Marta Astfalck-Vietz

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Marta Astfalck-Vietz , b. Marta Vietz , (born July 21, 1901 in Neudamm ; † February 14, 1994 in Nienhagen ) was a German photographer and artist. Your work belongs to the avant-garde of the 1920s. The largest part of her preserved artistic work is now part of the photographic collection of the Berlinische Galerie .

Life

Marta Vietz attended the Higher Technical School for Textile and Clothing Industry in Berlin from 1918 to 1920 and the Berlin School of Applied Arts from 1920 to 1924. From 1925 to 1926 she trained as a photographer in Lutz Kloss's studio on Unter den Linden .

In 1926 she started working as a freelancer in Berlin, and in 1927 she had her own studio. An intensive, artistic collaboration begins with Heinz Hajek-Halke , whom she has known since her student days. The cooperation is so close that the authorship of many photos can no longer be clearly assigned afterwards. During this time photographs of well-known personalities of the Berlin bohemian, u. a. the series “the dancer Daisy Spies ”. In 1929 she married the architect Hellmuth Astfalck.

During the National Socialist era , the experimental and artistic expression of the photographs declined. With her husband Hellmuth Astfalck, she now creates advertising and commercial graphics and interior design designs. In the studio at night people copy secret documents from the anti-fascist resistance. Marta Vietz gives private lessons to Jewish children who are excluded from attending school. From 1936 she paints plant watercolors. The Allied air raids on Berlin her home, the studio and its archives in 1943 destroyed. Marta Astfalck-Vietz is now turning to educational and political projects.

1974 Hellmuth Astfalck dies. On January 20, 1982, she received the Federal Cross of Merit on ribbon for her socio-educational commitment . In 1989 two of her photographs were shown in the Berlinische Galerie with the signature "Marta Vietz, Lebensdaten unbekannt". A former student recognizes this and as a result, contact is established between the Berlinische Galerie and Marta Astfalck-Vietz. In 1991, the preserved artistic work in the Berlinische Galerie was made available to the general public for the first time as part of an exhibition.

plant

While Marta Vietz's commercial and journalistic work was completely destroyed during the war, some of her artistic and experimental work is preserved due to the fact that she had these rather “private” photos with her or had sent them to her father in southern Germany.

Your photos are characterized by a great willingness to experiment and a staging that is both idiosyncratic and detailed. She set up the scene and the light herself and was often the model herself, while one of the other people present sometimes pressed the shutter release on the camera.

The accuracy and density of these stagings are due to her drawing training, her instinct in dealing with the camera and, last but not least, the choice of her role models: When asked about role models and influences, she states, especially through films by Fritz Lang and Friedrich Wilhelm Murnau to have been stimulated to experiment.

In addition to the main part of her estate in the Berlinische Galerie, there are other photographs in other collections, such as the German Dance Archive in Cologne.

Quotes

  1. “There came a noble lady who wanted to be photographed for her husband. And then again naked for her boyfriend. "
  2. “Sometimes we would stand in front of Suse Byk's showcase on Ku-Damm and look at it, but I was only superficially interested. I made my own pictures. "
  3. "A good photographer is a visual designer."
  4. “A young man wanted nude photos, paid ten marks, never picked up the pictures: his frustration was gone when he stripped himself naked in front of me. His bad luck was that it didn't impress me. "

literature

  • Marta Astfalck-Vietz: Photographs 1922-1935. Catalog for the exhibition in the Berlinische Galerie May 18 to July 28, 1991. Berlin 1991
  • Marta Astfalck-Vietz u. Rolf Italiaander : Marta Astfalck-Vietz. 1936-1986: 50 years of plant portraits. Celle 1986
  • Günther Dankmeyer, Volker Probst: Marta Astfalck-Vietz. The world of orchids. Plant watercolors from five decades. Fröhlich, Celle 1992
  • Frank-Manuel Peter : “I didn't care about dowry.” The photographer Marta Astfalck-Vietz (1901-1994). In: dance drama. H. 26, 1994, pp. 8-10.
  • Frauke Runge, Brigitte Schwettmann: Marta Astfalck-Vietz - Painter , Art Education and Photographer , in: Women from the Celler Land. A journey through the centuries , ed. from LEB Bildungswerk im Landkreis Celle eV, represented by Ingrid Lehmann, Celle: Ströher Druckerei & Verlag, 2004, ISBN 3-921744-37-7 , pp. 83-86

Web links

Individual evidence

  1. ↑ Berlinische Galerie Collection ( Memento of the original from July 15, 2011 in the Internet Archive ) 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.berlinischegalerie.de
  2. ^ Announcement from the Ordenskanzlei in the Office of the Federal President
  3. ↑ Marta Astfalck-Vietz. Photographs 1922–1935, p. 12
  4. ↑ Marta Astfalck-Vietz. Photographs 1922–1935, p. 13
  5. ↑ Marta Astfalck-Vietz. Photographs 1922–1935, p. 40
  6. ↑ Marta Astfalck-Vietz. Photographs 1922–1935, p. 43
personal data
SURNAME Astfalck-Vietz, Marta
ALTERNATIVE NAMES Vietz, Marta (maiden name)
BRIEF DESCRIPTION German photographer and artist
DATE OF BIRTH July 21, 1901
PLACE OF BIRTH Neudamm
DATE OF DEATH February 14, 1994
Place of death Nienhagen