Otto Modersohn

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Otto Modersohn (before 1912)

Friedrich Wilhelm Otto Modersohn (born February 22, 1865 in Soest , Westphalia , † March 10, 1943 in Rotenburg , Wümme ) was a co-founder of the Worpswede artists' colony and became one of the most famous German landscape painters .

Life

Otto Modersohn was the son of Wilhelm Modersohn (1832-1918), who worked as a master builder in Soest and from 1874 in Münster and most recently in Bad Blankenburg ( Thuringia ). His mother was the baker's daughter Luise Modersohn, b. Heidebrink (1833-1905). The younger brother was the Protestant pastor Ernst Modersohn , born in 1870, and the older brother was the lawyer Wilhelm Modersohn, born in 1859 . The sister-in-law was the painter Olga Bontjes van Beek , b. Breling, whose daughter Cato Bontjes van Beek was executed as a resistance fighter against National Socialism .

Otto Modersohn became known as a co-founder of the Worpswede artists' colony . He left behind an extensive painterly and graphic work, which is in the tradition of French open-air painting of the 19th century, the school of Barbizon . Modersohn revolted against academicism early on and developed into an independent loner who defined his artistic goals with the terms simplicity, intimacy and inwardness and who drew his creative strength from being mentally immersed in nature.

In 1883 he began studying art at the Düsseldorf Art Academy . Initially he attended the elementary class of Heinrich Lauenstein , in 1885 the antique class of Peter Janssen and the ornamentation class of Adolf Schill and finally in 1887 the landscape painting class of Eugen Dücker . In 1888 he moved to the Karlsruhe Art Academy in the class of Hermann Baisch .

In July 1889 Otto Modersohn traveled to Worpswede for the first time with Fritz Mackensen . Hans at the end followed suit in August. Fritz Overbeck arrived in 1893 and Heinrich Vogeler in 1894 , also students at the Düsseldorf Academy. In 1895, the Worpsweder exhibited for the first time as an artist group in the Bremen art gallery . Insulted by the press as the “apostle of the ugly”, two works were purchased for the collection. Then the five Worpsweders experienced their first major success and their national and international breakthrough in the Munich Glass Palace . They were hailed as "the European event".

Otto Modersohn, Fritz Mackensen , Heinrich Vogeler (standing); Fritz Overbeck , Hermann Allmers , Carl Vinnen (seated), 1895

Otto Modersohn's large-format painting “Storm in the Teufelsmoor” from 1895 was purchased by the Neue Pinakothek in Munich and has been lost since August 22, 1938. In 1897 the painter group founded the Worpswede Artists' Association. In the same year Otto Modersohn married the Bremen merchant's daughter Helene Schröder (1868–1900), who gave birth to his daughter Elsbeth (1898–1984) in 1898. In 1899 he resigned from the artists' association. He fought “for the personal, individual freedom” of every individual in art, as he put it in his resignation letter on July 25, 1899.

Gravestone for Otto Modersohn

In 1900 his first wife died after a long and serious illness. During this time the friendship with Rainer Maria Rilke and Carl Hauptmann falls . In 1901 he married the painter Paula Becker , who died of an embolism shortly after the birth of their daughter Mathilde (Tille Modersohn, 1907–1998) .

Also for the following 36 creative years at the side of his third wife, the singer and painter Louise Breling (1883–1950), daughter of Heinrich Breling , with whom he had two sons, Ulrich Modersohn (1913–1943) and Christian Modersohn (1916–2009 ), were characterized by intensive work in the Allgäu after the move from Worpswede (1908) and the summer months from 1930 to 1936.

For the last seven years before his death, Otto Modersohn was blind in one eye and, until the end of his life in 1943, only painted in his Fischerhude studio apartment.

Otto Modersohn's grave is in the Quelkhorn cemetery near Fischerhude.

Otto Modersohn was a member of the German Association of Artists .

plant

Otto Modersohn's work is divided into three main sections. Youth and academy time are summarized under the term “Frühwerk - Westphalia”. “Worpswede” begins with the discovery of this place by Fritz Mackensen and Otto Modersohn in the summer of 1889. “Fischerhude” begins in 1908. This period includes those pictures that were taken during Modersohn's travels to Franconia in the twenties and his stays in his house in the Allgäu from 1930 onwards. The complex of composition drawings, which were created in the evening at the table in the weak glow of the kerosene lamp in a state of utmost calm and concentration, is extensive. Rainer Maria Rilke called these drawings, which he valued highly, “evening papers”.

On October 23, 1900, Rilke wrote to Otto Modersohn: “Remember that afternoon when you showed me the trust that I am quietly proud of: You showed me the little evening papers and I felt like every draft black and red, more reality grew towards me, that being that only the deepest art can depict in deep hours, was fulfilled in these sketches, in front of which I had the feeling that in each one, veiled by the flight of the lines, everything was, what one can experience and become in this mood. It seized me to hold these overcrowded little leaves in my hands, to look into their secrets as into the creation itself: I was like someone who steps into noisy rooms and realizes that everything is there before his slowly getting used to eyes. what he has ever thought up and remembered beautifully [...] - Almost every day in Worpswede brought an experience for me - I often told you: but I was only as pious and revered as before your little papers two or three times in my life ; for it doesn’t often happen that very big things are compressed into something that one can hold entirely in one's hand, in one's powerless hand. "

For his second wife Paula Modersohn-Becker, these small-format compositions, drawn with chalk, charcoal and red chalk, were “the most beautiful, simplest, most delicate and mighty of Otto's art. They are the most direct expression of his feelings [...] most of them have not even seen them, and most of those who have seen them have not even noticed. "

Early work - Westphalia

Moor kate with wife and goat (1889), Modersohn Museum, Fischerhude

In addition to his studies at the academy in Düsseldorf with Eugen Dücker and during his vacation stays in Münster , Soest and Tecklenburg , in the Harz Mountains and on the North Sea island of Juist from 1884 to 1889, Otto Modersohn mainly painted small-format studies and landscapes directly in front of nature, the stand in the tradition of the French painters of the Barbizon circle and are reminiscent of Charles-François Daubigny , Jean-Baptiste Camille Corot and Jules Dupré . “When I think of my ideals, of Rembrandt , Rousseau; Dupré, Troyon think; how my heart swells, how can I not leave them; How do I feel called to art in the understanding of these men? ”This is how Otto Modersohn had already put it in his diary on May 18, 1887 at the age of twenty-two. Between 1885 and 1889 he stayed in Tecklenburg with his brother Wilhelm Modersohn . Pictures from this period can be viewed in the Otto Modersohn Museum Tecklenburg, which opened in 2015 .

Worpswede

Otto Modersohn reports in his diary about his first visit to the Lower Saxony moor village in 1889:

“Wednesday, July 3, 1889, I arrived here with F. Mackensen full of expectation. I saw almost immediately that my expectations were not disappointed. I found a very original village that made a very strange impression on me; the hilly sandy ground in the village itself, the large mossy thatched roofs and on all sides, as far as you could see, everything as wide and as big as by the sea. "

In conscious contrast to the academic art of his time, he was looking for the "natural", the "original". Eugen Bracht , to whom Modersohn presented some landscapes, criticized the style as “far too much material” and “unfinished”. Modersohn left the academy and moved to Worpswede. Around 1889/90 Otto Modersohn made a more expressive increase in color. Five years after Otto Modersohn's decision to stay in Worpswede and not to return to the academies in Karlsruhe or Düsseldorf, the "Worpsweder", like the painters (Fritz Mackensen, Otto Modersohn, Hans am Ende, Fritz Overbeck and Heinrich Vogeler) achieved the had come together on the Weyerberg, were now named, in the spring of 1895 the first group exhibition in the Bremen art gallery. Art lovers from Bremen bought the paintings Der Säugling von Mackensen and Herbst im Moor from Otto Modersohn for the Kunsthalle .

Leaving the Worpswede artists' association in 1899

In July 1899 Otto Modersohn announced that he was leaving the artists' association:

“I do not by any means fail to recognize that our association has rendered us the greatest service in introducing us, but it is seriously beginning to grow over our heads through all of its associated obligations towards the world and exhibitions and especially towards each other. It threatens our tranquility, which is primarily needed for artistic creation. There is only one radical remedy for this: the dissolution of the association. "

Heinrich Vogeler and Fritz Overbeck, in contrast to Hans am Ende and Fritz Mackensen, showed understanding for Otto Modersohn's actions and agreed with his departure.

From around 1900 he designed for the Cologne chocolate producer Ludwig Stollwerck together with the other Worpswede artists Fritz Overbeck and Heinrich Vogeler Stollwerck pictures.

1900–1907 - the time together with Paula Modersohn-Becker

Moor landscape with a woman, 1903, Lower Saxony State Museum Hanover
Paula Modersohn-Becker (1876–1907)

From the first encounter with Paula Becker in 1898, a deep human affection developed in the following period, which found expression in the intensive creative exchange between the two artists. Based on the shared experience of discovering the Worpswede landscape and the people living in it, both of them strived for simplicity - as a painterly program and as a human attitude - in their aversion to convention, pathos and externalization. The maxim “The thing in itself in mood”, initially developed by Otto Modersohn alone and then together with his wife, finally became a key term often used by both of them for a new conception of objectivity. Otto Modersohn found the contradiction in their artistic views a grateful addition and mutual stimulation. The mourning of the early death of his second wife made Otto Modersohn move from Worpswede to the neighboring Fischerhude .

Fischerhude

When Paula Modersohn-Becker died of an embolism in 1907, at the age of 31, shortly after the birth of their daughter Mathilde ("Tille", died 1998), Otto Modersohn left Worpswede and moved to Fischerhude. Otto Modersohn made his first excursion to the village of Fischerhude, only a few kilometers from Worpswede, in 1896 with his friend Fritz Overbeck. A few years later he visited it several times with Paula. Otto Modersohn continued his painting in front of nature, which he developed in Worpswede, with the summer studies of 1908 in Fischerhude. The preoccupation with the new French art of these years brought him new insights for his work, which he implemented in Fischerhude.

In the struggle for art, the answer to the protest of German artists in 1911

Poppy Field by Vincent van Gogh .
The purchase of the picture sparked a protest by German artists in 1911.

The purchase of the painting Poppy Field by Vincent van Gogh in 1911 by the Kunsthalle Bremen triggered a protest by German artists, which later became known as the “ Bremen Artists Dispute ”. Otto Modersohn was the only “Worpsweder” to take sides with the painting, which he described as “one of the most stimulating images of modern art” and thus decided in favor of art in the ensuing artist protest. In his response to the protest, Modersohn opposed a misunderstood feeling of nationality: “Nationality does not play a role in art, it just depends on the quality of the art. [...] If our art has risen in recent years, we owe it primarily to the good French art that has become more and more popular in our country. "

In 1911, the Junge Wilde painter group was formed in Fischerhude to support Otto Modersohn . To her belonged Johann Heinrich Bethke (1885-1915), Fritz Cobet (1885-1963), August Haake (1889-1915), Rudolf Franz Hartogh (1889-1960), Wilhelm Heinrich Romeyer (1882-1936), Bertha Schilling (1870 –1953) and Helmuth Westhoff (1891–1977).

The trips to the south of Germany, Franconia and Allgäu

The 1920s and 1930s were characterized by intensive study trips together with his third wife, Louise Modersohn-Breling (1883–1950) to Wertheim , Würzburg and the Allgäu . The visit to the Franconian city of Wertheim, located on the Main and Tauber , made a deep impression on the artist couple Modersohn in 1916 .

The late work

View of Gailenberg , 1933

In the spring and summer months, Otto Modersohn worked on the Gailenberg near Bad Hindelang after purchasing an old farmhouse in 1930 . The Allgäu brought new ideas to his painting. In 1936 he suffered loss of vision in his right eye due to a detachment of his retina and was forced to stop painting in the Allgäu.

Even if the depicted landscape leads into the depths, his pictures are perceived as a surface, like a fabric of dark tones.

In 1940 he received the Goethe Medal for Art and Science and one year before his death he was appointed Professor hc, among other things at the instigation of Rolf Hetsch , a consultant for fine arts in the Reich Propaganda Ministry .

Otto Modersohn museums

Otto Modersohn Museum in Fischerhude

After the death of Otto and Ulrich Modersohn in 1943, Louise Modersohn-Breling left the studio apartment in Fischerhude to her step-daughter Mathilde ("Tille"). Together with her son Christian, she set up a Modersohn gallery on the Gailenberg near Bad Hindelang after the war in order to make Otto Modersohn's work accessible to the public in addition to pictures of family members. After Louise Modersohn's death († 1950), the main focus of public interest in Otto Modersohn began to increasingly shift to the north again. In Fischerhude, a house was built on an oak meadow acquired by Christian Modersohn in 1943 at the end of the street in Bredenau. In addition, the Otto Modersohn Museum was built in 1974 in a newly built half-timbered barn from 1769, in which the artist's extensive oeuvre is archived and exhibited. In 1985 and 1996 the museum was expanded to include two more old half-timbered barns. A final extension in the same style was opened on May 21, 2012.

Otto Modersohn traveled a total of seven times between 1916 and 1927 with his third wife, Louise Modersohn-Breling, to the Franconian region and worked there, where he found Wertheim to be particularly productive artistically. In 1989 the Grafschaftsmuseum Wertheim opened the Otto-Modersohn-Kabinett, in which views from Wertheim, Würzburg and Franconia are shown in changing combinations.

The Otto Modersohn Museum Tecklenburg (OMMT) was opened on October 23, 2015 . It shows paintings and drawings from the artist's early work in Westphalia, particularly from the time he was staying with his older brother Wilhelm, who was temporarily a magistrate in Tecklenburg.  

reception

Otto Modersohn left an oeuvre of around 12,000 works. In contrast to Paula Becker's works, Modersohn's pictures are only represented in a few museums worldwide. At up to 75,000 US dollars, Otto Modersohn's oil paintings are valued far less on the art market than those of his wife Paula.

Honors

Modersohnstrasse in Berlin

Streets and paths in Berlin-Friedrichshain , Kaltenkirchen , Oldenburg and Worpswede are named after Otto Modersohn , as is a bridge in Berlin. In Berlin-Friedrichshain there is the Modersohn primary school .

Exhibitions (selection)

  • Permanent exhibition: Between Main and Tauber - Otto Modersohn and Louise Modersohn-Breling in Franconia 1916–1927 in the Otto Modersohn Hall of the Grafschaftsmuseum Wertheim .
  • 2007: Paula Modersohn-Becker and Otto Modersohn, an artist couple around 1900. Lower Saxony State Museum Hanover , October 13, 2007 - February 24, 2008.
  • 2013: Otto Modersohn. Landscapes of Silence • Paula Modersohn-Becker. An expressive painter. Works from private ownership. Hagen , Osthaus-Museum , January 27, 2013 - April 21, 2013.
  • 2014: Fritz Overbeck and Otto Modersohn. An artist friendship. Bremen, Overbeck Museum , June 29, 2014 - October 5, 2014.
  • 2019: Paula Becker & Otto Modersohn. Art and life. Bremen, Böttcherstraße museums , August 25, 2018 - January 6, 2019.

literature

Monographs and biographies
  • Carl Hauptmann : Letters with Modersohn. Paul List Verlag, Leipzig 1928.
Reprinted in: Carl Hauptmann and his Worpsweder artist friends: Letters and diary sheets. 3 volumes. Edited by Elfriede Berger, Antje Modersohn-Noeres. Schütze, Berlin 2009, ISBN 3-928589-18-0 .
  • Bernd Küster :  Modersohn, Otto. In: New German Biography (NDB). Volume 17, Duncker & Humblot, Berlin 1994, ISBN 3-428-00198-2 , p. 598 f. ( Digitized version ).
  • Kai Artinger: Otto Modersohn's Langbehnian ideal of art. In: Arn Strohmeyer , Kai Artinger, Ferdinand Krogmann: Landscape, Light and Low German Myth. The Worpsweder Art and the National Socialism , VDG, Weimar 2000, ISBN 3-89739-126-0 , pp. 117-130.
  • Marina Bohlmann-Modersohn: Otto Modersohn - life and work. Edited by Otto Modersohn Museum eV, Fischerhude 2005, ISBN 3-929250-05-5 .
  • Christian Modersohn: My father's legacy - two lives for art. Otto Modersohn Museum (Ed.), Fischerhude 2005, ISBN 3-929250-06-3 . (Audio book, autobiography and biography of father Otto Modersohn.)
  • Katja Pourshirazi, Antje Modersohn, Gertrud Overbeck (eds.): Otto Modersohn and Fritz Overbeck. The correspondence . Wienand, Cologne 2014, ISBN 978-3-86832-198-2 .
Catalogs
  • In the fight for art. The answer to the protest of German artists . Piper, Munich 1911, p. 62 Otto Modersohn .
  • Ernst-Gerhard Güse (Ed.): Otto Modersohn - Drawings 1880–1943. Publisher Bruckmann, Munich 1988.
  • Otto Modersohn Museum (ed.): Otto Modersohn - Das Frühwerk 1884–1889. Publisher Bruckmann, Munich 1989.
  • Society Otto Modersohn Museum eV (Ed.): Otto Modersohn - In and around Münster 1884–1889. Fischerhude, Münster 1992, ISBN 3-929250-00-4 .
  • Society Otto Modersohn Museum eV (Ed.): Otto Modersohn - Fischerhude 1908–1943. Fischerhude, 1993, ISBN 3-929250-01-2 .
  • Society Otto Modersohn Museum eV (ed.): Otto Modersohn and Louise Modersohn-Breling. The trips to Franconia 1916–1927. Fischerhude 2001, ISBN 3-929250-03-2 .
  • Wulf Herzogenrath , Dorothee Hansen (ed.): Van Gogh: fields. The poppy field and the artist dispute. Kunsthalle Bremen, Hatje Cantz, Ostfildern-Ruit 2002, ISBN 3-7757-1130-9 .
  • Heide Grape-Albers , Anke Spötter (eds.): Paula Modersohn-Becker and Otto Modersohn: An artist couple around 1900. Deutscher Kunstverlag, Berlin / Munich 2007, ISBN 978-3-422-06763-9 .
  • Galerie Neher (ed.): Otto Modersohn and his time. Essen 2010, DNB 997975393 .

Movies

  • So far and big - the nature of Otto Modersohn. Documentary, Germany, 2010, 78 min., Book: Marina Bohlmann-Modersohn, director: Carlo Modersohn, speaker: Hanns Zischler , music: Therese Strasser, production: cm Film, Otto Modersohn Museum, cinema release: December 15, 2010, synopsis by absolut Medien , DVD: ISBN 978-3-89848-468-8 , film page.
  • Paula Becker and Otto Modersohn in a new light. TV report, Germany, 2018, 4:01 min., Camera: Thomas Rösner, production: NDR , editing: Hallo Niedersachsen , first broadcast: 25 August 2018 on NDR, broadcast dates, ( Memento from 7 May 2019 in the Internet Archive ) . Report on the exhibition: “Paula Becker & Otto Modersohn. Art and Life ”.
  • Love at work. Paula Becker & Otto Modersohn. (OT: L'amour à l'œuvre - Paula Becker et Otto Modersohn. ) Documentary, France, 2019, 26:29 min., Script and direction: Stéphanie Colaux and Agnès Jamonneau, production: Bonne Compagnie, arte , series: Liebe am Werk (OT: L'amour à l'œuvre. Couples mythiques d'artistes ), first broadcast: April 21, 2019 on arte, synopsis by ARD .

Web links

Commons : Otto Modersohn  - collection of images, videos and audio files

Individual evidence

  1. ↑ Bernd Küster :  Modersohn, Otto. In: New German Biography (NDB). Volume 17, Duncker & Humblot, Berlin 1994, ISBN 3-428-00198-2 , p. 598 f. ( Digitized version ).
  2. ↑ “The studio directory shows three further pictures with the same title from 1922 to 1925; also in large format. ”Quoted in: Otto Modersohn, Sturm im Teufelsmoor. In: Lempertz , auction 943, May 28, 2009, accessed on January 3, 2020.
  3. ↑ a b Helmut Stelljes : Mathilde, the daughter of a famous Worpswede painter. What happened to the daughter Tille Modersohn after the early death of the painter Paula Modersohn-Becker? In: Heimat-Rundblick. History, Culture, Nature , Winter 2004, Issue 4, No. 71. Druckerpresse-Verlag , ISSN  2191-4257 , pp. 4–5.
  4. ↑ a b c complete works. In: Otto Modersohn Museum in Ottersberg / Fischerhude.
  5. ^ Members from 1903. Full members of the German Association of Artists • Modersohn, Otto. In: German Association of Artists .
  6. ^ Rainer Maria Rilke: Worpswede, Otto Modersohn. With an appendix to the correspondence between Rainer Maria Rilke and Otto Modersohn 1900–1903 and an afterword by Helmut Naumann, Fischerhude 1989.
  7. ^ Paula Modersohn-Becker: Letters and Diaries Ed. Günter Busch , Liselotte von Reinken and Wolfgang Werner, revised. Bremen 2007, p. 441; Paula Modersohn-Becker to Milly Becker, Worpswede, November 30, 1903.
  8. ^ Otto Modersohn: Diary. 1884–1887, May 18, 1887, p. 102, [Archive, Otto Modersohn Museum, Fischerhude].
  9. ^ Otto Modersohn: Diary. July 1889 - October 1890, p. 1, [Archive, Otto Modersohn Museum, Fischerhude].
  10. ↑ Erich Franz: "With a little - say a lot". Otto Modersohn - Worpswede 1890–1895. An exhibition of the Society-Otto-Modersohn-Museum eV in the Otto-Modersohn-Museum in Fischerhude, from September 27th to December 30th, 2015; Source:   ( Page no longer available , search in web archives: minutes and report 2014 )@1@ 2Template: Toter Link / www.modersohn-museum.de
  11. ↑ Painting: The Infant / Madonna in the Moor. In: Image index of art and architecture ; Fritz Mackensen (1866 Greene / Braunschweig - 1953 Bremen) The Infant, (called Moormadonna) 1892, oil on canvas, 180 × 140 cm, reference ul: Fritz Mackensen 1892, Kunsthalle Bremen, gift from members of the board in 1895, inv. No. 184 - 1895, Photo No. 7, 4537.
  12. ↑ a b Otto Modersohn: Autumn in the Moor. 1895, oil on canvas, 80 × 150 cm, Kunsthalle Bremen.
  13. ^ Otto Modersohn: circular to the friends of July 25, 1899. [Archive, Otto Modersohn Museum, Fischerhude].
  14. ↑ Marina Bohlmann-Modersohn: Otto Modersohn - life and work. Society Otto Modersohn Museum. eV (Ed.), Fischerhude 2005, p. 65 ff.
  15. ^ Maria Goldoni: A Stollwerck series by Heinrich Vogeler and Franz Eichert. In: Working Group Image Printing Paper . Conference proceedings Esslingen 2002 , Waxmann Verlag, ISBN 3-8309-1403-2 , pp. 105–140, limited preview in the Google book search, without image attachment.
  16. ↑ Marina Bohlmann-Modersohn, Otto Modersohn - Life and Work. Society Otto Modersohn Museum. eV (Ed.), Fischerhude 2005, p. 190.
  17. ↑ Otto Modersohn, Fischerhude 1908–1943. Edited by Otto Modersohn Museum, Fischerhude 1992, p. 11.
  18. ^ Wulf Herzogenrath , Dorothee Hansen (ed.): Van Gogh: fields. The poppy field and the artist dispute. Kunsthalle Bremen, Hatje Cantz, Ostfildern-Ruit 2002, ISBN 3-7757-1130-9 , table of contents , table of contents.
  19. ↑ Otto Modersohn in: In the fight for art. The answer to the protest of German artists. Piper, Munich 1911, p. 62 ( [1] ).
  20. ^ Exhibition: The young wild ones from 1911. In: Kunstverein Fischerhude. July 3 to August 28, 2011.
  21. ↑ see catalog: Otto Modersohn and Louise Modersohn-Breling. The trips to Franconia 1916–1927. Society Otto Modersohn Museum eV (Ed.), Fischerhude 2001.
  22. ↑ a b The painter and the moor - Otto Modersohn. In: NDR Nordtour , August 27, 2016.
  23. ↑ Marina Bohlmann-Modersohn: Otto Modersohn - life and work. Society-Otto-Modersohn-Museum e. V. (Ed.), Fischerhude 2005, p. 286 ff.
  24. ↑ Rolf Hetsch (1903–1946), the editor of Paula Modersohn-Becker's “A Book of Friendship”, Berlin 1932. Hetsch was a doctor of law and art historian who met Otto Modersohn in 1928 while preparing this book.
  25. ↑ Between Main and Tauber - In the footsteps of Otto Modersohn through Wertheim and the surrounding area. (PDF) In: Grafschaftsmuseum Wertheim . Retrieved October 18, 2015 .
  26. ^ Thomas Frank: Otto Modersohn's works in Tecklenburg. A new art museum in the province. In: Deutschlandfunk Kultur , October 24, 2015.
  27. ^ Johannes Loy: Spring in Tecklenburg. The new Otto Modersohn Museum sets a milestone in the Westphalian cultural landscape. In: Westfälische Nachrichten , October 23, 2015.
  28. ^ Ruth Jacobus: Museum is open from Saturday. Modersohn puts it in the right light. In: Westfälische Nachrichten , 23 October 2015. Antje Modersohn: “In Fischerhude it took 40 years for the museum to become the way we wanted it to be. In Tecklenburg it was 19 months. She was overwhelmed and enthusiastic. "
  29. ^ Auction bids for Modersohn and Becker. In: Christie's , accessed May 7, 2019.
  30. ↑ Modersohn in Wertheim. In: Grafschaftsmuseum Wertheim and Otto-Modersohn-Kabinett , accessed on May 7, 2019.
  31. ^ Exhibition: Otto Modersohn. Landscapes of Silence. In: Osthaus Museum Hagen , 2013.
  32. ↑ Ulrike Gondorf: A good, but not a great painter. Modersohn exhibition "Landscapes of Silence" in Hagen. In: Deutschlandfunk Kultur , January 27, 2013.
  33. ^ Exhibition: Fritz Overbeck and Otto Modersohn. An artist friendship. In: Overbeck Museum , 2014.
  34. ^ Exhibition: Paula Becker & Otto Modersohn. Art and life. In: Museums Böttcherstraße , 2018.
personal data
SURNAME Modersohn, Otto
ALTERNATIVE NAMES Modersohn, Friedrich Wilhelm Otto (full name)
BRIEF DESCRIPTION German painter
DATE OF BIRTH February 22, 1865
PLACE OF BIRTH Soest
DATE OF DEATH March 10, 1943
Place of death Rotenburg (Wümme)