Marie Goslich

Marie Goslich

Marie Eva Elwine Goslich (born February 24, 1859 in Frankfurt (Oder) , † 1938 probably in Obrawalde near Meseritz ) was a German photographer, writer, educator and painter.

Life

Marie Goslich was the daughter of Friedrich Julius Goslich, the appellate judge who worked at the Court of Appeal in Frankfurt (Oder) until 1875 and raised his daughter very early on with an awareness of social responsibility. In a letter to the editor to the magazine Bodenreform (publisher Adolf Damaschke from 1914), she recalls an event from the 1870s: “... the day before my father heard about the birthday invitation. 'Where is the festival?' asked he. - With P. from Wilhelmsplatz? - But that is impossible ... the man buys land just to sell it again; it is pure property trading. My daughter shouldn't go into such a house. ”Her father was born on October 18, 1807 in Berlin and died on May 6, 1875 in Frankfurt (Oder). The first entry in the address book of Frankfurt (Oder) from 1855 is: Friedrich Julius Goslich, District Court Councilor Breitestr. 3 and in 1857 Roßstr. 5. In 1861 the professional title Appelationsgerichtsrat was added to the name and in 1863 the family owned a house in Theaterstr. 1. In the handbook for the Royal Prussian State and Court for the year 1875 he is registered as a judge of appeal in Frankfurt (Oder) and as a bearer of the Red Eagle Order 4th class . The mother was Marie Rosalie Elwine Hesse, born on June 6, 1821 in Spandau , died on August 7, 1865 in Frankfurt (Oder). Marie Goslich was the youngest of four siblings. Her sister Elsbeth Valesca Goslich, * February 24, 1855 † August 4, 1923, worked as a teacher in Berlin and lived in Karlshorst, Dönhoffstrasse 1 in 1901, and in Schöneberg, Akazienstrasse 5 in 1907.

From 1865 to 1875 Marie Goslich attended the municipal secondary school, later the Augusta School, in Frankfurt (Oder). After the early death of her parents, she lived with her sister, Elsbeth Valesca, in the house of her guardian, the royal court judge Friedrich Wilhelm Tirpitz, a college friend of her father in Frankfurt (Oder), Halbe Stadt 11. In 1877 she came to the Karbe family Hertwigswaldau manor in Silesia to learn housekeeping. In a boarding school in Dresden she received lessons in language, music and tailoring. In 1882 she went to French-speaking Switzerland for a year to improve her French.

Marie Goslich worked in Berlin as an educator and private teacher for French. She lived in the so-called Republic of Lützow-Ufer, with Laura Delbrück, the mother of the editor of the Prussian Yearbooks, the historian Hans Delbrück , and with Helene and Irene von Henning.

From 1891 to 1898 she worked as a secretary in the editorial team of the Prussian Yearbooks, Charlottenburg, Knesebeckstrasse. 30. After she left the editorial team, she resumed her work as a teacher and taught the daughter of the head stable master, Count von Wedel. However, she did not give up her writing and journalistic activities, as her publications in Berlin daily newspapers such as the Vossische Zeitung , other illustrated magazines and the "Messenger for the Christian Women's World" show. From 1907 to 1910 she was an editor for the magazine “Körperkultur”. In the Berlin population register she is listed as a Miss. Writer and editor from 1902 to 1908 in Berlin W 57, Kurfürstenstraße 18, in 1909 she lives at Bülowstraße 59 and in 1910 in Berlin W 62 at Maaßenstraße 35.

On February 16, 1910, she married the writer Karl Kuhls in Berlin , who was born on February 4, 1862 in Wewern, Lasdohn / Livonia , the son of the teacher Karl Kuhls, head of the school in Riga and Königsberg, and his wife Emma, ​​née. Happy from Memel . From this point on, she published her articles mainly under the name Marie Kuhls or Marie Kuhls-Goslich.

In 1911 the Kuhls-Goslichs moved to Potsdam at Bismarckstrasse 9, and in 1912 at Albrechtstrasse 3. In Potsdam, she became a member of the editorial team of the magazine “Bote für die Christian Frauenwelt”. The magazine was published by Pastor Hoppe, the founder of the Oberlinhaus, in the foundation publishing house. She also published in "Die Mark", an illustrated magazine for tourism and local history. From 1916 to 1920 she was the editor in charge of the “Messenger for the German Women's World”, as the “Messenger for the Christian Women's World” had been called since 1913. From July 1918 her address in Berlin was Potsdamer Strasse 84A, later the Alte Königstrasse. 1. After the divorce from Karl Kuhls, whose illegitimate son Hans Kuhls (born March 11, 1915) adopted her, she moved to Geltow, first to the Herrmann family's Baumgartenbrück inn and then to the Rottstock family's house at 4 Havelstrasse In the Geltow address directory she was last mentioned in 1936/1937 as Marie Kuhls, writer. From November 11, 1937 to August 19, 1938, the widow Marie Kuhls was born. Goslich in the state institute Brandenburg-Görden. Then she was transferred to the Obrawalde sanatorium .

This curriculum vitae was taken from the notes and the recorded memories of Lieselotte Herrmann (1909–1981), the owner of the Baumgartenbrück inn in Geltow am Schwielowsee, supplemented with information from the letters from Hans Kuhls, Marie Goslich's adopted son, to The Herrmann family and the magazines found to date in which their publications were also published with the address of their home.

On May 7, 2012, a stumbling block by the artist Gunter Demnig was laid for Marie Goslich in her native Frankfurt (Oder) .

Photography and journalistic activity

Photographs

The photographic activity of Marie Goslich was presented in the context of the exhibitions of the international photo scene at the Photokina in Cologne 2010.

410 glass negatives (13 × 18 format) were kept by Mrs. Herrmann after Marie Goslich's death. After so long they were in a dismal condition. You have now been scanned with a film scanner that also allows formats up to 20 × 30 cm. The negatives are then packed in acid-free paper in a museum-appropriate manner and are stored in safe and stable cardboard boxes.

Social issues

Unusually for a woman, especially from her social class, she gave us a picture of the everyday culture of her time in her photographic and journalistic work at the beginning of the 20th century. Many of the photographs, including her oldest, are designed in such a way that one can see that they were primarily taken as illustrations of reports on social grievances and situations. In her articles, she defended herself against the destruction of the old infrastructure in the cities, commented on the land reform and, in this context, photographed the inner courtyards, alleys and streets in Berlin where there were still small houses in the Brandenburg region. Scenes of building demolitions or renovations of old houses (step by step) can also be found on their glass negatives. And the barges, warehouses, bridges and the people working in the port show how Berlin was built from the barge. Recordings of children playing or doing handicrafts illustrate articles that seek a way out of the ills of tenements. The photographs on social issues during the First World War show the work of the “Berliner Frauenhülfe” and, for example, the construction of a cooking box.

Genre photographs

She paid special attention to women and their work in the fields, in the garden and on the farm. Working fishermen and their families, anglers and recreational athletes were also photographed doing their jobs. The staging of the images demonstrates the natural characteristics of humans in relation to the nature of their movements. Goslich's concept - pausing the object in a natural landscape - means that the photos of beggars, the wanderers on the roadside, and poor street vendors do not have the drama we expected. They are a part of their time, a matter of course.

Landscapes

They are Brandenburg landscapes: a lot of water and forest frame the sandy paths, sailboats and beaches populated with townspeople are their content. Extensive images illustrate the demolition of the old and the construction of the new Baumgartenbrücke ( Schwielowsee ) or show events around the Baumgartenbrück restaurant. Some photos show gardens in Berlin, the area around Schwielowsee, Potsdam , Werder , Dahme an der Dahme , Küstrin and Lübbenau .

drawings

During the war years, Goslich designed and drew dresses and costumes that clearly show the change in fashion from 1912 to 1920 and published them in supplements for the work room and clothing and linen of the messenger for the Christian women's world (later messenger for the German women's world ) . A drawing of the entrance to the castle in Petzow can be seen in Der Mark and the essay The Ice Skating illustrates it with lively skaters.

journalism

Her publications can be found under Marie Goslich (MG) and also under the name Marie Kuhls (MK) or Marie Kuhls-Goslich in:

• "Prussian Yearbooks". Published by Georg Stilke, Berlin 1898, 1899
• "German Volksstimme" editor Adolf Damaschke, 1902
• "Die Zeit", Verlag der Hilfe, Berlin Schöneberg, 1903
• Eduard Bloch theater publisher, Berlin 1906
• "Die Woche", A. Scherl Verlag, Berlin 1906,1907
• "German Agricultural Press" 1906
• "Vossisch newspaper. A royal privileged Berlin newspaper of state and learned things ”. Published by Vossischer Erben, 1912
• "Physical culture. Illustrated monthly for physical perfection ”. Verlagsgesellschaft Corania mbH, Berlin 1908, 1909, 1910
• "The messenger for the Christian world of women". Oberlinhaus Foundation Publishing House, Potsdam 1905,
• “The messenger for the German women's world”. Stiftungsverlag Oberlinhaus, Potsdam 1915, 1916, 1917, 1918, 1919, 1920, 1925, 1926
• "The Mark. Illustrated weekly for tourism and local history ”. Alexius Kießling, Buch und Landkarten Verlag, Berlin 1907, 1907/08, 1908/09, 1913, 1914, 1927

Important journalistic contributions

In the Prussian Yearbooks 1899 she published letters from Johanna Kinkel , the composer and music teacher and first wife of the poet Gottfried Kinkel . Thanks to this publication, Johanna Kinkel's personal experiences with the social consequences of the revolutionary years around 1848 were passed on. The oldest, richly illustrated report is a three-part report about the Spreewald , which she wrote for the magazine Bote for the Christian women's world in 1905. She demonstrated her critical style in the article Tuskulum und Assessorenfabrik , which she published in the Vossische Zeitung in 1912. In this she highlighted the intellectual events in Geltow - the work of Baron Hartwig von Meusebach. In addition, she criticized Theodor Fontane's reports , in which he discredited the "Baumgartenbrück assessor factory".

In the article "Grazie" (in "Körperkultur" 1910) she thought about grace and grace. In “Vanity fair” (in “Körperkultur” 1910) she contrasted the “elegant ladies” with the misery of homeworkers. Noteworthy are their negative statements regarding land reform and real estate trading, which dramatically changed the infrastructure of cities. These are cited from "Heimatschutz und Bodenreform" (in "Die Mark" 1914), "Industrie am Havelufer" (in "Die Mark" 1907) and "What can the landlord do for the physical culture of his tenants?" (In "Körperkultur") 1910). She also campaigned for environmental protection in: “A struggle for the preservation of our lakes” (in “Die Mark” / Die Natur in der Mark, 1913).

In the other publications that Goslich published in the magazine "Körperkultur", she also pointed out the need for sport to compensate for the unhealthy life in the city. Often her articles are illustrated with smug scenes of urbanites who play sports. In the years of the First World War, the style of writing became more patriotic and increasingly conveyed the slogans of perseverance for the many women who were left alone.

Exhibitions

• Marie Goslich - pioneer of modern photojournalism : Schönbuchmuseum Dettenhausen, August 2 - September 20, 2015 (cooperation with the Institute for Media Studies at the University of Tübingen )

literature

• Tessy Bortfeldt: Early light and late shadow. The life of Marie Goslich - a Prussian biography. Märkischer Verlag Wilhelmshorst, Berlin 2005, ISBN 978-3-931329-42-6
• Albrecht Hermann: Marie Goslich - from painting photography to photo reportage. In: Velio Bergemann (Ed.): Havelländische Künstlerkolonie. Berlin 2006, pp. 71-77
• Krystyna Kauffmann (ed.): The poetry of the country road. Marie Goslich 1859-1936. Lukas Verlag, Berlin 2008, ISBN 978-3-86732-048-1
• Krystyna Kauffmann: Marie Goslich (1859–1936) - an early bourgeois and socially critical photojorunalist. In: Der Bär von Berlin , Vol. 58 (2009), pp. 95–120.
• Krystyna Kauffmann, Mathias Marx and Manfred Friedrich: Marie Goslich. The grande dame of photojournalism. The lady of photojournalism 1859-1938. Seemann, Leipzig 2013, ISBN 978-3-86502-315-5
• Bernd Oeljeschläger: Fascinating personality - early light and late shadows in Marie Goslich's life. In: “Journal Brandenburg”, Issue 1, 2008, pp. 27–30.

Web links

Commons : Marie Goslich  - Collection of images, videos and audio files

• Literature by and about Marie Goslich in the catalog of the German National Library
• www.marie-goslich.de