Margarete Heymann

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Margarete Heymann , actually Margaretha, widowed Loebenstein , married Marks (born on August 10, 1899 in Cologne ; died on November 11, 1990 in London ) was a German ceramist and Bauhaus student of Jewish descent who, in the 1920s, was characterized by her simple, modern, avant-garde Utility ceramics became internationally known. In 1923 she founded the with her first husband Gustav Loebenstein in Marwitz ( Brandenburg )Haël workshops for artistic ceramics , which they closed in 1933 due to economic difficulties and had to sell below value to Heinrich Schild due to increasing political exclusion and denunciation after the Nazis came to power at the end of April 1934 . Margarete Heymann-Loebenstein emigrated to England in December 1936 and initially worked in the Milton ceramics factory . In 1938 she founded the Greta-Pottery company with her second husband Harold Marks . Due to the war, the company could no longer build on the successes of the late 1920s. After World War II Greta Marks increasingly devoted herself to painting.

life and work

Education and apprenticeship years

Margarete Heymann grew up as one of three children of Emma and Max Heymann in Cologne. The father was a co-owner of the tailor-made wholesale company Betzinger & Heymann , and on the mother's side she was related to Heinrich Heine . Her cousin Marianne Ahlfeld-Heymann became known as a wood sculptor, costume designer, set designer, mask carver and puppet maker.

Margarete Heymann's artistic talent was noticed early on. Between 1916 and 1918/19 she studied painting at the Cologne School of Applied Arts (later Cologne Werkschulen ) and then for a year at the Düsseldorf Art Academy . In addition, she completed art history courses at the Museum for East Asian Art in Cologne . After two rejections, Heymann received a place at the Bauhaus Weimar in November 1920 and completed the compulsory preliminary course with Johannes Itten . In March 1921, Walter Gropius informed her that women would not be accepted into the pottery workshop. After her protest, in April 1921 she received approval for a trial semester with Gerhard Marcks in the ceramic workshop at the Bauhaus in Dornburg / Saale . During her time at the Bauhaus she attended courses with Paul Klee , Georg Muche and Gertrud Grunow . She left the Bauhaus in a dispute on November 2, 1921. The reasons for her departure are unclear: on the one hand, she was held up several times by the master craftsman's council as to whether she should finally be accepted into the ceramics class; on the other hand, arguments with Gerhard Marcks and Walter Gropius have been handed down . In October 1921, Max Krehan and Gerhard Marcks considered them “talented, but not suitable for the workshop.” Only Grete Heymann's pottery mark is known from the time at the Bauhaus. In March 1922 she was finally struck off the list of registered students at the Bauhaus.

At the end of 1921 she worked in a ceramics workshop in Frechen and led a pottery course for children at the Cologne School of Applied Arts . In 1922 she accepted a job as an artistic assistant in the Velten-Vordamm stoneware factory under the direction of Hermann Harkort .

Haël workshops for artistic ceramics

Years of construction

On August 4, 1923, she married Gustav Loebenstein, who had a doctorate in business administration, and in the same year founded the Haël workshops for artistic ceramics in Marwitz (Brandenburg) north of Berlin together with him and his brother Daniel Loebenstein . They initially leased the site and the facilities of the former tiled stove factory as a successor to the garden ceramics Petry . Margarete Heymann was the artistic director of the workshops.

The company name Haël was made up of the family names of the owners (H – L). The Haël workshops became a member of the German Werkbund in 1925 . Other artists, such as Ewald Mataré, had their designs carried out in the workshops . Margarete Heymann-Lobenstein presented her designs in July and September 1925 in the avant-garde Sturm-Galerie in Berlin. In 1926 the tenants bought the company.

The workshops' program was characterized by a wide variety of shapes and styles with a focus on avant-garde designs and ranged from simple line decorations to abstract and asymmetrical compositions. The matt and luster glazes with intense colors and the influence of East Asian design were considered to be particularly characteristic of Margarete Heymann-Loebenstein's work. She designed high-quality utility ceramics, such as coffee, mocha and tea services, vases, bowls, plates and smoking sets. Heymann-Loebenstein often attached double disc handles to cups and jugs. Some of their designs were also made of other materials, such as silver , alpacca , ivory , ebony and plastic .

The medium-sized company expanded and became known at home and abroad for its artistically high-quality products and exported to Great Britain, Belgium, France and Switzerland until the early 1930s. In particular, unusual, geometric shapes in the Art Deco style were sold as luxury products to Australia, South America and the USA. In 1927 the company employed a total of 62 people. In that year a new residential and office building was built next to the workshops.

Great Depression

Gustav and Daniel Loebenstein had an accident on August 24, 1928 on the way to the Leipzig Autumn Fair . Grete Heymann-Loebenstein, now the mother of two small children, Michael (born 1924) and Stephan (born 1927), ran the business after the accidental death of Husband and brother-in-law go on alone. She presented the products of the workshops at numerous trade fairs, including in 1929 at the Breslau Werkbund exhibition Apartment and Workroom and since 1924 at the Leipzig Grassi Fair .

Teapot with disc handles, around 1930

In 1930 the company flourished and 90 employees worked in the workshops. In the same year a new kiln was put into operation. As a result of the global economic crisis , the Haël workshops, like the entire porcelain and ceramics industry, suffered heavy losses in sales, as the company balance sheets for the years 1927 / 28–1932 show. Haël's annual turnover from sales of goods fell from RM 696,950 in 1928 to RM 112,095 in 1932; The balance sheet profit amounted to 38,717 RM in 1928, in 1930 the balance sheet was still balanced, in 1931 there was a loss of 24,177 RM, in 1932 of 22,283 RM. While the neighboring Velten-Vordamm stoneware factory had to file for bankruptcy in 1931 , Margarete Heymann-Loebenstein continued to run the business. At the beginning of 1932 the Haël workshops had to reduce their prices by 15% and the range was streamlined and switched to utility ceramics. A complete service Norma was presented. In autumn 1932, Haël workshops were represented at the Leipzig trade fair for the last time . At the end of 1932, Margarete Heymann-Loebenstein was forced to dismiss the managing director, who had been with the company since Gustav Loebenstein's accidental death, for cost reasons.

Closure and forced sale

Her youngest son Stephan died on March 6, 1933 after a domestic accident. She was accused of breach of duty of supervision and was briefly detained. Immediately after the National Socialists came to power , the political and economic framework conditions for Margarete Heymann-Loebenstein to continue her company worsened.

On July 1, 1933, Margarete Heymann-Loebenstein shut down operations and appointed the Berlin auditor Max Silberstein as liquidator . In mid-July she was reported by two former workers and accused of “anti-state sentiments” and “poor, sometimes downright inhumane treatment”. To avoid her imprisonment, she fled to Bornholm with her son . On August 1, 1933, the district administrator in Nauen ordered the Haël workshops to be confiscated. In September 1933, the former director of the Velten-Vordamm stoneware factory , Adolf Kruckau, registered an interest in taking over or participating in the company. But then Margarete Heymann-Loebenstein broke off the negotiations and tried a new beginning in Jerusalem in October 1933.

From Cologne ceramist Nora Herz , who was friends with Margrete Heymann's brother Fritz, Bollhagen had learned of the closure of the plant in Marwitz. On January 18, 1934, the liquidation of the Haël workshops was requested. Margarete Heymann-Loebenstein's Jewish origins were, in addition to the difficult economic situation at the beginning of the 1930s, the decisive reason why the functioning company had to be closed and could not be reopened by her. She was forced to sell the company below value in order to realize at least part of the company's value. Silberstein now wanted to achieve a purchase price of RM 60,000. On April 26, 1934, the sales contract was signed between the General Secretary of the Reichsstand des Deutschen Handwerks Heinrich Schild , who in April 1933 together with Karl Zeleny published the guidelines for the conformity of the guilds of the German crafts , and Margarete Heymann-Loebenstein. Schild acquired the property of the Haël workshops with the buildings, the equipment and the warehouse for a purchase price of 45,000 RM. A separate contract was concluded for the exploitation of the successful Norma tableware service . Schild took over the management free of charge and appointed Hedwig Bollhagen as employed artistic director of the HB workshops for ceramics, which was then founded on May 1, 1934 .

Bollhagen started production with numerous workers from the former Haël- und Keramische Werke Velten-Vordamm in May 1934, together with unemployed employees and samples from the Velten-Vordamm stoneware factory, including Theodor Bogler , Werner Burri and Nora Herz, who moved from Cologne to Berlin with substantial use of Heymann-Loebenstein's designs for up to 50% of the product range that was already presented at the Leipzig autumn fair in 1934. For example, the well-known Norma service was produced in the HB workshops in 1934/35 . Hedwig Bollhagen initially used numerous shapes by Margarete Loebenstein and provided them with her own decors. In the reviews , u. a. in the magazine Frauenkultur the authorship of the designs was consistently withheld. Until the 1960s, Hedwig Bollhagen, according to her own statements, produced individual forms by Margarete Loebenstein.

In an article published on May 22nd, 1935 in the Nazi magazine “ The Attack” , Margarete Heymann-Loebenstein's ceramic designs were compared with Hedwig Bollhagen's work as degenerate and inferior.

After the company was sold, Margarete Heymann-Loebenstein looked for various options to emigrate from Germany . During this time she was only able to exhibit and work very rarely. She opened a children's art school in her apartment at Hertstraße 23. At the end of 1935 she exhibited paintings for the last time in Berlin at the Jewish Cultural Association . In autumn 1936, through the mediation of Sir Ambroise Heal , she got the opportunity to emigrate to Great Britain. On September 2, 1936, she had to pay the so-called " Reich Flight Tax" to the Wilmersdorf-Süd tax office .

England and Greta-Pottery

Grete Heymann-Loebenstein emigrated to Great Britain via Amsterdam on December 30, 1936 . In London she tried with the help of former business partners, u. a. Harry Trethowan, the head of the ceramics department of the Hael & Sons department store , to regain a professional footing. Through his mediation, in the summer of 1937 she got a job at the Burslem School of Art in the British ceramics center Stoke-on-Trent, a teaching contract for ceramic design. She had already exhibited pictures and ceramics there in February 1937. The apprenticeship contract and a job in the Minton Factory formed the basis for a six-month residence permit. In 1937/38 her earning potential expanded through independent design work for renowned companies such as Ridgway of Shelton or E. Brain's & Co , Foley China. She presented her ceramics in London's Brygos Gallery and in 1938 a landscape watercolor at Twentieth German Century Art , a highly regarded exhibition of artists in exile.

She again achieved a high reputation with her ceramic products, which became known under the term Greta-Pottery . She had set up her own company with her second husband Harold Marks at the end of 1938 . However, she was no longer able to build on her success from Germany. To make matters worse, the entire economic and technical area of ​​ceramic production in Great Britain was assigned to men and women were only allowed to carry out decorating or unskilled assistants. In response, she offered training courses for decorative painters and took over the sales herself. This behavior will have encountered resistance in the provincial and traditional surroundings of Stoke-on-Trent.

During the war years she stayed in a Derbyshire village , painting and raising her daughter Frances, born in 1941. After the war, she set up a ceramics workshop for ceramic murals and a studio pottery in London in 1945 and gave courses in a painting class at the Camberwell School of Arts & Crafts . She received public recognition for the commissioned work carried out with the architect Bernhard Engel, who also emigrated to England.

Greta Marks exhibited her works of art regularly in Great Britain, including 1978 and 1984 at Cardiff University . She also produced less silverware, and in 1960 and 1966 she made two large murals for the entrance hall of office buildings in Bradford .

From 1961 she was recognized in the Federal Republic of Germany as a “victim of National Socialist persecution” and in 1985 received compensation for the company that was sold below its value. In 1990 Margarete Heymann-Loebenstein died in London. Only after her death was she recognized at the Bauhaus as a modernist ceramist in connection with a beginning interest in emigrated artists.

A large part of the artist's estate is in the Jewish Museum in Berlin.

Honors and commemorations

Stumbling blocks for Emma and Margarete Heymann, Cologne-Lindenthal, Kinkelstrasse 9
Stumbling blocks for the Heymann family, March 19, 2019

On September 11, 2018, in the presence of Margarete Heymann's daughter, the British child psychologist Frances Marks, stumbling blocks were laid in front of the Heymann family's former home in Cologne-Lindenthal for Margarete Heymann and her mother Emma Heymann, who were murdered in July 1943 in the Sobibor extermination camp has been. On March 19, 2019, the stumbling blocks for other family members were laid at the same place: Fritz Heymann (born 1902), Sibilla Gertrud Heymann (born 1904), Rosa Edith Heymann (born 1910) and Peter Michael Heymann (born 1936 ).

Exhibitions and reception

The avant-garde designs by Margarete Heymann-Loebenstein from the 1920s and 1930s are now sought-after objects at art auctions. Individual designs of tea services achieved prices of several thousand to 25,000 euros at auctions, including at Sotheby’s .

After her death, the artist's work was honored in various special exhibitions, including 1992 in the London Crafts Council Gallery ( Influential Europeans in British Craft and Design ), in the Velten Oven and Ceramics Museum , in the Milwaukee Art Museum (2012), in the ceramic Museum Berlin (2012) or in the Bröhan Museum (2013).

Numerous museums have designs by Margarete Heymann-Loebenstein in their collections, including the Bröhan Museum , the Museum of Applied Arts Cologne , the Grassi Museum , the Jewish Museum in Berlin , the Kunstgewerbemuseum in Berlin, the British Museum in London, the Milwaukee Art Museum , the Cooper Hewitt Smithsonian Design Museum or the Ceramic Gallery Aberystwyth , which received numerous pieces by Frances Marks in 2006.

On June 11, 2016, a pastry bowl by Margarete Heymann-Loebenstein was presented in the broadcast art and stuff of the Bavarian radio .

As part of the NRW joint project 100 years of bauhaus im west , the Museum of Applied Art Cologne is showing retrospective 2 of 14 in 2019. Two Cologne women at the Bauhaus with works by Margarete and Marianne Heymann. In Erfurt, the Angermuseum is honoring Margarete Heymann's work in the exhibition 4 "Bauhaus Girls": Gertrud Arndt from March to June 2019 . Marianne Brandt. Margarete Heymann. Margaretha Reichardt .

literature

  • Margarete Heymann-Marks. In: Ceramics and Bauhaus. Exhibition, Bauhaus Archive, Berlin April 12 to May 28, 1989. Ed. By Klaus Weber a. Daniela Sannwald. Kupfergraben Verlagsgesellschaft, Berlin 1989, ISBN 3-89181-404-6 .
  • Cheryl Buckley: Potters and paintresses. Women designers in the pottery industry 1870–1955 . Women's Press, London 1990, ISBN 978-0-7043-4211-8
  • Astrid von Pufendorf: Forced nomadism. In: TAZ. Berlin, November 18, 2000. ISSN  0931-9085
  • Anja Baumhoff: The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919–1931. Peter Lang, Frankfurt 2001, ISBN 3-631-37945-5 .
  • Torsten Bröhan, Thomas Berg: Design Classics 1880–1930. Taschen, Cologne 2001, ISBN 3-8228-6876-0 , pp. 121–123, 163.
  • Ursula Hudson-Wiedenmann: From the Haël workshops to the Greta Pottery. Grete Heymann-Marks (1998). In: From salt shakers to automobile designers. Edited by Britta Juergs. Aviv, Berlin 2002, ISBN 3-932338-16-2 , pp. 72–86.
  • Ursula Hudson-Wiedenmann: Exile in Great Britain. The ceramist Grete Loebenstein-Marks . In: Antony Grenville: Refugees from the Third Reich in Britain . (The yearbook of the Research Center for German and Austrian Exile Studies, 4), 2002, ISBN 90-420-1104-1 , pp. 151-172
  • Hedwig Brenner : Jewish women in the fine arts II. A biographical directory . Constance 2004, Hartung-Gorre. ISBN 3-89649-913-0
  • Monika Dittmar, Ursula Hudson-Wiedenmann: Haël ceramics - little known, highly valued by collectors. Margarete Heymann-Loebenstein-Marks ceramic designer. Haël - workshops for artistic ceramics Marwitz. Exhibition May 21 to September 17, 2006, Velten Oven and Ceramics Museum . Velten 2006.
  • Simone Ladwig-Winters: Expert opinion on the "Aryanization" allegations against Hedwig Bollhagen , Potsdam 2008.
  • Ulrike Müller : The Bauhaus women. Masters in art, craft and design. Elisabeth Sandmann, Munich 2009, ISBN 3-938045-36-1 , pp. 70-75.
  • Ursula Hudson-Wiedenmann: The second visit to the Haël workshops: new findings on the expulsion of Grete Heymann-Loebenstein and the consequences . In: Inge Hansen-Schaberg (Ed.): Removed. Women of the Bauhaus during the Nazi era; Persecution and exile. Conference proceedings, Munich 2012. (Women and Exile, 5), ISBN 978-3-86916-212-6 , pp. 117–140.
  • Frances Marks: From Germany to England. From Ceramic to Bakalite - Grete Loebenstein-Marks and Linsden Ware . In: Plastiquarian 47, 2012, pp. 7-9.
  • Ingeborg Becker, Claudia Kanowski and Marguerite Wildenhain (eds.): Avant-garde for everyday life. Jewish women ceramists in Germany 1919–1933; Marguerite Friedlaender-Wildenhain, Margarete Heymann-Marks, Eva Stricker-Zeisel . Exhibition catalog Bröhan Museum, Berlin 2013, Bröhan Museum. ISBN 978-3-941588-10-3 .
  • Kai Uwe Schierz, Patrick Rössler , Miriam Krautwurst, Elizabeth Otto (eds.): 4 "Bauhaus girls": Arndt, Brandt, Heymann, Reichardt , Dresden, Sandstein 2019, ISBN 978-3-95498-459-6 , 335 pp .
  • Ulrike Müller: Bauhaus women. Masters in art, craft and design , Munich, Elisabeth Sandmann Verlag 2019, ISBN 978-3-945543-57-3 , pp. 73-77
  • Margarete Heymann-Loebenstein . In: Patrick Rössler , Elizabeth Otto : Women at the Bauhaus. Pioneering modern artists. Knesebeck, Munich 2019. ISBN 978-3-95728-230-9 . Pp. 36-41.

Web links

Commons : Laying Stolpersteine ​​at Kinkelstrasse 9  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Anna Grosskopf: Avant-garde for everyday life: Jewish women ceramists in Germany 1919–1939: Marguerite Friedlaender-Wildenhain, Margarete Heymann-Marks, Eva Stricker-Zeisel . Ed .: Bröhan Museum. Berlin 2013, ISBN 978-3-941588-10-3 , pp. 50 ff .
  2. ↑ a b c Ursula Hudson-Wiedenmann: From the Haël workshops to the Greta Pottery. Grete Heymann-Marks (1998). In: From salt shakers to automobile designers. Edited by Britta Juergs. AvivA, Berlin 2002, ISBN 3-932338-16-2 , pp. 72-86.
  3. ↑ Kai Uwe Schierz, Patrick Rössler, Miriam Krautwurst, Elizabeth Otto: 4 "Bauhaus girls": Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt . Ed .: Angermuseum Erfurt. Sandstein, Dresden 2019, ISBN 978-3-95498-459-6 , p. 124 .
  4. ^ A b Margarete Heymann-Loebenstein: Bauhaus100. (No longer available online.) Archived from the original on September 22, 2018 ; accessed on September 22, 2018 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.bauhaus100.de
  5. ↑ Kai Uwe Schierz, Patrick Rössler, Miriam Krautwurst, Elizabeth Otto: 4 "Bauhaus girls": Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt . Ed .: Angermuseum Erfurt. Sandstein, Dresden 2019, ISBN 978-3-95498-459-6 , p. 122 .
  6. ↑ Faience - Haël-Keramik 1923–1933. In: DESIGN20.eu. Retrieved September 22, 2018 .
  7. ↑ a b Torsten Bröhan, Thomas Berg: Design Classics 1880–1930. Biography. Taschen, Cologne 2001, ISBN 3-8228-6876-0 , p. 163.
  8. ↑ Rosemarie Mieder and Gislinde Schwarz: Margarethe Loebenstein and Hedwig Bollhagen: An everyday story from the Third Reich. Deutschlandfunk, January 4, 2008, accessed on September 20, 2018 .
  9. ↑ a b Vase, Haël workshops. Retrieved September 22, 2018 (UK English).
  10. ↑ a b Haël ceramics 1923–1933. Retrieved September 22, 2018 .
  11. ^ Romana Breuer: Happy Fügungen: Two significant contributions to the (Cologne) Bauhaus reception . In: Der Overstolze . tape 18 . Cologne 2016, p. 12 ff .
  12. ↑ Kai Uwe Schierz, Patrick Rössler, Miriam Krautwurst, Elizabeth Otto: 4 "Bauhaus girls": Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt . Ed .: Angermuseum Erfurt. Sandstein, Dresden 2019, ISBN 978-3-95498-459-6 , p. 128 .
  13. ^ Karl H. Bröhan , Dieter Högermann: Paintings, sculptures, handicrafts, industrial design . Bröhan Foundation Collection, West Berlin 1985, p. 201; Address book of the ceramic industry 1927, p. 300; Address book of the ceramic industry 1930, p. 292; Andreas Heger, Ceramics for Use - Hedwig Bollhagen and the HB workshops for ceramics, Weimar 2005, p. 70, note 16.
  14. ↑ Heger 2005, p. 70.
  15. ↑ Heger 2005, p. 74, notes 62–63.
  16. ↑ Heger 2005, p. 74, note 64; The Schaulade united with arts and crafts, vol. 8/1932, issue 1, p. 42.
  17. ^ "Norma" teapot. Jewish Museum Berlin, accessed April 28, 2019 .
  18. ↑ Grete Heymann-Loebenstein. Retrieved September 22, 2018 .
  19. ↑ Simone Ladwig-Winters: Expert opinion on the "Aryanization" allegations against Hedwig Bollhagen . Ed .: Center for Contemporary Historical Research Potsdam. Potsdam 2008, p. 24 f .
  20. ↑ Eva Samuel and Ulrike Thomas: Courage for a New Beginning: Life in Palestine from 1932 to 1948, Berlin 2010, p. 61, letter of October 24, 1933.
  21. ↑ Andreas Heger: Ceramics for use: Hedwig Bollhagen and the HB workshops for ceramics . VDG, Weimar 2005, ISBN 3-95899-286-2 , p. 69; 150 .
  22. ↑ Simone Ladwig-Winters: Expert opinion on the "Aryanization" allegations against Hedwig Bollhagen . Ed .: Research Office Politics and History. Potsdam 2008, p. 38 f .
  23. ↑ Martin Will: Self-administration of the economy: Law and history of self-administration in the chambers of industry and commerce, craft guilds, district craft associations, chambers of crafts and chambers of agriculture . Mohr Siebeck, Tübingen 2010, ISBN 978-3-16-150705-2 , p. 594 .
  24. ↑ Ulrike Müller: Bauhaus women. Masters in art, craft and design . 2nd, completely revised edition. Elisabeth Sandmann, Munich 2019, ISBN 978-3-945543-57-3 , pp. 75 .
  25. ↑ Heger 2005, pp. 75-82.
  26. ↑ Kai Uwe Schierz, Patrick Rössler, Miriam Krautwurst, Elizabeth Otto: 4 "Bauhaus girls": Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt . Ed .: Angermuseum Erfurt. Dresden 2019, ISBN 978-3-95498-459-6 , pp. 136 f .
  27. ↑ Heger 2005, pp. 230,233, figs. 144–45.
  28. ↑ a b Kai Uwe Schierz, Patrick Rössler, Miriam Krautwurst, Elizabeth Otto: 4 "Bauhaus girls": Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt . Ed .: Angermuseum Erfurt. Sandstein, Dresden 2019, ISBN 978-3-95498-459-6 , p. 137 f .
  29. ↑ Alice Rawsthorn: A Distant Bauhaus Star . ( nytimes.com [accessed September 22, 2018]).
  30. ↑ Simone Ladwig-Winters: Expert opinion on the "Aryanization" allegations against Hedwig Bollhagen . Ed .: Center for Contemporary Historical Research Potsdam. Potsdam 2008, p. 67 .
  31. ↑ a b Grete Marks (1899–1990) | European Feminist Research Conference, Graz University of Technology, Austria | Arts and culture. University of Brighton, accessed September 23, 2018 (UK English).
  32. ↑ Bauhaus online.de ( Memento of the original from December 21, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed April 10, 2015 @1@ 2Template: Webachiv / IABot / bauhaus-online.de
  33. ^ Mosaic Sculpture. Decorative Medium developed by Margret Marks. In: Industrial Architecture Nov / Dec 1960.
  34. ^ Margrete (Grete) Marks. In: Ceramics Aberystwyth. Retrieved September 23, 2018 .
  35. ↑ Margarete Heymann-Marks Löbenstein | artnet | Page 2. Retrieved September 23, 2018 .
  36. ↑ Margarete Heymann-Löbenstein for the Haël workshops. Sotheby's, 2005, accessed September 23, 2018 .
  37. ↑ Making an Exhibition, Part 1: The Artwork's Story . In: Milwaukee Art Museum Blog . August 7, 2012 ( mam.org [accessed September 22, 2018]).
  38. ↑ Ceramist's work exhibited . In: Wisconsin Jewish Chronicle . September 27, 2012 ( jewishchronicle.org [accessed September 23, 2018]).
  39. ^ Central Council of Jews in Germany Kdö.R .: Exhibition: Avant-garde for everyday life | Jewish general. Retrieved September 22, 2018 .
  40. ^ Jewish women ceramists from Germany after 1933 - Google Arts & Culture. Retrieved September 22, 2018 .
  41. ^ A Stroke Of Color | Cooper Hewitt, Smithsonian Design Museum . In: Cooper Hewitt Smithsonian Design Museum . November 11, 2015 ( cooperhewitt.org [accessed September 22, 2018]).
  42. ^ Margrete (Grete) Marks. Ceramics Aberystwyth, accessed September 23, 2018 .
  43. ↑ Bayerischer Rundfunk: Lidded box: Avant-garde slices | BR.de . June 11, 2016 ( br.de [accessed on September 22, 2018]).
  44. ↑ Museum of Applied Arts Cologne | 2 of 14. Two women from Cologne at the Bauhaus. Retrieved December 18, 2018 .
  45. ↑ Four Bauhaus girls. Angermuseum Erfurt, March 23, 2019, accessed on April 28, 2019 .
personal data
SURNAME Heymann, Margarete
ALTERNATIVE NAMES Heymann, Margaretha (maiden name); Heymann, Grete; Heymann-Loebenstein, Margarete; Heymann-Marks, Margret; Marks, Greta
BRIEF DESCRIPTION German ceramic designer
DATE OF BIRTH August 10, 1899
PLACE OF BIRTH Cologne
DATE OF DEATH November 11, 1990
Place of death London