Lina Franziska Fehrmann

Lina Franziska "Fränzi" Fehrmann, married . Fleischer (born October 11, 1900 in Dresden ; † June 10, 1950 there ), was the most important child model and a muse of the Brücke artists Ernst Ludwig Kirchner , Erich Heckel and Max Pechstein . She was introduced to the group of artists in 1909, at the age of eight, and depicted in numerous works by the painters until 1911. Unlike professional models, Fehrmann was often portrayed in motion and, in the work of the Brücke artists, is associated with a new, faster painting style in oil.

Lina Franziska Fehrmann, photograph by Ernst Ludwig Kirchner, 1910

For a long time only known under the first name Fränzi , which can be found in the picture titles , Fehrmann's identity was revealed in 1995 through entries in Kirchner's sketchbook. Above all, Kirchner's relationship with the child has been increasingly critically and speculatively questioned since then.

Life

Lina Franziska Fehrmann was the twelfth and last child of the locksmith and later stoker and machinist Oskar Emil Fehrmann (1858–1921) and the plasterer Alma Lina Clementine Fehrmann, née Pazi (1860–1945). Both married in 1882. She was baptized on December 2, 1900 in the Annenkirche in Dresden .

His mother owned a small fashion shop at Zwingerstraße 26. Fehrmann lived with her parents in petty-bourgeois , poor conditions between Dresden's main train station and the Friedrichstadt district , popularly known as the “pot holder district”. The family often changed their place of residence within the neighborhood. It is not clearly known how the Brücke artists became aware of them. It is assumed that “Fränzi” had noticed the caretaker of the Dresden Academy and that he established the contact. Kirchner's friend, Doris “Dodo” Große, was also possibly known to Fränzi's mother - both worked as hatmakers - and were involved as mediators. Looking back, Erich Heckel remembered the time of the meeting:

“I suspect 1909, certainly not much earlier. Even if a picture was taken in February 1909, for me the work belongs to the year 1908. The new work year for me always begins in April. Winter is generally a closed working period because you don't drive away there, but sit in your 'building' and process the impressions of summer. It was the same with the various models that came to us. It is therefore conceivable that Fränzi came to us as early as the autumn of 1908. In my memory, however, it is a special event from 1909 ... "

- Erich Heckel, autumn 1958

Martin-Opitz-Straße 19, Lina Franziska Fehrmann's residential building from 1948

Investigations by the art historian Gerd Presler and the collector Klaus Albers showed that Fehrmann can be seen for the first time in pictures by Ernst Ludwig Kirchner , Erich Heckels and Max Pechstein , which were created in August 1909 at the Moritzburg ponds . Here the artists lived for several weeks together with their models in the "old brewery". Fehrmann was eight years old at the time and the youngest model of the Brücke artists. In addition to pictures in the great outdoors, numerous works, including nudes , were created in studios in Dresden. Fehrmann also followed the artists to Moritzburg in the summer of 1910.

The last “Fränzi pictures” date from 1911. She stayed in Dresden, while the Brücke artists moved to Berlin in October 1911 . At the age of 16 she became pregnant for the first time by a boy from the neighborhood, the butcher Max Rabe, and gave birth to her daughter Franziska Gertrud out of wedlock on October 12, 1917. Her father died in 1921, and from then on Fehrmann lived with her mother and her brother, who had returned ill from the First World War , at 60 Kleine Plauenschen Gasse. The second daughter Erika was also born out of wedlock on November 4, 1923 . Ernst Ludwig Kirchner visited Fehrmann on February 12, 1926 in Dresden and then noted in his sketchbook:

"I was at Fehrmann's today ... Fränzi has two illegitimate girls ... Fränzi herself is very gloomy and sad because of her bad luck with the children. Her youthful memories of Moritzburg etc. are also the dearest things in life ... Fränzi would like to be everywhere, just not stay in Dresden. "

- Ernst Ludwig Kirchner, 1926

At that time, Fehrmann still owned an album that contained photos from the time at the Moritzburg ponds , but is now considered lost. Up until 2012, only two photographs of her that Ernst Ludwig Kirchner took in 1910 were known. In July 2012, the Sächsische Zeitung published photographs by Fehrmann that were in the possession of a great niece. They show the former child model for the first time as an adult woman in 1940 and around 1945 and with their daughters and brother Richard in 1947.

On New Year's Eve 1931, "Fränzi" married the printer Alfred Kurt Fleischer at the age of 31. The marriage certificate shows that she was working as a bookbinder at the time. In 1931 she moved to an apartment at 23 Polierstrasse and moved into another apartment at 60 Kleine Plauenschen Gasse on the same floor as her mother by 1942 at the latest. The house was destroyed in the bombing of Dresden . Her mother is recorded for the last time in the address book of the city of Dresden in 1942/43, meaning that she was either killed in an air raid in 1944 or died when the house was destroyed on February 13-14, 1945. The latter is confirmed by contemporary witnesses who reported that Fehrmann's mother "died as a result of the bombing night in '45".

Fehrmann had already taken in and raised her grandniece Margit Fehrmann, born in 1937, during the war. Margit remembered how she and Fehrmann survived the night of the bombing: “During the night we escaped through wall breakthroughs from cellar to cellar and then, when phosphorus penetrated, we escaped outside via a kind of chicken ladder. [...] We never got hit. But when I said, I'm not going any further, my mom [Fehrmann] gave me a punch. ”Both fled via Hainsberg to Rabenau , where they stayed with a brother of Fehrmann's.

Memorial stone for "Fränzi" on the Outer Briesnitz cemetery

Alfred Fleischer took part in World War II as a soldier and was taken prisoner of war. After his return home, Fehrmann's marriage was divorced on August 6, 1948. She moved with Margit into a single-family house at Martin-Opitz-Strasse 19 in Omsewitz . The last years of her life were characterized by numerous diseases. Fehrmann died on June 10, 1950 as a result of a heart condition in the Dresden-Friedrichstadt hospital . Five days later she was buried in the Outer Briesnitz cemetery as "Lina Franziska Fleischer". Her grave was re-occupied in 1972 and leveled in 1992. Thanks to a private initiative, a memorial stone for Fehrmann was inaugurated on June 15, 2011 not far from the original grave.

According to the entry in the funeral register, Fehrmann left two daughters behind at the time of her death, but only her first-born daughter, Franziska Gertrud Fehrmann, is given as the surviving dependents in the Fehrmann obituary. Before 1950 she married the accountant Georg Bruno Arlt (1905–1995) and died in 1992. Her urn grave is on the New Annenfriedhof . Her husband died in Lichtenberg in 1995.

Fehrmann's younger daughter Erika Eleonore Fehrmann, married Koebel, initially lived in Rabenau after the end of the Second World War. She married Milan Mirčetić, who worked as an interpreter for the Red Army, but the marriage was annulled when Mirčetić was recalled to Yugoslavia, but his wife was not allowed to enter. Erika Fehrmann moved to West Germany in 1954 and married the journalist Koebel. From 1956 she lived in Munster , where she died on December 3, 2006.

The Buchheim Museum in Bernried am Starnberger See honored Fehrmann in 2009 with the cabinet exhibition Fränzi, model and icon of the "Brücke" artists. From 2010 to 2011 the exhibition Der Blick auf Fränzi and Marcella followed at the Sprengel Museum Hannover , in the preparation of which the identity of Marcella , who had long been mistaken for Fränzi, could possibly be uncovered.

Fränzi and Marcella

In the works of the Brücke artists, the name “Marcella” or “Marzella” appears again and again in addition to the name Fränzi . For a long time, research assumed that both girls were siblings who came from a family of artists . These assumptions are based on two statements made by the artists themselves. Max Pechstein wrote in his memoirs from 1946:

“When we were together in Berlin, I agreed with Heckel and Kirchner that the three of us wanted to work on the lakes around Moritzburg near Dresden. ... We had to find two or three people who were not professional models ... [The] caretaker at the academy ... referred us to the wife of a deceased artist and her two daughters. I explained our artistic wishes to her. She visited us ... and since she found a familiar milieu, she agreed that her daughters should go to Moritzburg with us. "

- Max Pechstein, 1946

Erich Heckel, on the other hand, wrote on a postcard on February 18, 1910 of "two sisters whom I recently discovered". Even if no name was given in either case, research equated the sisters with Marcella and Fränzi. “Marcella” was assumed to be three years older than “Fränzi” due to its representation in pictures. About the existence of both girls finally emerged "a myth that BRÜCKE literature has eagerly cultivated in the second half of the 20th century." The fixed date of the meeting of the girls with the Brücke artists by Heckel's postcard not least led to the fact that Numerous works by Kirchner, Heckel and Pechstein, which the artists marked as created in 1909 and which showed girls, have been re-dated to 1910.

A second theory deviated from the concept of artist's daughter. A letter from Kirchner to Heckel dated March 1910, for example, clearly differentiates between Marcella and a sibling pair: “Marcella has now become quite at home and is developing fine traits. ... Today she brought her friend with her, 12 years old, has a sister of 15. That will be something for us, I hope ... "In 1995 Volkmar Billig assumed that" Marcella "and" Fränzi "were equal by being independent of the Fehrmann's identity, which was not yet known at the time, argued that “a pair of siblings 'Marzella and Fränzi' were never depicted by the 'Brücke' artists. Two teenage sisters who appear as models and whose acquaintance the painters mention cannot be identified as 'Marzella and Fränzi'. The very characteristic features of this model are so consistent in all of the pictures, whether titled 'Marzella' or 'Fränzi', that one and the same girl, around 13 years old, was initially addressed by her real first name and later by the nickname Fränzi. “Since the name“ Fränzi ”does not appear in the correspondence between Kirchner and Heckel, it was conceivable for a long time that the artists chose“ Marcella ”as a nickname for Lina Franziska Fehrmann. Kirchner referred to his painting Marzella from 1910, an “icon of the Dresden BRÜCKE expessionism”, as “Fränzibild” in a later correspondence. "When Heckel cut Kirchner's famous Marcella painting in Stockholm in 1910 for the catalog of the Dresden exhibition in the Arnold Gallery , he titled the graphic reproduction 'Fränzi'." In 2009 the equality of Fränzi and Marcella was postulated: "Today it is assumed that that Fränzi and Marzella were one and the same person ”.

In 1995 Albers and Presler discovered a sketchbook by Kirchner that contained “Fränzi's” surname “Fehrmann”. After looking through old files, among others in the main state archive in Dresden , the identity of Lina Franziska Fehrmann could be determined. At the same time, the research revealed that Fehrmann had not had a sister by the name of Marcella. The only sister who was still alive around 1910 was called Johanna Rosa and in 1910 she was already 18 years old. "A fixed stop in the bridge research had collapsed," so a relationship between Fränzi and Marcella had to be ruled out. New image dating to 1910 turned out to be wrong, and newly assigned image titles, which revolved around the “siblings” as artists, now had to be regarded as wrong. However, Marcella's identity was still unknown, so that an identity with Fränzi could not be ruled out. In 2004, Barbara Nierhoff stated that the “discussion on the part of research on the question of the identity of children ... will probably continue indefinitely due to the poor sources.”

Research had become more careful now. In 2008, Moeller pointed out that depictions of “Fränzis” could also be those “Marcellas”, but did not address a possible equality: “It is also not always certain whether they are really depictions by Fränzi. For example, the girl Marcella, also a child model, is often depicted with the same hairstyle, the bows in her hair and the same tapered face. ”This would also result in a mixture of the names“ Fränzi ”and“ Marcella ”for identical images the bridge help to explain himself Artists.

A new thesis on Marcella's identity could only be put forward in preparation for the 2010 exhibition The View of Fränzi and Marcella in the Sprengel Museum in Hanover . Based on the first name, the Dresden baptismal registers for the years 1895 to 1899 were searched. According to Gerd Presler, there was only one entry for the rare name Marcella during this period : It was Marcella Albertine Olga Sprentzel, born on December 15, 1895, the fourth child of a senior postal assistant. In 1909 the family lived not far from Ernst Ludwig Kirchner's studio. After 1912, Marcella's trail was initially lost. However, contemporary witnesses reported in July 2012 that the devout Marzella Sprentzel, who wrote her first name with "z", later worked as a teacher and gave private piano lessons. She died in 1977, her brother held a high-ranking priesthood as provost and prelate at the Catholic Court Church . These findings raised doubts that Sprentzel, almost 15 years old, could have posed the artist naked. This was confirmed by new findings in 2014. Sprentzel's exercise books were found with their signature “Marzella”, which clearly differed from the “Marcellas” signatures that have been handed down on postcards by the Brücke artists. Sprentzel's pictures of children also show no resemblance to the girl in the Brücke pictures. Research also showed that there was at least one other Marcella in Dresden's baptismal registers: Emmy Marcella Schwerdtner was also born in 1895 and was the daughter of a locksmith. She still lived in Dresden in 1910, later became an accountant and died in Dessau in 1963 . It is not known whether she is identical to “Marcella”.

The 2012 newly researched aspect that Fehrmann's mother could have had Italian ancestors (according to the documents her father was called Anton Domenicus Pazi, and this surname does not occur in Germany, but is widespread in northern Italy) suggests that Fehrmann himself " Marcella ”as a nickname. Another possibility is being considered that Kirchner created his famous Marzella painting after one of the girls' models known in research and named it Marzella for no deeper reason , whereupon the name of one of the models was jokingly taken up and used on postcards. It is therefore also possible "that Lina Franziska Fehrmann called herself or was called Marzela, Marzella, Marcella out of a childish whim."

Fränzi in the oeuvre of the Brücke artists

The inner movement

Ernst Ludwig Kirchner - Fränzi in front of a carved chair (1910)

From 1905 onwards, the Brücke artists increasingly turned to nude drawings, an aspect that became central to the work of the artists during their time in Dresden. The (naked) human being was the basis of art in general. “That is why [you] have to start with the people themselves,” says Kirchner. For a precise study of the human being, the act had to be studied “in free naturalness”. The aim was not to copy nature, but to depict "the type of naked people of our time" in numerous nudes.

In the tradition of Munch's puberty , which caused a scandal in 1894, the Brücke artists not only studied the female nude in the adult stage from 1905, but were also interested in its preliminary stages and development, i.e. also the pubescent and prepubertal stages of women. In doing so, they followed a redefinition of the concept of the nude that began at that time: “After the female nude formed the awakening woman over a long period of time, the studies of becoming [attention] at the turn of the 20th century. Psychoanalytic research confronted man with his body, his urges, with that which emerged unconsciously and inexorably. As a result, people dared to design the naked girl in whom the woman was slumbering on canvas and paper. ”One of the things that was of interest was the“ inner movement ”of the models:“ The development from child to woman progresses at every moment . No other phase of life is so marked by dramatic changes. Nothing is complete. Everything vibrates. Not a moment in which something isn't changing. Painters like Kirchner and his friends felt this and pursued it artistically. "

In addition to Marcella and sister couples, who covered the pubertal phase in the work of the Brücke, Fränzi represented the prepubertal phase in the oeuvre of the Brücke artists. She is understood as a "child" and in drawings and paintings by the Brücke artists regularly referred to as a child (Heckel: Kind (1909), Heckel: Child with a shell chain (1909), shell chain also on Kirchner's Fränzi in front of a carved chair ). In Kirchner's sketch pictures, Fränzi and other female models appear as a type. However, there is little interest in a realistic portrait of Fränzi: Kirchner “is looking for a formulation of the female nude as it appears in the“ child ”.” At the same time, “already in the works [Kirchner] after the child models like Fränzi Fehrmann, an erotic one announces itself , but still tend to have a genderless image of women. Their still untrained bodies, and therefore their androgyny, fascinated the artist ”. By mid-1910 he had internalized the "Fränzi type" so much that he was able to sketch Fränzi representations without the model being present.

The outward movement

Lina Franziska Fehrmann and Peter 1910 on a photograph by Ernst Ludwig Kirchner; Heckel repeated the motif in his painting Children (on the Bench) from 1910

Drawings often show Fränzi in motion, on roller skates in the studio, making candles and rolling rollers, playing with a cat, swinging or dancing. With Fränzi, the representation of the Brücke artists expanded away from the static act: Through Fränzi, Kirchner was able to continue the "study of movement that has accompanied my entire work to this day and from which I got my own formal language", which he found in 1901 and that he felt as "something completely new".

Connected and conditioned with this was the search for new ways of painting. Fast movements and thus a faster representation in sketches, drawings and watercolors could be processed, as Kirchner's sketchbooks clearly show, but the Brücke painters, above all Kirchner and Heckel, were now also looking for an adequate implementation in oil. Looking back in 1935, Kirchner found that he was changing his style of oil painting with pastose brush application and "had to find a new technique [had to ...] to paint with little color and a lot of liquid and invent his own ground that sucked and allowed to dry easily." Heckel also mentioned Fehrmann in his 1958 recollections as a trigger for the new painting style of the Brücke artists, so Fränzi is “a special event from 1909 and is related to the formulation of relatively flat painting that began at the end of 1908. They are pictures that have been painted with thinned paint, that's how I want to put it. This possibility of painting was tried out earlier, but actually only started at the end of 1908. In 1909 this style of painting became the general rule for us ”. At this time, pictures such as artist (Marzella) or Fränzi in front of a carved chair were created , which, in contrast to earlier works, have simplified forms and a flat application of paint. They are clearly under the influence of artists such as Henri Matisse and Edvard Munch .

The exotic element

The Brücke artists, and above all Ernst Ludwig Kirchner, began to focus more and more on non-European art around 1910. The Ethnographic Museum in Dresden was reopened in March 1910 . Kirchner was particularly fascinated by the bas-reliefs of the Dresden “ Palau beam”. His works from 1910 are dominated by hard contours and two-dimensional representations. Erich Heckel turned to the woodcut from 1910 and his works, like the Kirchner's, show an increasing reduction or scarcity of form as well as angular contours. “Fränzi's boyish figure favored the flat work method and the formation of angular contours, unlike adult female models, which tempt you to sculptural modeling and flowing forms.” Often her eyes were narrowed and her long black hair was shown open exotic aspect of their shape was emphasized.

In the life of the indigenous peoples, the Brücke artists wanted to “create parallels to their lives and work in the studios and especially at the Moritzburg ponds. There they also formed a community with their young models and friends, moved around unconstrained in the living studios without clothes or enjoyed themselves and sunbathed in the great outdoors ”. The ideal of the Brücke artists became around 1910 the existence of the free and "innocent" human being in the original nature. "The 'Naturkind' Fränzi embodies an ideal of the bridge utopia of freedom and originality - an amalgam of erotic and exotic."

“On the remote northeast bank of the Dippelsdorf pond, in the legendary summer of 1910, the triumvirate achieved the greatest mutual closeness in artistic expression with 'fanatical free work' on free people in the great outdoors. The heroine of the pictures, which look like snapshots, is the child's favorite model Fränzi ... In Moritzburg, the BRÜCKE succeeds in happily realizing a utopia - for a short time - with the original combination of anti-bourgeois lifestyle and radical imagery, social experimentation and the art revolution. "

- Ulrike Lorenz , 2008

Abuse hypotheses

Ernst Ludwig Kirchner, 1919

Since the 1990s, Kirchner's relationship with Fehrmann in particular has been critically and speculatively questioned. Assuming that Fehrmann was a twelve-year-old artist's daughter, Gerd Presler asked suggestively in 1998, for example: “She [Fehrmann] is the youngest model of the 'Brücke'. Muse, maybe also a lover? ”And“ Were there sexual relationships between the painters and the young models, here Fränzi? Wasn't what possibly happened in contradiction to applicable law: fornication with minors? ”As an indication of a possible sexual relationship, Kirchner's picture, considered lost, was seen, whose title Kirchner gave in retrospect to 1917 as Fränzi with a lover :“ The Title suggests that Fränzi had a sexual relationship with at least one of the artists, probably Erich Heckel. That does not exclude others, including Ernst Ludwig Kirchner ”. There was no evidence of pedophile behavior.

The preparation of the exhibition The View of Fränzi and Marcella 2010 coincided with the public debate about pedophile acts in the Catholic Church . Kirchner in particular was now viewed as a potential pedosexual. “How pedophile was Ernst Ludwig Kirchner really?” Was the headline of the Berliner Morgenpost and Der Spiegel announced the exhibition under the heading “Kirchner's Lolitas”. Two quotes from Kirchner were often torn out of context.

Fehrmann was equated with a 16-year-old who, according to Heckel Kirchner's memory from 1925, had entered into a sexual relationship and which he had already met as a 12-year-old:

“We had a little girl as a model in Dresden who was 12 years old. It came to us often, and when Heckel was there, he took part in the drawing. Years passed and suddenly the little girl reappeared as a young girl of 16 years. Heckel as a horny Saxon immediately pounced on her and screwed her. We went to Moritzburg with her, and Heckel was often with her. "

- Ernst Ludwig Kirchner in 1925 in the Davos diary

The magazine art - the art magazine published the quote with the help of false additions ("Heckel as a horny Saxon immediately pounced on her (Fränzi) and screwed her") and tried to prove Kirchner's sexual intercourse with Fehrmann. This equation can be ruled out based on the proven age of Fehrmann. Even the dates cannot be reconciled with a person from the Dresden period, so that doubts about Kirchner's statement must arise. “Kirchner's notes [are] to be treated with great caution. Reality, fantasy, construction and slander [are] inextricably mixed up in it ”, says the curator of the exhibition Norbert Nobis 2010.

Der Spiegel brought a second quote, among other things, incoherently and falsely abbreviated: “In a letter to his colleague Heckel, the artist raved about Marcella's body, about 'hints that can drive you crazy. Better than in the older girls'. "The full quote first shows" the comparison between older and younger girls in a rather factual tone that reveals more the view of the painter and artist than that of a driven child molester ":

“Marzella has become quite at home and develops fine features [...] There is a great attraction in such a pure woman. Hints that can drive you crazy. Better than in the older girls. Freer, without losing the finished woman. Perhaps some things are more finished with her than with the more mature and stunted again. The wealth is certainly greater now. "

- Ernst Ludwig Kirchner in March / April 1910 to Erich Heckel

Kirchner's "Marzella"

At the same time, some of the images were reinterpreted from the perspective of sexual abuse or the sexualization of the child models. Kirchner's Marcella now wore red-lacquered fingernails, "the Lolita eyes are rimmed with dark kohl, the lips are adorned in provocative red." The Frankfurter Allgemeine Zeitung (FAZ) then wrote ironically:

“If you look closely, you can see that they are more like painted fingers and that she apparently wears the nail polish on her ear and as a boundary between arm and body; and that she has a blue beard and green moss under her shoulder. But that's only absurd at first glance. On the second it is understandable that this picture has enough polyvalence to let the eye see what the opinion wants to see. At a third glance, it is even a cultural-historical phenomenon when a painting suddenly appears as outrageous again as it was perhaps meant to be after a hundred years of being a museum: it is an astonishing re-Wilhelminization of the gaze, only that here images that contribute to hers Time when criticism was too abstract, now being treated undeterred as if it were photos from the crime scene. "

- Peter Richter : Frankfurter Allgemeine Zeitung, September 2010

However, the FAZ noted a “cultural pedophilia” throughout the epoch, a figurative infatuation with children based on, among other things, Ellen Key's work The Century of the Child (1902), which, however, did not automatically lead to pedophile behavior. “As long as there is only circumstantial evidence but no evidence of sexual assault by the Brücke painters, it might be more fruitful to discuss the extent to which it must be considered abuse to allow children to pose at all in order to be able to see pictures of their impartiality, nudity and shamelessness reach. Or their shame - in both senses of the word. ”The Neue Zürcher Zeitung also wrote of a“ kind of aesthetic-erotic exploitation of minors ”that needs to be problematized.

Work assignment

Ernst Ludwig Kirchner - Artist (Marzella) (1910)

Fränzi's name is specifically mentioned as the title of a few images, so that only a few images can be considered secured by the designation. These include the drawing Kirchner und Fränzi by Erich Heckel (1909) and his woodcut Fränzi lying (1910). Fränzi pictures by Heckels were often given the name “child” by his wife Sidi Riha .

In contrast to other depictions of girls - such as the portrayal of Marcella or Senta - Fränzi pictures have typical features: "the triangular face shape, the fleshy lips, the almond-shaped eyes with the strong, crescent-shaped eyebrows, the hair parted a little to the right of the center". The physique is also concise, so Fränzi was "a slim, rather lanky girl, still without any feminine shape or body features." However, depictions by Marcella also show underdeveloped female forms, a similar hairstyle and the bow in the hair characteristic of both girls, so that it is often difficult to distinguish between them. Marcella representations, however, only occur between March and October 1910, in the summer months she probably did not come to the Moritzburg ponds. It could also be proven that Marcella was often depicted with crossed legs. In addition, it is she who was shown together with the older Senta.

In the course of the exhibition Der Blick auf Fränzi and Marcella , among other things, the works Artistin (Marcella) by Ernst Ludwig Kirchner from 1909 and 1910 were re-attributed. The better-known of the pictures was shown in the 1910 exhibition at the Arnold Gallery in Dresden under the title Artist shown. The addition (Marcella) comes from Donald E. Gordon , who in 1968 compiled a complete list of Kirchner's works. The yellow-black jersey can be found in several works by the Brücke artists, including the yellow-black jersey by Pechstein (1909), artist by Ernst Ludwig Kirchner (1909), girl on a green sofa with a cat by Pechstein (1910) and on a drawing by Kirchner, which was called Fränzi on the sofa for a long time (1910). In 1909 Marcella had not yet joined the bridge, but Fränzi had been to the Moritzburg ponds in 1909. “So there is a lot to suggest that it was Fränzi who wore this jersey in 1909, and if it wasn't a 'hiking piece of clothing' that would have been too small for older girls anyway, the only assumption left is that it was her who wears the 'artist's jersey' sitting on the green sofa. ”It is also possible that all works by Fränzi with a cat on a green sofa can be dated to 1909, analogous to the artist von Kirchner.

Ernst Ludwig Kirchner - Untitled (Kleine Fränzi), 1909

Ernst Ludwig Kirchner: Untitled (Crouching Girl), 1909

Ernst Ludwig Kirchner - Seated Girl (1910)

Ernst Ludwig Kirchner - Two acts with bath tub and oven (1911)

1909 (selection)

• Ernst Ludwig Kirchner: Untitled (Kleine Fränzi) - pen and black ink, ahlers collection
• Ernst Ludwig Kirchner: Untitled (Crouching Girl - Fränzi) - watercolor, gouache, chalk on wove paper, Olbricht Collection
• Erich Heckel: Seated Child - Black Chalk, State Art Gallery Karlsruhe
• Erich Heckel: Fränzi with cat (formerly artist; Marcella) - Oil on canvas, Henze & Ketterer Gallery, Wichtrach / Bern
• Erich Heckel: Child - wax crayon, Brücke Museum Berlin
• Erich Heckel: Fränzi - pencil, Brücke-Museum Berlin
• Erich Heckel: Kirchner and Fränzi - graphite, Brücke-Museum Berlin
• Erich Heckel: Group outdoors - oil on canvas, Merzbacher Kunststiftung
• Max Pechstein: The yellow-black jersey - oil on canvas, Brücke-Museum Berlin
• Max Pechstein: Scene in the Forest - Oil on canvas, private property

1910 (selection)

• Ernst Ludwig Kirchner: Untitled (Fränzi before Brücke-Paravent) - pencil, Brücke Museum Berlin
• Ernst Ludwig Kirchner: Untitled (head Fränzi) - pencil, Kupferstichkabinett , Staatliche Museen zu Berlin
• Ernst Ludwig Kirchner: Untitled (Sitzende Fränzi) - watercolor over graphite, Brücke-Museum Berlin
• Ernst Ludwig Kirchner: Untitled (Sitting Fränzi from backwards) - rice charcoal drawing, Ketterer Kunst Munich
• Ernst Ludwig Kirchner: Artist (Marcella) - Brücke Museum, Berlin
• Max Pechstein: Girl on the Green Sofa with a Cat, Museum Ludwig, Cologne
• Ernst Ludwig Kirchner: Untitled (Fränzi on the sofa) - Coal, EWK, Bern / Davos
• Ernst Ludwig Kirchner: Untitled (Turnende Fränzi) - black chalk, washed in parts, Galerie Henze & Ketterer, Wichtrach / Bern
• Ernst Ludwig Kirchner: Untitled (Fränzi as a nude, hand on chin) - brush in black on wove paper, Städel Museum , Frankfurt am Main
• Ernst Ludwig Kirchner: Fränzi in a blue dress - chalk drawing and watercolor, private collection
• Ernst Ludwig Kirchner: Girl with a cat (Fränzi) - oil on canvas, Merzbacher Kunststiftung
• Ernst Ludwig Kirchner: Seated Girl (Fränzi Fehrmann) - Oil on canvas, The John R. Van Derlip Fund
• Ernst Ludwig Kirchner: Fränzikopf, with doll - lithograph, Galerie Michael Haas, Berlin
• Ernst Ludwig Kirchner: Untitled (Fränzi in the hammock) - Coal, Beck & Eggeling, Düsseldorf
• Ernst Ludwig Kirchner: Fränzi in front of a carved chair - oil on canvas, Museo Thyssen-Bornemisza , Madrid
• Ernst Ludwig Kirchner: Fränzi in front of a carved chair - black and colored chalk, Städel Museum, Frankfurt am Main
• Ernst Ludwig Kirchner: Untitled (Fränzi next to a carved chair - girl nude) - watercolor on paper, Museum Biberach
• Ernst Ludwig Kirchner: Fränzi with long hair - lithograph, Galerie Michael Haas Berlin
• Ernst Ludwig Kirchner: Seated on a yellow blanket - Fränzi - Watercolor, Galerie Nierendorf
• Erich Heckel: Fränzi lying - woodcut in black and red / black and blue, u. a. Bridge Museum Berlin, Buchheim Museum
• Erich Heckel: Fränzi - 1910, wax chalk, Brücke-Museum Berlin
• Erich Heckel: Children (on the bench) - oil on canvas, Gerlinger collection, Halle
• Erich Heckel: Fränzi - lithography, ahlers collection
• Erich Heckel: child - graphite, Brücke-Museum Berlin
• Erich Heckel: Seated Child - Opaque colors over pencil, Brücke-Museum Berlin
• Erich Heckel: Untitled (two children) - pencil, Staatliche Kunsthalle Karlsruhe
• Erich Heckel: Children on a bench - woodcut, Folkwang Museum, Essen
• Erich Heckel: Untitled (Fränzi with hat) - charcoal drawing, Leopold Hoesch Museum Düren
• Erich Heckel: Untitled (half-act Fränzi) - ink pen, Brücke-Museum Berlin
• Erich Heckel: Untitled (Fränzi with hat) - graphite, Brücke-Museum Berlin
• Erich Heckel: Reclining (Kirchner with Fränzi in the studio) - Indian ink and wax crayons, Hermann Gerlinger collection

1911 (selection)

• Ernst Ludwig Kirchner: Fränzi - Oil on canvas, Kunsthalle Kiel
• Ernst Ludwig Kirchner: Postcard to Maschka Müller, February 3, 1911 (Fränzi in front of the wall hanging) - colored chalks, Hermann Gerliner collection
• Ernst Ludwig Kirchner: Untitled (Fränzi with fruit) - pencil, Brücke-Museum Berlin
• Ernst Ludwig Kirchner: Two acts with bath tub and oven - oil on canvas, Museum Frieder Burda

literature

• Klaus Albers, Gerd Presler : News from Fränzi. Data, facts, findings on the latest "bridge" model. In: Weltkunst. No. 13, November 1998, pp. 2440-2442.
• Ralf Debus: The reconstruction of a world of hours - with Fränzi, the girl on the green sofa. In: Intermediate steps, contributions to a morphological psychology, 3rd year 2/1984
• Klaus Albers, Gerd Presler: News from Fränzi II. In: Weltkunst. No. 4, April 1999, pp. 727-729.
• Klaus Albers, Gerd Presler: "Fränzi" - model and muse of the "Brücke" painters Erich Heckel, Ernst Ludwig Kirchner and Max Pechstein. In: Christine E. Stauffer (Ed.): Festschrift for Eberhard W. Kornfeld on his 80th birthday. Kornfeld & Cie, Bern 2003, ISBN 3-85773-042-0 , pp. 205-218.
• Johanna Brade : Fehrmann. In: Jill Berk Jiminez, Joanna Banham (Eds.): Dictionary of Artists' Models. Taylor & Francis, London 2001, pp. 188-189.
• Magdalena M. Moeller : Ernst Ludwig Kirchner - Fränzi in front of a carved chair. In: Magdalena M. Moeller (Ed.): Brücke-Archiv 23/2008. New research and reports. Hirmer, Munich 2008, pp. 95-112.
• Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, ISBN 978-3-89169-215-8 .
• Gerd Presler: "Fränzi" - the end of a mistake. Three bridge painters and a model. Karlsruhe 2015.
• Gerd Presler: Ernst Ludwig Kirchner - The sketch books. Ecstasy of first sight. Karlsruhe 1996.
• Gerd Presler: The bridge. Rowohlt TB 50642, pp. 123-124, ISBN 978-3-499-50642-0 .
• Gerd Presler: Fränzi and the child models of the bridge. In: KinderBlicke. Childhood and modernity from Klee to Boltanski. Bietigheim-Bissingten 2001, pp. 50-65.

Web links

Commons : Lina Franziska Fehrmann  - Collection of images, videos and audio files

• Information on the exhibition Fränzi, model and icon of the “Brücke” artists in the Buchheim Museum
• Article about the exhibition in the Buchheim Museum with examples

Individual evidence

1. ↑ ^{a b c d e f g} Jens-Uwe Sommerschuh : "She was my mom." In: Sächsische Zeitung. July 23, 2012, p. 3.
2. ^ Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 14.
3. ↑ From 1909 to 1911 the family moved into new apartments at least three times: 1909 Ammonstrasse 42, 1910 Polierstrasse 18, 1911 Falkenstrasse 20. Cf. Klaus Albers, Gerd Presler: “Fränzi” - model and muse of the “Brücke” painter Erich Heckel, Ernst Ludwig Kirchner and Max Pechstein. In: Christine E. Stauffer (Ed.): Festschrift for Eberhard W. Kornfeld on his 80th birthday. Kornfeld & Cie, Bern 2003, p. 210; 217, FN 31.
4. ^ Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 21, FN 5.
5. ↑ ^{a b} Erich Heckel. In: Robert Norman Ketterer: Dialogues. Volume 2: Fine arts, art trade. Belser, Stuttgart and Zurich, 1988, ISBN 3-7630-1724-0 , pp. 36–64, here p. 47.
6. ^ Klaus Albers, Gerd Presler: News from Fränzi. Data, facts, findings on the latest "bridge" model. In: Weltkunst. No. 13, November 1998, p. 2442.
7. ↑ ^{a b} Ulrike Lorenz : Bridge. Taschen, Cologne 2008, p. 50.
8. ↑ Kirchner on a postcard to Maschka Mueller, February 3, 1911. Compare also Gerd Presler: Die Brücke. Rowohlt, Reinbek bei Hamburg 2007, p. 39.
9. ↑ ^{a b c} Jens-Uwe Sommerschuh: Forever a little girl? In: Saxon newspaper. July 6, 2012, p. 16.
10. ^ Ernst Ludwig Kirchner, sketch book 1926. Quoted from: Klaus Albers, Gerd Presler: Neues von Fränzi. Data, facts, findings on the latest "bridge" model. In: Weltkunst. No. 13, November 1998, p. 2441.
11. ↑ Jens-Uwe Sommerschuh: Fränzi's Dresden secret revealed. “She was my mom.” In: Sächsische Zeitung. July 23, 2012, pp. 1, 3.
12. ↑ In 1942 Alfred Fleischer's address was given in the Dresden address books as Polierstrasse 23, and in 1942/43 as Kleine Plauensche Gasse 60.
13. ^ Klaus Albers, Gerd Presler: News from Fränzi. Data, facts, findings on the latest "bridge" model. In: Weltkunst. No. 13, November 1998, p. 2441.
    Klaus Albers, Gerd Presler: News from Fränzi II. In: Weltkunst. No. 4, April 1999, p. 729.
14. ↑ Margit Fehrmann was the granddaughter of a brother Fehrmann who died in the First World War. Her mother was Lucia Fehrmann (* 1911), a niece of Fehrmann.
15. ↑ ^{a b} Jens-Uwe summer shoe: Stone and table for Fränzi. In: Saxon newspaper. June 15, 2011, p. 7 ( online as PDF ; 0.7 MB).
16. ↑ Ingrid Roßki: None of the Brücke artists followed Fränzis coffin. In: Saxon newspaper. November 29, 2001, p. 13.
17. ↑ Illustration of Fehrmann's death certificate in: Klaus Albers, Gerd Presler: "Fränzi" - model and muse of the "Brücke" painters Erich Heckel, Ernst Ludwig Kirchner and Max Pechstein. In: Christine E. Stauffer (Ed.): Festschrift for Eberhard W. Kornfeld on his 80th birthday. Kornfeld & Cie, Bern 2003, p. 213.
18. ↑ Max Pechstein: Memories. Limes-Verlage, Wiesbaden 1960. Quoted from Klaus Albers, Gerd Presler: News from Fränzi. Data, facts, findings on the latest "bridge" model. In: Weltkunst. No. 13, November 1998, p. 2441.
19. ^ Postcard, The Tel Aviv Museum, Tel Aviv. Quoted from Magdalena M. Moeller: Ernst Ludwig Kirchner - Fränzi in front of a carved chair. In: Magdalena M. Moeller (Ed.): Brücke-Archiv 23/2008. New research and reports. Hirmer, Munich 2008, p. 102.
20. ↑ ^{a b c} Ulrike Lorenz: Bridge. Taschen, Cologne 2008, p. 52.
21. ^ ^{A b} Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 13.
22. ↑ Quoted from Annemarie Dube-Heynig (arrangement): Ernst Ludwig Kirchner. Postcards and letters to Erich Heckel in the Altona Museum in Hamburg. DuMont, Cologne 1984, p. 238, note 93.
23. ↑ Kirchner's watercolor Fränzi and Marcella in the studio from 1910 does not mention any family relationships, even if both persons show similarities to one another.
24. ^ ^{A b} Volkmar Cheap: Et in Arcadia ego. In: Artists of the bridge in Moritzburg. Museum Schloß Moritzburg 1995, pp. 11-25, here p. 17, footnote 36.
25. ↑ Birgit Grimm: Muse, model and more. Marzella and Fränzi - a “special event” and a double role for Lina Franziska Fehrmann. In: Plusz. October 18, 2001, p. 7.
26. ↑ Lucius Grisebach in: Toni Stooss (ed.), Lucius Grisebach (collaborator): Ernst Ludwig Kirchner (on the occasion of the exhibition Ernst Ludwig Kirchner, October 31, 2009 - February 14, 2010, Museum der Moderne Salzburg). DuMont, Cologne 2009.
27. ^ Klaus Albers, Gerd Presler: News from Fränzi II. In: Weltkunst. No. 4, April 1999, p. 727.
28. ↑ Barbara Nierhoff: Representations of child and youthful models. In: Barbara Nierhoff: The image of women. Sexuality and physicality in the art of the 'bridge'. Klartext, Essen 2004, pp. 134–163, here p. 143.
29. ^ Magdalena M. Moeller: Ernst Ludwig Kirchner - Fränzi in front of a carved chair. In: Magdalena M. Moeller (Ed.): Brücke-Archiv 23/2008. New research and reports. Hirmer, Munich 2008, p. 101.
30. ^ Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 16.
31. ↑ ^{a b} Jens-Uwe Sommerschuh: The wrong girl. In: Saxon newspaper. June 5, 2014, p. 9.
32. ^ ^{A b} Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 17
33. ↑ cit. according to Klaus Albers, Gerd Presler: "Fränzi" - model and muse of the "Brücke" painters Erich Heckel, Ernst Ludwig Kirchner and Max Pechstein. In: Christine E. Stauffer (Ed.): Festschrift for Eberhard W. Kornfeld on his 80th birthday. Kornfeld & Cie, Bern 2003, p. 205.
34. ↑ Louis de Marsalle (= Ludwig Kirchner): About Ernst Ludwig Kirchner. 1933. Printed in: Andrea Wandschneider (Ed.): Ernst Ludwig Kirchner. Spontaneous and yet perfect. Drawings, watercolors, prints from the Saarland Museum Saarbrücken. Druckverlag Kettler, Bönen 2008, p. 31.
35. ↑ Herbert Eichhorn: KinderBlicke: Childhood and Modernity from Klee to Boltanski. Hatja Cantz, Ostfildern-Ruit 2001, p. 60.
36. ^ Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 18.
37. ^ Roland Scotti: Ernst Ludwig Kirchner - painter of women / erotic relationships. In: Christine E. Stauffer (Ed.): Festschrift for Eberhard W. Kornfeld on his 80th birthday. Kornfeld & Cie, Bern 2003, p. 222.
38. ^ Gerd Presler: Fränzi and Marcella. Two bridge models write art history. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hanover 2010, pp. 18–19.
39. ↑ "As a permanent guest in her studio, she lolled on the bed or sofa." Gerhard Presler: The great Dresden art revolt. In: art. 04, 2005, pp. 26-40.
40. ^ ^{A b} Ernst Ludwig Kirchner: Beginnings and Aim. In: Kronik van heden-daagske Kunst en Kultuur. Issue 1, 1935, p. 5 f.
41. ^ Malte Uekermann: Ernst Ludwig Kirchner and Fränzi. In: Ernst Ludwig Kirchner. Beck & Eggeling Düsseldorf / Galerie Michael Haas, Berlin 2010, p. 24.
42. ↑ Moeller speaks in connection with Erich Heckel's picture Kirchner und Fränzi from 1909 of the depiction of Fränzi with “negroid” facial features. Cf. Magdalena M. Moeller: Bridge Highlights. Hirmer, Munich 2007, Erich Heckel - image 82.
43. ^ Nicole Peterleion: Man and nature in the work of the "bridge". In: Magdalena M. Moeller (Hrsg.): In search of the original. Brücke-Archiv 21/2004, Hirmer Verlag, Munich 2004, p. 45.
44. ↑ Ulrike Lorenz: Bridge. Taschen, Cologne 2008, p. 18 f.
45. ↑ Fränzi Fehrmann and her sister. In: Gerd Presler: Ernst Ludwig Kirchner. His women, his models, his pictures. Prestel, Munich and New York 1998, pp. 37, 40.
46. ↑ Fränzi Fehrmann and her sister. In: Gerd Presler: Ernst Ludwig Kirchner. His women, his models, his pictures. Prestel, Munich and New York 1998, p. 42.
47. ↑ Fränzi Fehrmann and her sister. In: Gerd Presler: Ernst Ludwig Kirchner. His women, his models, his pictures. Prestel, Munich and New York 1998, p. 43.
48. ↑ Stefan Koldehoff: How pedophile was Ernst Ludwig Kirchner really? In: Berliner Morgenpost online. May 14, 2010.
49. ↑ Kirchner's Lolitas. In: Der Spiegel. No. 34, 23 August 2010, p. 134.
50. ↑ Quoted from: Stefan Koldehoff: There is a great charm in a pure woman. In: The world. No. 108, May 11, 2010, p. 25.
51. ↑ Compare also Fränzi Fehrmann and her sister. In: Gerd Presler: Ernst Ludwig Kirchner. His women, his models, his pictures. Prestel, Munich and New York 1998, p. 43.
    Stefan Koldehoff: There is a great attraction in a pure woman. In: The world. No. 108, May 11, 2010, p. 25.
52. ↑ Quoted from: Johanna Di Blasi: Brücke-Künstler from August in the Sprengel Museum. Hannoversche Allgemeine, May 14, 2010.
53. ↑ Kirchner's Lolitas. In: Der Spiegel. No. 34, 23 August 2010, p. 134.
54. ↑ ^{a b} quotation from Irene Berkel: Genealogical confusions. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 128.
55. ^ Johanna Di Blasi: Brücke artist from August in the Sprengel Museum. In: Hannoversche Allgemeine. May 14, 2010.
56. ↑ ^{a b} Peter Richter: The painters and the girls. How “The Bridge” got caught up in the pedophilia debate. In: FAZ. No. 36, September 12, 2010, p. 25.
57. ↑ See also Irene Berkel: Genealogical confusions. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, pp. 123–129.
58. ↑ Christian Saehrendt: From the enfant terrible to the column saint. In: Neue Zürcher Zeitung. No. 9, April 24, 2010, p. 61.
59. ↑ Norbert Nobis: My view of Fränzi and Marcella. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 32.
60. ↑ Norbert Nobis: My view of Fränzi and Marcella. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 30.
61. ↑ Norbert Nobis: My view of Fränzi and Marcella. In: Norbert Nobis (ed.): The view of Fränzi and Marcella. Two models by the Brücke artists Heckel, Kirchner and Pechstein. Sprengel Museum, Hannover 2010, p. 33.

For copyright reasons it is unfortunately not possible to illustrate all the works discussed in this article with images.

This version was added to the list of articles worth reading on April 12, 2012 .