Marta Worringer

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Marta Worringer (* 16th January 1881 in Cologne as Marta Maria Emilie Schmitz ; † 27. October 1965 in Munich ) was a German painter and graphic artist of Expressionism and wife of Wilhelm Worringer .

Life

Marta Schmitz was the daughter of the respected Cologne lawyer Emil Schmitz and his wife Elise, née Esser. She later described her childhood as depressing. After completing a boarding stay in Belgium, she took courses in art schools in Düsseldorf and Munich from 1899 and was a student of the Swiss artist Cuno Amiet in Bern . At that time, women in art were still not allowed to study at art schools . At that time she liked to wear reform clothes , continued her education and traveled a lot. Her flatmates in a shared apartment were the artists Emmy Worringer , the sister of her future husband Wilhelm Worringer , and Olga Oppenheimer .

In 1907 she married the art historian Wilhelm Worringer of the same age, who wrote his well-known dissertation Abstraction and Empathy in the same year . In 1911 she exhibited in the Paris Autumn Salon . Participation in important exhibitions in the Rhineland has been documented in the 1920s. During this time she was a member of artists' associations, for example in the Coelner Sezession , in the Gereonsklub and in Das Junge Rheinland .

In 1928 Wilhelm Worringer took up a professorship in Königsberg . At this time Marta Worringer had the opportunity to work in her own studio at the art academy there. Until 1941 she exhibited her work regularly at the Königsberger Kunstverein . In 1944 the couple left the city due to the war and moved to Berlin . From 1946 to 1950 Marta and Wilhelm Worringer lived in Halle an der Saale , which they left a year after the founding of the GDR and moved to Munich, where they died in quick succession in 1965.

plant

Marta Worringer's portraits often dealt with emaciated, silent women with huge eyes. They became her trademark. In addition, she mastered many techniques and motifs, which she embroidered, painted, drawn or lithographed . In the Weimar Republic , Worringer was one of the well-known artists in the Rhineland, whose business was at times so good that she was able to offer her husband and three daughters a financially secure life.

Marta Worringer had to leave almost her entire work behind when she escaped from Königsberg. The research began with eight works, five from the Kunstmuseum Bonn , two from the Stadtmuseum Düsseldorf and one from family ownership. 175 works by her are currently known. The estate was shown in an exhibition in the August-Macke-Haus in Bonn in 2001/2002 .

literature

  • Rhenish expressionists. Trude Brück, Lisa Hartlieb-Rilke, Fifi Kreutzer, Marie von Malachowski, Olga Oppenheimer, Lotte B. Prechner, Marta Worringer. Catalog for the exhibition from December 5, 1993 to February 21, 1994 in the August-Macke-Haus . With contributions by Margarethe Jochimsen. Association August-Macke-Haus, Bonn 1993, ISBN 3-929607-09-3 .
  • Marta Worringer: “More addicted to my work than ever”. Exhibition catalog. Edited by the August-Macke-Haus e. V. With contributions by Margarethe Jochimsen and others, Association August-Macke-Haus, Bonn 2001, ISBN 3-929607-38-7 .
  • Helga Grebing : The Worringers: educated middle-class as a sense of life - Wilhelm and Marta Worringer (1881-1965). Parthas, Berlin 2004, ISBN 978-3-936324-23-5 .
  • Jens-Henning Ullner: "... it flows to me from all sides." Marta Worringer and the Rhenish avant-garde. In: “Too good to be true” - The Young Rhineland. Catalog for the exhibition from February 7th to June 2nd, 2019 in the Kunstpalast Düsseldorf. Wienand Verlag, Cologne 2019, pp. 192–201.

Web links

Individual evidence

  1. See links to the Germanisches Nationalmuseum and fembio
  2. See web link fembio
  3. Our time wants its face. general-anzeiger-bonn.de, November 17, 2004.
  4. Review in: sehepunkte