Applied Arts and Crafts School Magdeburg

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The Magdeburg School of Applied Arts and Crafts was an important and traditional school of arts and crafts in Magdeburg .

Entrance to the former arts and crafts school

history

Drawing school

The school was founded in 1793. Government councilor Wilhelm Vangerow opened a drawing school on October 6, 1793 in the hall of the voluntary workhouse in Magdeburg's Breiten Weg . The supervision of the establishment, which traded as an art school , was exercised by a society of patriotic men regardless of class , which was led by Vangerow.

The company had formulated the goal of “ promoting the patriotic art industry and exerting an important influence on manufacturers and trades” so that “local artists with tasteful work of all kinds are no further inferior to foreigners” .

From 1794 the school received a modest government grant. In 1796, after recognition by the government and the Berlin Academy , she was allowed to hold the title of Royal Magdeburg Provincial Art School . The school operated as a Sunday and evening school.

The aim was to present tasteful objects of daily use in relation to commercial practice, whereby in the opinion of the time the focus was not on one's own design, but rather on imitating the suggestions and drawings recommended in particular by the Berlin Academy.

The school quickly received national recognition. In 1797 von Vangerow was made an honorary member of the Berlin Academy. The academy regularly honored works by students at the school. In 1798 Johann Adam Breysig was hired as a teacher. Breysig, who is considered to be the inventor of the panorama , supplemented the previously pure drawing lessons with manual activities. Modeling, but also shape and wood cutting were part of the lesson, although apart from Breysig, who left school in 1802 for Danzig , no other teacher initially included manual components in the lessons. The introduction was based on a reform of the curriculum in 1800. The Prussian art schools should be more integrated into the building subject. This reform was also reflected in the naming of the school. 1801's Provincial Art and Craft School , and later to the wars of liberation then provincial art and Baugewerks school .

From 1807 to 1817 the draftsman and copper engraver Johann Friedrich Klusemann was the first teacher. It is also worth mentioning the later famous portrait painter Carl Sieg who was the pupil of the school.

In 1832 Magdeburg was exposed to a cholera epidemic. During this time there were plans to close the school completely. However, the institution had recovered by the 1850s. With 350 students it was one of the art schools with the largest number of students in Prussia.

With the advent of industrial society, the design requirements also changed. In order to raise the design industrial standard, which in Germany lagged behind the level of other industrial nations such as France or Great Britain , and to promote the craft, the establishment of commercial drawing schools was required. On October 1, 1871, the school, which was then known as the Art and Construction School , was reorganized accordingly. The new company name was United Provincial Art and Commercial Drawing School . Lessons were intensified. In 1876, a new school building was moved into at Brandenburger Strasse No. 10 in Magdeburg.

Building complex of the school on Brandenburger Strasse

Arts and crafts school

The school was still designed as a Sunday and evening school . The Ministry of Commerce and Industry urged the city of Magdeburg to reform the school again and, in particular, to introduce day classes for arts and crafts lessons especially for decorative painters . Similar things had already been set up in Vienna and Berlin in 1868. On October 9, 1887, a new reform was introduced with the new name of the School of Applied Arts and Crafts .

The engineer Eduard Spieß became director . The school went through a period of great change. Instead of the initially planned 280 pupils, significantly more than 1000 pupils attended classes in 1892, and according to other information even around 1500 pupils. The sharp increase in the number of pupils combined with reforming the school and recruiting new teachers required a great deal of organizational effort. The director had to deal with the ministry and the regional council several times because of the school budget, and new premises had to be searched for and work materials obtained on an ongoing basis. In 1892 Spieß, known as a talent for organization, left school. After Adolf Rettelbusch took over the management provisionally, his successor was Ferdinand Moser in 1892 , who also created the school's first written program. Here, too, the focus was still on training apprentices and assistants in evening and Sunday courses. Design and educational issues were hardly addressed in the program. The day classes for painters, sculptors, carpenters, locksmiths and other tradespeople only took up an eighth of the schedule.

Rettelbusch, self-portrait, oil on cardboard, 1925

There were both practical exercises and theoretical lessons. The focus of the practical exercises was still on drawing lessons. However, depending on the training, there was also plaster cutting and wood carving , modeling with clay, wax or plasticine , plaster casting and painting with tempera paints , watercolors or glue paints . Most of the work was done in the style of historicism . Occasionally more modern forms appeared.

Theoretical classes took place in the evenings. The subjects geometry , algebra , perspective , shadow construction , mechanics and the arts and crafts were taught.

The day classes were given by the numerically few full-time teachers. The lessons on Sunday and in the evening were held by many part-time teachers. Better- known teachers during this time were the architect Carl Skomal , the sculptor Carl Wegner , who worked as a teacher until 1915 , the architect Richard Dorschfeldt and Adolf Rettelbusch, who later became known as a painter . Rettelbusch's class achieved greater success in exhibitions and assessments.

The local artisans were critical of the school. This both out of fear of competition arising in this institution, but also out of the rejection of the theoretical and artistic themselves.

entrance

Reform under Emil Thormälen from 1897

In 1897 Emil Thormählen took over the position of director. He reformed the training in the spirit of the Werkbund movement and introduced teaching and experimental workshops. He aspired to develop into a college for design. However, this approach, which was only actually implemented much later with the Bauhaus , could not be carried out. However, the ministry and the city aimed at the model of an arts and crafts college with an unlimited educational level. A change to a university should be unnecessary.

The arts and crafts lessons were significantly strengthened by Thormählen compared to the craft school lessons. For the arts and crafts, there were now preparatory lessons in drawing classes, as well as specialist classes or specialist departments and workshops. This was supplemented with lecture classes, the subjects such style teaching , art history or anatomy involved.

Thormählen made great efforts, albeit with limited success, to expand the school's space. There were only workshops for ceramics, printing and textiles.

The ceramics workshop and the ceramics class had been linked since 1901. The first director was Hans von Heider . His successor was his brother Fritz von Heider in 1906 . In 1905, the interior and design department was created, headed by Albin Müller . Müller had previously given drawing and then led a design class for metalwork and sculpture. The architect Rudolf Rütschi later took over the department.

From April 1, 1902 , the department for book printers and lithographers was headed by Paul Bürck , who had a major impact on it despite his work that he had already ended in 1903. His successor was Ferdinand Nigg , who, in addition to the book trade, also took over the textile department from 1905. The textile department had its own hand-weaving and embroidery workshop since 1904.

Drawing lessons remained a focus of school education. There was both technical drawing and free drawing, from free brush exercises to drawing strictly correct body and device drawing. Paul Bernardelli placed particular emphasis on drawing plants. In 1905 the drawing of animals was added. Natural shapes and colors should flow into the training and design. Other teachers, according to Ferdinand Nigg, wanted their students to also attend Bernardelli's classes.

In the course of Thormälen's reforms, the artistic quality, the supra-regional charisma and the school's notable successes increased significantly. The success at the Louisiana Purchase Exposition , the world exhibition in St. Louis 1904, is remarkable . A chandelier created for the Magdeburg Pauluskirche (based on a design by Paul Bernardelli) and the furnishing of a director's room with 122 individual positions (Albin Müller, Hans von Heider, Fritz von Heider, Paul Lang-Kurz and Paul Bürck) received a Grand Prix . Also on the III. The works shown at the German Arts and Crafts Exhibition in Dresden in 1906 attracted great attention. The work of the teachers Albin Müller, Ferdinand Nigg, Paul Dobert and Fritz von Heider received awards.

From 1907 the painter Ernst Hoffmann tried to maintain an artistic font. From around this time, special emphasis was placed on drawing from memory. Thormälen and Paul Bernardelli switched to the Cologne School of Applied Arts in 1911 (the later Cologne Werkschulen ). In 1912 they were followed by Ferdinand Nigg. In 1910, the space shortage that had existed until then was alleviated by the completion of a new building. From 1910 onwards, the workshops for metalwork and decorative painting were re-established. The other workshops have been improved.

Memorial plaque for Erich Weinert on the facade

School under the direction of Rudolf Bosselt from 1911

On May 6, 1911, Rudolf Bosselt , known as the innovator of medal art , became director of the school. He introduced reforms in artistic education. So he created two classes for general artistic education. Right at the beginning of the training, the students should be able to orientate themselves for a later special subject by assigning and assigning tasks. In this way, Bosselt wanted to avoid the students being cut off from productive activities in the early days and giving them the opportunity to work with materials. The classes were led by Franz Fiebiger and Bernhard Albers . The lessons were supplemented by drawing lessons, as well as modeling and lettering. The emphasis on animal and plant drawings disappeared. Bosselt preferred to work on the plaster model. Bosselt rejected the creation of ornaments from the stylization of plants and advocated a subjective implementation of the form, "which could lead to the complete destruction of any resemblance to the original form".

In 1912, the graphic artist Matthias Henseler took over the teaching of the book trade, typesetting, printing and writing in the Sunday and evening classes. Bosselt saw the matter-of-fact Henseler as a bridge into practice. The actual position for the book trade and textile work was taken over by the painter Kurt Tuch . Tuch is described as the strongest artistic personality at the school of that time, who revolutionized the class. The work has become more generous, varied and captivates with its lightness. This new artistic tendency also spread to other classes, such as those of Ernst Hoffmann, Adolf Rettelbusch, Fritz von Heider, but also the metalworking class led by Wilhelmhabenhagen since 1911.

In 1911 Bosselt also brought the sculptor Hans Wewerka , a pupil of Ernst Barlach , to the school. With the deaths of Wewerka and Carl Wegner in 1915, the phase of continuous work in the field of sculpture at the school was over, if one disregards Konrad Pirntke's short-term teaching activity in the early twenties.

Up until 1912, students of mechanical engineering professions were still learning at the school, and they were then referred to mechanical engineering schools . This made it possible to concentrate even more on the arts and crafts. In 1913 an exhibition hall was completed. This was followed by a sales room in which school products were sold. This led to complaints from craftsmen to the guild committee , as they feared state-subsidized competition. Bosselt wanted to enable his students to acquire a small scholarship . Bosselt also campaigned for loose production communities with local companies.

Around 1913/14 Bosselt had implemented the changes he intended. He paid particular attention to the professional style of teaching , in which students historical styles met and should understand creatively einzubeziehend for their own work. Rudolf Rütschi was the teacher .

In 1914 a department for photography and reproduction processes was opened, which was headed part-time by Johann Graf .

Fashion class

In 1915 the establishment followed a fashion class . It was the first state-sponsored fashion class at a German art school. Background in the time of the First World War were existing efforts in Germany, also in questions of fashion the supremacy of foreign countries - z. B. that of the war opponent France - to break. The artistic direction of the women's clothing class was initially taken over by Kurt Tuch. Then Else Raydt was won over to lead the class . She succeeded in gaining national attention and recognition with the work of the class. The Magdeburg models were shown at fashion shows in many German cities but also abroad and received a lot of attention in the press. Modernity, restraint and practicality were praised. The distribution of the goods was secured through cooperation with private companies. The Magdeburg silk house Bischof later even took on the costs for the assistants working in the school workshops. The success of the fashion class continued into the mid-twenties.

The First World War, which lasted from 1914, also had an impact on the school's activities. From the teachers, Hans Wewerka, Benno Marienfeld and Matthias Henseler died as soldiers. Bernhard Albers was severely traumatized. Rudolf Rütschi went back to Switzerland. In addition, there were increasingly serious material problems.

The school and its faculty faced the social and artistic changes that ensued with the end of the war and the revolution. The artist group Die Kugel , made up to a large extent of former students, was unable to gain any notable influence on the school. It can be stated that the school program published in 1920 literally resembles the program of 1913/1914 and was even supplemented by a rather historicizing cover sheet. However, more modern art influences were not alien to the Magdeburg faculty either. Bosselt supported the Bauhaus in Weimar and the Magdeburg contributions received national attention in the discussion about the future of the arts and crafts schools in Prussia.

Quarrel with Bruno Taut

But the future of the Magdeburg School was also discussed controversially. The magistrate of the city of Magdeburg commissioned the city planning officer Bruno Taut to develop a memorandum for the school. Taut criticized the most violently and recommended that the school be closed if they were not prepared to adapt to the new requirements of modern design and teaching demanded by Taut. Taut's criticism was later judged to be exaggerated and poorly founded. Probably at Taut's instigation, the internal memorandum was made available to the public through an indiscretion in September 1922. This was followed by a public and emotional argument between Bosselt and Taut, as a result of which Rudolf Bosselt ultimately left Magdeburg. It is also said to have been a final impetus for Taut to leave the city.

On the recommendation of Taut, in 1923, against the will of the school board and the ministry, Johannes Molzahn was appointed head of the commercial graphics class by the city council. Molzahn became a formative force with his very modern conception of art. He saw in the engineer the artist of his time. He also had a programmatic influence and demanded that the greatest possible material impact be achieved in production with the least amount of effort.

The school under Deffke - 1925 to 1933

As Bosselt's successor, the artistically renowned Wilhelm Deffke was introduced to the office of director on October 16, 1925 . In the school, as in other similar schools, fixed curricula were introduced. While this met with resistance from the management in other schools, Deffke did not defend himself against it. He took a new direction in the question of art. He removed this word from the school program. In accordance with its focus on the training of simple craftsmen, the school should not deal with the purely decorative concept of art, which is alien to its nature. In Deffke's opinion, these attempts had ended in the negatively charged arts and crafts . Instead, the school should be transformed from an atelier school into a professional technical school for practical use. Based on the Bauhaus thesis that handicrafts could be taught, but art was not, training was redesigned. The goal now was the comprehensive qualification of factory designers.

In order to take account of the new orientation away from free artistic work, changes in the teaching staff were necessary, whereby the non-cancellations, which partly due to civil servants, were a problem for Deffke. Some teachers who had been employed for many years, such as Franz Fiebiger , Max Köppen , Emil Thieme and von Heiderer, were only used in preparatory lessons. In 1933, Deffke replaced the metal class, headed byhabenhagen, with a test and training workshop for gas and water plumbers , headed by Wilhelm Dehnhard , who previously worked at the Bauhaus. One of the few that was not affected by the changes was Else Raydt, who continues to be successful in the fashion class. In 1931 this class was taken over by Marie-Luise Metzger . After Anna Steuer's departure in 1929, the management of the specialist class for textiles was carried out solely by Käthe Sägemüller .

Development of technical schools

Deffke thought it was particularly important to start training with the apprentices . However, this was not possible for the Prussian arts and crafts schools. When the open-minded educator Dr. Monsheimer as head of the Magdeburg vocational schools, however, opened up new opportunities. It started a coordinated but ultimately unofficial apprenticeship training of both institutions. The master courses that had already been held before the First World War were continued. Deffke's aim was to set up a crafts college . Four technical schools (graphic technical school, construction and expansion school, clothing school and advertising school) should be formed. The technical school for clothing and the school for construction and expansion were already set up in the form of departments. The architecture, interior and furniture department of Richard Dorschfeldt and Peter von der Weien was shaped by two technically oriented specialists. In 1929 Peter Großmann took over the class for carpenters and furniture draftsmen. In 1931 he was head of the department for construction and expansion. In Deffke's sense, he too was committed to functionally oriented design.

The graphic school

Deffke had already taken the graphic school to such an extent that its level of equipment made it one of the best-developed facilities of its kind in Germany. Since the summer of 1927, a wing with 10 workshops and rooms was available for teaching. There were workshops for lithography , typesetting, book binding (initially managed by Fritz Lange , then from 1928 by Heinrich Lüers ), printing, stereotype , reproduction photography , electroplating , photography and chemigraphy . In addition, there were classes for advertising graphics and theory, as well as heraldry and writing. The preparatory class for design theory, led by Margarete Naumann and later by Grete Fritz-Uhler , was technically closely linked to the graphics department and focused on the material paper. New book bindings and folds were developed.

Classes in photography, which around 1930 accounted for 45 hours per week, are described as particularly important. Since 1927 Johann Graf has been in charge of management. In 1928 Walter Dexel , also more of an advocate of functionality and objectivity in design, took over the commercial graphics class from Molzahn. The well-known Viennese poster artist Julius Klinger also worked at the school for a short time from 1929 to 1931 .

Deffke planned, with the involvement of chambers and commercial associations, the further expansion into a trade promotion institute for the entire graphic and paper processing industry on a national scale . Only the advertising school remained in the preparation stage until the end of Deffke's tenure.

Material museum

Deffke also began to set up a materials museum. For him, paper , wood , stone and metal were basic materials. The museum also aligned itself with this. Wood, stone and probably also metal were soon lined up in large parts of the area. In 1930, a separate department was set up for paper as a material, in which not only all types of paper manufactured in Germany were collected, but also research into new ways of processing and using the material. At the beginning of 1933 there were even plans to take over old papers and documents threatened with decay. In addition, the establishment of an industrial library for specialist literature was planned, which should also serve as an advice center for the graphic arts industry.

As a result of the extensive changes made by Deffke, he initiated the renaming of the school in Magdeburg Technical Teaching Institutes in 1933 : Provincial master classes, arts and crafts school . However, the era of National Socialism was already casting its shadow. Due to increasing xenophobia , Hermann Eidenbenz left school in 1932 and returned to Basel .

The school during the National Socialism

The mayor Fritz-August Wilhelm Markmann , appointed by the National Socialists after they came to power in 1933, put Wilhelm Deffke on leave without giving any reason on April 29, 1933. In the end, Deffke was officially accused of wasting finances, keeping no contact with local handicrafts, removing the concept of art from the school's program, not submitting to municipal offices, over-equipping the school, private unapproved assignments and hosting the school as competition for the local industry. Deffke fought against this. He joined the NSDAP and persuaded large parts of the teaching staff to follow his example. He explained to public authorities and offices of the NSDAP that his program corresponded to the National Socialist idea and that he had to defend himself against small-minded provincial politicians. But even this rather tactical measure, as well as the advocacy of colleagues and the Association of German Paper Manufacturers , did not lead to Deffke returning to his post.

More layoffs followed. So Peter Großmann had to leave on March 31, 1934. The fashion, ceramics and textile departments were closed without replacement. As early as 1933, instructions were given to convert the arts and crafts school into a municipal crafts school.

Peter von der Weien was installed as acting director and tried to mitigate the cuts associated with the conversion. So he applied to receive 17 of the 21 apprenticeship positions so far. However, only 9 were actually approved. The previous system of technical schools was abandoned. There was the formation of departments for metal workers, bookbinders, carpenters, painting and graphics.

As early as February 1934, the responsible ministry had proposed Friedrich Einhoff, a senior commercial professor from Frankfurt (Main), as the new director.

After initial hesitation on the part of the city, Einhoff was introduced as the new director in 1935. Walter Dexel, who remained at the school, resisted Einhoff and the change of course that had taken place. Among other things, in a letter to an employee of the ministry, he accused Einhoff, in addition to a lack of education , misunderstanding complexes and a lack of assertiveness, of trying to introduce unworldly attic romance into the craftsman's education . He then had to leave school on September 30, 1935. A request for reinstatement was refused by Mayor Markmann. As a justification, Markmann referred to the constructivism shown by Dexel, which did not fit into the new times , which in its essence could not get rid of ruler and compass and from the standpoint of healthy feeling and ability means failure.

That was the end of the modern age at the school. In general, the arts and crafts schools, including those in Magdeburg, clearly lost their importance. The handicrafts still dealt with there were not artistically significant and often ideologically overloaded. However, the developed forms of industrial culture persisted. However, some of the old teachers such as Johann Graf and Heinrich Lüers continued to teach at the school and probably with the same quality.

With the beginning of the Second World War a new situation arose for the school. Government grants fell significantly. The number of male students also went down significantly due to conscription for military service . An application made by Einhoff in 1941 to reintroduce the fashion, ceramics and textiles departments was rejected from a financial point of view.

A new task arose for the school in the retraining of war invalids . From December 1939 to November 1944, 1,166 war invalids were retrained.

The faculty was also affected by convictions. By 1942 half of the teachers had moved in. With Robert Schroth , the first teacher fell in 1941 in the war. In 1944, director Einhoff was drafted. At some point during this time, teaching should also have ceased completely.

Although the school buildings are located in the city center, they were retained in their substance during the heavy air raids in 1944 and 1945, although large parts of the old town and the neighboring streets were completely destroyed.

New beginning after the Second World War

In 1946, Wilhelm Deffke was reappointed as director of the school. The attempt was made to tie in with the success and validity of the school before the Nazi era. Deffke then tried to bring as many people from the original faculty as possible back to the school. In addition to Johann Graf and Heinrich Lüers, who died in 1947, Käthe Stegmüller, Josef Kathrein and Fritz Kuntz also returned as teachers. Contacts were also made with Hermann Eidenbenz, Grete Fritz-Uhler, Johannes Pannicke and Peter Großmann with the aim of winning them over to teach in Magdeburg, which however did not succeed. However, some former students from Deffke's first leadership completed the teaching staff in the spirit of the director. In addition to the architect Arno Meng , these were Wilhelm Paulke . the bookbinder Willy Triemer and the photographer Karl Sütterlin .

Departments for painters, interior designers , bag makers and saddlers, bookbinders, photography, textile design and advertising graphics were set up. In 1947, 184 students attended the school. The school tried to get involved in the hesitant beginning of the reconstruction of the city of Magdeburg and in 1947 initiated the reconstruction exhibition Magdeburg Lives! .

Deffke fell ill in the late autumn of 1947. There were also problems with the administration of the newly formed state of Saxony-Anhalt . Government councilor Hoffmeister complained that clear administrative work with the artist personality Deffke was not easy to achieve. In May 1948, she applied, in connection with the planned conversion of the school to College of Applied Arts , Otto Leretz to appointed director. Deffke remained director of the school until his death in 1950.

The hope of a new free development that existed in the short period between the end of National Socialism in 1945 and the founding of the GDR in 1949, however, was deceptive. The authorities of the GDR planned the introduction of technical schools for applied arts, so that Deffke's original goal, the introduction of a crafts college, was not achievable.

Technical school for applied arts

In 1950 the School of Applied Arts and Craftsmen was renamed the Magdeburg School of Applied Arts . In the same year Otto Leretz took up his post. As early as 1951, the Ministry of National Education demanded that state political lessons should be given, which should make up a quarter of the school hours. Centrally it was also specified that the college for applied arts had to set up five departments (interior and furniture, utensils, graphics, painting and textiles). However, one deviated from this in Magdeburg. Ceramics and textiles were no longer taught in Magdeburg from 1950, fashion from 1952. The metal design department was taken over from the Erfurt School of Applied Arts . In terms of content, the socialist style that was sought and propagated in contrast to the West was promoted. The functionalist design of a Deffke era but also of the West was rejected. Color and ornamentation, based on classicism , found their way into the works and lessons.

The training period at the technical school was three years. The aim was to train artistic directors for industry, employees in design offices, exhibition designers and also artisans. About 120 students were each enrolled at the school.

Presumably because of unpleasant political statements, Leretz had to leave school again in 1953. Jochen Dammann became the new and last director of the school . In the same year Andreas Hartwig left the teaching staff. In addition to Arno Meng, Heinz Böhl , a former student of Deffke, was the most influential pedagogue in the field of interior space and architecture.

The commercial graphics division was headed by the painter Walter Schneider until 1953 . He also gave art history at the same time. Karl-Heinz Leue , also a former student of the school, took over the function from 1954 and introduced systematic practical graphics lessons.

The established class for glass finishing was remarkable . It was first from which Bohemia originating Walter Bishop headed until 1952 by Walter Gluch was acquired. The class mainly dealt with the surface design of glass, but produced many of the leading glass designers in the GDR. From 1959 the class was led by foreman Kurt Rudiger .

In the painting class led by Wilhelm Paulke, free art was particularly emphasized, unusual for the environment at the time. Paulke's efforts to bring some academy into the school were reinforced by the graphic artist Felix Bartl , who also worked at the school . From 1959 Paulke received reinforcements from his former student Bruno Groth . While painting was done for public exhibitions in the style of socialist realism , works otherwise influenced by Expressionism and Impressionism were created .

Johann Graf continued to head the photography and reproduction class until 1949, who then handed over management to Karl Sütterlin, who had been working with him since 1942. Nevertheless, Graf stayed at the school until 1953 and devoted himself to the further development of the bold color printing he had invented . In addition to Sütterlin, Horst Thorau and, from 1953, Berthold Beiler also worked in the field of photography. The repertoire of the techniques used was expanded to include isohelia , photograms and live photography .

The end

In the early 1960s, however, the school was up for grabs. Officials claimed that there was too little need for artistic staff. In the course of the implementation of socialist production relations, privately operated small and medium-sized enterprises had become rarer. The lack of competition between companies within the socialist planned economy also made questions of design appear insignificant. The particularly advanced industrialization also thinned out possible areas of application. There was therefore an alternative decision between a school in Heiligendamm on the Baltic Sea and the Magdeburg school. Director Dammann's work in this situation later met with criticism, as he did not oppose the closure and did not accept the help offered in the matter. It is alleged that in the end the more beautiful landscape of Heiligendamm and a tendency towards hunting and vacationing on the Baltic Sea were the decisive factors for the preservation of Heiligendamm and for the closure of the Magdeburg school. However, the directive on equal development of the country also had to be taken into account, which may have provided an argument in favor of maintaining the more rural, more decentralized location.

In 1963, after 170 years of existence, the school was closed. A large part of the work still in the building was burned. The library was moved to the Magdeburg Cultural History Museum , where it was initially stored in the open air for a few days. The school's files were stored in a barrack owned by the district council and were probably destroyed there later in a fire.

Only the photography and reproduction class was granted a continuation. It became part of the Leipzig College of Graphics and Book Art as a distance learning course .

Todays use

Since 2005, a part of the former premises of the school has been used as an event center as a forum design , whereby in cooperation with the state capital Magdeburg, the Magdeburg-Stendal University of Applied Sciences and the Kunstverein VIERUNG eV , the tradition of the Magdeburg School of Applied Arts and Crafts is deliberately linked.

Personalities

Directors from 1887

The directors of the school from 1887, the respective term of office in brackets, were:

Known teachers

Delavilla in the fifties
Bruno Groth in 2017

Well-known teachers worked at the school. To be mentioned in an incomplete selection, sorted according to the respective activity time, are:

Well-known graduates

From the large number of graduates of the school, the following people should be named, in order of year of birth:

literature

  • Matthias Puhle (Hrsg.): The applied arts and crafts school Magdeburg 1793-1963. The history of the Magdeburg School of Applied Arts and Crafts and its predecessor and successor institutes as reflected in their artistic and design achievements. Magdeburg Museums, Magdeburg 1993, ISBN 3-930030-01-2 (exhibition catalog, Magdeburg, Kloster Unser Lieben Frauen, October 22, 1993 to January 16, 1994).
  • Norbert Eisold: Magdeburg School of Applied Arts and Crafts 1793–1963 . Forum Gestaltung, Magdeburg 2011, ISBN 978-3-9813652-7-6 .
  • Guido Heinrich, Gunter Schandera (Ed.): Magdeburg Biographical Lexicon 19th and 20th centuries. Biographical lexicon for the state capital Magdeburg and the districts of Bördekreis, Jerichower Land, Ohrekreis and Schönebeck. Scriptum, Magdeburg 2002, ISBN 3-933046-49-1 .

Individual evidence

  1. ↑ a b c Gerd Kley in Magdeburger Biographisches Lexikon , Magdeburg 2002, p. 694.
  2. ↑ a b Norbert Eisold, School of Applied Arts and Crafts, p. 28.
  3. ↑ Norbert Eisold, School of Applied Arts and Crafts, p. 33.
  4. ^ Norbert Eisold, School of Applied Arts and Crafts, p. 34.
  5. ↑ Norbert Eisold, School of Applied Arts and Crafts, p. 42.
  6. ↑ Dexel, quoted from Norbert Eisold, Kunstgewerbe- und Handwerkerschule, p. 42.
  7. ↑ Markmann, quoted from Norbert Eisold, Kunstgewerbe- und Handwerkerschule, p. 42.
  8. ↑ a b Norbert Eisold, School of Applied Arts and Crafts, p. 47.

Web links

Commons : School of Applied Arts and Crafts Magdeburg  - Collection of images, videos and audio files

Coordinates: 52 ° 7 ′ 56.5 ″  N , 11 ° 37 ′ 47.6 ″  E