Max Vogel (painter)

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Self-portrait of Max Vogel, painted in 1898

Heinrich Max Vogel (born February 19, 1871 in Dresden , † August 14, 1939 in Niederwartha near Dresden) was a German painter ( artist ). He worked as a book illustrator , landscape and portrait painter in various painting techniques and as a painter of genre pictures . He also made some copper engravings .

Life

Max Vogel was born as the son of the tailor and later master tailor Heinrich Moritz Vogel (1840–1907) and his wife Emma Aline, b. Burkhardt (1845–1901), born at Struvestraße  25 in Dresden. He had an older sister, Aline Camilla (1868-1933). From Easter 1877 he attended the 9th district school in Dresden until March 26, 1885.

Because of his talent for drawing, Max Vogel applied to the Royal School of Applied Arts in Dresden , which he attended from October 5, 1885. First he completed pre-school there for one semester. After that, in the spring of 1886, further training began in the subjects of painting from flat and figurative templates and from nature, figurative decoration and composition, figurative drawing from nature and from templates, theater decoration and design. He was a student with Professors Paul Naumann, Oskar Seyffert , Richard Mebert and Ermenegildo Antonio Donadini . On April 28, 1891, he finished attending the arts and crafts school with excellent results. At Easter 1890 he received the Bronze Medal awarded by the Royal Ministry of the Interior and in 1891 the Silver Prize Medal. During the semester break he regularly went on study trips to the area around Dresden, the Ore Mountains, the Vogtland and Bohemia. In particular, he drew portraits, landscapes and buildings, mostly as pencil or charcoal drawings as well as many watercolors.

After training in Dresden, he worked as a painter for an art publishing company from 1891 to 1893/94.

Picture of an old man, 1889

From 1893 to 1897 he attended the Royal Bavarian Academy of Fine Arts in Munich. He was accepted into Paul Hoecker 's painting class . Here he learned above all to paint in the open air based on the models and templates found in nature. But he was also made familiar with the currents of modernism, the open-air and landscape painting of the Barbizon School , the Impressionists and the Neo-Impressionists. 

During his studies in Munich he made study trips to Herend in Hungary (1894) and to Prague.

Inspired by the course content, he worked for the weekly magazine for art, literature and culture "Jugend" , which was the bourgeois-conservative counterpart to " Simplicissimus ". 

After completing his studies he stayed in Munich for a short time and worked mainly as a book illustrator, e.g. B. for the book series Library of Entertainment and Knowledge and The Book for All , for youth literature as well as fairy tales and legends. He was an employee of the Flying Leaves. In addition to the production of genre pictures, he carried out subject-related commissioned work, for example portraits of friends and acquaintances, a picture for a Dresden Freemason lodge, the entrance portal of the Villa Edit or the picture In the Harem .

At the end of 1898 he went to Offenbach and his first marriage in 1899 was Johanna Demeter (1871-1911), who was born in Hygstetterhof . He stayed there until 1901. After his mother's death, he went back to Dresden. In 1905 he moved with his wife from Niedersedlitz to Niederwartha . Max Vogel became a member of the Saxon Art Association in Dresden. In 1913 he stayed for a long time on the Baltic Sea in Nest near Köslin , where he painted a cycle of landscape paintings. There, as with most of his later landscape paintings, he worked in nature and thus tied in with the open-air and landscape painting of his student days.

In 1914 he portrayed a number of Dresden citizens for the Pretzschen Quartet.

After the death of his first wife, he married Helene Lehner, born in Dresden, for a second marriage in 1918. Leuschner (1878-1954).

Max Vogel expanded his social connections beyond the Kunstverein and in 1919 was accepted as an external member of the Dresden lodge "To the three swords and Astraa to the green diamond" . In the next few years he was raised there in the second and third degrees.

Gradually he ended his work as a book illustrator and turned increasingly to landscape painting. At the same time he dealt with nude painting. A number of pictures were taken in the vicinity of Dresden, including in the Elbe Sandstone Mountains and Pillnitz Castle . In the next few years he traveled, sometimes several times, to Tyrol for longer stays  (1921), in 1922 to Oberstdorf , 1925 to Rehefeld , 1926 to Mittenwald , 1932 to Berchtesgaden and 1933/34 to Senftenberg , where he created most of his landscape paintings.

He did not take part in larger exhibitions, for example the Saxon Art Association. He organized smaller studio exhibitions as well as exhibitions at the places where he painted, and also in collaboration with the Meißener Kunstverein.

From some genre pictures he had art postcards printed by the art publisher Georg Michel Nürnberg.

In the last year of his life he mainly painted in his studio in Niederwartha on the basis of color studies made in earlier years and the landscape sketches and picture compositions recorded in his sketchbooks.

He was buried in the Trinity cemetery in Dresden in 1939 (grave site on November 3rd, 2015/16). 

Works

Max Vogel's catalog raisonné includes 567 items, 40 of which have not been completed. This does not include a number of early sketches, chalk drawings, portrait studies, the copperplate engravings and the book illustrations.

Max Vogel was always committed to representational painting and realism in his works. In the case of book illustrations, the reality to be designed is determined by the content of the text. Accordingly, the illustrations were either depicted in a character-typical way or satirically and ironically exaggerated, e.g. B. with the flying leaves or as in fairy tales and legends, imaginatively decorated.

In keeping with the zeitgeist, he also created a series of genre pictures and depictions of putti. Here, too, when depicting the people, he resorted to specific painting studies that he had also carried out with children's models.

He created portraits using all of his painting techniques, from pencil or chalk drawings to oil paintings. Here, too, he did not paint any idealized character types, such as B. usual with the book illustrations, but an image corresponding to the model, in which he also incorporated character traits.

Most of his landscape paintings were created as open-air paintings. He found his preferred motifs in the Bavarian and Austrian Alps and also in the area around Dresden. The model for his pictures was nature, which he in no way idealized in romantic emotional painting. He incorporated the moods caused by the effects of light and weather into his painting, but without breaking up lines or shapes in order not to endanger the realistic rendering. Only in his color studies, in which he fixed brief interplay of light and color, did the contours and forms dissolve into an expressive landscape.

After completing his studies, he always signed his pictures and illustrations with the name "MAX VOGEL", written in grotesque script, which was written in two rows. The “V” below has the same width as the “M” above. He signed smaller book illustrations with a two-row “MV”, whereby the “M” above protrudes into the open “V”.

Book illustrations (selection)

  • On your own . A tale for young people. 1900
  • Balduin Möllhausen: The two yachts . 1906
  • Balduin Möllhausen: The daughters of the consul . 1907
  • Franz Hoffmann: A poor boy . 1907
  • Hanna Clemens: Monika . A story for young girls. 1912
  • Henny Koch : Evchen, the obstinacy . A story for young girls. 1915
  • Henny Koch: The Vollrads in the southwest . A story for young girls. 1916
  • Else Franken: Maria Leona's German homeland . 1923
  • Various volumes in the book of entertainment and knowledge and book for all

Paintings, studies, sketches (selection)

  • 1894 Hungarian farm
  • 1889 Portrait of an old man
  • 1913 After catching flounder, in the dunes of Nest, Baltic Sea
  • 1913 At the landing stage in Nest am Jasmunder See
  • 1914 pond in the Bavarian Forest with birch trees
  • 1921 View from the rose garden onto the Bastei rock
  • 1921 Old chapel in Cossebaude
  • 1921 Kirnitzschtal near Hinterdittersbach, near the locks
  • 1921 Fernsteinsee from the forest with an island
  • 1921 At Fernsteinsee with a castle
  • 1922 Wisdom, Strength, Beauty (Galerie Neue Meister, Dresden)
  • 1924 Evening mood at Neuburg Castle
  • 1924 Schlosshof Schloss Neuburg
  • 1925 Rehefeld, country road with lock
  • 1926 Lautersee with Wetterstein near Mittenwald
  • 1929 street in Mittenwald with Karwendel
  • 1929 Emma Leuschner
  • 1930 Berchtesgaden with Watzmann
  • 1932 late autumn in the Gosau valley
  • 1932 In front of the portal of the Catholic Church in Hallstatt
  • 1933/34 altarpiece for the new church of the small opencast mining village Sauo near Senftenberg (multi-winged altarpiece, approx. 4 meters tall)
  • 1934 Senftenberg II church, evening mood
  • 1935 Let the little children come to me; Children in front of a torture
  • 1937 After the service in Wendendorf in Niederlausitz
  • 1938 Lautersee near Mittenwald with the Karwendel Mountains
  • 1939 Evening sun on the Karwendel Mountains in May

  • Hungarian farm, 1894

  • Self-portrait of Max Vogel, 1914

  • Pond in the Bavarian Forest with birch trees, 1914

  • Street in Mittenwald, 1929

  • Portrait of a woman, 1929

  • After the service in Wendendorf, Niederlausitz, 1937

literature

Web links

Commons : Max Vogel (painter)  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Academy entry: October 10, 1893 according to the register book , register no. 01105, subject: painting with Professor Höcker
  2. ↑ Balduin Möllhausen: The two yachts. 1906
  3. ↑ Illustrations to The Consul's Daughters.
  4. ↑ Franz Hoffmann: A poor boy. 1907
  5. ↑ Wisdom, Strength, Beauty, Galerie Neue Meister, Dresden ( Memento of the original from March 19, 2017 in the Internet Archive ) Info: The archive link has been 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 / skd-online-collection.skd.museum
  6. ↑ Vogel.HM: German: Bild Spätherbst im Gosaual by Max Vogel, 1932. June 10, 2017, accessed on June 13, 2017 .
  7. ↑ Vogel.HM: German: Image after the service in front of the portal of the Catholic Church in Hallstatt by Max Vogel, 1934. June 5, 2017, accessed on June 13, 2017 .
  8. ↑ To the church of Sauo:
    Martin Schertzberg: Forever silent: In memory of the church of Sauo . In: Berlin-Brandenburgisches Sonntagsblatt . 4th year, no. 33 , 1994, pp. 16 ( online ). Torsten Richter: When the bells rang for the last time in Sauo. In: Lausitzer Rundschau . December 24, 2007, accessed March 19, 2017 .
  9. ↑ Vogel.HM: German: Image of the Evangelical Heilandskirche in Senftenberg II / Hörlitz by Max Vogel, 1934. June 10, 2017, accessed on June 13, 2017 .
personal data
SURNAME Vogel, Max
ALTERNATIVE NAMES Vogel, Heinrich Max (full name)
BRIEF DESCRIPTION German painter
DATE OF BIRTH February 19, 1871
PLACE OF BIRTH Dresden
DATE OF DEATH August 14, 1939
Place of death Niederwartha near Dresden