State Academy of Fine Arts Stuttgart

from Wikipedia, the free encyclopedia
State Academy of Fine Arts Stuttgart
logo
founding 1761/1829
Sponsorship state
place Coat of arms of Stuttgart.svg Stuttgart
state Baden-WürttembergBaden-Württemberg Baden-Württemberg
country GermanyGermany Germany
Rector Barbara Bader
Students approx. 900 WS 2019/2020
Employee about 150
including professors 50
Annual budget approx. EUR 9 million
Website www.abk-stuttgart.de

The State Academy of Fine Arts Stuttgart (ABK), or Kunstakademie Stuttgart for short, is one of the oldest and largest art universities in Germany with around 900 students and 20 courses in the free and applied field .

history

Académie des Arts and art faculty of the High Charles School

Duke Carl Eugen von Württemberg founded the Académie des Arts by general rescript of June 25, 1761 . Soon after its founding, the Academia artium Stuttgardensis , which was temporarily housed in Ludwigsburg together with the ducal court, lost its importance and merged with the Hohe Karlschule , founded in 1770 at Solitude Palace , which has its own art department ( faculty of freye arts , according to AF Batz). After various stages of development, the High Charles School was elevated to university rank in 1782. In this strictly regulated elite school, run with military drill - the art eleven also wore uniforms and wigs and had to follow the daily schedule from early morning to late at night - according to Duke Carl Eugen, the “ best minds in the country ” should study, but some, such as Friedrich Schiller and Joseph Anton Koch withdrew from the immense pressure and tutelage on the " slave plantation " (Schubart) . Artists such as Johann Heinrich Dannecker , Philipp Friedrich von Hetsch , Philipp Jakob Scheffauer and Gottlieb Schick were trained there, partly by teachers such as Nicolas Guibal and Adolf Friedrich Harper , who were already teaching staff at the Académie des Arts had listened. Heinrich Friedrich Füger, who was highly respected in Vienna, emerged from their time in Ludwigsburg .

After Duke Carl Eugen's death in 1793, the High Charles School was closed the following year, mainly for financial reasons. Another disadvantage was that the institute was not anchored in the state constitution. With this, Württemberg lost its only art training facility integrated into a kind of comprehensive school or university network, at which numerous artists, 26 architects, 15 sculptors, 9 plasterers, 10 medalists, 33 painters, 19 engravers, 30 draftsmen, along with one from regional children and “Foreigners” recruited a large number of medical doctors, lawyers, philologists, natural scientists and other academic professions, all of which shaped the intellectual life of Württemberg well into the 19th century.

Several attempts to revive state-sponsored art education in Stuttgart failed after the dissolution of the High Charles School, which led to an institutional vacuum of three and a half decades. Also since the State Academy of Fine Arts cannot be seen as the successor organization to the Hohen Karlschule , the actual founding date goes back to 1829.

From art school to academy of fine arts (1829–1941)

1843–1890 seat of the Kgl. Art school in the old building of today's State Gallery Stuttgart

On March 27, 1829, King Wilhelm I of Württemberg granted permission to open an art school, which initially, as the name K. Vereinigte Kunst-, Real- und Gewerbe-Schule attested, was linked to two other educational institutions. Johann Heinrich Dannecker and Nikolaus Friedrich von Thouret , who were entrusted with the management of the art school, as well as the main artistic teachers Johann Friedrich Dieterich , Karl Jakob Theodor Leybold and Gottlob Friedrich Steinkopf , together with other teachers, guaranteed a future-oriented departure despite organizational, equipment and spatial difficulties. This finally began with the opening of the institution on October 26, 1829 with 52 of its own students. Because of the increasing frequency of the combined teaching establishments, especially because of the expanding training plan of the commercial school, the connection between the art school and the commercial school (from which today's University of Stuttgart should ultimately emerge) was broken. The institutional unbundling gave each institution the opportunity to develop independently, which, however, did not alleviate the art school's predicament in any way because of the shared accommodation in the former officers' pavilion (Königstrasse 12) built by the Karl school graduate and architect Thouret . Efforts in the course of the thirties increasingly served to find a solution here. Only with the establishment of the art institute planned by Gottlob Georg Barth and carried out in the years 1839 to 1842 did the spatially independent development of the art school begin, although the range of courses on offer was still modest. This created the spatial prerequisites for a connection between the art school and the state art collections assigned to it as teaching collections, which were previously housed separately. This new building was opened in 1843 under the name Museum der bildenden Künste (today the old building of the Staatsgalerie Stuttgart ) in what was then Neckarstrasse. Nevertheless, the question of space, especially due to the multiple uses of the building, was and remained one of the main problems in the future.

After numerous drafts and requests for expansion and new construction, it was possible to erect two successive new buildings on the site above the Museum of Fine Arts based on designs by Stuttgart's senior building councilor Albert von Bok , who also expanded the Museum of Fine Arts with two rear wing extensions . First, a half-timbered studio building, declared as “provisional”, was erected in Urbanstrasse 39, which was completed in 1880, then the actual main building in Urbanstrasse 37, begun in 1883 and completed in 1890. A third was added to the two buildings later Urbanstrasse 50, all of which remained the headquarters of the institution until they were destroyed in World War II. The only mementos of these old buildings are two sculptures by the Stuttgart sculptor Georg Emil Rheineck from the façade decorations of the former main building, which are set up in the patio of today's old academy building.

In 1901 the institution was given the title of K. Academy of Fine Arts and was renamed the Württ. Academy of Fine Arts after the end of the First World War .

The School of Applied Arts and its workshops (1869–1941)

The Württ. Staatl. The arts and crafts school emerged from a “trial” in the winter semester of 1869/70 at the architecture school of the K. Polytechnic , which took place at the architecture, sculpture and painting studios there. It was not until 1881 that it was separated from the architecture school as a separate technical school within the Polytechnic and finally in 1886 it became an independent institution. The seat of the institute, whose executive board had changed so far from 1881 for the first time with Christian Friedrich von Leins , was once again the Thouret officer's pavilion from 1895 to 1913, after all teaching branches had been withdrawn from the polytechnic in Königstrasse 12.

Headquarters of the School of Applied Arts from 1913 (postcard from the time of the First World War with the facade of the building "Royal School of Applied Arts", above the Württemberg royal crown)

In 1901, Bernhard Pankok was appointed to the newly founded K. Kunstgewerbliche teaching and experimental workshop in the former penitentiary house (penitentiary) in Senefelderstrasse 45A-C , which, with its practical and practical orientation, was supposed to refresh the arts and crafts school, which was frozen in style, with new ideas. After the departure of Franz August Otto Kruger he took over in 1903 his place as CEO of Training and Research workshop and, after the retirement of long-time arts and crafts school director Hans Kolb in 1913 with the overall management of the two now in the new building at the Weissenhof 1 entrusted united Institute . He succeeded in making “his” school, on whose shape he had played a decisive role under the construction management of the Stuttgart architects Eisenlohr und Pfennig , into one of the most important artistic reform schools in Germany. Even before the First World War, he suggested that all of the Stuttgart art schools should be brought together in one place, and that at the time on the Weißenhof site. There was fierce resistance to the plan, which was discussed again and again at different intervals, most recently in 1927, especially from the academy.

Long before the Bauhaus , Bernhard Pankok, “The All-Rounder” ( Die Zeit 1973), recognized the importance of workshop training at art schools and, as soon as he was called to Stuttgart, realized his goals in this regard. First at the teaching and testing workshop in Senefelderstrasse, then from 1913 as director of the reorganized arts and crafts school in the new building at Weißenhof. Within a quarter of a century, at a time when the academy on Urbanstrasse was “probably the only one among the German art academies [...] as a university for painting, sculpture and graphics in the style of the old academies”, so the "Memorandum of the Württ. Ministry of Culture for the reorganization of the School of Applied Arts and the Academy of Fine Arts in Stuttgart" 1927, the School of Applied Arts under Pankok on the basis of continuously expanded workshop facilities and a correspondingly expanded faculty with workshop teachers, provided an example of future-oriented art education, which they lined up with the leading art schools that brought about reforms in art education in the first third of the last century.

The establishment of workshops took place under the Pankoks directorate as follows:

"1901 Foundation of, teaching and experimental workshop 'with a carpenter shop
in 1902 setting up a metal workshop
in 1905 setting up a ceramic workshop
in 1912 establishing a Teppichknüpfwerkstätte
1913 reorganization of the institution and move into the new building at Weissenhof
construction of a printer workshop
establishment of a bookbinding workshop
expansion of the decorative painter workshop
with the establishment of the women's section Embroidery, lace making and batik workshops
Establishment of an apprentice
workshop for Hafner 1916 Establishment of a workshop for women's clothing (ladies' tailoring)
1918 Establishment of the chem.-techn. Workshop, brought into being by the Robert Bosch Foundation and taken over at institutional costs in 1920
1919 Establishment of a porcelain
painting workshop Establishment of a glass painting workshop Teaching
assignment for handicraft photography
1921 Establishment of the workshops for glass and stone cutting (brought into being by the foundation of the Württ. Metallwarenfabrik Geislingen und 1925 taken over at institutional costs)
Establishment of the stone and copper printing shop Establishment of
the plastering shop
1923 Establishment of the textile printing shop
1925 Establishment of the hand weaving workshop
Establishment of the glass cutting workshop
Establishment of the bronze foundry for the plastics department
Establishment of the blacksmith and art locksmith "

After the retirement of Bernhard Pankok, who was tolerated as director from 1933 onwards, in 1937 and the subsequent directorate of Christian Mergenthaler , who was appointed by the Württemberg Prime Minister and Minister of Culture because he was "able to run the school in the National Socialist spirit", vowed after his exposure as a con man who had been forced to commit suicide by the sculptor, medalist and Nazi functionary Oskar Glöckler , the arts and crafts school was named “Master School of German Crafts” on March 6, 1938.

The academy and the arts and crafts school merged to form the State Academy of Fine Arts Stuttgart in 1941

During the Nazi era, the question of a merger of the art academy and the arts and crafts school was decided, however not on the basis of technical and educational insights and requirements, as Pankok and others of his time had planned and completed the Bauhaus, but for reasons of administrative "simplification" which was to result from the merger of the two institutes that were brought into line from 1933 onwards and managed according to the “ Führer principle ”. “Some of the lessons were given for a long time by the old teachers, many of whom came to terms with the prevailing system. Positions were filled for the first time and filled again according to political reliability and a conception of art that conformed to Nazi ideology. The level of artistic achievement sank completely. ”On October 30, 1941, the Württemberg Minister of Culture, Christian Mergenthaler, ordered the unification of the Academy and the School of Applied Arts under the same management, but maintaining the spatial separation under the name of the State Academy of Fine Arts Stuttgart . Until the fall of the Nazi state, the previous academy figured as the “Department of Free Art” and the School of Applied Arts as the “Department of Applied Arts”.

Old building of the State Academy of Fine Arts Stuttgart, Am Weißenhof. Left: relief frieze by Rudolf Rochga. Front: Bistro "Red"

The director of the newly organized institution was the sculptor Fritz von Graevenitz , who had already been appointed to the office in 1938 and was briefly represented by the graphic artist Erich Feyerabend , his office being in the main building of the academy on Urbanstrasse. His deputy in the successor to Oskar Glöckler was the designer (today: designer) and Nazi cultural functionary Hermann Gretsch , who was officiating in the arts and crafts school at Weißenhof, except for him after he had "immersed" in the turbulence of the approaching end of the war February 1945 the architect and furniture maker Adolf Gustav Schneck followed. Despite his Nazi party membership Schneck remained until the establishment of a planning committee by the Württemberg cult Ministry for rebuilding the academy in 1946 in his capacity as deputy director action after Fritz von Graevenitz who, like Hermann Gretsch in by Hitler and Goebbels started gottbegnadeten list of prominent artists of the Nazi state, had resigned at the end of 1945. Teaching had come to a complete standstill, especially since the air raids on Stuttgart in 1943/44 destroyed the academy ensemble in Urbanstrasse with all its inventory, including the personal files and the valuable library as a particularly painful loss, and the arts and crafts school, which from 1942 was partly used as a reserve hospital served, received bomb hits.

As for the objectives of the academy during the Nazi regime, an information pamphlet for which Fritz von Graevenitz was responsible provides information insofar as the “introductory director's sentences propagate a 'new artistic attitude' and emphasize the extent to which the 'cultural tasks of the Third Reich include incorporation all artistic forces in the national community 'demand ”. In addition, the text "also refers to political instruction in the sense of the NSDAP, which is obligatory for all students, as well as" student life at the academy [...] is determined by the National Socialist German Student Union "."

Courses offered and teaching staff 1942

As a result of the union of the academy and the arts and crafts school, the new institution, which as the “State Art University is directly subordinate to the Württemberg Minister of Culture”, had an extensive range of courses with the appropriate teaching staff. However, as a result of severe building losses due to air raids, teaching and study activities came to a standstill from 1943 on both Urbanstraße and Weißenhof.

For the year 1942, the academy chronicle created by Wolfgang Kermer provides the following teaching structure and personnel composition of the teaching staff:

“The lessons are divided into basic classes, specialist classes and master classes. In addition to the basic classes (head of the sculptor Curt Scholz, who teaches drawing and modeling; Dr. Albrecht Braun , drawing; Emil Mößmer, drawing; sculptor [Peter] Otto Heim, modeling) there are several specialist groups: The specialist group drawing and painting includes Prof. . Anton Kolig (painting class), Prof. Hans mirror (character class and also the Head of the Section), Prof. Heinrich Kissling (landscape) and Prof. Fritz Mader (landscape); of the specialist group sculptor Prof. Fritz v. Graevenitz (master sculptor class and at the same time head of the specialist group), Alfred Lörcher (decorative sculpture, building ceramics) and [Peter] Otto Heim (sculptor class); of the graphics department: Prof. Hermann Mayrhofer (etching, stone and copperplate printing, at the same time head of the free graphics), Erich Feyerabend (woodcut) and Prof. FH Ernst Schneidler (applied graphics: writing, typesetting, printing, book and advertising graphics, simultaneously Head of Applied Graphics); Interior architecture specialist group: Prof. Adolf G. Schneck (master class design II, also head of the specialist group), architect Eugen Schwemmle (design I) and sculptor Albert Volk (drawing, painting, perspective); Textile department: Ernst Göhlert (textile design and also head of the department), Prof. Gustav Jourdan (fabric printing and pattern drawing) and Trude Barth (workshop for knitting and batik); Metal department: Prof. Paul Haustein (drafting and at the same time head of the department); Section ceramics: Dr.-Ing. Hermann Gretsch (design and at the same time deputy head of the specialist group); Glass and stone working group: Prof. Wilhelm von Eiff (design and execution, at the same time head of the working group); Section set designer: set designer Gert Richter (set design, festival design, theater costume and at the same time head of the section) and set designer Felix Cziossek (set designer, festival design, theater costume); Section Art Education: Head of Dr. A. [Ibrecht] Braun; Research Institute for Color Technology: Head Prof. Dr.-Ing. Hans Wagner. There are also a number of academic and general education subjects. "

New constitution of the State Academy of Fine Arts Stuttgart in 1946

The connection of free and applied disciplines under one roof only took place after the Second World War, when the State Academy of Fine Arts Stuttgart, newly constituted under the then Württemberg Minister of Culture and later Federal President Theodor Heuss, was able to start teaching in the building of the former arts and crafts school at Weißenhof despite all war damage. At the same time, however, the architecture department of the Technical University of Stuttgart , which only moved out in 1960, required “extensive space” . In his programmatic speech, which Theodor Heuss gave on November 5, 1946 on the occasion of the reopening of the academy in front of numerous guests of honor in its auditorium, he gave the institution the principle of "polar factual tensions" as a forward-looking leitmotif, which counteracts a doctrinal one-sided orientation, with on the way. The outstanding personality of the new teaching body, mainly composed of Wuerttembergers - the American military authorities had only "given up" further employment to three of the large number of former professors - was Willi Baumeister . He was regarded as the ideal cast, since it was about questions of personal integrity in dark times, artistic authenticity and creativity, artistic freedom and the equality of the arts. Until his death in 1955, he was an attractive teacher for young people from all over the world and a leading figure similar to Adolf Hölzel . From 1905 to 1919 he and his group of students, including Willi Baumeister, Hans Brühlmann , Gottfried Graf , Johannes Itten , Ida Kerkovius , Otto Meyer-Amden , Alfred Heinrich Pellegrini , Oskar Schlemmer , Hermann Stenner , Alfred Wickenburg and many others, attended the Stuttgart Academy elevated to a training center of international standing.

New building 1 of the State Academy of Fine Arts Stuttgart, Am Weißenhof. Right: New building 2

It was only with the nationwide new law on art colleges in the state of Baden-Württemberg (Art College Act) of February 12, 1975 (Journal of Laws of 103) that the public-law institution, which had not been legally competent since 1946, became a public-law corporation , resulting in equal status with the universities resulted. The Art Academy Act "also created the legal basis for the admission procedure in which the artistic aptitude of the applicants is checked", said Minister of Education Wilhelm Hahn , just as the introduction of consistent study regulations and examination degrees for all subjects of the academy was initiated. The first successes in the study reform - one of the main demands of the student unrest in the early 1970s - became apparent in 1976 with the introduction of the academic degree “Dipl.-Ing. Department of Interior Design ”,“ absolutely a novelty in the Federal Republic ”(Karl Diemer), as well as a diploma for the course“ Restoration and technology of paintings and painted sculptures ”.

Despite various extensions (1956, 1968, workshop building 1972 and new building 2 in 1994), it has not been possible to combine all parts of the teaching operations on the Weißenhof area and avoid "branch offices". The plan worked out by Rector Wolfgang Kermer in conjunction with the university's architects in the early 1980s to use the neighboring Weißenhofsiedlung , which was then for sale, and the high-altitude restaurant "Schönblick" instead of "private rental" for the university and, as he put it, Developing the “ideal campus” for international artist encounters was not approved by Prime Minister Lothar Späth - with the approval of Mayor Manfred Rommel .

Institutes and affiliated areas

Since the last re-establishment in 1946, four interdisciplinary institutes have been added:

  • In 1949 the Institute for Painting Technology founded by Kurt Wehlte ; today: Farbinstitut Wehlte (private),
  • 1966 by Walter Brudi the Institute for Book Design and Media Development ,
  • In 1967 the Institute for Museum Studies founded by Rolf E. Straub and
  • 1980 by Arno Votteler the institute for interior architecture and furniture design , today Weißenhof institute interdisciplinary forum for architecture, space + furniture .

There are now 32 workshops as the core of the academy, which are derived from the Kgl. School of Applied Arts , which was a quasi-autonomous institution until 1913 and was founded in 1901 . Had developed teaching and experimental workshops.

Since all areas of the collection belonging to the former Royal Art School had been transferred to the Museum of Fine Arts, which later became the State Gallery in Stuttgart , the Academy did not have its own art collection for many decades . It was only re-established in 1975 by the then rector Wolfgang Kermer .

Specialist groups and courses

Section Art

Department of Architecture

  • Architecture course (BA / MA)

Design department

Art History Restoration Section

  • Degree in Preservation of New Media and Digital Information (MA)
  • Art history courses
  • Degree in restoration and conservation of paintings and sculptures (BA / MA)
  • Degree in restoration and conservation of archaeological, ethnological and handicraft objects (BA / MA)
  • Degree in restoration and conservation of works of art on paper, archival and library material (BA / MA)
  • Study course restoration and conservation of wall paintings , architectural surfaces and stone polychromy (BA / MA)

principal

Board members and directors of the art school (1829–1901) and the Academy of Fine Arts (1901–1941)

Board members and directors of the Kunstgewerbeschule (1869–1941)

  • 1869–1870: Wilhelm Bäumer , director of the architecture school at the Polytechnic and at the same time director of the arts and crafts school
  • 1870–1872: Christian Friedrich von Leins , director of the architecture school at the Polytechnic and also director of the arts and crafts school
  • 1872–1874: Alexander von Tritschler , director of the architecture school at the Polytechnic and also director of the arts and crafts school
  • 1874–1876: Konrad Dollinger , director of the architecture school at the Polytechnikum and also director of the arts and crafts school
  • 1876–1878: Robert von Reinhardt , director of the architecture school at the Polytechnikum and also director of the arts and crafts school
  • 1878–1880: Christian Friedrich von Leins , director of the architecture school at the Polytechnic and also director of the arts and crafts school
  • 1880–1881: Alexander von Tritschler , director of the architecture school at the Polytechnikum and also director of the arts and crafts school
  • 1881–1892: again Christian Friedrich von Leins, now the first permanent director of the institution
  • 1892–1913: Hans von Kolb , first member of the board, from 1896 full-time director of the K. Kunstgewerbeschule in Untere Königstrasse (and at the same time the K. arts and crafts teaching and experimental workshop founded in 1901, organizationally connected and located in the "Poenitentiarhaus" in the west of Stuttgart)
  • 1901–1903: Franz August Otto Krüger , director of the K. Kunstgewerbliche teaching and experimental workshop
  • 1903–1937: Bernhard Pankok , 1903–1913 director of the K. Kunstgewerbliche teaching and experimental workshops, 1913–1937 director (overall management) of the two organisationally and spatially in the new school building at Weißenhof as K., from 1918 as Staatl. Württ. Kunstgewerbeschule united institutes
  • 1937–1938 Oskar Glöckler , director of the Staatl. Württ. Kunstgewerbeschule (suicide after only a few months in office, the actual reasons - unjustified title and order management - covered up by an "official" funeral arranged by the Nazi party leadership)
  • 1938–1940 Paul Haustein , deputy director of the Staatl. Württ. School of Applied Arts
  • 1940–1941 Hermann Gretsch , initially director of the Staatl. Württ. Kunstgewerbeschule until it was merged with the Württ. Academy of Fine Arts to form the State Academy of Fine Arts Stuttgart in 1941, then deputy director of - between Weißenhof ("Department of Applied Arts") and Urbanstrasse ("Department of Free Art") separate - overall establishment (director: Fritz von Graevenitz )

Directors of the State Academy of Fine Arts (1941–1946)

  • 1941–1945 Fritz von Graevenitz , director of the State Academy of Fine Arts in Stuttgart, emerged from the 1941 decreed association of the Württemberg Academy of Fine Arts and the Württemberg State School of Applied Arts; the previous academy in the buildings Urbanstrasse 37/39 and 50 is called the "Department of Free Art" and the School of Applied Arts at Weißenhof is called the "Department of Applied Arts"
  • 1945–1946 Adolf G. Schneck , after Hermann Gretsch “disappeared”, appointed deputy director of the State Academy of Fine Arts in Stuttgart, whose buildings on Urbanstrasse have been completely destroyed, on Weißenhof partially; Until the reconstitution of the State Academy of Fine Arts Stuttgart in 1946 in the building at Weißenhof and the appointment of a temporary director ( Hermann Brachert ) - director Fritz von Graevenitz resigned at the end of 1945 - left in this position despite NSDAP membership

Rectors of the State Academy of Fine Arts (since 1946)

Current and former lecturers and alumni

See: List of members of the State Academy of Fine Arts Stuttgart . This lists the best-known members with their departments who were or are active as teachers or students at the Academy, including honorary members and honorary senators as well as those affected by the Holocaust .

Relief frieze

Relief 1 “In the forge”. Top right: Signature "ROCHGA".

Born in Mecklenburg, Rudolf Rochga (1875–1957) spent most of his adult life in Stuttgart, where he initially worked as an assistant teacher from 1903, and from 1905 to 1938 as professor and head of the department for decorative painting (originally founded as a department for flat art) at the arts and crafts school worked. He is one of the almost forgotten Stuttgart artists of the 20th century. The eye-catching frieze with seven sgraffiti on the south wing facade of the old building of today's art academy, the former main building of the arts and crafts school, is his only known artistic legacy to date with a public impact. The frieze, which teachers and students from the decorative painting department were involved in, was created under the direction of Bernhard Pankok after 1930, but before 1933.

Like a landmark, the sgraffito sequence refers to the art academy, which, with the south wing of the old building, adjoins the busy street Amochenhof . The building complex of the academy is located away from the thoroughfare in the prominent neighborhood of the Killesberg Park , the shops and residential buildings of the Killesberghöhe urban district and the Weißenhofsiedlung . The Brenz Church is opposite the south facade of the old building.

Although the reliefs are partially covered by trees, they are clearly visible as an ensemble from the street and can be viewed in full size from the sidewalk. The seven approximately 3 × 3 meter scratch plaster reliefs ( sgraffiti ) are lined up next to each other on the outer facade on the second floor of the south wing of the old building.

Nothing is known about the manufacturing technique and the execution of the reliefs. The reliefs are not mentioned in the relevant literature. If Rochga hadn't put the signature “ROCHGA” in vertical block letters in relief 1, the reliefs would have to be considered anonymous works of art.

The reliefs and their coloring are in relatively good condition, even if their original color has suffered under the influence of climatic factors. They represent various subjects from the fields of craft, art and hunting. In the course of restoration measures on the exterior facades, which the Stuttgart State Building Authority initiated at the end of the 1970s, the sgraffiti that had survived the Second World War undamaged should be removed. They were preserved at the instigation of the then rector Wolfgang Kermer .

literature

General

  • August Friedrich Batz: Description of the High Charles School in Stuttgart . Stuttgart: In own printing and publishing house, 1783 (reprint of the edition, Stuttgart: Lithos-Verlag, 1987, ISBN 3-88480-008-6 )
  • Robert Uhland: History of the High Charles School in Stuttgart. Stuttgart: Kohlhammer, 1953
  • The High Carls School . Exhibition in the Museum of Fine Arts. Stuttgart 1959 (Catalog: Werner Fleischhauer )
  • Karl Hossinger : The High Carlsschule in Stuttgart: slave plantation or unique, epochal educational institution? National research centers and memorials for classical German literature in Weimar (ed.). Weimar: Arion Verlag, 1960 (criticism from a Marxist point of view)
  • Walter Brudi (Hrsg.): State Academy of Fine Arts Stuttgart . [Staatliche Akademie der bildenden Künste Stuttgart, 1968] (large-format illustrated book, “dedicated to the friends of the academy” on the occasion of the opening of the new academy building, but only a few copies delivered due to the events of 1968; with samples of work by the professors and the artistic teacher Rudolf Daudert, Gerhard Gollwitzer , Hugo Peters , Hans Gottfried von Stockhausen , Horst Bachmayer , Christoff Schellenberger , Trude Barth, Albrecht Appelhans , Rudolf Haegele , Hannes Neuner , KRH Sonderborg , Rudolf Yelin , Herbert Baumann , Rudolf Hoflehner , Herbert Hirche , Eberhard Krauss, Herta -Maria Witzemann , Wolfgang Stadelmaier, Erwin Heinle , Walter Brudi, Gunter Böhmer , Eugen Funk , Christoph Brudi, Wilfried Gronwald, Günter Jacki, Leo Wollner , Ulrich Günther, Klaus Lehmann, Klaus Kinter, Rudolf Müller, Peter Steiner )
  • Wolfgang Kermer (editor and editor): Academy communications : State Academy of Fine Arts Stuttgart. 1.1971 / 1972 (1972) - 8.1976 / 77 (1978); so that adjusted
  • Wolfgang Kermer (editor and editor): Contributions to the history of the State Academy of Fine Arts Stuttgart . Stuttgart: State Academy of Fine Arts Stuttgart, 1975–1987 (Vol. 1–6); Ostfildern-Ruit: Ed. Cantz, 1992-2001 (Vol. 7-10); Stuttgart: State Academy of Fine Arts Stuttgart, 2003–2004 (Vol. 11–12); so that adjusted
  • Johannes Zahlten : "The art institutions made a matter of state and nationality ...": The Stuttgart Art Academy in the first half of the 19th century . Stuttgart: State Academy of Fine Arts Stuttgart, 1980 (contributions to the history of the State Academy of Fine Arts Stuttgart / Ed. Wolfgang Kermer; 2)
  • The State Academy of Fine Arts Stuttgart: a self-portrayal . Preface by Lothar Späth , Helmut Engler , Manfred Rommel , Paul Uwe Dreyer. With texts by Karl-Alfred Storz, Wolfgang Kermer, Bernd Rau and numerous contributions from academy teachers. Stuttgart: Edition Cantz, 1988, ISBN 3-89322-005-4
  • Wolfgang Kermer (publisher and editor): Workshop series : State Academy of Fine Arts Stuttgart. 1. (1996) - 16. (2006); so that adjusted
  • Wolfgang Kermer: “1968” and the reform of the academy: from the student unrest to the reorganization of the Stuttgart academy in the 1970s . Ostfildern-Ruit: Cantz, 1998 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 9) ISBN 3-89322-446-7
  • Nils Büttner / Angela Zieger (eds.): Considerations: 250 years of the Academy of Fine Arts Stuttgart: a reading book . Stuttgart: State Academy of Fine Arts Stuttgart, 2011, ISBN 978-3-931485-11-5

Old building

  • Hans Klaiber (editing and text); Birgit Hahn-Woernle (catalog); Hans Klaiber (catalog): Bernhard Pankok: 1872–1943; Arts and crafts, painting, graphics, architecture, stage equipment. Exhibition by the Württembergisches Landesmuseum, Stuttgart, Altes Schloß, May 24th - July 29th 1973. Stuttgart: Cantz, 1973, pages 52–54.
  • Annette Schmidt: Ludwig Eisenlohr. An architectural path from historicism to modernity. Stuttgart architecture around 1900. Stuttgart: Hohenheim-Verlag, 2006, page 513-521, number 147.
  • Martin Woerner; Gilbert Lupfer; Ute Schulz: Architectural Guide Stuttgart. Berlin: Reimer, 2006, page 129, number 205.

Web links

Commons : State Academy of Fine Arts Stuttgart  - Collection of images, videos and audio files

Individual evidence

  1. The certificate issued. in: Wolfgang Kermer: "1968" and the reform of the academy: from the student unrest to the reorganization of the Stuttgart academy in the 1970s . Ostfildern-Ruit: Cantz, 1998 (= contributions to the history of the State Academy of Fine Arts Stuttgart , edited by Wolfgang Kermer, 9) ISBN 3-89322-446-7 , Fig. 1 and explanation p. 220
  2. An overview of the status-related / legal and personal development in: Wolfgang Kermer: data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: The State Academy of Fine Arts Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988, pp. 16–31)
  3. ^ Karl Pörnbacher: Letters of the young Schiller (1776-1789) . Kösel Verlag Munich, 1969, pp. 367-368.
  4. The most famous of the "mocking pictures" of Koch's art classes at the Hohen Karlsschule, "a remarkable document of the rebellion of the free artistic spirit against dogmatized rigidity and exploitation". in: Wolfgang Kermer, ibid, Fig. 2 and explanation on p. 220
  5. Johannes Zahlten : "The art institutions made a state and national thing ...": The Stuttgart Art Academy in the first half of the 19th century . Stuttgart: State Academy of Fine Arts Stuttgart, 1980 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 2), p. 12
  6. ^ Johannes Zahlten: Urbanstraße 37/39: Kgl. Art school / Academy of Fine Arts: the history of a makeshift . Stuttgart: State Academy of Fine Arts Stuttgart, 1986 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 5)
  7. Fig. in: Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: The State Academy of Fine Arts Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [4].
  8. Wolfgang Kermer: On the exhibition "Workshop - The workshops and their teachers" (1982) . In: Ders .: "1968" and academy reform: from the student unrest to the reorganization of the Stuttgart academy in the 1970s . Ostfildern-Ruit: Cantz, 1998 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 9) ISBN 3-89322-446-7 , pp. 87–90
  9. Wolfgang Kermer: Academy data - a sketch (1982) . In: Ders .: "1968" and academy reform: from the student unrest to the reorganization of the Stuttgart academy in the 1970s . Ostfildern-Ruit: Cantz, 1998 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 9) ISBN 3-89322-446-7 , p. 92
  10. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: State Academy of Fine Arts Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [8]
  11. Wolfgang Kermer: Academy data - a sketch (1982) . In: Ders .: "1968" and academy reform: from the student unrest to the reorganization of the Stuttgart academy in the 1970s . Ostfildern-Ruit: Cantz, 1988 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 9) ISBN 3-89322-446-7 , p. 92
  12. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: Die Staatliche Akademie der Bildenden Künste Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [9]
  13. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart '. Stuttgart: Edition Cantz, 1988 (= improved reprint from: 'Die Staatliche Akademie der Bildenden Künste Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [9]
  14. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: The State Academy of Fine Arts Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [9-10]
  15. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: Die Staatliche Akademie der Bildenden Künste Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [12]
  16. Adolf G. Schneck and FHErnst Schneidler were NSDAP members who were classified as "followers" in the denazification process. In the case of Dr.-Ing. Hans Wagner, formerly head of the Research Institute for Color Technology at the Stuttgart School of Applied Arts and State Academy of Fine Arts Stuttgart, has not yet proposed.
  17. Wolfgang Kermer (Ed.): "Dear Master Hölzel ..." (Willi Baumeister) - students remember their teacher. On the 70th anniversary of Adolf Hölzel's death on October 17, 2004 . Staatliche Akademie der Bildenden Künste Stuttgart, 2004 (= WerkstattReihe , edited by Wolfgang Kermer; 11) ISBN 3-931485-67-6 (The printing of Oskar Schlemmer's texts was prohibited due to inheritance disputes)
  18. ^ Law on the art colleges in the state of Baden-Württemberg (Art College Act) . In: Akademie-Mitteilungen 6: Staatliche Akademie der Bildenden Künste Stuttgart: for the period from April 1, 1974 to March 31, 1975. Edited by Wolfgang Kermer. Stuttgart: State Academy of Fine Arts Stuttgart, May 1975, pp. 8-20 (complete reprint). As early as January 1, 1978, a new version marked the further development of higher education law came into force: Law on art colleges in the state of Baden-Württemberg (Art College Act - KHSchG) . In: Akademie-Mitteilungen 8: State Academy of Fine Arts Stuttgart: for the period from June 1, 1976 to October 31, 1977. Edited by Wolfgang Kermer, Stuttgart: State Academy of Fine Arts Stuttgart, March 1978, p. 46– 80 (full print)
  19. ^ Foreword by the Minister of Education at the turn of the year 1975/76 . In: Kultus und Studium, No. 1, January 1, 1976, p. 12
  20. The Art Academy Act has proven itself . In: State Gazette for Baden-Württemberg, 33/34, April 28, 1976
  21. ^ Karl Diemer: Successes of the study reform at the academy: Dipl.-Ing. for interior designers . In: Stuttgarter Nachrichten , No. 211, September 11, 1976, p. 25, cited above. according to: State Academy of Fine Arts Stuttgart: Press Review , 2nd year, No. 1, September 28, 1976, p. 2
  22. On the structural extensions from moving into the “architect's building” in August 1968 to the completion of the “workshop building” in autumn 1972, which was to be followed by a “painter's building” planned (later not realized) under Rector Walter Brudi : Akademie-Mitteilungen 3: State Academy of Fine Arts Stuttgart: for the period from October 1, 1972 to March 31, 1973. Ed. By Wolfgang Kermer, Stuttgart: State Academy of Fine Arts Stuttgart, April 1973, pp. 24-25
  23. Wolfgang Kermer: State Academy of Fine Arts Stuttgart: Position and structure - the specialist groups - staffing . State Academy of Fine Arts Stuttgart, 1984 (Leporello)
  24. Wolfgang Kermer: Statement on the opening of the exhibition “Weißenhof 1927-87” on May 6, 1983 . In: Ders .: "1968" and academy reform. From the student unrest to the reorganization of the Stuttgart Academy in the seventies . Ostfildern-Ruit: Cantz Verlag, 1998 (= contributions to the history of the State Academy of Fine Arts Stuttgart, edited by Wolfgang Kermer; 9) ISBN 3-89322-446-7 , pp. 102-103
  25. For the development of the workshops and their importance to the education of artists: Wolfgang Kermer: documentation on "workshop" . In the S. (Ed.): Workshop: State Academy of Fine Arts Stuttgart: The workshops and their teachers . Stuttgart: State Academy of Fine Arts Stuttgart, 1982, pp. 42–59
  26. Wolfgang Kermer: The collection of the Stuttgart Academy: some comments on the foundation, prehistory and development on the occasion of its 30-year existence . Stuttgart: State Academy of Fine Arts Stuttgart, 2005 (= WerkstattReihe, edited by Wolfgang Kermer; 11) ISBN 3-931485-71-4 Entry in the Baden-Württemberg State Bibliography , accessed on January 12, 2018
  27. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: Die Staatliche Akademie der Bildenden Künste Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), undated [4], there also the evidence for the further changes to this section
  28. Wolfgang Kermer: Data and images on the history of the State Academy of Fine Arts Stuttgart . Stuttgart: Edition Cantz, 1988 (= improved reprint from: Die Staatliche Akademie der Bildenden Künste Stuttgart: a self-portrayal . Stuttgart: Edition Cantz, 1988), o. P. [9]
  29. ^ Württembergische Staatliche Kunstgewerbeschule Stuttgart (Ed.): Activity report for the years 1924–1927. Stuttgart: Hoffmannsche Buchdruckerei Felix Krais [printing], [1928], pp. 24–26
  30. In the last self-presentation of the Kunstgewerbeschule, published before 1933, Werner Büddemann (Ed.): Führer durch die Württ. Staatl. Stuttgart School of Applied Arts 1930–31. Stuttgart: Academic Publishing House Dr. Fritz Wedekind & Co., undated [1932], the frieze is not yet mentioned.


Coordinates: 48 ° 48 '0.5 "  N , 9 ° 10' 27.4"  E