Otto Baum (sculptor)

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Otto Baum in the studio, 1952

Otto Baum (born January 22, 1900 in Leonberg , † January 22, 1977 in Esslingen am Neckar ) was a German sculptor and university professor .

Life

Origin and family

Otto Baum was born on January 22nd, 1900 in Leonberg in the Gasthaus Schwarzer Adler as one of seven children. His parents are the farmer Christian Johannes Baum , who comes from the Swabian Forest and earns his living as a carter, and the laundress Rosa Baum née. Beautiful liver . In 1907 the parents separate and the mother moves with the children to Stuttgart- Vaihingen . From 1907 to 1914, Baum attended the Österfeldschule, an elementary school founded in 1902. He contributes to the family's livelihood by delivering bread rolls and other auxiliary work.

In 1922 he married Herta Baum born. Raeke (1897–1985), who gave birth to daughter Ingrid (married Baum-Ackermann ) in 1925 .

youth

From 1914 to 1917 he completed an apprenticeship as an engine fitter for car and aircraft construction in Stuttgart- Vaihingen , Böblingen and Sindelfingen . Then he took a job underground, according to another source a job in the Sindelfingen aircraft factory of the Daimler-Motoren-Gesellschaft . From June to December he does military service in the submarine division of the Second Sailor Division in Wilhelmshaven . After the war he joined the Stever Freikorps , of which he was a member from January to July 1919. As he was no longer able to work as an engine fitter due to a war wound on his right upper arm, he worked as a wood sculptor and inlay from 1919 to 1922 and as a paint mixer in a Stuttgart paint factory from 1922 to 1924. In the period from 1919 to 1924 Baum learned the basics of sculpture by himself .

Academy student and freelance sculptor (1924–1934)

From 1924 to 1927, Baum studied painting at the Stuttgart Art Academy with professors Robert Poetzelberger , Hans Spiegel and Arnold Waldschmidt , who “recognized his special sculptural talent early on”. He takes courses in anatomy and life drawing and continues to practice sculpture as an autodidact .

During this time Otto Baum made three important acquaintances:

  • He met the poet Johann Emil Weber (Jo Weber) from Berwang in Tirol (1892–?), With whom he became friends.
  • The Stuttgart neurologist Dr. Manfred Breuninger (1889–1959) supported the young artist with a scholarship.
  • He received his first orders from the Pfullingen factory owner Albert Gayler (1896–1980). A lifelong friendship develops between the patron and the artist. Anton Gayler's purchases are kept in the Gayler Collection in Pfullingen.

After completing his academy training, Baum worked as a freelance sculptor in Stuttgart. In 1929 he took a trip to Paris and “dealt with the avant-garde there, which was groundbreaking for his artistic career”. There he got to know and love works by Constantin Brancusi and Hans Arp . Before 1932 he undertook further small study trips to Italy, France and Holland. In 1929 Baum's first solo exhibition took place in the Schwörhaus in Ulm .

From 1930 to 1934 he studied again at the art academy, this time in Ludwig Habich's sculpting class . This second phase of study "served at best to refine his technical fundamentals, but primarily offered Baum material and (studio) space". He met the commercial director of Robert Bosch GmbH Hugo Borst (1881–1967), an important art collector, who supported him between 1930 and 1934 by purchasing at least three works. In 1932 he visited the world's first retrospective museum by Pablo Picasso in the Kunsthaus Zürich and took a trip to Vienna.

Period of National Socialism and World War II (1934–1945)

Standing Girl , 1930, WV  49 B.

The National Socialists drove Baum, who did not belong to the Reich Chamber of Culture , more and more into internal emigration. Between 1935 and 1937, Baum received a number of orders for larger building sculptures, most of which were arranged for him by the architect Paul Bonatz . Even in 1940, when he had long been one of the artists ostracized by the National Socialists, he still created a relief for the Stuttgart-based automotive supplier Mahle .

In 1936 the National Socialists ban Baum from exhibiting. The now missing standing girl ( WV 49) is removed from the National Gallery by the National Socialists and confiscated, as is the portrait of a woman ( WV2 1) in the State Gallery in Stuttgart. The standing girl was presented in 1937 at the Munich exhibition “ Degenerate Art ” . Fearing the National Socialists, Baum worked secretly from 1937 to 1943 in the garden shed of his friend garden architect Adolf Haag (1903–1966) in Stuttgart- Degerloch . In 1939 Baum destroyed numerous plaster models. In 1940 he did military service in the 58th State Rifle Company in Poland, but was released after three months for health reasons. From 1940 to 1942 Gudrun Krüger completed a private degree with Baum. In 1942, Baum was banned from working and then buried several larger sculptures in the garden in Degerloch. Finally, from May 1943 until the end of the war, he was forced to work and produced drafts for camouflage purposes in a Stuttgart painting company.

Teacher at the Art Academy (1946–1965)

In 1946, the Baden-Württemberg Minister of Culture, Theodor Heuss , appointed the newly constituted Stuttgart Art Academy a . a. Otto Baum and Willi Baumeister . Baum “represented the essence of the new sculpture in his will to form and was considered the most progressive, but also extremely critical and relentless teacher among the young academy students. With Willi Baumeister Otto Baum was the protagonist for modern art at the Stuttgart Academy. "

Heuss commented on the composition of the college that he “brought together polar factual tensions, placed the so-called abstract next to the realistic, assigned a living space to the expressive next to the naturalistic.” Baum became head of a sculpture class with the title of professor and was officially appointed professor 1956. The following list of students contains a selection of the artists (each in alphabetical order) who took part in Baum's lessons and some of whom became well-known sculptors themselves.

In 1947 Otto Baum moved into his newly built studio and residential building at Rüderner Strasse 1 on the Neckarhalde in Esslingen , which he lived with his wife until his death. According to preliminary drafts by the architect Bodo Rasch (1903–1995), he designed the house "largely himself" according to his own spatial ideas and criteria. Today the house, classified as a cultural monument, is privately owned.

Private citizen (1965–1977)

Grave of Otto and Herta Baum, Esslingen am Neckar, Sulzgries cemetery, field 17, row 1, grave site 1.

After his retirement in 1965, Otto Baum withdrew more and more from the art world and the public. He had already withdrawn from exhibiting in 1962 and later decreed that no exhibition of his works should take place in the first ten years after his death. In 1972 Baum stopped working as a sculptor, possibly because of his serious illness.

In 1977, on his 77th birthday, Baum, who had had suicidal thoughts since his youth, took his own life after a serious illness. His death was not announced until two weeks later, possibly so that the funeral could be celebrated in silence. Nothing is known about the inner motives that drove Baum to gradually withdraw from his life as an artist and finally to end his life. In a conversation with the art writer Hans Kinkel , Baum said in 1960:

“I got out of myself what was to be got; I haven't spared myself. A few works are enough for me, of which I can say «they stand». There comes a limit where one should have the strength to say no and stop when one can afford to be silent and leave. "

Otto Baum's wife Herta died in 1985. She survived him by almost nine years. The couple is buried in the Sulzgries cemetery in Esslingen am Neckar . The gravestone, an unadorned natural stone, has no inscription.

The Otto Baum family estate is looked after by the Schlichtenmaier Gallery at Dätzingen Castle in Grafenau . The gallery of the city of Esslingen am Neckar ( Villa Merkel ) is keeping a bundle of documents, some of which belong to Otto Baum. a. Contains an album with newspaper articles, some with Baum's handwritten notes, as well as exhibition lists and work lists with owner information (“Otto Baum's estate”).

plant

Note: See also the picture gallery with works by Otto Baum .

Until 1930

Due to a war injury, Baum was no longer able to work as an engine fitter in his learned profession after the war. He hires out u. a. as a sculptor and self- taught the basics of sculpture, in which he continued to perfect himself during his first academic studies (until 1927). He then worked as a freelance sculptor for three years.

Baum's works, which were created up to 1927, are figurative and rooted in tradition. From 1928, however, Baum created works in which "the figurative element is composed of abstract plastic forms into an organic whole". It is assumed that Baum “saw works by Constantin Brancusi and probably also by Hans Arp back then [1929] ”. These early works by Baum include:

  • Der Elefant from 1928, the first work in a long series of Elefanten and Lochofanten (highly stylized elephants with a round hole in the trunk).
  • Mother and Child from 1930, a forerunner of the original mother , a motif that Baum repeatedly picked up in the following decades.
  • The combing end from 1930, which is already stylistically very close to the later forefather.
  • The Standing Girl (or Girl ) from 1930.

In 1930 the Berlin art writer Paul Westheim published an article on Baum in the leading art magazine Das Kunstblatt , in which he discussed the elephant of 1928 and the standing girl of 1930: Baum “proves to be a particularly sculptural talent. One for whom the cubic mass is the shape element. ... Everything that is insignificant for the plastic structure is left out. ”In the “ Kunstblatt ”exhibition of young artists in Berlin, the sculpture standing girl is purchased and donated to the National Gallery (see #Zeit des Nazism ). Baum also took part in the first two exhibitions of the jury-free artists' association in Stuttgart in 1930 and 1931 and sold a work to the Kunstverein Stuttgart .

Until 1945

In the thirties, Baum received several orders for "important building sculptures", including a. Reliefs for a portal border for the Stuttgart company Hahn + Kolb , the wall relief money counter for the municipal giro bank in Stuttgart (both destroyed) and several reliefs for hydraulic structures on the Neckar. In the period from 1930 to 1945, a number of key works were created before and during the Nazi era :

  • "Baum's intention [is] not to depict a certain animal, but to create a form of being in which the typical of the respective animal is communicated." The relief panther (1932) and the sculptures cat (1934), pigeon (1941), crane (1939) and bathing bird (1944/1945) follow this principle . In 1942 Baum reduced the crane to an abstract bird , reminiscent of the famous bird in the room of Brancusi, whom he adored.
  • In 1940 Baum created the first version of his forefather mother , in which the woman's body "is simplified into a self-contained, idol-like torso". Also the fruit of the same year is "not botanically classified, but it combines in itself the principles of a fruit."
  • “The block-like, closed, cubic” sculptures of the crouching (1939) and the looking (1941) “show a completely different view of the body .

After 1945

From 1947 to 1962, Baum took part in many regional and national exhibitions. In 1957, a representative cross-section of contemporary German art is shown in the exhibition German Art of the Twentieth Century at the Museum of Modern Art in New York. Baum is featured along with 12 other sculptors, including famous older artists such as Ernst Barlach , Wilhelm Lehmbruck and Gerhard Marcks, and emerging younger artists such as Karl Hartung , Bernhard Heiliger and Hans Uhlmann . In the sixties Baum withdrew more and more from the art public and no longer took part in exhibitions.

At the beginning of the thirties Paul Westheim had already drawn the interest of the art public to the promising young artist, who then completely disappeared from the focus of public awareness during the time of National Socialism. After the war, renowned art writers again recognized Baum's importance for contemporary sculpture. Kurt Leonhard published an essay on the "sculptor Otto Baum" in 1948 in The Artwork , the first post-war magazine for contemporary art, and in two inventories of contemporary art, Hans Hildebrandt presented Baum as one of the leading younger sculptors in 1949 and 1952. In 1950 the art critic Franz Roh dedicated a monograph on Baum's work (including a catalog raisonné compiled by Baum himself) to Baum, which did much to spread his reputation as a sculptor of the avant-garde. In the overview works German Sculptors of the Present (1957) and German Sculpture from 1900 to Today (1963) Franz Roh and his wife Juliane also advocate Baum and thereby secure him “international attention”.

Even after the war, Baum occupied himself with his favorite subjects in his freelance work, with depicting animals and modeling the female body.

  • Block-like, squat animal figures are still created, for example two elephants around 1945, one of the main themes in his work, 1951/1955 a highly abstract bull , a symbol of “strength and masculinity” and in 1958 the hardwood sculpture of the little cat . With his Lochofanten, Baum came up with a lively and humorous design of the elephant motif with perforated holes and attached giant ears. Even Little Horse and Big Horse from 1955 show a new lightness and elegance.
  • While a sculpture and a relief from 1947 depict the motif of the reclining figure in a block-like form reduction, in 1953 Baum created a reclining figure with Chantal who was “permeable to space in a previously unknown way” and where “the organic context is also called into question”. The primordial mother, a leitmotif of his work, is once again formulated by Baum in the small primeval mother of 1950/1955.
  • With the sculpture Wandlung from 1948, which was shown in the cross-sectional exhibition of contemporary German art in New York in 1957, Baum created "a plastic abstraction" in which "organic life" seems to stir.
  • From the 1950s onwards, he created his own group of works with sculptures that Baum made from logs. In the Prayer (1944) through the Lament (1950) up to stages (or notches , 1960) and Paar (1965) the sculptor's intervention in the material decreases with increasing degree of abstraction.

As in the 1930s, Baum created a number of important sculptures and reliefs for public space after the war, which “from today's perspective ... in the history of modern German sculpture are outstanding and formative for schools”. This includes:

  • 1949: the free sculpture Lochofant , originally created for the 1950 garden show in Stuttgart, today in the courtyard of the Silcherschule in Stuttgart, WV 130.
  • 1957: the relief animals for slaughter , originally created for the Stuttgart slaughterhouse, today in a Stuttgart green area, WV 190.
  • 1960: the wall relief memorial for the fallen pupils in the courtyard of the Johann Friedrich von Cotta School in Stuttgart, WV 200.
  • 1964: the free sculpture gate on the grounds of the University of Education in Ludwigsburg , WV 215.

In 1950 Otto Baum joined the newly founded German Artists Association in 1950 . At his first exhibition in Berlin in 1951, he was represented with the stone sculpture Woman with Dog (1949) and the concrete sculpture Elefantenmal (1950).

Esslinger Kunststreit 1954/1955

Main sources: #Gundel 1995 , pages 27-33, #Degreif 1997 .

In 1953, the Stuttgart Waterways and Shipping Directorate asked Otto Baum to take part in a tender for a bridge sculpture, "which is very effective for the bridge deck, traffic on the riverside road and the well-traveled staircase". The competition participants were free to choose the shape and content of the sculpture. Among the six submitted works were u. a. Contributions by Alfred Lörcher , Otto Herbert Hajek and Fritz von Graevenitz . The jury met at the beginning of January 1954 and decided on Otto Baum's abstract model, which had the shape of a ship's bow or a machine part: “The author gives a symbolic plastic form that on the one hand vividly expresses the basic architectural idea of ​​a crossbar and on the other hand in its Form happily portrays the essence of shipping, water and technology. "

Immediately a public campaign against Baum's draft ensued, which met with a lack of understanding among the general public. Some even mocked him as “waste from a shoemaker's workshop”, “wooden model waste”, “old wooden shoe” or “embryo of a moon calf”. The Lord Mayor Otto Roser, after whom the bridge was later named, defended Baum's design. He was supported by prominent art critics such as Kurt Leonhard , the Association of Visual Artists Württemberg (VBKW) and ten well-known professors from the Stuttgart Art Academy . The dispute also attracted national attention: Der Spiegel reported on it, albeit in the "Hohlspiegel", the page for curiosities. At the end of January 1954, the local council recommended that the Waterways and Shipping Directorate postpone the decision on the bridge sculpture until the bridge was completed, in order to then assess the suitability of the sculpture after installing a full-size mock-up. After a year and a half, the bridge was completed and a full-size model of the bridge sculpture was placed at the intended destination. After inspecting the dummy, the local council decided in October 1955 not to realize Baum's sculpture and instead to announce a new competition. Baum was asked to contribute with his existing or a new design. Baum justified his rejection in a letter to Mayor Roser: “That is why I consider it more decent to withdraw, especially since I do not want to continue to be the cause of public disputes in the press, which give an embarrassing impression of a misunderstood democracy and unresolved demagoguery cause."

Bernhard Heiliger wins the second competition with the figurative sculpture Großer Fährmann , which was also realized. In 1963 Baum created a sculpture for the front head of the pier at the Neckar barrage in Deizisau , in which he took up the ship's bow motif in a modified form, this time without any scandalous accompanying circumstances.

Eva Zippel , a student of Baum, initially had a similar fate as her teacher with her bridge sculpture Tamed Power for Besigheim at the same time . However, despite the vehement resistance of Ludwigsburg district administrator Hermann Ebner, it was ultimately able to prevail.

classification

He "is one of the most important representatives of classical modernism, who in his work and as a teacher had a decisive influence on sculpture in the second half of our century". In the south-west of Germany “Baum is undisputedly considered the most important sculptor of his time, along with Alfred Lörcher 25 years his senior ”. Baum represented “a strictly concentrating, abstracting direction of sculpture influenced by Hans Arp and Constantin Brâncuși ”.

"Baum's endeavor [was]", as he himself expressed it in the Stuttgarter Zeitung on September 21, 1946 on the occasion of his appointment to the State Academy of Fine Arts in Stuttgart , "by means of fair treatment of materials (stone and wood) to come to a clear, plastic form, as well as to create from the impulse of the twentieth century ”.

After retiring from the art business in the early 1960s, he was almost forgotten, a state that continues to this day.

Exhibitions

As far as known, the exhibited works are identified by their work number in the catalog raisonné Part 1 ( WV ), e.g. B. WV 133 indicated. - #Wiehager 2000 , pages 199–201, was mostly used as the source for the following information and is therefore not mentioned separately.

Solo exhibitions

Solo exhibitions or exhibitions with other artists.

  • 1929: Kunstverein, Ulm. Exhibits: WV 39 (purchase), 41B, 51.
  • 1934: Comparative exhibition of German and Italian paintings by Leonhard Schmidt and A. v. Nadiani / German and Hungarian sculptures by Otto Baum and J. Csaky , Galerie Valentien, Stuttgart.
  • 1947: Factory retrospective, Munich.
  • 1948: Werner Gilles and Otto Baum, Galerie Franke, Munich.
  • 1953: Otto Baum and Paul Fontaine, Kunsthalle Barmen, Studio for New Art, Wuppertal. Exhibits: WV 50, 53, 68, 93, 99C, 100A, 101B, 102H, 115B, 120C, 123, 127, 128C, 143-145.
  • 1954: hap grieshaber - prof. Otto Baum, Württembergischer Kunstverein, art building, Stuttgart. Exhibits: WV 50, 57, 62, 71, 82, 99C, 100A, 101B, 102H, 107, 111, 115B, 116B, 118, 120C, 121B, 122B, 123, 124, 127, 128C, 129B, 141B, 143 -145, 149.
  • 1962: Otto Baum and Ida Kerkovius , Maercklin Gallery, Stuttgart.
  • 1990: Otto Baum. 1900-1977. 90th birthday commemorative exhibition, Galerie Schlichtenmaier, Grafenau.
  • 1994: Otto Baum, sculptures, Schlichtenmaier Gallery, Grafenau.
  • 1998: Otto Baum. The sculptor Otto Baum. Ostracized and forgotten, Galerieverein Leonberg.
  • 2000: Otto Baum - retrospective for the 100th birthday, Gallery of the City of Esslingen, Villa Merkel.
  • 2015: Otto Baum - From archetype to plastic form, Galerie Schlichtenmaier, Stuttgart.

Group exhibitions

  • 1929: 4th Kunstblatt exhibition of young artists, Reckendorfhaus, Berlin. Exhibits by Baum: portrait heads
  • 1930: 5th Kunstblatt exhibition of young artists, Reckendorfhaus, Berlin. Exhibits by Baum: WV 26, 49 (purchase).
  • 1930: 1st exhibition by the Jury-Free Artists' Association, Stuttgarter Kunstverein.
  • 1931: 2nd exhibition of the Jury-Free Artists' Association, Stuttgarter Kunstverein. Exhibits: # WV2 1 (purchase).
  • 1934: Kunstverein, Ulm.
  • 1936: Swabian culture of the present, Stuttgart.
  • 1937: Degenerate Art, Munich. Exhibits: WV 49.
  • 1946: Modern painting and sculpture, Municipal Museum, Lindau-Bodensee.
  • 1947: German contemporary art, Baden-Baden.
  • 1947: Modern German Art, Art Building, Tübingen. Exhibits: WV 68, 102A, 111, 116B, 120B.
  • 1947: Stuttgart Secession, Württembergischer Kunstverein in the Künstlerhaus Sonnenhalde, Stuttgart. Exhibits: WV 48B (?), 121B.
  • 1947: Local modernism, Dr. Herbert Herrmann, Stuttgart.
  • 1947: Adolf Hölzel and his students. Modern painting in the Backnang Adult Education Center. Exhibits: WV 122.
  • 1947: Works by students and friends of Adolf Hölzel , Galerie Swiridoff, Ludwigsburg. Exhibits: WV 122.
  • 1948: Hölzel student, Heilbronn.
  • 1949: German painting and sculpture of the present, State House of the Fair, Cologne.
  • 1950: German and French contemporary art. An encounter. An event of the Ruhr Festival Recklinghausen, Kunsthalle Recklinghausen.
  • 1951: Deutscher Künstlerbund, 1st exhibition, University of Fine Arts, Berlin-Charlottenburg. Exhibits: WV 128B, 131 (?).
  • 1952: German Association of Artists, Contemporary Painting and Sculpture, 2nd Exhibition, State House of the Fair, Cologne.
  • 1952: Free group of Württemberg painters and sculptors, State Gallery Stuttgart. Exhibits: WV 68, 99, 101A, 128C, 142C.
  • 1952: International art exhibition, St Moritz.
  • 1952: gruppe sw, 1st exhibition, Amerikahaus Stuttgart.
  • 1952: Fine hands, 1st art exhibition Baden-Württemberg, Höhenpark Killesberg, Stuttgart.
  • 1954: Deutscher Künstlerbund, 4th exhibition, House of German Crafts, Frankfurt am Main.
  • 1954: Arte Alemán actual. Exposixión de German Art Council e. V., Mexico City.
  • 1955: Art exhibition Baden-Württemberg, Württembergischer Kunstverein, Stuttgart. Exhibits: WV 127, 116B, 166B.
  • 1957: German Art of the Twentieth Century, The Museum of Modern Art , New York. Exhibits: WV 127, 141, 143.
  • 1959: German art 1959 1, State Art Gallery Baden-Baden. Exhibits: WV 192.
  • 1959: 5th State Art Exhibition Tübingen, Artists Association of Baden-Württemberg. Contemporary painting, sculpture, graphics, knights' hall at Hohentübingen Castle.
  • 1960: Swabian plastic since 1900 - graphic arts and sculpture, gallery ferry , Bad Saulgau .
  • 1962: Sculpture i Tyskland efter 1950. Sculpture, Studier, Teckningar, graphics, Stockholm / Göteborg / Malmötvästeräs / Norrköping / Hälsingborg.
  • 1972: Lütze Collection. German art of the XX. Century, Stuttgarter Galerieverein e. V., State Gallery Stuttgart.
  • 1981: Leonberger sculptor, Leonberg.
  • 1982: Art of the 50s in Baden-Württemberg, Prinz-Max Palais, Karlsruhe, / Municipal Museum in the Prediger, Schwäbisch Gmünd / Wessenberghaus Konstanz / Rheinisches Landesmuseum, Bonn / Württembergischer Kunstverein, Stuttgart. Exhibits: WV 127.
  • 1984: Sculptures from the 60s and 70s in the southwest, gallery of the city of Esslingen am Neckar, Villa Merkel.
  • 1985: 20th century art from southern Germany. Lütze II collection. 100 years of sculpture, Schwäbisch Gmünd Municipal Museum.
  • 1986: Art of the 19th and 20th centuries in Baden-Württemberg. 25 years gallery of the city of Stuttgart in the art building, gallery of the city of Stuttgart.
  • 1987: Stuttgart Secession. Exhibitions 1923–1932 / 1947, Städtische Galerie Böblingen / Galerie Schlichtenmaier, Grafenau. Exhibits: WV 45, 49A (?).
  • 1988: Stuttgart Art from 1913-1936, State Representation Baden-Württemberg, Bonn / Stuttgarter Bank, Stuttgart.
  • 1988: Freie Gruppe Stuttgart, Städtische Galerie Böblingen / Galerie Schlichtenmaier, Böblingen / Grafenau.
  • 1989: departure '51. Attempt at a reconstruction, graphics and drawing, painting, sculpture. German Association of Artists 1950. Emschertal Museum, Herne / Märkisches Museum der Stadt Witten / Sculpture Museum Glaskasten, Marl.
  • 1990: 45 years of painting, sculpture and graphics at the State Academy of Fine Arts Stuttgart, Galerie Schlichtenmaier, Grafenau.
  • 1991: Lütze III collection. Works on paper by sculptors and object artists of the 19th and 20th centuries from southern Germany. Painting - drawing - collage, Mannheimer Kunstverein / Esslinger Kunstverein / Kunstverein Augsburg.
  • 1991: German sculptors 1900–1945 degenerate, Nijmeegs Museum Commanderie van Sint-Jan / Frans Halsmuseum, Haarlem / Gerhard Marcks-Haus, Bremen / Westfälisches Landesmuseum, Münster / Wilhelm-Lehmbruck-Museum, Duisburg / Städtische Kunsthalle, Mannheim.
  • 1992: When Baden-Württemberg was founded ... The situation of art 40 years ago, Galerie Schlichtenmaier, Grafenau.
  • 1993: The Ralf Deyhle II Collection, Figure and Abstraction in German Art of the 20th Century, Schleswig-Holstein State Museum, Gottorf Castle, Schleswig / State Museum, Mainz / State Gallery Moritzburg, Halle / Cappenberg Castle, Unna District / City Gallery, Stuttgart .
  • 1993: Stuttgart art 25 years ago. Painting and sculpture. An exhibition to mark the 25th anniversary of the bank building of the Baden-Württembergische Bank on Kleiner Schloßplatz in Stuttgart.
  • 1993: Southwest German art between tradition and modernity 1914–1945, Staatliche Kunstsammlungen Dresden / Kunststiftung Hohenkarpfen / Städtische Galerie Villingen-Schwenningen.
  • 1994: Return of Modernism, 1945-Überlingen 1995. The first post-war exhibition of ostracized German art, Municipal Gallery “Fauler Pelz”, Überlingen / Vonderau Museum, Fulda / State Representation Baden-Württemberg, Bonn / State Parliament of Baden-Württemberg, Stuttgart.
  • 1997: figuration and construction. Paths of Two Generations, Galerie Schlichtenmaier, Grafenau.
  • 1997: today, yesterday and tomorrow. Anniversary exhibition for the publication of the 150th catalog, Galerie Schlichtenmaier, Grafenau.
  • 1998: zero hour. German art of the late 1940s, Staatsgalerie Stuttgart.
  • 2000: Kurt Leonhard on his 85th birthday, Galerie Schlichtenmaier, Grafenau.

Works in public collections

As far as is known, the works stored in the collections are identified by their work number in the catalog raisonné Part 1 ( WV ), e.g. B. WV 133 indicated.

  • Böblingen, Municipal Gallery: WV 141B.
  • Esslingen, Gallery of the City of Esslingen, Villa Merkel: WV 21C, 102G, 142D, 192.
  • Esslingen, District Office: WV 115A.
  • Sindelfingen, Gallery of the City of Sindelfingen , Lütze Collection: 134A, 142C or 156C.
  • Stuttgart, Art Museum: WV 78, 128B.
  • Stuttgart, State Academy of Fine Arts: WV 182B.
  • Stuttgart, Staatsgalerie: WV 48B, 60, 93, 94B, 102G, 110, 166.
  • Ulm, District Office Alb-Donau-Kreis: WV 21B, 130B, 167C, 175C.

Catalog raisonné

Column legend and sorting 
Legend
WV Catalog raisonné number WV in the catalog raisonné Part 1 .
year Year of origin.
description Work titles are in italics .
Sorting
  • Sort a column: Sort both small.svgclick the symbol in the column header.
  • Sort by another column: Hold down the Shift key and Sort both small.svgclick the symbol .
  • Initial sorting: according to WV.

Works in public space

f1Georeferencing Map with all coordinates of the section Works in public space : OSM

WV year Illustration description material Height ×
width ×
depth in cm
address
15th 1937 Construction sculpture at a paint factory, destroyed. Stuttgart
75 1935 Boatswain , relief made of modeled bricks on the Neckar lock. Red sandstone Neckargerach -Guttenbach
76 1935 Portal surround at the entrance of the former Hahn & Kolb house, relief, destroyed in 1944. Shell limestone Stuttgart , Koenigstrasse 14World icon
83 1937 Three reliefs on the memorial stone for the completion of the Neckar Canal route Mannheim-Heilbronn, at the lock. limestone 280 × 120 × 360 Neckargemünd
87 1937 Money counter , wall relief in the stairwell of the municipal current account, destroyed during renovation in the 1960s. Shell limestone Stuttgart
90 1937 Otto Baum, 15.jpg Rider , relief on the entrance door of the former house of the architect Richard Döcker . cement approx. 95 × 45 Stuttgart , Wagenburgstrasse 22World icon
91 1937 Otto Baum, 05.jpg Wagenburg , relief above the entrance to the front garden of the former house of the architect Richard Döcker . cement approx. 80 x 80 Stuttgart , Wagenburgstrasse 22World icon
96 1939 Otto Baum, 12.jpg Resting couple , relief in the wedding room of the Old Town Hall. Patinated bronze 78 × 147 × 11 Leonberg , Marktplatz 9World icon
98 1940 Otto Baum, 17.jpg Racing car , relief on a facade on the premises of the automotive supplier Mahle . Shell limestone Stuttgart , Pragstrasse 46World icon
130 1949 Otto Baum, 06.jpg Elefantenmal ( Lochofant ), Zuffenhausen , Silcherschule, schoolyard, formerly at the 1950 garden show on the Killesberg in Stuttgart. concrete 360 Stuttgart , Schwabbacher Strasse 25World icon
148 1953 Otto Baum, 01.jpg Pieta , relief, Pliensaufriedhof, memorial stone for the expellees from the East ("Cross of the East"), inscribed: "B.". Red sandstone Esslingen am Neckar , Eichendorffstraße 30/2 (nearby)World icon
165 1954 Otto Baum, 11.jpg Sailboats and birds , wall relief on building 2 of the summer train school. concrete Stuttgart , Edelweissweg 11World icon
170 1955 Relief above the entrance to the Lammerberg School. Oak planks 300 × 800 Tailfingen
188 1958 Otto Baum, 07.jpg Nursing care , relief on the connecting passage between houses A and I of the Katharinenhospital. Shell limestone 500 × 1750 Stuttgart , Jägerstrasse 58World icon
190 1957 Otto Baum, Kuhherde.jpg Animals for slaughter, cattle, cows and calves , relief, Untere Klingenbachanlage, formerly in Stuttgart- Wangen at the cold store of the slaughterhouse, inscribed: "B. 57 ". concrete 250 × 820 × 30 Stuttgart , Talstrasse 73 (opposite)World icon
196 1958 The big game , lying relief as a seated sculpture, in front of the lecture hall of the dental and jaw clinic of the University of Freiburg im Breisgau. Shell limestone Freiburg in Breisgau
197 1956 Otto Baum, 16.jpg Mother Earth , stone sculpture on the path in front of the main gate of the German Weather Service . Shell limestone 80 × 150 Offenbach am Main , Frankfurter Strasse 135
200 1960 Otto Baum, memorial.jpg Memorial for the fallen students , double-sided wall relief, Stuttgart-Berg , Johann-Friedrich-von-Cotta-Schule, school yard, inscribed: "Tree". Shell limestone 240 × 1000 × 60 Stuttgart , Sickstrasse 165World icon
202B 1951 Otto Baum, 19.jpg Great primordial mother or motherliness , plastic, in the Rotebühlbau (former Oberfinanzdirektion), central building, main staircase, 6th floor. Polished bronze, patinated black-brown 100 × 86 × 80 Stuttgart , Rotebühlplatz 30World icon
203 1961 Arrangement of the fossils on the posidonia slate wall in the foyer of the state parliament of Baden-Württemberg . Stuttgart , Konrad-Adenauer-Strasse 3World icon
204 1961 Otto Baum, 18.jpg Bathing deer (?), Plastic concrete wall on the terrace of the former Hotel Quellenhof, today the Quellenhof Neurological Rehabilitation Center. concrete 215 × 700 × 30 Bad Wildbad
205 1961 Fountain issue , building sculpture in the fountain hall. concrete Bad Wildbad
210 1962 Bathing deer (?), Building sculpture. concrete Bad Wildbad
211 1963 Otto Baum, 09.jpg Elephant group (three elephants), plastic in the school yard of the Schönbuchschule in Dürrlewang . concrete Stuttgart , Dürrlewangstrasse 20World icon
213 1963 Otto Baum, 10.jpg Shipping symbol (bow), Neckar barrage in Deizisau at the head of the pier. concrete approx. 750 Deizisau World icon
215 1964 Otto Baum, 08.jpg Gate , plastic in front of the cafeteria of the University of Education (Building 10). Shell limestone 450 × 285 × 55 Ludwigsburg , Reuteallee 46World icon

plastic

WV year Illustration description material Height ×
width ×
depth in cm
26 B 1928 Otto Baum, 028.jpg Elephant , plastic. bronze approx. 30
49 B 1930 Otto Baum, 027.jpg " Standing girl (destroyed), plastic. bronze Height: approx. 65
50 1930 Otto Baum, 020.jpg " At anchor , relief. Maple with rope 104.5 × 144 × 9.5
51 B 1930 Otto Baum, 030.jpg Combing , plastic. Highly polished bronze on a diabase base 34–35 × 16.5–17 × 22–23, base: 5 × 14.5 × 14
53 1930 Otto Baum, 023.jpg Portrait of Dr. Manfred Breuninger , plastic. Bronze with dark brown patina 50 × 21 × 21.5
59 1930/1932 Otto Baum, 029.jpg Mother and child (destroyed), design for a wooden relief. volume approx. 200 × 120
61 1932 Otto Baum, 046.jpg Elefant , private property, Stuttgart. Tinted plaster 30.5 × 15.5 × 23
62 1932 Otto Baum, 032.jpg Panther , relief. Macassar ebony 61 × 130 × 11
68 1933/1934 Otto Baum, 033.jpg Cat , sculpture. Macassar ebony 65
70 1934 Otto Baum, 045.jpg The lonely , private property, Stuttgart. african wood 109.5 (with base) × 25.5 × 23
71 1934 Otto Baum, 021.jpg Boat , relief. Bronze with dark brown patina 82.5 x 57.5 x 7.5
92 A 1938/1939 Otto Baum, 024.jpg Girl on the beach , plastic. plaster 91 × ​​22 × 22
94 D 1939 Otto Baum, 038.jpg Crouching I , plastic. Bronze with dark brown patina 42.3 (43) × 23 × 22 (20)
99 A 1940 Otto Baum, 036.jpg Primeval mother , sculpture. Shell limestone 60 × 46 × 44
100 U 1940 Otto Baum, 037.jpg The fruit , plastic. Bronze highly polished 16 × 30 × 20
102 H. 1941 Otto Baum, 034.jpg Pigeon , plastic. Highly polished brass 9.5 x 13 x 23.5
103 1942. Otto Baum, 035.jpg Bird , sculpture. Paduk wood on a diabase base 85 × 7.5 × 7.5, base, height × diameter: 21.5 × 11
109 1930/1935 Otto Baum, 025.jpg Girl , relief. Linden tree 110 × 38 × 18
109 1930/1935 Otto Baum, 026.jpg Reclining , relief. Linden tree 110 × 38 × 18
116 B 1944/1945 Otto Baum, 022.jpg Portrait of Katharina Dobbs , sculpture. Bronze with a dark patina 41 (with base 60) × 27 × 18
126 1948 Otto Baum, 041.jpg Change , plastic. plaster 91 × ​​30 × 30
142 C 1951 Otto Baum, 039.jpg Bull , plastic. Bronze with dark to black patina 18-19.5 x 18 x 30-31
similar to 150 1953/1958 Otto Baum, 040.jpg Chantal , plastic. Cast bronze on bronze plate 15 × 49 × 15
157 1953 Otto Baum, 043.jpg Ship bow I , 1st draft for a bridge sculpture in Esslingen .. Shell limestone
201 1960 Otto Baum, 042.jpg Steps (or notches ), sculpture. Guaiac wood on a diabase base 106/120 × 15.5 / 22 × 26

Memberships

  • 1951–1956: German Association of Artists.
  • from around 1952: Free group of Swabian painters and sculptors.

literature

The works discussed or illustrated are identified by their work number in the catalog raisonné Part 1 ( WV ), e.g. B. WV 133 (except for collective works like #Roh 1950 and #Wiehager 2000 ).

Basic literature

Testimonials

  • Notes from the estate, [1940s]. Reprint: #Leonhard 1994 , page 15, and: #Wiehager 2000 , page 79.
  • Whoever wants rights has duties - like me - according to the state , typescript from the estate, around 1945/46. Reprint: #Wiehager 2000 , page 78.
  • Otto Baum's letter to the Stuttgarter Zeitung . Reprint: #Tree 1946 .
  • Chronological catalog raisonné 1927–1949. Imprint: #Tree 1950 .
  • Handwritten dedication. Reprint: #Roh 1957 , no page number.
  • Different quotes. Reprint: #Kinkel 1960 .
  • Different quotes. Reprint: #Kalliga 1975 .
  • Letter to Freerk Valentien dated February 26, 1975, Galerie Valentien.

reference books

  • Heinz R. Fuchs: Plastik der Gegenwart , Baden-Baden 1970, page 237.
  • James Mackay: The Dictionary of Western Sculptors in Bronze , Woodbridge 1977, 37.
  • Robert Maillard (Editor): New dictionary of modern sculpture , New York 1971, pp. 28-29.
  • Gert K. Nagel : Swabian artist lexicon. From the Baroque to the Present , Munich 1986, page 20.
  • Henry Schaefer-Simmern: Sculpture in Europe today , Berkeley / Los Angeles 1955, page 19, plates 58-60 ( WV 53, 133, 142).
  • Michel Seuphor : The sculpture of our century. Dictionary of Modern Plastic , Neuchatel 1959, page 235.
  • Monika Spiller: Baum, Otto . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 7, Saur, Munich a. a. 1993, ISBN 3-598-22747-7 , p. 576.
  • Baum, Otto . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 1 : A-D . EA Seemann, Leipzig 1953, p. 134 .
  • Alfred Paul Zeller (translation); Giovanni Caradente (collaboration): Lexicon of Modern Sculpture , Munich 1964, pages 29–30.

life and work

  • "The State Academy of Fine Arts Stuttgart 1946–1953", Stuttgart 1953, pages 44–45.
  • Otto Baum: Otto Baum [letter to the Stuttgarter Zeitung] . In: The Academy of Fine Arts . In: Stuttgarter Zeitung of September 21, 1946, Sunday supplement Die Brücke zur Welt ( WV 116).
  • Walter Brudi [ed.]: State Academy of Fine Arts, Stuttgart. For the 200th anniversary of the academy in 1761/1961. The teachers 1946-1961 , Stuttgart 1961, pages 66-69.
  • Marc Fredric Gundel: Academy student body and teaching after 1945. On the significance and problems using the example of Otto Baum and Herbert Baumann as art college teachers , dissertation University of Heidelberg, Heidelberg 1995.
  • Marc Fredric Gundel: Artistic educational work during and after the Second World War. To Otto Baum (1900-1977) as private teacher of Gudrun Krüger and art college teacher . In: Peter Anselm Riedl; Marc Gundel: Gudrun Krüger - Beginnings - Present , Eningen unter Achalm 1997, pages 5–11.
  • Martin Kalliga: Being, honest, whole being. For the 75th birthday of the sculptor Professor Otto Baum . In: Esslinger Zeitung of January 20, 1975, page 7.
  • kd: The Swabian Brancusi. On the death of the sculptor Professor Otto Baum . In: Stuttgarter Nachrichten of February 9, 1977.
  • Wolfgang Kermer : Died [On the death of Professor Otto Baum on January 22, 1977] . In: Akademie-Mitteilungen , Staatliche Akademie der Bildenden Künste Stuttgart, 8.1978, page 91.
  • Hans Kinkel: meeting Otto Baum. For the sixtieth birthday of the Stuttgart sculptor . In: Stuttgarter Zeitung of January 21, 1960, page 8. Abbreviated reprint: #Kinkel 1960.2 .
  • Hans Kinkel: meeting Otto Baum . In: Weltkunst 30.1960, No. 4 from February 15, page 11.Abbreviated copy of #Kinkel 1960.1 .
  • Dieter Kölmel: Commemorative program Otto Baum. Out of date and tasteless . In: Stuttgarter Nachrichten of April 14, 1977.
  • The work of art 5.1951, issue 2, page 9, 39.
  • Bärbel Küster (editor); Wolfram Janzer (photos): Sculptures of the 20th Century in Stuttgart , Heidelberg 2006, pages 14–15, 26, 32, 75, 93, 103, 139. Contains: #Schick 2006 .
  • MK: Roots in the primordial. On the death of the sculptor Professor Otto Baum . In: Cannstatter Zeitung of February 4, 1977.
  • R. Tsch .: Professor Otto Baum. Portrait . In: Eßlinger Anzeiger from August 28, 1954 ( WV 157).
  • Ulrich Rothermel: The big game. On the death of the sculptor Otto Baum . In: Stuttgarter Zeitung of February 10, 1977.
  • A. Sansoni: sculptor, academy professor Otto Baum, Stuttgart, 65 years! . In: Der Naturstein 20.1965, issue 3 of March 10, pages 78–82.
  • Karin Schick: Otto Baum. Great great mother 1961 . In: # Küster 2006 , page 57-60.
  • Paul Swiridoff : Portraits from the spiritual Germany , Pfullingen 1965, page 36-37.
  • Eva Zippel: memories. Otto Baum . In: Eva Zippel; Angelika Fellmer (editor); Carola M. Hoehne (editor): Written. Night Thoughts, Stories, Literary Sketches , Stuttgart 2011, page 77.

plant

  • Fritz R. Barran: Art in Architecture, Today. Mural, relief and sculpture in contemporary architecture. Introduction by Walter Müller , Stuttgart 1964, pages 118, 142, 161.
  • Julius Baum : The 20th Century . In: Julius Baum; Werner Fleischhauer ; Stina Kobell : Swabian art in the 19th and 20th centuries , Stuttgart 1952, pages 161–219, Otto Baum: page 218.
  • Willi Baumeister: The unknown in art , Stuttgart 1947, page 184, figure 146 ( WV 100).
  • Jürgen Brand: A herd of cows in the Klingenbachanlage. Otto Baum's artwork once adorned the slaughterhouse, now it is part of the new part of the park . In: Stuttgarter Nachrichten of April 25, 2012, page V.
  • Uwe Degreif: Sculptures and Scandals. Art conflicts in Baden-Württemberg , Tübingen 1997, pages 45–52, 181–184, 202–207, 228, 242, 252.
  • Kurt Friedrich Ertel: Modern German sculpture , Bayreuth [1966], plate 25 ( WV 139B).
  • Angelika Fellmer (editor); Kurt Leonhard (text); Eva Zippel (illustration): Sculptures and drawings from the years 1947–1989 , [Stuttgart] 1990.
  • Trude Fischer-Borst (editor): The Hugo Borst collection in Stuttgart. Documentation and chronicle. Pictures and sculptures from Germany, France and Switzerland from 1900-1933 , Stuttgart 1970, pages 24, 26-27 ( WV 48B, 60, 81).
  • Ulrich Gertz: Plastik der Gegenwart , volume [1], Berlin 1955, pages 250, 253, 255.
  • Ulrich Gohl: A work of art that hardly anyone takes notice of. This concrete sculpture is guaranteed to be overlooked by anyone who does not know it - completely wrongly . In: Stuttgarter Nachrichten of May 16, 2012, page IV.
  • Dieter Hannemann (editor); Gerlinde Beck (selection of images): Art in Architecture - State of Baden-Württemberg. 25 years of artistic creation in state building construction in Baden-Württemberg , Stuttgart 1979, pages 20, 123, 181–182 ( WV 215).
  • Dieter Hannemann: Art in Architecture. State capital Stuttgart. A documentation of all works of art commissioned by the state capital Stuttgart in the field of architecture 1949 to 1979 , Stuttgart 1979, pages 14–15.
  • Joachim Heusinger von Waldegg : Plastic . In: Erich Steingräber (editor): German art of the 20s and 30s , Munich 1979, pages 236–303, Otto Baum: 288–290.
  • Hans Hildebrandt : The current situation of art in Germany . In: The work. Swiss monthly for fine and applied arts 36.1949, issue 7, July, pages 230-235, Otto Baum: page 230 ( WV 62), 235 doi : 10.5169 / seals-28349 .
  • Hans Hildebrandt : German sculpture of the present . In: The work. Swiss Monthly for Fine and Applied Arts 39.1952, page 265–272, Otto Baum: page 269 ( WV 93), 270 doi : 10.5169 / seals-30271 .
  • Werner Hofmann: The sculpture of the 20th century , Frankfurt am Main 1958, page 155.
  • Eugen Keuerleber: Gallery of the City of Stuttgart (= Museum 1984, August), Braunschweig 1984, page 120 ( WV 128B), 124.
  • The work of art 1.1946 / 47, issue 8/9, page [57] (like WV 114/115, with the wrong caption full instead of tree and the correct work name under Voll, Christoph on page 60, correction in volume 12, page 58).
  • The artwork 4.1950, issue 8/9, page [88].
  • Kurt Leonhard : The sacred area. Conversations about modern art , Stuttgart 1947, pages 29–30 ( WV 68), pages 30–31 ( WV 99), after page 32 ( WV 68, 99).
  • Kurt Leonhard: The sculptor Otto Baum . In: The artwork 2.1948, issue 10, pages 36–39. Reprint: #Leonhard 1994 , pages 7-10.
  • Kurt Leonhard: What is art? A basic question and 39 examples , Stuttgart 1981, No. 12 ( WV 207).
  • Otto Pannewitz (catalog): Gallery of the City of Sindelfingen, Lütze Museum. South German art of the late 19th and 20th centuries , Sindelfingen 1990, pages 32, 188 ( WV 134B), 215.
  • Artistic design of the buildings on the Neckar . In: The Rhine shipping. Trade journal for inland navigation and ferry services No. 4 of February 25, 1963, page [49] ( WV 72, 84).
  • Juliane Roh: Otto Baum and modern sculpture . In: Art. Painting, sculpture, graphics, architecture, home decor. Editor Franz Roh 1.1948, pages 92–96.
  • Franz Roh : Otto Baum , Tübingen 1950. Contains #Baum 1950 .
  • Juliane Roh : German Sculptors of the Present , Munich 1957, Page 15, Figure 18-19.
  • Franz Roh : German sculpture from 1900 to today , Munich 1963, pages 49, 56, 59, 63–65.
  • Uwe Rüth: Sculpture in Art around 1950 . In: Robert Lemke (Karalog): Aufbruch '51: An attempt at a reconstruction . Graphics & drawing, painting, sculpture. [Deutscher Künstlerbund, first exhibition Aug. 1 - Oct. 1, 1951 in the rooms of the University of Fine Arts, Hardenbergstr. 33], Herne [1989], pages 15-19, Otto Baum: pages 13, 17-18, footnote 20 on page 19 ( WV 132).
  • Alois Schardt : What is German art? . In: Kunst- und Antiquitäten-Rundschau 41.1933, pages 282–286, Otto Baum: pages 285–286.
  • Erich Schlenker: Swabian sculpture of the present. Their attitude and their special expressions . In: Swabia. Monthly booklets for folklore and culture December 12th, 1940, pages 593–615, Otto Baum: pages 608/611, 609 ( WV 87).
  • Concave mirror. Split into two camps. [To the Esslingen art dispute] . In: Der Spiegel No. 7 of February 10, 1954, page 2 ( WV 157).
  • Ulrike Spranger-Hauschild: The art of the early years, Freiburg 1945 - 60th Freiburg Municipal Museums, Museum of New Art, September 5 to October 18, 1992 , Freiburg 1992, page 145, 146 ( WV 194, 196).
  • Hermann Stroebel (text and image); Helmut Ley (editor): Builder City of Stuttgart, Volume 2: A performance report of the City of Stuttgart and the Swabian construction industry , Stuttgart 1956, page 44 ( WV 165).
  • Hermann Stroebel (text and image); Helmut Ley (editor): Client City of Stuttgart, Volume 3: A performance report of the City of Stuttgart and the Swabian building trade , Stuttgart 1963, page 133 ( WV 200).
  • Cornelius Fritz Valentien: Stuttgart exhibitions . In: Weltkunst 4.1930, No. 42 from October 19, pages 3, 9, Otto Baum: page 9.
  • Paul Westheim : The “Kunstblatt” exhibition of young artists in the Reckendorfhaus, Berlin. From November 22nd to December 21st, 1930 . In: Das Kunstblatt 14.1930, pages 358–371, Otto Baum: 361–362, illustrations: 353 (like WV 26), supplement ( WV 49).
  • Paul Westheim : The “Kunstblatt” exhibition of young artists in the Reckendorfhaus, Berlin. [December 1929] . In: Das Kunstblatt 14.1930, pages 1-16, Otto Baum: page 15.
  • Fritz Wiedermann: Plastic works of art for the Neckar barrages . In: Der Holz- und Steinbildhauer 1956, Issue 1, Pages 1–6, Otto Baum: Image 1–3.
  • Günther Wirth: Stuttgart's contribution to contemporary art. The sculpture . In: Helmut Heißenbüttel (editor); Peter Beye (contributions): Stuttgart Art in the 20th Century. Painting, sculpture, architecture , Stuttgart 1979, pages 122–135, Otto Baum: pages 123, 124, 125, 157.
  • Günther Wirth: Art in the German Southwest. From 1945 to the present , Stuttgart 1982, pages 9, 232, 237, 241, 248, 259, 262, 264, 270, 274, 294.
  • Claus Zoege von Manteuffel (editor, articles); Axel Burkarth (contributions); Ursula Zeller (contributions): Art and Artists in Württemberg , Stuttgart 1996, pages 134–135, 141, 147, 193–195, 197, 204.

"Degenerate art"

  • Christine Ackermann: Artists fates in the Third Reich in Württemberg and Baden , Stuttgart [1987], page 22, 68-69.
  • Stephanie Barron; Peter Guenther (contributions): “Degenerate Art”. The fate of the avant-garde in Nazi Germany , Munich 1992, WV 49: pages 22, 56–57, 200 (No. 16241).
  • Werner Haftmann : Ostracized Art. Fine artists of the inner and outer emigration in the time of National Socialism , Cologne 1986, pp. 261–262, 390.
  • Karin von Maur: Iconoclasm in the State Gallery in Stuttgart. In: picture cycles. Evidence of ostracized art in Germany 1933 - 1945. Staatsgalerie Stuttgart, Graphic Collection, June 28 - August 16, 1987 , Stuttgart 1987, page D 7, D 35 ( #Wiehager 2000 , page 194, no. 1: Portrait of a woman ).
  • Peter-Klaus Schuster : National Socialism and “Degenerate Art”. The “art city” Munich 1937; [on the occasion of the exhibition "Degenerate Art: Documentation on the National Socialist Iconoclasm in the Holdings of the State Gallery of Modern Art in Munich", in the State Gallery of Modern Art, Munich (November 27, 1987 - January 31 , 1988 )] , Munich 1988, pages 138, 139 ( WV 49 ).
  • Christian Tümpel (editor): German sculptors 1900-1945, degenerate , Königstein im Taunus 1992, pages 12, 24 (because of footnote 80), 25, 192, 202-203, catalog number 86.
  • Matthias Wemhoff (editor): The Berlin sculpture find: "Degenerate Art" in the bomb rubble; Discovery - interpretation - perspective; Accompanying volume to the exhibition with the contributions from the Berlin Symposium March 15-16, 2012. Regensburg 2012, especially pages 202–213, 253.
  • Günther Wirth: Verbotene Kunst 1933 - 1945. Persecuted Artists in the German Southwest , Stuttgart 1987, page 172, 175, 259, 289.
  • Christoph surcharge: Degenerate Art - Exhibition Strategies in Nazi Germany , Worms 1995, pages 251–252, Figs. 35 and 79 ( WV 49).

Catalogs

  • Art exhibition Baden-Württemberg 1955. Württembergischer Kunstverein Stuttgart. From July 3 to August 28, 1955 , Stuttgart 1955, No. 10-12 ( WV 127, 116B, 166B).
  • See also: #Barron 1992 .
  • Otto Baum: My Way 1927–1949. [Chronological catalog raisonné] . In: #Roh 1950 , appendix.
  • Peter Beye (editor); Kurt Lochs (editor): Catalog of the Staatsgalerie Stuttgart, Neue Meister , Stuttgart 1968, pages 204–205.
  • Wilhelm Boeck ; Kurt Leonhard ; Karl Jaspar: Modern German Art. With texts by Wilhelm Boeck and Kurt Leonhard. List of artists and works of art edited by Karl Kaspar under the guidance of Wilhelm Boeck , Tübingen 1947, page 38.
  • Toni Feldenkirchen (editor): Contemporary German Painting and Sculpture, Cologne 1949, May 14th - July 3rd. Organized by the City of Cologne in the State House of the Fair , Cologne 1949, catalog no. 379–383, plate cat.-no. 381 .
  • Alfred Hentzen : Sculpture . In: Werner Haftmann; Alfred Hentzen; William S. Lieberman, Andrew Carnduff Ritchie (Editor): German art of the twentieth century. The Museum of Modern Art, New York , New York 1957, pp. 141-183, Otto Baum: pp. 178, 219.
  • Eugen Keuerleber: Art of the 19th and 20th centuries in Baden-Württemberg. 25 years of the gallery of the city of Stuttgart in the art building. Acquisitions since 1961. Galerie d. City of Stuttgart February 6 - March 9, 1986 , Stuttgart 1986, page 69.
  • Deutscher Künstlerbund 1950. First exhibition in Berlin 1951, University of Fine Arts, Berlin-Charlottenburg, Hardenbergstr. 33 , Berlin, 1951 ( WV 128B, 131 (?)).
  • Irene Lehr; Niklas Becker; Henriette Retzlaff; Jennifer Richter: Galerie Valentien, Stuttgart, auction 32, September 18, 2010 , Stuttgart 2010, page 23 ( WV 102A No. 1).
  • Kurt Leonhard ; Harry Schlichtenmaier: Otto Baum - sculptures. June 12th - August 13th 1994 Gallery Schlichtenmaier, Dätzingen Castle , Grafenau 1994.
  • Karin von Maur ; Gudrun Inboden: Painting and sculpture of the 20th century , Stuttgart 1982. Does not contain anything about Otto Baum.
  • See also: #Maur 1987 .
  • Gabriele Merkes (editor): The collection of the State Academy of Fine Arts Stuttgart. Catalog of the State Academy of Fine Arts Stuttgart. [Appears on the occasion of the exhibition "The Collection of the State Academy of Fine Arts Stuttgart", October 24 - November 11, 2000 in the State Academy of Fine Arts Stuttgart] , Stuttgart 2000, pages 34–35 ( WV 182B), 117.
  • Hans-Dieter Mück (editor); Harry Schlichtenmaier (editor): Stuttgart Secession. Exhibitions 1923–1932, 1947 , Böblingen 1987, pages 23, 30, 96, 98, 110–111, 205 ( WV 49A).
  • Hans-Dieter Mück: Free Group Stuttgart. Exhibitions 1952 and 1963 , Böblingen 1988, pages 9, 13, 18, 20, 27, 37, panels 2–5 ( WV 68, 99, 101A, 126, 127).
  • Hans-Dieter Mück; Magnus Gellert (contributions): Magic of Reality, Magic of Form, 1925 - 1950 - A tribute to Franz Roh, 1890 - 1965. A catalog book for the exhibition at the Kunsthaus Apolda Avantgarde , January 16, March 12, 2000, [Stuttgart] 2000, Pages 154–155 ( WV 100F, 142C, 51D).
  • Bernd Rau (editor): Lütze collection. German art of the XX. Century. Exhibition June 10 to July 30, 1972. Stuttgarter Galerieverein e. V., Staatsgalerie Stuttgart , Stuttgart 1972, page 18.
  • Felix Reuße (catalog editor): The sculptor Otto Baum, ostracized and forgotten. Galerieverein Leonberg 20.9. - 15.11.1998 , Leonberg 1998.
  • Bert Schlichtenmaier; Harry Schlichtenmaier; Kuno Schlichtenmaier: Stuttgart New Secession 1929 - 1933. An exhibition of the cultural office of the city of Böblingen and the gallery Schlichtenmaier, Grafenau, Dätzingen castle. Attempt to reconstruct the founding exhibition in 1929 at the Württembergischer Kunstverein Stuttgart , Böblingen 1986, page 50.
  • Harry Schlichtenmaier; Gerhard Hesler: Otto Baum 1900 - 1977. Memorial exhibition for his 90th birthday. March 4 - March 31, 1990, Galerie Schlichtenmaier, Dätzingen Castle , Grafenau 1990.
  • See also: #Schuster 1988 .
  • Corinna Steimel: Fancy shapes. Adolf Hölzel, Willi Baumeister, Otto Baum. Stuttgart, Kleiner Schlossplatz, Schlichtenmaier Gallery. [Duration of the exhibition: September 15, 2011 to November 26, 2011] , Stuttgart 2011.
  • See also: # Tümpel 1992 .
  • Renate Wiehager (editor); Harry Schlichtenmaier (catalog raisonné): Otto Baum. Retrospective for the 100th birthday. Edited by Renate Wiehager. With a catalog raisonné by Harry Schlichtenmaier. Villa Merkel Esslingen, June 25 - July 30, 2000 , Esslingen 2000.
  • Harry Schlichtenmaier: [Otto Baum], catalog raisonné part 1 . In: #Wiehager 2000 , pp. 109–193.
  • Harry Schlichtenmaier: [Otto Baum], catalog raisonné part 2 . In: #Wiehager 2000 , page 194.

Documentary film

  • The sculptor Otto Baum , documentary by Süddeutscher Rundfunk , camera: Dieter Mährlen, manuscript: Bernhard Dörries, director: Rainer Wolffhardt , duration: approx. 26 minutes, first broadcast: 1960, repetition: April 12, 1977.
  • Dieter Kölmel: Commemorative program Otto Baum. Out of date and tasteless . In: Stuttgarter Nachrichten of April 14, 1977.

Web links

Commons : Otto Baum  - Album with pictures, videos and audio files

Individual evidence

  1. #R. Tsch. 1954 .
  2. #Gundel 1995 , page 12.
  3. #Gundel 1995 , footnote 25 on page 12.
  4. Otto Baum's busts of his wife Herta: WV 6, 14. Busts of his daughter Ingrid: WV 56, 60.
  5. #Wiehager 2000 , page 196.
  6. #Schlichtenmaier 1990 , page 5. Daimler-Motoren-Gesellschaft had started the production of combat aircraft in Sindelfingen in spring 1917 ( archived copy ( memento of the original from September 1, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this note. ). @1@ 2Template: Webachiv / IABot / www.adv-boeblingen.de
  7. The name of the factory is not known. In 1936/1937 Baum created a building sculpture for a Stuttgart paint factory, which was later destroyed, perhaps the same one he had previously worked for. See # WV2 15.
  8. The painter Hans Spiegel (1894–1966) was appointed professor at the Art Academy in 1925 and its director in 1932.
  9. #Schlichtenmaier 1990 , page 5.
  10. The catalog raisonné WV contains over 20 works from the period between 1924 and 1927.
  11. WV 22.
  12. ^ WV 53.
  13. WV 16.
  14. ^ Günter Neske (1913–1997), the later owner of the Neske publishing house in Pfullingen, published the first monograph on Baum in 1950 in the Otto Reichl publishing house in Tübingen ( #Roh 1950 ). He and his wife Brigitte Neske (1924–2007), the daughter of Albert Gayler, also founded a collection of sculptures by Baum (Neske Collection, Pfullingen).
  15. #Schlichtenmaier 1990 , page 5.
  16. #Gundel 1995 , page 13.
  17. # Fischer-Borst 1970 .
  18. #Wirth 1987 , p. 175.
  19. Reliefs for the tool manufacturer Hahn + Kolb , the Girokasse and several Neckar weirs ( WV 76, 87, or 75, 83, 85).
  20. WV 98.
  21. See also sculpture found in Berlin . Further literature: see “Degenerate Art” , especially #Wemhoff 2012 .
  22. #Gundel 1997 , page 6. - Landesschützen were older soldiers who were not fit for the front and who were used to guard prisoners of war.
  23. #Gundel 1997 .
  24. At that time the minister of culture was still called minister of culture.
  25. #Leonhard 1994 , p. 13
  26. # Mück 1987 , page 96.
  27. #Wiehager 2000 , footnote 7 on page 21.
  28. #Kermer 1978 , page 91.
  29. See: #Exhibitions .
  30. In some group exhibitions in the first decade after Baum's death, works by Baum were shown.
  31. See catalog raisonné ( #WV ).
  32. #Gundel 1997 .
  33. # Reuße 1998 .
  34. #MK 1977 , #kd 1977 , #Rothermel 1977 .
  35. # Kinkel 1960 .
  36. #Wiehager 2000 , footnote 1 on page 19. For the Schlichtenmaier gallery see: Archived copy ( Memento of the original from May 18, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / www.schlichtenmaier.de
  37. #Wiehager 2000 , footnote 1 on page 19.
  38. #Schlichtenmaier 1990 , page 5.
  39. #Schlichtenmaier 1990 , page 5. - The elephant created in 1928 could indicate that Baum had already occupied himself with the works of Brancusi and perhaps Arp before his trip to Paris in 1929.
  40. Baum's works with elephant motifs: WV 26, 55, 61, 119–120, 130–134, 211.
  41. ^ WV 59.
  42. ^ WV 51, 52.
  43. WV 49.
  44. #Westheim 1930.1 .
  45. #Schlichtenmaier 1990 , p. 6
  46. WV 76, 87, 75, 83-85, 87.
  47. # Reuße 1998 , page 9.
  48. WV 62-63, 68, 102, 114-115.
  49. ^ WV 103.
  50. ^ WV 99.
  51. # Reuße 1998 , page 6.
  52. WV 100.
  53. # Reuße 1998 , page 7.
  54. # Reuße 1998 , page 8. - WV 94-95, 101.
  55. See also group exhibitions . - Exhibited sculptors (in brackets: number of exhibited works, if more than one): Ernst Barlach (6), Otto Baum, Rudolf Belling , Hermann Blumenthal , Karl Hartung , Bernhard Heiliger , Georg Kolbe , Wilhelm Lehmbruck (5), Gerhard Marcks (5), Ewald Mataré (3), Renée Sintenis (2), Toni Stadler , Hans Uhlmann .
  56. #Leonhard 1948 , #Hildebrandt 1949 , #Roh 1950 .
  57. #Roh 1957 , #Roh 1963 .
  58. #Wiehager 2000 , page 16.
  59. #Gundel 1995 , page 18.
  60. Elephants: WV 119–120, Taurus: WV 142, 155–156, Small cats: WV 191.
  61. WV 130-134.
  62. WV 166-167.
  63. WV 123–125.
  64. # Reuße 1998 , page 9. - WV 149–151.
  65. WV 139-140.
  66. ^ WV 126-127.
  67. WV 111, 143, 201, 217.
  68. #Schlichtenmaier 1990 , page 9.
  69. ^ Catalog of the Deutscher Künstlerbund 1950. First exhibition in Berlin 1951, in the rooms of the Bild University. Arts, Hardenbergstr. 33 , complete production: Brüder Hartmann, Berlin 1951 (without page numbers; catalog no. 234/235)
  70. #Degreif 1997 , page 45.
  71. #Gundel 1995 , page 27.
  72. #Degreif 1997 , page 51.
  73. #Mirror 1954 .
  74. #Gundel 1995 , page 32.
  75. WV 213.
  76. #Degreif 1997 , page 50, 205–207, #Fellmer 1990 , page 7–8, 12, 15. - See also: Eva Zippel, Besigheimer Kunstskandal .
  77. #Schlichtenmaier 1990 , page 9.
  78. #Leonhard 1994 , p. 11
  79. #Spiller 1993 .
  80. Sunday supplement of the Stuttgarter Zeitung of September 21, 1946 with autobiographies of the professors newly appointed to the State Academy of Fine Arts Stuttgart, reproduced in facsimile in: Wolfgang Kermer : thirty years ago . In: Akademie-Mitteilungen 7 , Staatliche Akademie der Bildenden Künste Stuttgart, 1976, p. 3.
  81. #Kermer 1978 .
  82. Between 1990 and 2000 four regional retrospectives took place in southwest Germany, nationally or internationally important exhibitions remain a desideratum . Symptomatic is z. B. that the Staatsgalerie Stuttgart is not exhibiting a single one of the seven works by Baum in its possession (see #works in public collections , #Maur 1982 ).
  83. First solo exhibition. - #Artwork 1951 ; #Wiehager 2000 , page 12 (with footnote 2), 126.
  84. #Schlichtenmaier 1990 , page 5.
  85. #Maillard 1971 ; #Zeller 1964 .
  86. # Mück 1988 , page 37.
  87. Exhibited artists .
  88. #Westheim 1930.2 .
  89. #Westheim 1930.1 .
  90. # Mück 1987 , page 23.
  91. #Maur 1987 , page D35; #Wiehager 2000 , page 13 (with footnote 4).
  92. # Mück 1988 , page 37; #Wirth 1987 , p. 289; #Wiehager 2000 , page 13.
  93. #Wiehager 2000 , page 13.
  94. See: # “Degenerate Art” .
  95. #Boeck 1947 , page 38.
  96. # Mück 1988 , page 37.
  97. # Mück 1987 , page 98; # Mück 1988 , page 37; #Schlichtenmaier 1990 , page 7.
  98. #Wiehager 2000 , page 15.
  99. #Wiehager 2000 , page 17.
  100. #Feldenkirchen 1949 .
  101. ^ # Künstlerbund 1951 . - For Baum's participation in the exhibitions of the German Association of Artists, see: Archived copy ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . - After 1954 Otto Baum no longer took part in the exhibitions of the German Association of Artists. @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  102. # Mück 1988 , page 9, 18. - Otto Baum was not a member of the Free Group, but took part in the exhibition as a guest. See: [1] . Baum no longer took part in the traveling exhibition in 1953 and the exhibition in 1963.
  103. ^ # Baden-Württemberg 1955 , # Mück 1988 , page 37.
  104. #Hentzen 1957 .
  105. # Mück 1988 , page 37.
  106. ^ Translation: Sculpture in Germany after 1950. Sculpture, studies, drawings, graphics.
  107. # Mück 1987 .
  108. # Pool 1992 .
  109. Source: unless otherwise stated: WV .
  110. See also: #Pannewitz 1990 , #Rau 1972 .
  111. See also: #Beye 1968 , # Fischer-Borst 1970 .
  112. Catalog raisonné number WV2 in the catalog raisonné Part 2 .
  113. 1936/1937.
  114. 19341935.
  115. 1936/1937.
  116. 1948/1949, executed in 1953.
  117. 1955/1958.
  118. Title, year and height are incorrectly stated in the catalog raisonné WV (“Die Frucht”, around 1959, 100 cm). The values ​​given here come from an e-mail from Uwe Kirsche, press spokesman for the German Weather Service, dated October 31, 2012. In particular, it says: “In our documents I also see that Otto Baum's work at DWD was on June 25th In 1956, as they say, it was put into operation ... “.
  119. Around 1950/1951.
  120. 1960/1961.
  121. Dimensions: Götz Bechtle, Bad Wildbad.
  122. 1960/1963.
  123. E-mail information from Birgit Emke from the German Artist Union of 27 November 2012 found.
  124. # Mück 1988 , page 14.
  125. Otto Baum is only mentioned in one line: "1900 Otto Baum (D) Leonberg".
  126. ^ Translation by Robert Maillard: Nouveau dictionnaire de la sculpture moderne , Paris 1970.
  127. Otto Baum did not study "1924 to 1925", but from 1924 to 1927 at the Stuttgart Academy.
  128. ^ Translation of: Robert Maillard: Dictionnaire de la sculpture moderne , Paris 1960. See also #Maillard 1971 .
  129. The figure is not mentioned in the marginal columns of the text part.
  130. The biographical information on page 255 is partially incorrect.
  131. Erroneously (?) Peter Baum instead of Otto Baum.
  132. The biographical information on page 390 is partially incorrect.
  133. The reference “Sixty Years of Association. 1984 ”on page 37 seems to be wrong.
  134. #Wiehager 2000 , page 17; # Kölmel 1977 .