Otto Pankok

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Otto Pankok plaque on the house at Brend'amourstrasse 65, Düsseldorf-Oberkassel.jpg

Otto Pankok (born June 6, 1893 in Mülheim an der Ruhr , † October 20, 1966 in Wesel ) was a German painter , graphic artist and sculptor .

Life

House in Düsseldorf-Oberkassel
Pankok House in Mülheim an der Ruhr

Otto Pankok was born on June 6, 1893 in Mülheim as the youngest of two sons of the medical councilor Eduard Pankok and his wife Marie Frühling. The father ran a medical practice there, which Otto's brother, Adolf Pankok, later took over. After graduating from high school in Mülheim in 1912 , Otto Pankok began studying at the Düsseldorf Art Academy and the Grand Ducal Saxon University of Fine Arts in Weimar at the age of 20 . After dropping out of his studies at short notice, he went to Dötlingen with his friend Carl Lohse .

In the first winter of the First World War , 1914, Otto Pankok was called up for military service, which took him to the Western Front in northern France, where he was buried when a ditch was blown. Long stays in hospitals and sanatoriums followed until he was dismissed from military service in 1917.

After several trips to Berlin and East Frisia , he settled in Düsseldorf in 1919. He joined the young Rhineland artist group , to which Otto Dix was also a member, and was involved in a left-wing rebellious group of artists around Johanna Ey with publications in the magazine Das Junge Rheinland , the Portfolio Aktivistenbund and Das Ey . Gert Wollheim, Otto Dix, Adolf de Haer and Otto Pankok cultivated a deep friendship between artists at this time, which is shown in numerous joint exhibitions.

In 1921 he married the journalist Hulda Droste . The following years were filled with many trips, including to Weimar , the Baltic Sea , the Lower Rhine , the Netherlands, Italy, France and Spain. In 1924 the couple built a gabled house based on the Dutch model at Brend'amourstraße 65 in Düsseldorf, which they moved into in 1925 after the birth of their daughter Eva. In 1931 his friendship with the " Gypsies " began in what was then the "wild settlement" in Düsseldorf's Heinefeld , in what is now the Unterrath district . Sinti remained an artistic theme that kept captivating him until the end of his life, and on which he spent a lot of time.

"Oh, friends, where have you gone, where are you trampled, in which pits have defenseless children buried your stranglers like dirt? They were dragged away to the death camps and the eastern slaughterhouses. We heard the children scream and the mothers sob under the whips of the brown hangmen. Even before the synagogues blazed up, the gypsy families were crammed together behind the bars of barbed wire in order to later share the Jewish fate in the death camps in the east. "

In 1947, Pankok compares the genocide of Roma, now known as Porajmos , with the Holocaust and names the interlocking of internment, deportation and murder in both groups of victims.

The Nazism was for him the reason after 1935 Langen retire in the cathedral country. This was the beginning of eleven years of internal emigration . In 1936 the Nazis banned the artist from working. In 1937 56 of his works were confiscated from German museums. In Munich and at the other exhibition locations, the “ Degenerate Art ” exhibition showed three prints by Pankok.

During these years he stayed in Gildehaus in the county of Bentheim in an idyllic foothills of the Teutoburg Forest, then until 1941 in Bokeloh near Meppen in Emsland . The writer Jakob Kneip advised his Düsseldorf artist friend Otto Pankok to “safely” retire to the Eifel , as he had just done . In 1941 Pankok first moved into a small, hidden half-timbered house on the Mühlenbach in Iversheim . Half a year later, Kneip found him a place to stay, the "dilapidated" holiday home of a Cologne resident, on the edge of the forest near a quarry in Pesch .

After the renovation of this house, Pankok stayed with his wife Hulda and daughter Eva until 1946. Since the family home in Düsseldorf had been bombed out in 1942, Pankok brought his furniture to Pesch in the Eifel, but after their home was rebuilt, the family returned to Düsseldorf in 1946 . In 1947 Otto Pankok was appointed professor at the art academy and taught the drawing and graphics class until 1958. Students included Günter Grass , Herbert Zangs , Werner Persy , Günther Uecker and Franz Witte . Günter Grass created a literary monument to Otto Pankok with the character “Professor Kuchen” in his novel “ Die Blechtrommel ”. During this time he made frequent trips to Yugoslavia and France until the family moved to Haus Esselt in Drevenack on the Lower Rhine at the end of his teaching activities . Otto Pankok died on October 20, 1966 in Wesel.

Otto Pankok in Dötlingen

At the age of 20 Otto Pankok began his studies at the art academies in Düsseldorf and Weimar, which he broke off in the spring of 1914 in order to go to Dötlingen with his college friend Carl Lohse and continue his self-didactic training. As early as autumn 1914 he showed his first Dötlinger works in the Lappan in Oldenburg. In the same year he went on a study trip to Holland with Werner Gilles and traveled to Paris for an indefinite period . But after only two months he returned to the common people in Dötlingen , where friends and colleagues repeatedly visited him for weeks, including Gert Heinrich Wollheim, Adolf de Haer, Werner Gilles, Hermann Hundt and Richard Gessner. It is uncertain who drew his attention to Dötlingen. He had to travel west to where Holland was. Dutch art had mapped out his world of motifs, which he now found in Dötlingen , without coming too close to the country of his role models . "So I stood with my back to Germany, facing the Dutch plain - on the edge of which I lived." (OP to R. Zimmermann December 26, 1962)

Presumably he was referred to the village in the Wildeshausen district by an Oldenburg artist who studied in Weimar , where the painter Georg Müller vom Siel lived from 1896 to 1906 and where artists regularly spent time studying. In Dötlingen there was one of the lesser-known artists' colonies in Northern Germany, with an artistic tradition marked less by big names, which could develop unimpaired in this seclusion. Dötlingen had retained its historical character, the rurality and originality that carried over to its residents. Otto Pankok followed the call of the place, with him the painters Carl Lohse and Hermann Hundt, friends from Düsseldorf , came with him .

For Otto Pankok, Dötlingen was not a stopover, but an important stage, beginning in 1913 after his break with the academy. The first period of his free artistic existence followed, which came to an abrupt end due to historical developments, without Dötlingen having been exhausted for Pankok. A later return was hardly to be expected insofar as it was impossible for him to return to his earlier conception of man. The ideal ground that he found in Dötlingen was withdrawn from his humanism. Otto Pankok needed a new orientation and broke into Expressionism in the early 1920s without ever growing out of the roots of his work, which had become solid in Dötlingen.

Otto Pankok: “A wonderful year began in Dötlingen in tremendous loneliness, indulging in coal and paper, searching for the essence of the human in poor aborted women and day laborers who had grown up out of the sand, ate what they ate on the earth wrung out, died in tuberculosis and filth, and completely returned to earth. I tried to be as close to nature and the elements as these simple people in their huts and in their fields, to whom my instinct drove me. Without this one intoxicating year of beginning and confirmation, the following period would not have been bearable. When it was over, one day there were gray boxes on the railway lines ”- this is how Otto Pankok described the year in Dötlingen in 1930 looking back.

How little Dötlingen was planned as an intermediate step is demonstrated by Otto Pankok's acquisition of his own small house in the summer of 1913, the thatched Spieker of the Meyer family. His parents, especially his grandmother, helped him with the financing. He settled down here to be authentic with his art and true to a reality of life of which he himself began to become a part. For the time being, he rented a room, furnished himself modestly, and let the necessities of home come to life. In July he announced: “My little room is now full to bursting. But I can at least start working now. ”As unadorned as van Gogh's early works, Otto Pankok's charcoal drawings capture what he experienced. Then a few artists exhibited similar accurately without false pathos and without sentimentality poverty and need. In Germany, for example, Kathe Kollwitz . Otto Pankok did not analyze with his drawings why these people lived in poverty, dirt and disease. He showed her bare face, which thus became a counter-image, to expose the repressions and smooth superficialities of the recognized art of the Wilhelmine Empire on the eve of the First World War.

In 1913, through the mediation of the Oldenburg art critic Wilhelm von Busch (1868–1940), Otto Pankok's first collective exhibition took place in the Oncken art dealership in Oldenburg. His biographer associates Dötlingen with “the formative encounter with his artistic life task” and can refer to Otto Pankok's own statements. The "puckular Menken Trina" was - like her overgrown brother - one of his Dötlinger models. He reproduced her sitting on the side of a rush chair in her room, with the light falling only on the carelessly inclined face and the worked hands crossed over the knees, an arm and an outcast to whom his brotherly sympathy goes out.

The depiction of the “pregnant woman” from 1914 makes more of this woman's life visible than was acceptable for the official art exhibitions of those years, in which the nicely colored homage to the male self-esteem dominated. The monumentally laid out sheet - it is almost 150 cm high - and carefully worked through captures the strained posture of the woman, precisely reproducing every irregularity in her features. The traces of a hard working life, in which pregnancy can only be an additional burden, are not painted over. The will to resist and the determination of this woman not to give up can be felt. Adeline Stöver as “Pregnant Woman” is a deeply felt expression of the lack of perspective in life in the future and in passing. Years later he presented this sheet as a special document of his artistic attitude to Max Liebermann in Berlin, whose usual harsh judgment he later conscientiously remembered: “Disputing with Max Liebermann about art is fun, tingling like Selterswasser. When I stood with him in Berlin in front of my 'Pregnant Wife' from 1914, Liebermann said: 'Wissense, you are as crazy as most young people are not. Aba sehnse ma, this apron ... how would Manet have it, so ... you know ... 'He made the gesture of counting money with his thumb and forefinger. I imitated the gesture and said: 'Know, I don't want that right now. Above all, the woman should keep a round stomach. If Manet had painted this, the woman would have turned into a juicy still life. And that would have been something very stupid in this case. ' Whereupon Max Liebermann shook his head. But through his bald head I saw his thoughts sparkle: 'So ooch janz meschugge.' ”(Star and flower)

Perhaps that was also the reason why Pankok's instinct, as he wrote, his emotional sympathy attracted him more to women and children: something indestructibly human, perhaps simply human, perhaps simply human dignity, which he still has with destroyed, oppressed and poor existences and which he discovered in women and children more quickly than in the mostly broken, resigned men often affected by unemployment and lack of prospects. In early 1914 he went to Paris for two months and attended private academies there to draw nudes ; in addition, he made studies of pictures and sculptures in the Louvre . He found an apartment on Boulevard St. Michel, attended the evening class of the private “ Académie russe ” and courses at the “ Académie de la Grande Chaumière ”. He drew the Egyptian sculptures in the Louvre in order to train his sense of form on classical models. Overall, this stay remained an interlude that could not enrich him very much. "Everywhere Impressionism and Rodin - it was a pain in the ass". (Otto Pankok, handwritten curriculum vitae, 1962) After only two months he returned to ordinary people in Dötlingen, where friends and colleagues repeatedly visited him for weeks and months, including Hermann Hundt (1894–1974), Richard Gessner (1894– 1989), Gert Heinrich Wollheim (1894–1974), Adolf de Haer (1892–1944) and Werner Gilles (1894–1961).

Sigrun Gessner writes in her memories of Richard Gessner “Painting is life”. ... Richard spent the unfortunately too short summer of 1914 in Dötlingen an der Hunte with Otto Pankok, whom he admired . … Richard told me very often about this time with Otto Pankok, which seemed very important to him for his development, for example that they stacked branches and twigs for their study sketches and then shifted them over and over again. After such a long time he remembered the verse on Otto Pankok's door:

“Otto Pankok lives here. Don't disturb him, take care, otherwise he'll shoot the pistol right away. "

In addition to painting, Otto Pankok in Dötlingen was also concerned with early regional history, which had left significant traces in this landscape. In the first few weeks after his arrival he was already researching barrows and did not seem averse to a robbery excavation . He wrote home in June 1913 that he would “probably bring the contents of a barn, urns with bones and ashes.” In May of the following year he reported on a trip to the famous “ Visbeker Bride ” and informed his father before the end of his Dötlinger stay with: “In the last few days I haven't been able to dig because of the rain. I now have three pots that I need to patch together. I don't know yet how I'll get them home. I will send the bones soon. "

The position order reached Otto Pankok in December 1914. He gave his cottage to the poor in the village and left Dötlingen. After an officer course he came to the Western Front in northern France and experienced the first material battles of the war. In the spring of 1915 it was buried and it was only through the attention of its cleaner Peter Grundmann that it was saved from being left behind on the battlefield as an alleged dead person. Otto Pankok spent the following two years in hospitals and sanatoriums before he was released from military service in 1917. In the famine year of 1917 he lived in Berlin.

For him, as for Max Beckmann , George Grosz , John Heartfield , Käthe Kollwitz and many other artists, the war experience became a key experience of inhuman and irresponsible politics with profound consequences for their lives, their values ​​and their art.

All the humiliated and poor who accompanied him on his further path and were models for him appear like descendants or members of the large family of these Dötlingen farmers and day laborers, among whom one of the most important humanists of the visual arts of this century was able to live and work happily. The romantic landscape of the Hunt Valley , which Bernhard Müller vom Siel had often adopted as a motif, does not play a role in Otto Pankok's Dötlinger work.

plant

Girls with a ball , Mülheim an der Ruhr, Saarn

Otto Pankok's works are under the influence of his great role model Vincent van Gogh and are mostly assigned to expressive realism due to their lines and color palette . Large-format charcoal paintings (monochrome) are typical of Otto Pankok. He left behind an extensive graphic work. In contrast to the paintings, his wood prints and mono prints are often of a restrained color scheme. The pictures show people, animals and landscapes, realistic and expressive. For many decades, his content was mainly devoted to suffering people and people on the fringes of society. On his many travels he painted the impoverished and outcast as well as wild landscapes in pouring rain or stormy winds. Otto Pankok's pictures from the time of persecution by the National Socialists had a dark, apocalyptic aura. The “Passion” cycle, which was made from 60 drawings between 1931 and 1934, and although a book edition could still be printed, was confiscated and pulped before it was sold, was a calculated provocation. Many of the models were " Gypsies " friends of Pankok from Heinefeld in Düsseldorf . In this cycle he reflected on people's suffering under the violence of the Nazi state, including the tortures that his friend, the painter Karl Schwesig , had to endure. In 1936 the cycle "Jewish Destiny" followed. It was only after the Second World War that his pictures were reminiscent of the time before he was banned from painting. Most recently he turned to endangered nature with his last cycle "The great Pan is dead".

One of his best known works is the woodcut "Christ breaks the gun" from 1950 . This picture was often reprinted in later peace movements ; the weekly magazine used, among other things , the mirror woodcuts in colored modified form in June 1981 (issue 25/1981) on the cover as a teaser for his first major reports on the worn at the time of a high-profile mass base peace movement against the NATO double-track decision . (see also Broken Rifle ).

A tribute to an artist colleague is the only black and white, actually colored picture by Henri Rousseau , painter and customs officer. It shows Rousseau as an older man in a sparsely furnished room. He is sitting at the table, in front of him is a violin that he played and appreciated. In Pankok's picture, the customs officer leans his head on his right hand, looking thoughtful and tired. Some of his works hang on the wall, including La Carriole du Père Junier, reproduced in great detail .

Otto Pankok was a member of the German Association of Artists . His life's work includes over 6000 charcoal drawings, almost 800 woodcuts, over 800 etchings, around 500 lithographs , stone cuts and monotypes as well as numerous drawings for the Düsseldorf newspaper “Der Mittag” and over 200 sculptures.

The Otto Pankok Society has been looking after his work since 1968.

Honors

  • Admission to the German Academy of the Arts
  • 1953 Graphics Prize at the São Paulo Biennale
  • 1965 Ruhr Prize for Art and Science from the city of Mülheim an der Ruhr
  • 1977 Foundation of the Otto Pankok Foundation , Hünxe, by Hulda Pankok (wife of P.) and Eva Pankok (daughter of P.)
  • 1997 Foundation of the Otto Pankok Prize , Lübeck, by Günter Grass , student of P.
  • 2014 The Israeli Holocaust memorial Yad Vashem honored Otto Pankok together with his wife Hulda Pankok, née Droste, as “ Righteous Among the Nations ” because they hid their painter friend Mathias Barz and his Jewish wife Brunhilde from the Gestapo.
  • Otto Pankok School , the name of the school at which Pankok himself was a student
  • Angela Merkel wrote:
    The exhibition “Sinti Portraits 1931 to 1949” pays homage to one of the most important German painters of the 20th century. His works tell a lot about humanity and sympathy in times of cruel reign of terror. They are a startling testimony to the resistance of visual art against the National Socialist regime. Otto Pankok himself described his work in 1936 ... aptly as “a position in the fight against everything that makes life mean, meaningless and narrow”. Otto Pankok fought this battle indomitable all his life.
  • Street names in Mülheim, Düsseldorf, Neuss and Hünxe
  • As part of the series “ German Painting of the 20th Century ”, the German Federal Post Office issued a 100-Pfennig special postage stamp in his honor in 1993 with the theme of the sea ​​and the sun .

Exhibitions

  • in the art museum in the Alte Post in Mülheim an der Ruhr
  • in the Otto Pankok Museum , Esselt house near Drevenack on the Lower Rhine
  • in the "Otto Pankok Museum" in Bad Bentheim , OT Gildehaus
  • Traveling exhibition of the Johanneskirche (Düsseldorf) and the memorial and memorial of this city
  • 1947 large exhibition in the Hamburg "Kunstrunde". The Hamburg "Art Round" was made up of various personalities from public life
  • 1956 in Gelsenkirchen: "Otto Pankok: The Passion: A cycle from the years 1933-34", with catalog, publisher City of Gelsenkirchen
  • 1958 in Gelsenkirchen: "Otto Pankok: The robbers from Liang Schan Moor, woodcuts" with catalog
  • 1961 in Berlin: "Otto Pankok - hand drawings, prints, plastic" from the Fine Arts section of the German Academy of the Arts in Berlin, with catalog
  • 1990 in the Federal Chancellery in Bonn: "Otto Pankok - Art in Resistance", with catalog

See also

  • Ehra or Kind with Ball , a plastic Pankoks, displayed in public in Düsseldorf; to the person of the portrayed
  • Automeile Höherweg : the later history of the Düsseldorf area, where Pankok continued to meet and portray the Sinti after their expulsion from Heinefeld

literature

  • Hans-Dieter Arntz : Otto Pankok and Mathias Barz in the Eifel. In: Hans-Dieter Arntz: Persecution of Jews and Help for Refugees in the German-Belgian border area. Volksblatt Kümpel, Euskirchen 1990, pp. 706-712.
  • Hans-Dieter Arntz: The painter Otto Pankok as a lifesaver in the Third Reich. In: Eifeljahrbuch 2012. Düren, pp. 71–81.
  • Nils Aschenbeck : Dötlingen artists' colony . Aschenbeck & Holstein, Bremen 2005, ISBN 3-932292-78-2 .
  • Erich Bockemühl: Otto Pankok, the human being and the artist , in: Kreisverwaltung Rees (ed.), Heimatkalender Landkreis Rees 1961, Wesel 1960, pp. 64–69.
  • Michaela Breckenfelder: The Artist as ″ Theologian ″ - The religious didactic processing of suitable images by Otto Pankok for religious instruction . Dissertation. University of Leipzig, 2011. (digitized version)
  • Johanna Ey , Conrad Felixmüller , Gerth Schreiner, Paul Westheim , Gert Heinrich Wollheim and others: Dix , Pankok, Wollheim . Friends in Düsseldorf 1920–1925. Remmert & Barth, Düsseldorf 1989.
  • Karola Fings , Frank Sparing: "Oh friends, where did you go ...?" Otto Pankok and the Düsseldorf Sinti. 1993. (2nd, revised edition. 2006. Ed. Johanneskirchen-Gemeinde & Mahn- und Gedenkstätte Düsseldorf )
  • Günter Goebbels: From Remels to Düsseldorf. A meeting point for artists in East Frisia in 1919. In: War and Utopia. Art, literature and politics in the Rhineland after the First World War. Accompanying volume for the exhibition. Edited by Gertrude Cepl-Kaufmann, Gerd Krumeich et al. Klartext, Essen 2006, ISBN 3-89861-619-3 , pp. 75–83.
  • Günter Goebbels (texts); Ralf Pütz (Vorw., Red.): Otto Pankok 1893–1966. Illustrated book. 2nd Edition. Edited and published by OP Gesellschaft, Hünxe 2010.
  • Aloys Greither: The young Otto Pankok. The painter's early work. Droste, Düsseldorf 1977.
  • Kurt Holl (Ed.): The forgotten Europeans. Roma Art - Roma in Art. Verlag Rom e. V. , Cologne 2009, ISBN 978-3-9803118-8-5 . (Exhibition by the Cologne City Museum , catalog.)
  • Wilhelm Hoon: Pankok, Otto. In: Study Society for Emsland Regional History (Ed.): Emsland History. Volume 9, Haselünne 2001, pp. 250-255.
  • Wilhelm Hoon: The Otto Pankok Museum Gildehaus. In: Study Society for Emsland Regional History (Ed.): Emsland History. Volume 11, Haselünne 2004, pp. 223-229.
  • Conrad-Peter Joist: Otto Pankok in the Eifel . In Conrad-Peter Joist: Landscape Painter of the Eifel in the 20th Century. Ed. Eifelverein , Düren 1997, pp. 103–117.
  • Bernd Küster: Otto Pankok in Dötlingen. Exhibition in the district building Wildeshausen 1994.
  • Cyrus Overbeck : Otto Pankok: painter, graphic artist, sculptor. A biography. Droste, Düsseldorf 1995, ISBN 3-7700-1045-0 .
  • Eva Pankok (Ed.): Otto Pankok. Catalog raisonné. Droste, Düsseldorf 1985.
  • Eva Pankok: My life . Droste, Düsseldorf 2007, ISBN 978-3-7700-1272-5 .
  • Eva u. Hulda Pankok: Otto Pankok. Drawings, graphics, plastic. Elefanten Press, Berlin 1982, ISBN 3-88520-082-1 .
  • Hulda Pankok: From my life with Otto Pankok. Audio book edition, Dehnen Verlag, 1976.
  • Jobst Moritz Pankok: Otto Pankok. Elective affinities and friendships in loveless times. In: Beate Ermacora, Anja Bauer (ed.): The spiritual emigration. Arthur Kaufmann , Otto Pankok and their artist networks. Kerber, Bielefeld 2008, ISBN 978-3-86678-141-2 , pp. 22-28.
  • Otto Pankok: Sinti portraits 1931–1949. Edited by Eva Pankok, Romani Rose. Damm and Lindlar Verlag, Berlin 2008, ISBN 978-3-9812268-3-6 .
  • Otto Pankok: Painting of the persecuted - persecuted painter. Booklet accompanying the special exhibition of the same name in the Andernach City Museum from January 27 to April 24, 2011
  • Berto Perotti : Meeting Otto Pankok . Progress-Verlag Johann Fladung, Düsseldorf 1959.
  • Jens Roepstorff: The ostracism and persecution of artists under National Socialism using the example of Otto Pankok. In: Beate Ermacora, Anja Bauer (ed.): The spiritual emigration. Arthur Kaufmann, Otto Pankok and their artist networks. Kerber, Bielefeld 2008, ISBN 978-3-86678-141-2 , pp. 40-47.
  • Jens Roepstorff: Art under the swastika. In: Mülheimer Jahrbuch 2009. pp. 235–244.
  • Kurt Schifner: Otto Pankok. (= Contemporary artists. Row. 5). Verlag der Kunst, Dresden 1958.
  • Jörg Schmitz: Otto Pankok's artistic career until 1921 , in: Beate Reese (ed.), Otto Pankok on his 120th birthday. Charcoal pictures and graphics, exhibition catalog of the Mülheim Art Museum, pp. 89–105, Leipzig 2013.
  • Jörg Schmitz: Otto Pankok's artistic career - from the beginning to joining the artists' association “Das Junge Rheinland” , in: Kai Rawe (ed.), Magazine of the Mülheim an der Ruhr history association, issue 90/2015, Mülheim 2015, p. 9-61.
  • Ulrich Schulte-Wülwer: Otto & Eva Pankok on the Flensburg Fjord. Heide 2005. (Exhibition catalog Museumberg Flensburg 2005)
  • Susanne Timm: Otto Pankok's prints. Catalog raisonné of the lithographs, stone etchings and monotypes. Diss. Phil. University of Hamburg , 1989.
  • Rainer Zimmermann: Otto Pankok. The work of the painter, wood cutter and sculptor. Rembrandt, Berlin 1972.
  • Rainer Zimmermann:  Pankok, Otto. In: New German Biography (NDB). Volume 20, Duncker & Humblot, Berlin 2001, ISBN 3-428-00201-6 , p. 33 f. ( Digitized version ).

Other materials

  • City archive Mülheim an der Ruhr, inventory 883: Otto Pankok Collection
  • Film: The painter Otto Pankok in the Eifel. 65 min. Germany 2008. Director: Dietrich Schubert; Camera: Wilfried Kaute; on DVD . Over the period 1942–1946.

Web links

Commons : Otto Pankok  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Michaela Breckenfelder: The Artist as “Theologian” - The didactic processing of suitable images by Otto Pankok for religious instruction . Dissertation. University of Leipzig, 2011, p. 62.
  2. ↑ View of the Heinefeldsiedlung 1935 Düsseldorf City Archives. See also the descriptive description ( memento of May 23, 2010 in the Internet Archive ) of Pankok's stays by the citizens' association.
  3. ^ Foreword by Pankok to “Gypsies”, 1947.
  4. ↑ 1. Mare. 2. Martini. (the portrait of the sculptor Wilhelm Martini); 3. Uzarski in Italy ; all three from the art collections of the city of Düsseldorf . Source: Database on the confiscation inventory of Aktion Degenerate Art, Research Center, FU Berlin
  5. ↑ Michaela Breckenfelder: The artist as ″ theologian ″ - the didactic processing of suitable images by Otto Pankok for religious instruction . Dissertation. University of Leipzig, 2011, p. 79.
  6. ↑ Michaela Breckenfelder: The Artist as “Theologian” - The didactic processing of suitable images by Otto Pankok for religious instruction . Dissertation. University of Leipzig, 2011, p. 79.
  7. ↑ Erich Bockemühl: Otto Pankok on his 70th birthday. ( Memento of the original from October 31, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from: drevenack.de. @1@ 2Template: Webachiv / IABot / www.drevenack.de
  8. ↑ Quoted from Rainer Zimmermann, Bernhard Mensch, Karin Stempel: Otto Pankok, 1893–1966. Retrospective for the 100th birthday. Plitt, 1993, p. 42.
  9. ↑ Manfred Münchow: Pankok's “The Passion” in Esterwegen. November 1, 2015 in the gn-online.de portal , accessed on November 1, 2015.
  10. ↑ Christ breaks the rifle , click on the last picture to enlarge it ; Article on the work of Otto Pankok with sample images of his works (at www.pankok-museum-esselt.de)
  11. ↑ Re: cover picture ; Editorial for the cover picture including the image of the cover picture itself ( DER SPIEGEL , issue 25/1981, June 15, 1981)
  12. ↑ It is considered lost, in the book by Lise and Oto Bihalji-Merin about Rousseau from 1971 the loss is referred to as a "consequence of the war". The Pankok picture serves as a frontispiece in the book . Pankok even reproduced the little dog accurately.
  13. ↑ kuenstlerbund.de: Full members of the Deutscher Künstlerbund since it was founded in 1903 / Pankok, Otto ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed December 4, 2015) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  14. ↑ aachener-zeitung.de
  15. ↑ stiftung-denkmal.de
  16. ^ Foreword to the book: Otto Pankok. Sinti portraits 1931 to 1949. Damm and Lindlar Verlag
  17. ↑ In the Eller district. So far (2013) the city administration has not been able to name a street after Pankok where he had worked for years, i.e. on Heinefeld or in the vicinity of the Höherweg
  18. ↑ Catalog published by Damm and Lindlar Verlag, see Ref.
  19. ↑ see lit. "Oh, friends ..."
  20. ^ Berto Perotti: Meeting Otto Pankok . Progress-Verlag Johann Fladung, Düsseldorf 1959, p. 35.
  21. ↑ spiegel.de
  22. ^ Berto Perotti: Meeting Otto Pankok . Progress-Verlag Johann Fladung, Düsseldorf 1959, p. 45.
  23. ↑ Pankok writes about the post-war period on the Höherweg: So in my city they were assigned the same camp barracks surrounded by thick barbed wire as accommodation in which they were locked up under the Nazis. A large part of this area still lives in filth and primitive conditions. in Zs. "Moment" of the memorial and memorial, No. 7, 1995, p. 11.
  24. ↑ Online see web links, on the facts see further materials, Schubert film
  25. ^ Catalog of a touring exhibition that can be borrowed. Numerous charcoal drawings including techniques from OP, many of which have not yet been published from the Hünx archive; b / w photos of living conditions in Heinefeld and of the extermination of the Sinti from Düsseldorf; Texts from OP about Sinti; Documents, e.g. B. Photo of Robert Ritter and police in the persecution of Sinti. Numerous testimonies from survivors. Particularly noteworthy are 3 photos from private ownership that were taken in the courtyard of the Koelnmesse during the deportation to Auschwitz , including one with enthusiastic, laughing sisters in DRK costume , with SS men and others. Ä. Police figures, grouped around and on a deportation truck. The photo clearly shows how much approval the crimes against the Sinti met with those in uniform. Ed. Evangelical Johanneskirche, Martin-Luther-Platz 39, 40212 Düsseldorf
  26. ↑ 66 pages, cross section through the works
  27. ^ Pankok pp. 136-139 with eight, z. T. large-format illustrations from 1932, 1943–1948 from the Museum Hünxe. Short text by Eva Pankok
  28. ↑ From the foreword by Romani Rose : There is no other German artist whose work reflects the National Socialist genocide of the Sinti and Roma as directly as Otto Pankok ... In the charcoal pictures that Pankok on the eve of the »Third Reich« in Düsseldorf Heinefeld created, people look at us whose traces are lost in the National Socialist concentration and extermination camps. Pankok's depictions of Düsseldorf Sinti who had survived the Nazi terror, made after the war, are still among the most significant contributions to our minority in the artistic examination of the Holocaust. There are 20 sample pages from the book on the publisher's website : continue browsing . Description of the exhibition: Sinti . Foreword by Angela Merkel, see Honors. Review see web links, FES
  29. ↑ Only 12 p. With 32 plates. Further editions by Schifner: 1. With writings by and about Pankok, Einl. Schifner. With 107 plate fig. and others. Ibid. 1963 (185 pages) - 2. Pankok: hand drawings, prints, plastic. Vorw. Otto Nagel. Texts v. Schifner and Pankok. Gest. John Heartfield . 40 plates, 70 p. German Academy of the Arts , Berlin 1961.
  30. ↑ Go to "Fonts" in the sitemap (click on the right picture), then scroll down to "Bibliography (selection): Books and catalogs about Otto Pankok." Another lit. contains books with original graphics
  31. ↑ See also the film by Schubert, under "Additional materials"
personal data
SURNAME Pankok, Otto
BRIEF DESCRIPTION German painter, draftsman, sculptor and university professor
DATE OF BIRTH June 6, 1893
PLACE OF BIRTH Mülheim an der Ruhr
DATE OF DEATH 20th October 1966
Place of death Wesel