Michaela Krinner

Michaela Krinner (born September 29, 1915 in Waldmünchen , Upper Palatinate, † October 11, 2006 in Freilassing ) was a painter of magical realism.

Life

Michaela Krinner was born on September 29, 1915 in Waldmünchen . Her father's family originally comes from Bad Tölz and can be traced back to the Middle Ages as one of the Tölz rafting families. In 1916, her father died of typhus while working as a military doctor in Poland . Krinner spent her high school from 1927 to the Abitur in the Regensburg boarding school of the Salesians . From 1931 to 1937 she trained as a teacher with the Ursulines in Straubing . From 1939 to 1941 she worked as a trainee teacher and teacher in Rötz, Regenstauf , Amberg and Schönsee . From 1942 to 1945 she taught drawing at the teacher training institute in Polling near Weilheim and at the same time began studying at the Academy of Applied Arts in Munich with Anton Marxmüller (born 1898 Munich). Bombed out in Munich, shortly before the end of the war, she returned on an adventurous route to her homeland in Upper Palatinate. From 1945 to 1951 she lived in Neunburg vorm Wald near Regensburg and worked as a teacher for art and theater. She continues her painting studies with Walter Dolch in Amberg.

After a short stay in Helmbrechts, she moved to Ohlstadt near Murnau in 1953 , where she got a job as a teacher. The encounter with Peter Beckmann, the son of the painter Max Beckmann , spa director and senior doctor in the Ohlstadt rehabilitation clinic, is groundbreaking for her artistic development: on his recommendation, she regularly attended the academy courses “School of Seeing” as a painting student from 1953 to 1956 , which Oskar Kokoschka is holding in Salzburg. From 1957 to 1964 she lived in Tutzing on Lake Starnberg in the Midgard House, an artist house from the turn of the century. Some of the pictures created during this time were created in collaboration with her roommate, the dancer, choreographer and Emil Orlik student Helge Peters-Pawlinin (1903–1981). Between 1964 and 1968 she lived in Fontainebleau near Paris , where she taught at the "Collège d'Etat International". After returning to Germany, she first went back to Tutzing and moved to Laufen an der Salzach in 1974 . In 1978 she ended her teaching activity and devoted herself only to painting. In the eighties Krinner made numerous trips through southern Europe, Egypt and to European cities. The impressions gained are reflected in travel sketches and new motifs in her paintings.

Between 1982 and 1989 Krinner took courses in graphic techniques with Friedrich Meckseper (* 1936) in Salzburg and Willi Wimmer in Wolkersdorf. During this time, the graphic work appears on an equal footing with the painting. Krinner worked as an artist until shortly before her death. She dies on October 11, 2006 in Freilassing .

plant

Krinner's artistic talent shows up early on. In the 1930s, for example, her drawings served as templates for calendar prints. However, the difficult family circumstances of Krinner, who became half-orphans at an early age, and the troubled times of war prevent the systematic study of art that he was aiming for. As a substitute for the male teachers drafted for military service, Krinner often had to change places of residence in the war and first post-war years. Nevertheless, thanks to private studies and her own drawing teaching activity, she developed a comprehensive training in the various painting techniques.

The early work, as far as it has survived, mainly includes portraits influenced by the old masters, which reveal Krinner's strong talent for drawing, as well as landscape paintings with an impressionistic character. A decisive turning point was the start of studies with Oskar Kokoschka at the Summer Academy in Salzburg on the initiative of Peter Beckmann . In the following years she brushed off the stylistic influences of her previous teachers and developed an independent, figurative style. The watercolors of the fifties, mostly figurative representations, are painted wet on wet with loose strokes and incorporate parts of the recessed leaf background into the composition. The artist continued to use this style until the 1990s, even though she had long since taken a different path in oil painting.

In her oil paintings in the 1960s, Krinner submitted to a disciplined style of simplified, large-scale forms and strict frontal representation. Only in the landscape paintings does she allow herself to be loosened up by choosing unusual observer positions. The reduction of the human body in particular to basic geometric shapes is reminiscent of tendencies of the New Objectivity, especially Oskar Schlemmer , but is perhaps also to be understood as a movement away from her previous teachers in search of her own style. The paintings of the 1960s are painted with short, stippled brushstrokes.

In the 1970s this revitalization of the surface also disappears. The objects are given in a smooth flatness, with a metallic reflective surface, smooth application of paint and graded color transitions. This style phase is sometimes described as "magical realism". In the still lifes, which became the preferred motif in the seventies and eighties, this style becomes particularly clear: the representational is portrayed emphatically objectively; Due to the near-sightedness, the unusual image detail and the reproduction of the materiality of surfaces, sometimes increased to hyperrealism, the actually banal objects of everyday life acquire an aura of the transcendent. In later years Krinner intensified this reach into the non-real through shadow and mirror effects, backdrop-like backgrounds and barely noticeable interventions in the logic of sensory perception. According to self-statement, Krinner is fascinated by the challenge of reproducing the properties of materials using painterly means, such as the different materiality of textiles, but also wood and metals.

In the still lifes of the 1990s, she used a more fluffy, loose brushwork and softer color transitions. At the same time, between 1998 and 2003, pictures of a neo-expressive style were created in which the artist experimented with dynamic image design and new painting techniques. From the late 1970s to the late 1990s, Krinner combined printmaking techniques with watercolor painting. The etchings and lithographs are printed in small editions in a Chiemgau hand printer and then reworked by the artist in various color variations with watercolor. Motifs are flowers, birds, and less often figure representations.

From the 1970s onwards, the complex of ink drawings, which were important in terms of quantity and quality in the artist's oeuvre, emerged. Again, allegations are everyday objects, particularly “low” or “ugly” motifs such as withered leaves or rubbish. In contrast to the clear, disciplined structure of the oil paintings, Krinner works in the drawings rich in detail, image-filling, with old masters meticulousness and with a sense for the unconventional, even the bizarre. She uses the actually brittle medium of ink drawing to make the texture of the objects obvious with finely graded black and white contrasts, and to make structures in the structure of plants or textiles clear. Here Krinner quotes stylistic devices from Mannerist calligraphy and transfers the representations of flora and fauna into allegorical representations through structural stylization on the one hand, and through rampant abundance of details on the other. Photographically precise observation is intertwined with a penchant for the surreal and allusive humor.

Krinner's works can be found in the following public institutions and collections: City of Brioude , Burghausen Town Hall , Hermann-Hesse Museum of the City of Calw , Lower Franconia State Insurance Institute, Consul Otto Eckart Collection / Munich , Neunburg Castle in front of the Forest , Ohlstadt municipality , Grenzland- and Trenck- Museum Waldmünchen . The city of Laufen and the Laufen Museum Association are planning a permanent exhibition with a representative overview of the artist's life's work (as of 2010).

literature

• Horst G. Ludwig: Michaela Krinner. Path of a Kokoschka student. Monograph and catalog raisonné, Munich 2003.
• Franz E. Schilke: Painting Today. Munich 1994.
• Hans Schneider: Michaela Krinner. In: Waldmünchner Heimatbote. December 2002, p. 82 ff.
• Karl Heinz Probst: Mourning the artist Michaela Krinner. In: Mittelbayerische Zeitung. October 15, 2006 (obituary with photo)

Web links

• michaelakrinner.de CV (accessed on September 12, 2012)
• michaelakrinner.de Pictures (accessed September 12, 2012)

Individual evidence

1. ^ Franz E. Schilke: Painting Today. Munich 1994, p. 82.
2. ↑ The real things in life. In: Horst G. Ludwig: Michaela Krinner. Munich 2003, p. 15.