Otmar Alt

from Wikipedia, the free encyclopedia
Otmar Alt
signature
Otmar Alt, sculpture "Vogel" in the Westfalenpark Dortmund
Engel at the Engel pharmacy in Münster
The tower hangover in Grevenbroich city center
Animal sculptures in the Allwetterzoo Münster
Animal sculptures in the Allwetterzoo Münster

Otmar Alt (born July 17, 1940 in Wernigerode ) is a German painter , graphic artist , designer and sculptor . His main idea is that art that needs to be explained is boring . In his view, art should not be elitist, but accessible to everyone at all times. The viewer should work out the meaning of the work for himself. Alt, the individualist, cannot be assigned to any genre or art direction. The common distinguishing feature of his work is the willingness to experiment.

Life

Otmar Alt is the son of the church musician and music teacher Rudolf Hermann Alt and Dorothea Stiemke, who comes from a merchant family. His father was a member of the Moravian Brethren . In 1945 the father's apartment was bombed out and the family's assets were lost. As a result, the place of residence changed several times. In 1951 he and his mother moved permanently from Wernigerode to West Berlin . The father was dependent on a livelihood as a tour guide and therefore lived largely separated from the family until he died in 1958.

School and education

Otmar Alt attended from 1952 in Berlin , the elementary school , which he with the intermediate certificate completed.

He had his first encounters with art and music at home . Since he was six years old, Otmar Alt received piano and later clarinet lessons . The encounter with the visual arts happened rather casually.

In 1956 Otmar Alt began an apprenticeship as a shop window designer and poster painter . He passed the journeyman's examination in 1958 with an excellent final grade and was awarded a prize. In doing so, Otmar Alt developed the desire to become a fashion draftsman .

Education

In 1959 he began his studies at the master school for arts and crafts in Berlin. Above all, exhibition construction, writing, etc. taught. Because of the parallel entrance exam at the University of the Arts , Alt missed the final exam.

His playing in a jazz music group became more professional and contributed to his livelihood. The group called themselves “Selfworkers” - Alto played the clarinet and saxophone .

In 1960 Alt was accepted into Walter Bergmann's preliminary class in the applied arts department . He also took part in life drawing with Hermann Bachmann , which enabled him to transfer to the free classes. At the institute, u. a. Karl Hartung , Bernhard Heiliger and Ulrich Knispel . Alt initially trained himself in painting nature and mentally oriented himself towards abstract painting .

Between 1964 and 1966 Otmar Alt was a master student with Hermann Bachmann. The young artist moved into a studio with Waldemar Grzimek on Görrestrasse, which had previously belonged to the sculptor Richard Scheibe . A large number of informal works emerged, many of them untitled. From around 1965 the pictures took on figurative traits. The development of my own style began.

Artistic development

After completing his studies as a master student with Bachmann, Alt worked as a set design assistant in Trier and Frankfurt am Main . In addition, his first exhibition took place in the Berlin restaurant Like Bari . Further solo exhibitions followed in the Federal Republic of Germany. During this activity he met the pharmacist Inge Papenfuß, known as Pinguin , whom he later married.

In 1970 his son Fabian was born, who died two years later as a result of a postoperative infection. His wife Pinguin died in an accident during a stay in Italy between 1974 and 1977. During this time, Alt developed new techniques that he used to complete various series.

In 1991 Otmar Alt received the German Freemasons' Culture Prize . In June 2005, his hometown Wernigerode paid tribute to him and awarded him the Wernigerode Art Prize . In return, Otmar Alt gave his hometown an ironic sculpture, which was unveiled on the day of the award ceremony: a human head with a sticking out tongue - the art lover .

In 2001 Otmar Alt developed the sculptures for the State Garden Show in Oelde. In keeping with this, he dedicated cubes to the city of Oelde, which are still on the A5 motorway, exit Oelde.

In 2003, Alt designed the first Buddy Bear , which was shown to a wider audience in the spring of 2004 at the center of a large Otmar Alt exhibition in the Kronprinzenpalais (Berlin) .

In spring 2006 Otmar Alt got involved with RAG Ruhrkohle AG in Essen in their efforts to make the application of the city of Essen and the Ruhr area for the European Capital of Culture 2010 successful. The campaign ran under the slogan "I love Ruhrgebiet". The declaration of love for the Ruhr area was created in the form of a huge poster. 48,000 citizens of the Ruhr area had formulated their personal declarations of love for the area for this campaign. 45 participants from this group were selected who were to stimulate and inspire the artist Otmar Alt in his work in three workshops. The resulting work of art spans an illustrious range of typical features of the area, including a. Currywurst and football. The work of art created by Alt is populated by his typical figures. A red heart shines in the center. The poster is 3,418 square meters and is 48 meters high. From March 28, 2007, it adorned the RAG corporate headquarters for a few weeks. A spectacular action: 16 climbers were needed to unveil the 1,200 kilogram banner on the 80 meter high building.

Today Otmar Alt lives and works in Norddinker near Hamm ( North Rhine-Westphalia ). Here he has established himself in a former farmhouse . Right next door is the house of the Otmar Alt Foundation , which was opened in 1996 and in which there are exhibition areas and exhibitions of young artists. The Otmar Alt Foundation was established in 1991 and has set itself the task of supporting young, talented artists with grants .

plant

Alts often colorful pictures appear on the surface mostly cheerful and playful. On closer inspection, profound and complex stories unfold. It is characteristic of his style that his works consist of jigsaw-like composed color fields with precise outlines. He mostly uses bright colors, the luminosity of which is increased by the border. Animals , v. a. Cats , strange beings and the circus world are his priority themes.

With his second solo exhibition at the Katz gallery in Berlin, he received public recognition and positive reviews. This was followed by other exhibitions at home and abroad, prizes - such as the " Franz Roh Prize " for König Wolke in 1965 - and projects that demonstrated both the growing popularity and the versatility of the artist and craftsman Otmar Alt Paintings , graphics and sculptures, including children's books , Olympic posters, wall and facade designs , fountains , stage sets , etc. v. m.

He is interested in dealing with new materials and techniques; In doing so, he often integrates artisans into the creation process of his work, who implement his ideas and designs in constant dialogue with the artist. His work also includes numerous commissioned works (e.g. wall paintings , wall reliefs , sculptures , porcelain , furniture ).

Alt shows just as little fear of contact with regard to the popularization and commercialization of art as with regard to the material: whether it is the design of phone cards , china, cars , T-shirts , umbrellas , children's toys or even a train ( Rurtalbahn GmbH ), Otmar Old is open. Banal everyday objects become small works of art that should be accessible to everyone - regardless of age and level of education.

His first untitled works, still reduced in color, reveal the influence of the predominant informal with their spontaneous and expressive brushwork. Early on, one discovers tentatively hinted figures and signs in his pictures, which he finally raises to new levels of meaning with imaginative titles (e.g. Baldi the Happy 1964, Portrait of King Cloud with his Green Goat 1966). At the same time, his preference for intense colors and clearly defined shapes and contours from the animal and plant world becomes evident.

In the mid-1960s, Otmar Alt's hallmark was the “puzzle pictures” , with their precise outlines and color fields reminiscent of prints or Pop Art . By the 1980s at the latest, the forms and contours break open, the colors lose their ability to cover and the restless brushwork evokes memories of the informal beginnings. Via the path of metamorphosis, Otmar Alt approaches the human motif and begins to tell fables of the “strangeness of life”. The mood in his narrative pictures changes: Behind the facade of the colorful and cheerful fantasy worlds, a serious deeper meaning is increasingly noticeable.

Alt's style was associated with artists of classical modernism, such as Miró , Matisse , Arp , Kandinsky and Klee . There are here and there similarities in terms of the expressiveness of the colors or the way in which he creates novel fantasy figures from a mixture of organic shapes and implied figuration. In direct comparison, however, he remains an artist with an unmistakable language.

See also

Stage sets

The artist has developed a particular weakness in his various stage works. Otmar Alt has known the world of theater for many years. At the end of the 1960s the artist was a stage design assistant in Trier and later even at the legendary " Theater am Turm " in Frankfurt, where Rainer Werner Fassbinder and Claus Peymann once worked. In recent years Otmar Alt has been drawn to the theater by other means as a continuation of his storytelling art. To date, he has accompanied eight theater productions with his outfits and costumes. Including The Little Witch by Otfried Preußler , Molière's The Miser , Figaro's Wedding and the ballets Höhle des Herzens and The Nutcracker for the West German touring theater Remscheid and the Theater Hof . In May 2005, the contemporary opera Die Eroberung von Mexico by Wolfgang Rihm was performed at the Städtische Bühnen in Münster , for which Otmar Alt had taken over the set-up.

Interior views of modernity

In his painterly project "Interior Views of Modernism" Alt has been searching since 2000 to get to the bottom of his inspiration and his borrowings from the masters of modern classical music. He is interested in structures, motifs and themes in the works of Joan Miró , Wassily Kandinsky , August Macke , Franz Marc , László Moholy-Nagy , Paul Klee , Ernst Ludwig Kirchner , Heinrich Campendonk , Gabriele Münter and others who were once known as the " Blue Riders " who caused a sensation at the “ Brücke ” or Bauhaus in Dessau and wrote art history.

The artist's inquiries do not offer ready-made solutions, and certainly no immediately comprehensible interpretations. It seems as if he wants to remove layer by layer with his free associations in order to discover the riddle of the images. The sequence of “interior views” is the document of a painstaking and meticulous approach. The way of working is that of overpainting, sometimes only metaphorically meant, sometimes literally, in that only parts of the picture or simply the entire pre-image are painted over step by step. Up to 2005 over 200 pictures were taken. In spring 2005, the majority of these images were made available to the public for the first time. The Rheinisches Landesmuseum Bonn in Bonn has dedicated its own exhibition to the artist Otmar Alt under the title "Interior Views of Modernism".

Otmar Alt changed the method for his series of pictures "Interior Views of Modernism". The artist shows his handling of well-known modern images and at the same time calls for a new look at the original image. The expressionist alienation is the impetus for a new approach, both to this and that image. In return, the artist approaches his famous models with great respect, but without false reverence. Some of the greats would not be reminded that their picture was there for inspiration. With others, small and tiny details are hidden. With others, Otmar Alt deals with the motifs completely freely and almost playfully.

A graphic by the artist was used in the 2006/2007 season as a placeholder for advertising by RAG Aktiengesellschaft on the jerseys of Bundesliga club Borussia Dortmund .

The raven at the center of world history

The world cultural heritage site Völklinger Hütte showed Otmar Alt's new picture cycle “The raven in the center of world history” in a world premiere in the Möllerhalle and the sintering plant of the hut from April 5 to November 2, 2009. The picture cycle was created in almost three years of work in Hamm-Norddinker. There the project had the working title “The Blues of Life.” The monumental work was stimulated and inspired by a visit to the Völklinger Hütte. The result of this momentous visit, the exhibition "Otmar Alt - The Raven in the Center of World History" is a painting cycle with 31 works in the format 200 × 170 centimeters, in which the storyteller Otmar Alt tells his own story.

In his cycle, the artist Otmar Alt congenially combines and illustrates his personal biography with the history of the Federal Republic of Germany and some outstanding global political events. He juxtaposes the ups and downs of his life's path with historical moments and world events. Otmar Alt follows the concept of his tried and tested patchwork method by juxtaposing seemingly irreconcilable things. The viewer can decipher a lot like a picture puzzle and a rebus, but many details remain in the dark as very private and personal ciphers. He shows his reverence and gratitude to companions and friends, colleagues and employees graphically by showing himself up in different masks. These personal details are lovingly implemented, sometimes striking and drastic, sometimes playful and ironic.

The monumental panels are constructed like multi-layered collages and combine different techniques. On a painted surface in the typical Otmar Alt style are Alucubond plates in half relief on which photos by the photographer Robert Lebeck, for example, are printed. There are no specifications and no specific reading of these panels, the viewer is left to fend for himself. He has to find his own way, which is designed as an exciting history lesson. School classes will probably follow this inspiring course in the future and experience a new form of history lesson.

The backbone of the representation are the stations in the artist's work. All important exhibitions and creative periods are sketched, quoted and presented: from the “Kinguinen” and puzzle pictures to the cycle of “Interior Views of Modernism”. For example, the end of the last world war in burning Berlin, the closure of the Völklingen ironworks in 1986 and the Chernobyl disaster cast shadows . Most historical allusions suggest associations in the viewer's perception. But here, too, Otmar Alt's works never seem gloomy and depressing: the jigsaw-like composed fields of color and different levels of meaning always open up hope for the light and the morning after in the viewer of all ages. Time heals all wounds. For example, the construction of the Wall with the “Cold War of the Superpowers” ​​with Berlin as the central point of friction was followed by “Redemption” through the fall of the Wall in 1989.

Other recourse and optical borrowings from German, European and worldwide contemporary history are, for example, the 1968 movement, the mushroom heads of the Beatles, the 1974 World Cup or the oil crisis . The panels are designed in an unmistakable visual language and they are at the same time an expression of a new artistic form to which the artist has found. Taken alone, the 31 panels are already significant works by the artist, which further develop and fertilize the genre of history painting in a completely new way, but at the same time a new chapter is opened in that it presents an almost age-old and conciliatory conclusion of his work. Even the last picture, dedicated to the artist's death and showing an open coffin, points to the future. According to the artist's self-image, it is important to “stay human” and do everything to prove oneself with good works. Here Otmar Alt avows himself as a convinced Freemason who “always strives to make an effort” and wants to be a role model.

Works in public space

  • 1979 Iron sculptures for the Federal Garden Show in Bonn
  • 1981 Large fountain at the Hochmoor veterinary clinic
  • 1985 fountain for the city of Wiesloch
  • 1986 fountain for the city of Duisburg
  • 1987 Iron sculpture for the city of Kamen
  • 2001 Sculptures for the Landesgartenschau Oelde, as well as cube sculptures on the A5, Oelde exit
  • 2005 Engel at the Alte Post in the city of Eckernförde

Public collections (selection)

Exhibitions

Filmography

  • 1982: Otmar Alt - The Man from Rote-Grützeland (film)
  • 1992: Otmar Alt (video), Edition Schnake, Münster 1992, production: Fontana Film GmbH, Cologne; ProfiMAZ GmbH, Bochum
  • 2000: Otmar Alt - Life and Work (DVD), Otmar Alt GmbH, Hamm. Production: Zimmer Film, Welver
  • 2001: Otmar Alt - The Interview (DVD), as before
  • 2010: Otmar Alt - typesetter of our time (DVD), M&W GmbH, Rüthen-Kallenhardt. Realization: Sauerland-Media, Arnsberg

Honors

literature

  • Otmar Alt, Zoppe Voskuhl: two-handed. Rabengalerie, Rüthen-Kallenhardt 2013.
  • Rudi Fred Linke (Ed.): Otmar Alt. With texts by Rudi Fred Linke and Jörg Bockow. RFL Verlag, Münster 2013, ISBN 978-3-943950-05-2 .
  • pro Kunsthalle eV for the Rostock art gallery: Otmar Alt - works from five decades. Rostock 2011.
  • Otmar Alt, Klaus Kremer, Martina Mühlheims, Ulrich Wolfkühler: King Krab's trip to Kallenhardt. Raven Edition, Rüthen 2011.
  • Otmar Alt, Thilo Engelhardt: Nibbling from the Tree of Knowledge - About apples, sins and other pleasures. Stuhr 2011.
  • Otmar Alt: Cooking pot fantasies from Vettweiß. Hamm 2010.
  • Anne Reinke: Thea from the treasure chest. Idea and pictures: Otmar Alt. Light painting: Uli Haller. Tecklenborg Verlag, Steinfurt 2010, ISBN 978-3-939172-75-8 .
  • Jörg Bockow for the Otmar Alt Foundation (ed.): Typographers of our time - Otmar Alt . Otmar Alt Foundation. Hamm 2010, ISBN 978-3-939651-09-3 .
  • Meinrad Maria Grewenig (Ed.): Otmar Alt - The raven in the center of world history. Exhibition catalog. World cultural heritage Völklinger Hütte, April 5, 2009. Springpunkt Verlag, 2009, ISBN 978-3-89857-242-2 .
  • Otmar Alt, Susanne Bieler: How the elephant and the plaster worm made a royal couple happy. Design: Gudrun Wirsieg. Hamm 2009.
  • Kolping Bildungswerk in the Diocese of Augsburg (ed.): We are Kolping. Augsburg 2008.
  • Theo Kautzmann, Verein Südliche Weinstrasse (Ed.): With a text contribution by Thilo Engelhardt Otmar Alt und Wein. Landau 2007.
  • Otmar Alt (Ed.): Rumpelstiltskin. Documentation of the ballet production. Hamm-Norddinker 2008.
  • Sabine Gaudzinski-Windheuser , Regina Höfer, Olaf Jöris (eds.): Very old - how colorful was the past really? The archeology of the Ice Age, implemented by Otmar Alt. Exhibition catalog Castle Monrepos. Römisch-Germanisches Zentralmuseum Mainz, Mainz 2007, ISBN 978-3-88467-107-8 .
  • Anton Fuchs, Otmar Alt (ed.): Three cats in Rome. Self-published, Hamm-Norddinker 2007.
  • Culture office of the city of Buxtehude (ed.): Love, lust and passion. Self-published, Hamm-Norddinker 2007.
  • Otmar Alt with the Amberg Vocational School Center (ed.): Miro + Poldi. Steel plastic. Self-published, Hamm-Norddinker 2007.
  • Otmar Alt Foundation (Ed.): Otmar Alt - The risk of fantasy. Exhibition catalog, May 27th - July 22nd 2007 in the Peter Maffay Foundation on Mallorca. Self-published, Hamm-Norddinker 2007.
  • Otmar Alt, Anja Schlader, Arno Schlader (eds.): Male-female - pictures-jewelry-ceramics. Exhibition catalog. Self-published, Hamm-Norddinker 2007.
  • Otmar Alt, Detlef H. Mache (ed.): The mysterious journey of a penguin. Witten 2006.
  • Willi Blöß: Otmar Alt - Count Öppenpöller does the honor. Willi Blöß Verlag, Aachen 2006, ISBN 3-938182-10-5 .
  • Otmar Alt (ed.): The conquest of Mexico . Documentation of the opera performance at the Münster Municipal Theaters. Self-published, Hamm-Norddinker 2005.
  • Gerd Presler: Otmar Alt and Ernst Ludwig Kirchner, in: Innenansichten der Moderne, Bonn 2005, pp. 41–45
  • Frank Günter Zehnder (Ed.): Otmar Alt - Interior Views of Modernism. Exhibition catalog, Rheinisches LandesMuseum Bonn, April 7 to June 5, 2005. Rheinisches LandesMuseum, Bonn 2005.
  • City of Amberg (ed.): Experience fantasy - Otmar Alt in the Evelyn glassworks Amberg. Exhibition catalog, Alte Feuerwache Amberg, October 7 to November 27, 2005. City of Amberg, Amberg 2005.
  • Otmar Alt (Ed.): Alice in Wonderland. Documentation of the ballet production at the Stadttheater in Hof. Self-published, Hamm-Norddinker 2005.
  • Ursula Gareis: Children discover Otmar Alt - the motley treasure trove for art lessons. Bergedorf teaching ideas, 2005.
  • Birgit Brandenburg: Otmar Alt for children - a workshop. 2005.
  • Silke Ramelow (ed.): The lion from Tannheim. Pictures and stories of the children from the aftercare clinic in Tannheim . Meurer Verlag, Radolfzell-Bodensee 2005, ISBN 3-9810566-0-4 .
  • Otmar Alt (ed.): Erotic stories in the happiness of lust. Self-published, Hamm-Norddinker 2005.
  • Otmar Alt (Hrsg.): The stage flea Felix meets Little Red Riding Hood. Documentation of the children's theater production at the city theater in Altenburg-Gera. Self-published, Hamm-Norddinker 2004.
  • Otmar Alt, Ulrich Wolfkühler (ed.): The history of the noble brandies from Kallenhardt. Self-published, Hamm-Norddinker 2004.
  • Otmar Alt (ed.): The Nutcracker - A ballet to dream. Documentation of the ballet production at the Stadttheater in Hof. Self-published, Hamm-Norddinker 2003.
  • Gerd Biegel (Ed.): The nine circles of the witch Antra. Catalog of the concept exhibition by Otmar Alt, Jean-Marie Bottequin and Gerd Scherm in the Braunschweigisches Landesmuseum. Braunschweig 2002, ISBN 3-927939-62-5 .
  • Gerd Presler: The power of synthesis - an unhappy speech, in: Otmar Alt - Trolle, Gnome and other realities, Linnich 2001/2, pp. 34–46, ISBN 3-935019-37-8
  • Iris Nestler (Ed.): Otmar Alt - Trolls, Gnomes and Other Realities. Exhibition catalog. September 15, 2001 to February 3, 2002 German Glass Painting Museum Linnich, September 28 to November 25, 2001 Leopold Hoesch Museum Düren. Linnich 2001, ISBN 3-935019-37-8 .
  • Otmar Alt, Ilse Bintig (ed.): Baalabu - or the journey to happiness. Westfälischer Anzeiger Verlagsgesellschaft, Hamm 2000, ISBN 3-924966-26-5 .
  • Kunstamt Spandau (ed.): The magician's table - Otmar Alt retrospective. Exhibition catalog. Spandau Citadel. Spandau 2000.
  • Karlhans Frank Bin your love drop, the high song of the lower minne 99 poems with original graphics by Otmar Alt. Verlag im Unteren Tor, Bietigheim 1999, ISBN 3-924099-54-5 .
  • Gerd Presler: Otmar Alt. "Black Pictures", or: "Die Kargheit der Grisaille", Hamm-Norddinker, March 1997
  • Klaus Honnef (ed.): Otmar Alt - The power of synthesis. Exhibition catalog. Darmstadt art gallery. Hamm 1997.
  • Otmar Alt (Hrsg.): Otmar Alt - pictures-graphics-objects. Exhibition catalog May 10 to June 9, 1996 in the Historical Museum in Krakow. Hamm 1996.
  • Willy Athenstädt (Ed.): Otmar Alt. Monograph and exhibition catalog. June 26 to August 14, 1994 in the Von der Heydt Museum in Wuppertal. Edition Braus, Heidelberg 1994, ISBN 3-89466-107-0 .
  • Galerie Vömel (Ed.): Otmar Alt 1993. Exhibition catalog. Vömel, Düsseldorf 1993.
  • Prince GrüneWald and Perlenfein with their lovely donkey. Self-published, Hamm-Norddinker 1992.
  • Volker Kapp (Ed.): Otmar Alt - Glass Grotesques. Exhibition catalog , Veste Coburg. Hamm 1990, ISBN 3-89261-314-1 .
  • Gallery Orangerie-Reinz (Ed.): Otmar Alt 1989–1990. Exhibition catalog. Cologne 1989, ISBN 3-920710-25-8 .
  • Gerd Presler: Otmar Alt and "ART BRUT", in: Otmar Alt. Stories from Bremen, Westphalia and elsewhere, Kunsthalle Bremen 1988 pp. 9–13.
  • Reinhard End (ed.): Otmar Alt - exhibition journal. Just a moment! Seven chapters on a painter. Exhibition catalog. Hamm 1986.
  • Otmar Alt: Elephants' love book. Harenberg Verlag, Dortmund 1982, ISBN 3-88379-349-3 .
  • Galerie Vömel (ed.): Otmar Alt - gouaches and oil paintings. Exhibition catalog November 25, 1977 to January 1978. Galerie Vömel, Düsseldorf 1978.
  • Otmar Alt, Wystan Hugh Auden: The big change. Bruckmann Verlag, Munich 1972.
  • Hans Stempel, Martin Ripkens (Ed.): Luderbär. Children's book with pictures by Otmar Alt. Middelhauve Verlag, Cologne 1970.
  • Thomas Hengstenberg, Sigrid Zielke, Otmar Alt Review and Outlook 2013 Verlag Kettler Bönen, ISBN 978-3-86206-326-0 .
  • Martin Luther: From the rooster and the pearl. 2013 Luther-Verlag Bielefeld, ISBN 978-3-7858-0632-6 .
  • Siegfried Salzmann: Stories from Bremen, Westphalia and elsewhere . Kunsthalle Bremen 1988
  • Alt, Ottmar . In: Supreme Building Authority Munich (Hrsg.): Bildwerk Bauwerk Artwork - 30 years of art and state building in Bavaria . Bruckmann, Munich 1990, ISBN 3-7654-2308-4 , p. 196, 214-215 .

Web links

Commons : Otmar Alt  - collection of images, videos and audio files
Wikiversity: Example of works from the graphic oeuvre  - course materials

Individual evidence

  1. ↑ a b c learning package Otmar Alt In: Weltkulturerbe Völklinger Hütte , accessed on February 1, 2017 (PDF; 7.4 MB)
  2. ↑ a b CV ( Memento from January 8, 2015 in the Internet Archive ) In: Kunstforum Hamm , accessed on February 1, 2017.
  3. ↑ Photo of the Kunstschlecker In: Flickr , June 2, 2007, accessed on February 1, 2017.
  4. ^ Exhibition: Interior views of modernism In: pressarbeit-bockow.de , accessed on February 1, 2017.
  5. ^ Siegfried Salzmann: Stories from Bremen, Westphalia and elsewhere , Kunsthalle Bremen 1988, pages 54 and 55
  6. ↑ Gernot Kühl: Beauty treatment for the post angel . In: shz . December 14, 2016 ( shz.de [accessed December 15, 2016]).
  7. ↑ "The world is becoming more colorful ..." In: Lebenskunst-badenweiler.de , 2015, accessed on February 1, 2017. (PDF; 252 kB)
  8. ^ Siegfried Salzmann: Stories from Bremen, Westphalia and elsewhere , Kunsthalle Bremen 1988, page 54
  9. ↑ Otmar Alt receives ring of honor from the city of Hamm on his 70th birthday In: wa.de , July 17, 2010, accessed on February 1, 2017.
personal data
SURNAME Old, Otmar
BRIEF DESCRIPTION German painter, graphic artist, designer and sculptor
DATE OF BIRTH 17th July 1940
PLACE OF BIRTH Wernigerode