand rests in the lap while the left presses the skirt to the left shin. The eyelids are closed and the eyes are turned downwards, the mouth is smiling - the representation of a woman who is at rest.
As early as 2007, the plant showed various damage due to vandalism and aging. Part of the back of the head had broken away, so that an inner stabilizing iron was exposed at this point. The left eye was knocked out. In addition, the work had various smears that obviously could not be removed completely.
Water Carrier (1956/57)
In 1956/57, the Neukölln district equipped the park cemetery with five scooping points , which were decorated with sculptures by various sculptors. While the other artists chose animal figures for their motifs, Katharina Szelinski-Singer remained true to her central theme and created a female figure. A woman's figure, striding forward, carries a bucket of water on her head, which she holds with both hands. The artificial stone figure crowns two basins with travertine covers , which are set into one another in a slightly stepped height. The length of the entire work is 2.50 meters, the width also 2.50 meters and the height 1.80 meters. The water carrier remained the last public contract for Szelinski-Singer for 13 years.
Fairy Tale Fountain (1970)
The “fairy tale fountain” in Neukölln's Schulenburgpark is based on a design by the sculptor Ernst Moritz Geyger from 1915, but was not installed until 1935. The Art Nouveau - Fountain with Gothicising forms was badly damaged in World War II, and the two flanking bronze figures Geygers, a deer and a doe with fawn were melted down. During the restoration in 1970, Katharina Szelinski-Singer received the order for a new version of the two figures. In keeping with the name “Fairy Tale Fountain”, the artist chose two motifs from the German folk tales Little Brother and Sister and Cinderella .
Both figures are made of limestone and are around one and a half meters high. The Cinderella represents the sculptress in the scene in which six pigeons help the unfortunate girl to put the lentils in a pot. The facial expression is tense and brooding and, despite the help of the pigeon and the well-filled pot, does not exude any confidence. The other figure shows the little sister who wraps both arms around the deer's neck after the witch's curse has transformed the little brother into the animal. The girl looks scared. In terms of the way it was worked, the depiction of the hair that oozes raw and broad from the stone resembles the figure Diabase from 1973. This commission, which corresponded to her figurative conception of art, remained Szelinski-Singer's last major public work.
Unsuccessful competition entry (1980), follow-up orders
In 1980 Katharina Szelinski-Singer failed with a competition entry for the reconstruction of the St. Georg Fountain on Hindemithplatz in Charlottenburg . For this fountain from 1903/04 she created, among other things, the model princess on the roof in the dimensions 45 × 60 × 70 cm made of styrofoam and plaster . The design shows one of her typical female figures, who is leaning on her forearms and looking down from the fountain roof.
The sculptor received several smaller follow-up commissions for the rubble woman monument, for which she made several cast stone replicas in the dimensions 80 × 53 × 40 cm in 1986/87 and 1997. One of these replicas was part of the traveling exhibition for the 750th anniversary of the city of Berlin in 1987.
The focus of the work: female characters with biographical features
All of Katharina Szelinski-Singer's works in public space depict women. In all of the works, too, apart from rare exceptions, the focus is on the gestures and feelings, moods and worries of women. The works, which have always remained figurative, usually have bitter and melancholy features. There are also some humorous depictions such as the woman at the table from 1979, the “funny sister of the diabase”. The bust Espera from 1986/87 embodies an arc of tension between melancholy and hope - a theme that the sculptor often took up.
Many figures have traits of self-portraits; According to Helmut Börsch-Supan, Katharina Szelinski-Singer's “work on the figure” becomes “work on oneself.” After all, the actual work behind all works is the biography . That determines the character of the statement, which vacillates between monologue and communication. Ursel Berger believes that she recognizes the artist herself in many of the works, especially in the “heads”. The sculptress responded to this statement in conversation:
“You pose a formal topic. With the help of the human figure one would like to express a certain fascination that one has experienced in the experience with other people. It is probably inevitable that one cannot distance oneself from one's mentality, but also from one's external appearance. "
The strong biographical element in the artist's work was a decisive reason for her predominantly creating female heads and female figures:
“It probably has something to do with identifying with yourself. As beautiful as I find male bodies - they don't fascinate me to deal with them formally. "
Material stone using the example of the sculpture "Diabase"
If the focus of the work was on the person or woman, stone was the sculptor's preferred material, especially at the beginning of her artistic activity.
“When I am asked to comment on my work, the terms 'stone' and 'man' come to mind first. Rock in its diverse, fascinating manifestations, an original substance of nature. And humans, still, as in Aristotle's time, 'the measure of all things', […]. "
The Objet trouvé Diabas from 1973 shows how the sculptor reduced the stone to the desired sculpture and how the stone, as she says, “adds its own”. Although she has transformed a stone into a woman's head here, the stone has clearly remained a stone. The hair is a barely worked, massive stone in its original state and frames a rather delicate, thoughtful, melancholy face that rests on one hand. A white stone vein runs through the face and connects the soft features with the raw frame. The title Diabase ("green stone") indicates the bond with the material in the name. She found (trouvé) the stone like many others on a walk on the Teufelsberg , a mountain of rubble .
“I believe that stone, natural stone, always adds a lot of its own accord, if you leave it, if you don't approach it with a hard, preconceived concept. You have to see what the stone tells you: because it usually already indicates the topic, especially if it is a »trouvé« with an irregular shape. "
Heads and busts - independent artistic path
In the 1970s, Katharina Szelinski-Singer broke away from Richard Scheibe's tradition and tried, as she says, “to bring formal questions to the fore”. The tradition of the 19th century echoes in Richard Scheibe's classic, rather naturalistic figures, his busts always remain portraits. Szelinski-Singer, on the other hand, increasingly sees busts as an independent art form and dispenses with a naturalistic representation. The difference is also expressed in the surface design. Scheibe's works have classic smooth surfaces, while Szelinski-Singer later also found almost unprocessed, raw and rough surfaces, such as the figure Diabase . Parallel to this development, the sculptor turned increasingly to the plastic to the sculpture , however, remained their preferred form of expression. In particular, the series Heads shows the endeavor to make statements "away from the conventional". Even before this series, the new path was already indicated in works like the double face .
Plastic "double face" - development of its own design language
With this figure made of Lasa marble from 1970 with the dimensions 34 × 19 × 24 cm, the sculptor, according to Helmut Börsch-Supan, “dared something.” The new bronze edition from 1992 illustrates the essence of this work even more clearly. The lighter patinated side shows a funny, satisfied head. The soft facial features are carefully modeled down to the pursed lips and auricle. The hand grips the thick strands of hair in order and the eyes, laid out as dark depressions, look directly at the viewer. The dark patinated side shows a second, inner face of the head with a rough surface, half covered by the outer, smooth face, which now appears as a mask . Helmut Börsch-Supan writes about this head: “Mask means persona in Latin. The actor's voice can be heard through them. Mask and person, theater and reality, role and actual being of the personality, however, have grown together. […] This twofold aspect is an expression of doubt, if not despair. ”The original marble version was part of the 1987/88 exhibition in the Georg Kolbe Museum. The bronze version from 1992 measures 32.5 × 22 × 23 cm.
"Heads" series - development of the same formal solutions in different materials
The head series essentially consists of the works head 1 (1977, Jurassic limestone, 45 × 47 × 22 cm) and head 2 (1977, shell limestone, 24 × 18 × 13 cm). The artist reissued these two works in 1997 in sandstone (both 33 × 27 × 17 cm) and head 2 in a third version made of bronze (35 × 28.5 × 12.5 cm). The heads also include works such as head disk (1976, bronze, 35 × 28.5 × 12.5 cm; first version 1974 in shell limestone), Daphnide (1976, marble head on shell limestone, 56.5 × 15.5 × 25 cm) , Supported head (1978, terracotta , 26 × 26 × 10 cm) and the Phoenician bust (1990, sandstone, 39 × 40 × 14 cm).
In the judgment of the art critic Wolfgang Schulz, the sculptor found “the valid form in stone and bronze” with these works. In his opinion, the works also show that “the same formal solutions are possible in different materials, but with extremely different effects”. While sculptors such as Kolbe , Barlach and Picasso “gave up creating equal work in different materials at an early stage”, in Katharina Szelinski-Singer's later works we encounter “dualism in origin, effect and meaning in a variety of ways.” Form for Helmut Börsch-Supan the works “a family, and the artist is the maternal focus. This also means that she does not finally release any of her works from her care. She lives with them, and they have to put up with changes when their eyes change. "
Bust with a vision - the end point of three-stage figure development
In the sandstone bust Mit Weitblick from 1990 (50 × 90 × 11 cm), which can also be assigned to the heads , an analysis by Helmut Börsch-Supan shows a further development in the work. With this figure, the sculptress developed two earlier busts that were similarly wide and symmetrical. What the three characters have in common is their cheerful, inviting expression. Despite the great similarity, the artist was able to give each work “a surprising and individual note.” In the sandstone bust of woman at the table from 1979 (36 × 67 × 13 cm), which was shown on the cover of the 1987/88 exhibition catalog, it was “about maintaining a mental balance ”. In the related figure Espera from 1986/87 (plaster of paris for bronze, 64 × 98 × 40 cm) the name already suggests that the artist expressed a tension between hope and melancholy.
The last figure With Far View shows a woman who puts both hands on her head, shadows her eyes and looks into the distance. The shoulders and the upper arms form the tendon of a segment of a circle and the strong, bent forearms connect to form a circular arc . A dress made of light fabric hangs down, the folds of which are less three-dimensional, but rather indicated with graphic lines. Barely structured long hair frames the flat, disc-shaped face, in which the chin forms a second arch that opens upwards, responding to the arch of the arms. For Helmut Börsch-Supan there is now “a strange game between face and hands. The shape of the nose is related to the fingers and the fingernails repeat the circles of the eyeballs. This motif ends in the suggestion of the breasts. All severity falls away from the female figure; the rising curvature of the forearms is answered by a relaxed flow down. The astonished look arouses serenity. "
Portraits and small sculptures
Minnelli and Bachmann
In addition to the works with more biographical traits, Katharina Szelinski-Singer created portraits that required discussion and an examination of the nature of other people. There are two men among those portrayed. The bronze head portrait RP from 1964 shows Richard Preuert, the former head of the MGM dubbing department and her husband's friend. Her last, unfinished work is a plaster head of her husband Johannes, on which she worked until his death in 2003. She also portrayed Liza Minnelli and in 1994 the writer Ingeborg Bachmann , from whom she was impressed at a reading . She made the Bachmann head out of sandstone from a photograph. What the portrayed people have in common is a closeness to the artist like their husband or his friend or an identification of the sculptor with the sitter, "a kind of brotherly and sisterly closeness", as Helmut Börsch-Supan writes about the portrait of Ingeborg Bachmann.
Small bronze and plaster figures
In the more than sixty years of creative work, in addition to the large-format figures and the heads and busts, small sculptures were created, partly as studies of works in stone such as the crouching on the Wartburgplatz, partly as independent works such as Die Last (1970) made of bronze or the plaster figure Der Mensch our time , with which Katharina Szelinski-Singer won first prize in the 1956 competition of the same name. With the finely crafted bronze work Dancer , she created a tribute to the dancer Dore Hoyer in 1968 , whom she had fascinated during a performance in Berlin. The format can often be found in the name, Kleine Hockende (1978), Kleine Liegende (1977) or Kleiner Female Nude (1997) - her last completed work.
Special postures, "torso and limbs [...] organized into surprising, never-before-seen structures", characterize the reclining figures such as Reclining Nude Girl (1985) or Reclining Girl with Book (1978). In addition to its function as a base, the plinth is playfully integrated into the representation as a bed for the female nude figures. In the eyes of art historian Helmut Börsch-Supan, these figures trigger a “liberating serenity” that contrasts with the “seemingly archaic seriousness” of other works by the artist.
Art-historical classification
The art critic Wolfgang Schulz sees the artistic work of Katharina Szelinski-Singer, which began after the Second World War, in the tradition of the Berlin School of Sculpture - not in the Wilhelmine art of Reinhold Begas and his school, but in line with Wilhelm Lehmbruck during his time in Berlin from Georg Kolbe , Käthe Kollwitz , Ernst Barlach , Gerhard Marcks and Renée Sintenis to their teacher Richard Scheibe .
For Helmut Börsch-Supan, the transformation of the substance of life into art was the focus of Szelinski-Singer's work. According to his portrayal, the unpathetic humanity of the figures ties new "threads to the tradition of Berlin sculpture, which goes back to Johann Gottfried Schadow , and which was primarily an effort to depict the human being [...]."
Overview of the most important exhibitions and prices
In addition to the solo exhibitions listed below, Katharina Szelinski-Singer took part in exhibitions of the Association of Berlin Artists, the Group Plastik 71 and the Artists' Guild, including the "Great Berlin" and later "Free Berlin Art Exhibition".
| 1956 | First prize in the Berlin art competition The Man of Our Time with a female statue of the same name. Tinted plaster for bronze. 53 × 12 × 14 cm. |
| 1960 | Sculpture award of the Great Berlin Art Exhibition with a self-portrait in stone. 27 × 24 × 24 cm. |
| 1980 | Exhibition in the Cismar Monastery , Schleswig-Holstein . June 28 to August 31, 1980, Berlin sculptor from Charlottenburg Palace. |
| 1987/1988 | Solo exhibition in the Georg Kolbe Museum , Berlin |
| 1989 | Time notes , annual exhibition of the Esslingen Artists' Guild in the Villa Merkel . Katharina Szelinski-Singer was represented with the bronze sculpture DDT . |
| 1991 | Exhibition meeting point Berlin. The artist guild e. V. Berlin Regional Group . Exhibition of the artists' guild Esslingen Landesgruppe Berlin, shown in the Deutschlandhaus Berlin from February 17 to April 1, 1991 and in the old town hall Esslingen from April 5 to May 5, 1991. Katharina Szelinski-Singer was with the sandstone figure With Weitblick (50 × 90 × 11 cm). |
| 1997/1998 | Solo exhibition stone and bronze of the Stiftung Deutschlandhaus Berlin. October 19 to December 14, 1997 in the Deutschlandhaus, February 8 to April 13, 1998 at the Albrechtsburg in Meißen . |
| 2005/2006 | Exhibition chimneys, capitals, cartouches. Berlin sculptors and Charlottenburg Palace after 1945. Exhibition by the Charlottenburg-Wilmersdorf District Office from December 5, 2005 to January 15, 2006 in the municipal gallery. Katharina Szelinski-Singer was represented with the figures Diabas , Dancer and Die Flämsche . |
Exhibition catalogs
- Katharina Szelinski-Singer: Sculpture work . With texts by Ursel Berger and Helmut Börsch-Supan. Ed .: Georg-Kolbe-Museum (exhibition catalog), Berlin 1987, 48 pages, 33 ills.
- Meeting point Berlin. The artist guild e. V. Berlin Regional Group . Ed .: Stiftung Deutschlandhaus Berlin, Berlin 1991. Catalog for the exhibition of the Artists' Guild Esslingen Landesgruppe Berlin, shown in the Deutschlandhaus Berlin from February 17 to April 1, 1991 and in the Old Town Hall Esslingen from April 5 to May 5, 1991. Short biography Katharina Szelinski -Singers p. 36, figure Figure With Vision p. 77.
- Katharina Szelinski-Singer: stone and bronze . With texts by Wolfgang Schulz. A publication by the Deutschlandhaus Foundation, Berlin. 1997, catalog for the exhibition Deutschlandhaus, October 19 - December 14, 1997; Meissen, Albrechtsburg February 8 - April 13, 1998. 60 pages with numerous illustrations, some in color.
literature
- Stefanie Endlich, Bernd Wurlitzer: Sculptures and monuments in Berlin . Stapp Verlag, Berlin 1990, ISBN 3-87776-034-1
- Käthe, Paula and all the rest . Lexicon of women artists. A reference work. Arranged: Carola Muysers u. a., publisher: Verein der Berliner Künstlerinnen e. V. in cooperation with the Berlinische Galerie, Museum for Modern Art, Photography and Architecture. Kupfergraben Verlagsgesellschaft, Berlin 1992, ISBN 3-89181-411-9
- Birgit Kleber: Portraits of women artists . Photographs. Ed. Heimatmuseum Charlottenburg. Exhibition catalog with photos by Birgit Kleber and texts by Brigitte Hemmer, Berlin 1989 (exhibition April 16 to May 31, 1989, on Katharina Szelinski-Singer the catalog contains a short biography, p. 92, and a portrait photo that the artist behind one of her shows smaller works in April 1988).
- City women. Artists show their city . Published by Kunstamt Steglitz. Exhibition catalog, Berlin 1991
- Ten years of Gruppe Plastik 71 Berlin , Berlin 1981
Web links
- Literature by and about Katharina Szelinski-Singer in the catalog of the German National Library
- Szelinski-Singer, Katharina. In: bildhauerei-in-berlin.de (BiB) , accessed on May 24, 2020.
Individual evidence
- ↑ a b c d e f g Text (untitled) by the art critic Helmut Börsch-Supan, in: Katharina Szelinski-Singer: Sculpture works ... (exhibition catalog)
- ↑ a b c d e f g h i j k l m n o p conversation with Katharina Szelinski-Singer , 1987 led by Ursel Berger (director of the Georg Kolbe Museum), in: Katharina Szelinski-Singer: Bildhauerarbeiten … (exhibition catalog), Pp. 5-10.
- ↑ Johannes Szelinski died in 2003; The couple had no children
- ↑ a b Hans-Joachim Arndt: Art in the Cismar Monastery. Berlin sculptors from the Charlottenburg Palace exhibit. In: Kurzeitung Grömitz , No. 4, 1980, special edition Galerie Kloster Cismar.
- ↑ a b c d e f g h Helmut Börsch-Supan, On the artist and her work . In: Katharina Szelinski-Singer: Stone and Bronze. ..., pp. 11–15.
- ↑ Helmut Börsch-Supan: Opening speech for the exhibition Katharina Szelinski-Singer sculptures in the Georg Kolbe Museum, December 13, 1987.
- ^ Hans-Jürgen Mende : Lexicon of Berlin burial places . Pharus-Plan, Berlin 2018, ISBN 978-3-86514-206-1 . P. 495.
- ↑ Stefanie Endlich, Bernd Wurlitzer: Sculptures ... , p. 72.
- ↑ Wolfgang Branoner : Memorial in the Hasenheide . In: Berliner Morgenpost , April 26, 1987.
- ^ Katharina Szelinski-Singer: Sculpture work. ..., pp. 35, 43.
- ↑ Katharina Szelinski-Singer: Stone and bronze. ..., p. 59.
- ↑ Katharina Szelinski-Singer, in: Katharina Szelinski-Singer: Stone and Bronze. ..., p. 18
- ↑ a b Wolfgang Schulz: Approaching a life's work . In: Katharina Szelinski-Singer: Stone and Bronze. ..., pp. 5–10.
- ↑ Barbara Will: The signs of the times point to a storm . In: Eßlinger Zeitung , April 26, 1989
| personal data | |
|---|---|
| SURNAME | Szelinski-Singer, Katharina |
| ALTERNATIVE NAMES | Singer, Katharina (maiden name) |
| BRIEF DESCRIPTION | German sculptor |
| DATE OF BIRTH | May 24, 1918 |
| PLACE OF BIRTH | Neusaß Gritzas, district of Heydekrug |
| DATE OF DEATH | December 20, 2010 |
| Place of death | Berlin |