Margret Hofheinz-Döring

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Margret Hofheinz-Döring, around 1975

Margret Hofheinz-Döring (born May 20, 1910 in Mainz , † June 18, 1994 in Bad Boll ) was a German painter and graphic artist.

She created around 9,000 pictures that have been shown in more than a hundred exhibitions. In her experimental “structure painting” she painted over collages of fabric and the picture frame. She became known nationwide through several picture cycles on Goethe's Faust that were created using different techniques .

Life

Margret Döring was born as the daughter of the Thuringian sculptor and poet Franz Döring. The mother, Margret Schirmer, came from a farming family in Mainz. The family moved to Göppingen in 1912, where the daughter stayed until she graduated from high school in 1929. Suggestions from her father and from the art teacher Gustav Kolb , the publisher of the magazine Kunst und Jugend , moved her to become an art teacher. After one semester at the Württemberg School of Applied Arts, where she learned abstract composition and writing from Schneidler , she studied at the State Academy of Fine Arts from 1930 . She completed her studies in 1934 with the first service examination for teaching at secondary schools.

Herta, oil, 1936

From 1934 she worked as a drawing teacher at various high schools in Württemberg and turned to portraiture . In 1939 she married her colleague teacher and classical philologist Herbert Hofheinz and was now called Margret Hofheinz. In 1943, before her daughter was born, she left school and worked as a freelancer. At first the family lived in Baiersbronn . Portraits with daughter Brigitte, landscapes and flowers have survived from this period. She illustrated the Black Forest sagas based on Georg Haag and wrote a (unpublished) children's book Bärbel looks into the world .

As a member of the “ lost generation ”, she was barely able to develop her art further in the years 1935 to 1945 and the first post-war years.

The move to Freudenstadt in 1953 initiated a new artistic direction. She later wrote about a trip to France in 1954: “Through medieval stained glass windows in French cathedrals: an intense desire to produce a similar effect in the field of panel painting. First attempt: behind glass pictures . ”She recorded impressions from trips to Greece (1954) and Rome (1963) with a pencil and often processed them long afterwards.

Artistically she was based on Emil Nolde , Wassily Kandinsky , Paul Klee , Picasso . “Sometimes the role models Klee and Chagall become quite clear; but it is only externally that connects Margaret Hofheinz-Döring's tamed art with them. ”In 1957 she became a member of the Freudenstadt artist community Das Quadrat , in which tendencies in modern art were discussed. During this time she became more free in her colors and shapes. Influence did this Adolf Hölzel and Ida Kerkovius she knew personally.

In 1964, the 55-year-old was able to get her driver's license and buy a car. After she had outlined her principles in her text Drei Grundideen der Kunstausführung , she called herself Margret Hofheinz-Döring , signed MHD and created a catalog raisonné. It was now attracting attention in the art scene: The first exhibition in Stuttgart , 1965, was followed with interest by the press: “Above all, Margret Hofheinz-Döring, who also worked as an art teacher, seems to be interested in fairy tale themes such as 'A Thousand and One Nights'. Her joy in telling stories can develop freely, her inclination for the grotesque too. ”In 1969 she set up a studio and exhibition room in Göppingen .

From 1973 Hofheinz-Döring held several lectures on the "origin of an idea" in the "Pastoralkolleg Freudenstadt". In 1974, an exhibition in the Freudenstadt town hall received media attention.

Gooseiesel, bronze, 1978

In the same year the couple moved to Zell unter Aichelberg . Margret Hofheinz-Döring explored the area with car trips and drew almost all places in the new area. In her studio she formed bronze figures up to 25 cm high like the gooseies . In 1976 she was represented on the Düsseldorf International Art Market. In a report on 178 galleries, Gisela Burkamp picked out this and a second individual vernissage : “The stands of the Haenle Gallery, Lauterstein-Weißenstein and the Maltzahn Gallery, London, are among the most remarkable individual vernissages. At Haenle, it is the painter Margarete Hofheinz-Döring, whose extremely poetic, sensitive pictures captivate with their idiosyncratic and unique technique and color nuance. ” This was followed by trips to Germany, Switzerland and Austria. In 1979 her daughter opened an exhibition room in Göppingen-Jebenhausen. An exhibition in the parliamentary society in Bonn, which was visited by Mildred Scheel and Manfred Wörner , was the temporary high point of public attention.

After the death of her husband in 1983, non-representational pictures were often created, which she hardly reworked and which have an effect due to their shape and color. After a heart attack in 1990, she rarely appeared in public, but continued to work. In 1994 the painter moved to the Bad Boll residential complex for the elderly, where she died on June 18.

plant

techniques

Midsummer Night's Dream , structure picture, 1967

Margret Hofheinz-Döring has "with the righteous consistency, if not to say recklessness towards given opinions, brought all artistic techniques into this oeuvre: oil paintings, watercolors, pen and pencil drawings, wood and linocut, tempera, pastel and mixed media." Her most important Her technique, painting in oil, varied in many ways: pasty or heavily diluted; with a reduced palette and many gray and brown tones or using the entire color spectrum; with a predetermined plan or intuitively; on canvas or on hardboard, wood, cardboard, paper, even on styrofoam. In the later years she used acrylic paints , but more as a primer for oil paintings. "The unconventional handling of materials such as linen and wood is expressed in the exhibition through the use of woody set pieces from an old wardrobe and the expansion of some of the pictures onto the frame."

What she particularly appreciated about oil painting was the ability to rework the picture later, which led to frame overpainting and structure painting. This technique, in which the colors are absorbed differently by the fabrics and therefore often change unexpectedly, requires multiple reworking. She "abolished the separation of textile art and painting in the picture" (Ingrid von der Dollen). In some pictures, for example in watercolors, she used gold leaf (initially from her father's holdings, who was a sculptor) to set light accents and to direct the viewer's gaze. They elevate "a painting from the everyday into the magical unreal, even into the sacred" .

In the first few years she sketched watercolor works in pencil, later she improvised. Margret Hofheinz-Döring's bright colors often make non-representational pastel pictures stand out. Inspired by Adolf Hölzel and his master student Ida Kerkovius , she used pastel chalk on colored pastel paper, which she often stuck over with foil to fix the pigments. She later worked with oily chalks that did not need to be fixed.

The artist executed almost all of the topics that were important to her as woodcuts or linocuts. After this technique became too strenuous for her from 1974 onwards, she created drawings in ink, which were then published as offset prints in small, signed editions.

subjects

Witch comes through the chimney from the first series to Goethe's Faust I, mixed media, 1960

Until 1953, Margret Hofheinz-Döring focused on the representation of nature (Swabian Impressionism). Portraits, landscapes, animals, flowers and still lifes can be found again and again up to 1994, although her way of working became freer and more individual over time. The representational was her starting point for non-representational or humorous images.

The representation of texts and thoughts was just as important to her. In her school days it was fairy tales like dwarf nose , at the academy the washing of feet , after the war Murgtal legends that she illustrated or that inspired her to create pictures.

One of her most important themes became Goethe's Faust. Inspired by the Faust film with Gustaf Gründgens , she dealt intensively with the topic. The Faust collector Karl Theens became aware of her and organized exhibitions in the Wilhelmspalais in Stuttgart and in the Rothenburg town hall o. T. Osman Durrani devoted a separate section to Margret Hofheinz-Döring in his book on Faust receptions and emphasized: “She is one of the few artists who devoted a large part of their lives to creating the Faust theme [...] In contrast to others, their approach is not determined by trying to retell the drama or to show actors on stage. ” On a first row in Mixed media, which retells the scenes, was followed by a series in watercolor with ink, in which the titles are built in calligraphically. In a third, highly abstract, watercolor series, the artist dispensed with these references. Abstract compositions in pastel technique for Faust II were created almost at the same time . Later on, there were prints, including oil and structure pictures on individual subjects.

The Parzival theme inspired several series of pictures. "When reading Parzival after Wolfram von Eschenbach, whose development was influenced by many people, I noticed again and again that I had already depicted the types depicted in pictures" .

Drawing for the poem Vereinsamt (based on Nietzsche), 1978

She dealt with individual topics from the Bible in works such as washing feet , the Lord's Supper (oil), the parable of the mustard seed (pen drawing), Ahasver and Esther (ink drawing ).

An example of pictures for poems (by Hölderlin , Nietzsche and above all Hesse ) is the small volume Pictures and Poems created in collaboration with Stephanie Kemper . Limericks , which she felt as "related in rhythm and form" , became the subject of a whole series of her structural images. "Both are basically irrational and yet with a grinning sympathy for the tragedy and comedy of human inadequacy."

Non-representational pictures played a large part in her work from 1953 until her last picture in 1994. Above all, her pastel paintings are to be mentioned, as well as abstract compositions in oil, watercolor or mixed techniques, which occasionally nevertheless evoke representational associations and were often further developed into painted fairy tales and fables, stories about people, about people and animals, people and plants .

In 1966 the painter became aware of exotic masks during visits to the Linden Museum in Stuttgart. She later colored drawings made on site and designed them with sprayed paint or ink. In the following years masks reappeared in her work; either as oversized structural images or in images depicting relationships between people.

Honors

  • 1990: planting a linden tree; Zell municipality.

Exhibitions (selection)

Margret Hofheinz-Döring's first solo exhibition took place in 1931 in the Germania Hall in Göppingen. From 1965 she had at least one exhibition every year.

Solo exhibitions
  • 1969: Ludwigsburg, Galerie Voelter; Zurich, Gallery Kirchgasse; Rothenburg, town hall
  • 1970: Göppingen, town hall; Frankfurt, Goldbach Gallery; Erlangen, Siemens Gallery
  • 1972: Sindelfingen, town hall; Mainz, flower house of the city ​​park ; Dornach, Goetheanum ; Stuttgart, Wilhelmspalais
  • 1975: Bad Boll, Evangelical Academy ; Wiesbaden, Christa Moering Gallery; Bückeburg, Harmening Gallery
  • 1979: Bonn, Villa Dahm ( Parliamentary Society ); Zurich, Bircher Benner Clinic
  • 1982: Ulm, artists' guild
  • 1985: Göppingen, town hall; Freudenstadt, town house
  • 1992: Potsdam, Galerie am Neuen Palais
  • 1995: Weimar, Galerie Markt 21
  • 1997: Bad Berleburg, City Museum; Zell unter Aichelberg, memorial room for Margret Hofheinz-Döring in the town hall
  • 1999: Knittlingen, Faust Museum / Steinhaus
  • 2000: Potsdam, gallery at the Neues Palais
  • from 2000: Göppingen, Brigitte Mauch Gallery
  • 2003: Bruneck , Galerie Lenka T.
  • 2010: Göppingen, City Hall
Participation in group exhibitions
  • 1934: Göppingen
  • 1951: Baiersbronn
  • from 1957: Exhibitions by the Freudenstadt artist group Quadrat
  • 1991: Ehingen, Gallery Schloss Mochental : Artists from Baden-Württemberg
  • 1995: Karlsruhe, Städtische Galerie im Prinz-Max-Palais : Women on the move? Women artists in the German Southwest 1900-1945
Collections

The artist's works can be found in the Staatsgalerie Stuttgart , the Schiller National Museum Marbach, the Gallery of the City of Stuttgart , the Städtisches Kunstmuseum Spendhaus in Reutlingen , the collection of the State of Baden-Württemberg and the Federal Art Collection . Her pictures are publicly accessible in the Göppingen district hospital , in the Werner-Heisenberg-Gymnasium Göppingen , in the Kurhaus Freudenstadt , in the town hall in Zell unter Aichelberg and in the old people's housing complex in Bad Boll.

literature

Individual presentations (if not recorded in the DNB)

  • Sunday trip around Filstal , drawings by Margret Hofheinz-Döring and texts by various authors, Verlag M. Hofheinz-Döring, Zell u. A. 1979
  • Margret Hofheinz-Döring , retrospective on the occasion of an exhibition, publisher: Eislinger Kunstverein 1990, funded by the Ministry of Science and Art, Baden-Württemberg.
  • Sources of Peace , texts by Buber. Gandhi. Gotthelf - Hesse. Jaspers. King, pictures by Margret Hofheinz-Döring, Quellen-Verlag Sankt Gallen 1992, Printed in Switzerland. Modèle déposé, BIRPI, Verlag Vaihingen / Enz 1999, ISBN 3-933486-07-6

Extensive mentions of Margret Hofheinz-Döring

  • Osman Durrani: Faust - Icons of Modern Culture Series , Helm Information Ltd, The Banks, Mountfield, East Sussex, 2004, ISBN 1-903206-15-4
  • Ingrid von der Dollen: Female painters in the 20th century - visual art of the lost generation , Hirmer Verlag Munich 2000, ISBN 3-7774-8700-7
  • Women on the move - female artists in the German southwest 1800–1945 , catalog of an exhibition at the Städtische Galerie in the Prinz Max Palais Karlsruhe, 1995, ISBN 3-923344-31-7
  • Artists from Baden-Württemberg , catalog for the exhibition in the Landesgirokasse, 1992
  • Schöne Schwaben , monthly magazine, Dr. Fürst Verlags GmbH, edition 4/93, pp. 6 to 11
  • List of artists in Baden-Württemberg , 1982

Web links

Commons : Margret Hofheinz-Döring  - Album with pictures, videos and audio files
Wikisource: Three Basic Ideas of Art Practice  - Sources and Full Texts

Individual evidence

  1. ↑ On March 17, 1932, she received a commendation in the graphic classes, on March 15, 1933 a second prize in the painting class and a commendation from the woodcut school. Overall grade in the final certificate: good.
  2. ↑ Three examples from the years 1934 and 1936 are shown on pages 73, 336, 337 in the catalog Frauen im Aufbruch (Karlsruhe 1995).
  3. ↑ Artist monograph, Werner P. Heyd , p. 10
  4. ↑ Erika Rödiger-Diruf describes in 1995 that women artists of this generation suffered twice under National Socialism: "It is an unparalleled clearcut that is visible here." Exhibition catalog Women on the move? , P. 16
  5. ↑ Werner P. Heyd in the Schwarzwälder Boten from June 24, 1994, article: "Guide for new ways of seeing and creating - the painter Margret Hofheinz-Döring has died."
  6. ↑ Three basic ideas of the practice of art , 1965.
  7. ↑ Erlanger Tagblatt, 'Gentle Dream World in Colors', May 14, 1970.
  8. ↑ In 1961 an exhibition by the artist community Das Quadrat was reported: “In this exhibition, Frau Hofheinz shows herself from a completely new perspective; you can feel a strong impulse in her, which is undoubtedly emanating from this year's summer exhibition by the painter Kerkovius. […] “ The border guards 1961/62
  9. ↑ In her autobiography Looking Back at a Life , she wrote about it: "My painting got a special impulse when I learned to drive a car in 1964. You probably also know: Every car trip gives us thousands of pictures. We lived in Freudenstadt at the time, and I was seized with an insatiable eagerness to trace the shapes of the Black Forest landscape, and I drew and painted incessantly. Later this happened on Lake Constance, on the Alb, in the Alps, on Lake Geneva, in Rome, on a trip to Greece: Wherever my path led me, everywhere was painted and drawn. "
  10. ↑ Stuttgarter Nachrichten No. 222, Pastellene Märchen, September 20, 1965
  11. ↑ Wolfgang Altendorf wrote in the Schwarzwälder Bote: "For me (the exhibition) was a first, compact encounter with the artist, whom I must count among the most important in our country." Article "An artist of large format", Schwarzwälder Bote , March 1974
  12. ↑ She summarized the drawings in the book "Sonntagsfahrt ums Filstal" published in 1979
  13. ↑ Neue Westfälische, Oct. 1976, No. 242, article "International Art Market Düsseldorf / Vienna School and Constructivism" by Gisela Burhaupt
  14. ↑ The Schwarzwälder Bote published on February 13. a photo from the opening on 14.2. a report on the exhibition ( pictorial language of a narrator ), on 15.2. a reference to the books presented on this occasion. The NWZ Göppingen brought on 13 February 1979 News and internalized - Book and exhibition worthy work of M. Hofheinz-Döring .
  15. ↑ Werner P. Heyd, artist monograph, p. 8
  16. ↑ Mainzer Allgemeine, April 4, 1993 Article: Making joy with pictures
  17. ^ Ingrid von der Dollen, Painters in the 20th Century, p. 165
  18. ^ Gisela Noeren in "der Teckbote", October 20, 1987
  19. ↑ Osman Durrani, Faust, p. 309, translation by Matthias Bideau
  20. ↑ Image Conversations with Goethe's Faust
  21. ↑ Minne Macht Märchen, 1983, page 5
  22. ↑ self-published brochure Margret Hofheinz-Döring , 1975
  23. ↑ Exhibition report in the Black Forest Bote: 'native painter' exhibits
  24. ↑ An example is in the self-published booklet 'M. Hofheinz-Döring - Quellen des Schaffens' pictured.
  25. ↑ Bulletin of the Bad Boll community administration association, "Zell artist Margarete Hofheinz-Döring celebrates 80th birthday - lime tree planting on Lindenwasenweg", May 31, 1990
  26. ↑ galerielenkat.it: Margret Hofheinz-Döring. Insight into the life's work 1910-1994 (accessed on May 20, 2015)
personal data
SURNAME Hofheinz-Döring, Margret
ALTERNATIVE NAMES Döring, Margret (until 1939); Hofheinz, Margret (1939 to 1965)
BRIEF DESCRIPTION German painter and graphic artist
DATE OF BIRTH May 20, 1910
PLACE OF BIRTH Mainz
DATE OF DEATH June 18, 1994
Place of death Boll