Otto Schmid (pedagogue)
Otto Schmid (born January 27, 1889 in Herisau ; † April 20, 1974 in Trogen AR ) was a Swiss draftsman , painter and teacher .
Schmid worked as a drawing teacher at the Trogen Cantonal School for 34 years and was best known for his watercolors and linocuts across the Appenzell region. Artistically versatile, he was also active as a graphic designer and photographer and campaigned for homeland security . After the death of his wife in 2000, his estate turned out to be very extensive.
Life
childhood
Otto Schmid was born on January 27, 1889 in the oldest settlement in the Appenzellerland, Schwänberg- Herisau , in the "Black House", right next to the so-called "Town Hall". His sister Louise was born just a year later. The father Ulrich Schmid and the mother Louise Bodenmann worked, like many parts of the Herisau population in the second half of the 19th century, as stickers in home work and lived with their two children in modest circumstances. When Otto was five years old, the parents divorced. Subsequently, the father married twice, had four more children and finally died in 1918. After the separation, the mother continued to live with the two children in Schwänberg. As a result, Otto was mostly left to fend for himself, as his mother was busy maintaining the family, and had to help out at an early age, be it with the incidental work in home embroidery or with family work on the farm. One day he almost lost his finger to an ax blow: his mother treated the almost severed finger of his left hand with simple means, arnica , honey, cobwebs and small shingle shavings , and was thus saved, even if he remained numb throughout his life. Otto Schmid remembered: "Yes, that was my mother, she was a gifted 'Chrüterhäx'." In 1910, Louise Schmid-Bodenmann married again, moved to her new husband in Oberhelfenschwil in Toggenburg and died in 1933.
Initial training
Since a large part of the population of Ausserrhoder was looking for a livelihood in the textile industry at the turn of the 20th century , the father urged his son to become an embroidery artist after primary school . Schmid suspected "from day one that his profession was no longer in demand." Nevertheless, he completed an apprenticeship in the company JG Nef , one of the largest Herisau textile companies, which was first successful with satin stitch fabrics and from 1865 on with the mass-produced machine embroidery items manufactured at home. Since the director Johannes Georges Nef valued Otto Schmid and wanted to support him, he was allowed to continue working in the company for another year after completing his apprenticeship around 1909. Schmid's assumption regarding the bad job prospects as an embroidery draftsman was to be proved and so he obtained the means for a second training through overtime and night work in order to find a way out of the crisis in the embroidery and textile industry.
Second training
Primary school teacher
On the advice of the company patron Nef, Otto Schmid turned to a new profession after completing the recruiting school and trained as a primary school teacher at the teachers' college in Hofwil in the canton of Bern , probably from 1910 to 1912. Schmid already began to work as an artist at this time: In 1911, for example, he sent a watercolor postcard to Hedy Pfenninger, two years older than him, daughter of the drawing teacher at the Trogen Cantonal School, Heinrich Pfenninger, with the words: “I plague myself with watercolor painting . » After completing his second training, Otto Schmid first worked as a primary school teacher in Lauterbrunnen , then moved back to Appenzellerland and taught 52 children from six classes in Wolfhalden from 1913 to 1916 . During the First World War he was drafted into active service for a long time . In 1916 Schmid moved to Trogen , where he stayed for the rest of his life, and taught at the primary school until 1922, as well as at the commercial advanced training school. During this time he gave drawings to primary school pupil Elisabeth Pletscher ; A few years later, she attended the Trogen Cantonal School as the second Appenzell pupil, where she again had Otto Schmid as a teacher in grammar school drawing.
Drawing teacher
Due to his artistic talent, Schmid decided to train as a drawing teacher. To this end, he attended the trade school of the city of Bern at the beginning of the 1920s . This was followed by short stays at the art academies of the cities of Munich and Vienna .
Cantonal School Trogen
canditature
When Otto Schmid passed the final exams for the drawing teacher exam in Bern in the spring of 1922, the Trogen Cantonal School (KST) was looking for a new teacher for drawing and calligraphy , as the previous job holder Heinrich Pfenninger, to whose daughter the young Schmid had sent a postcard in 1911, died in April. With the newly acquired patent and his previous teaching experience in Trogen, Schmid had the ideal prerequisites for an election as a teacher at the canton school. As one of the opposing candidates in the application process, he faced the future Nebelspalter editor Carl Böckli ; Schmid outstripped his future friend in the election, each attesting to the other that it had probably turned out better that way. Pleased about the election, Schmid sent a telegram to Government Councilor Tanner in Herisau on May 6th : “I passed my exams well and will start classes at the canton school next week. Rector Wildi has been notified. Sincerely, Schmid Otto - Bern. " For the remaining 34 years of his professional life until his retirement in 1956, Schmid worked as a committed drawing teacher at the KST. So the boy from a poor background "had brought it through talent and discipline from embroidery draftsman to professor at a canton school and thus to a relatively secure professional position and corresponding social reputation."
Drawing lessons
In addition to his main activity at the KST, Schmid also taught from 1922 to 1932 at the trade school in Trogen, which was then housed in the pentagonal palace . As early as 1926 he was definitively elected "teacher of drawing, performing geometry and calligraphy" by the canton school commission and was given the title of " professor " customary at the time . When the extension of the “Red Schoolhouse” was completed in 1931, Schmid taught in the newly created drawing room on the top floor. He set up a darkroom in one of the two adjoining rooms under the sloping roof, and used the other to stow all sorts of objects as drawing templates for lessons: everyday or exotic objects, natural history preparations , plants and a collection of flower vases. Otto Schmid was called "Fädeli", "Fade" or "Fadegrad" by his students; This is because he often used the expression "fadegrad" in class, also in relation to his initial training in the textile industry ( weft thread ). In addition, Schmid was not satisfied with crooked things: His lessons were primarily characterized by the imparting of a pragmatic, clean and technically perfect creative approach. He attached great importance to the exact capturing and reproduction of specific motifs such as landscape, architecture, portraits or still lifes , as well as to the mastery of artistic techniques, for example perspective drawing .
A former high school student described Schmid's lessons retrospectively as follows: “We students learned from him to observe closely, to compare shapes and colors, light and shadow, to draw with pencil and charcoal, to do linocut , to use watercolors and opaque colors. More rarely, he also gave individual insights into the technique of etching , oil painting, etc. He consciously cultivated the basics of drawing and painting with his students and did not want to be responsible for an early education as an artist. He also refused the pure creation of pictures without objective reproach for his lessons, because in this area, even in great art, it is often difficult to distinguish between what is really valid and what is fraudulent. ” Walter Schläpfer, who came to Trogen as a pupil in 1929 and later became a teacher and vice-rector at the canton school himself, commented: “From 1922 to 1956 he taught his more or less docile pupils to draw and paint, whereby he claimed to be wiser and more humane The teacher always remained aware of the limits of his possibilities in a subject oriented towards the arts: for the talented, little good advice might suffice, but for the untalented he gave the help that they needed to achieve at least a sufficient grade in the Matura subject drawing. Objective design was in the foreground; Above all, the pupils should first learn to draw precisely before turning to “higher painting”. He was skeptical of the upswing in abstract art , the top achievements of which he recognized, and he was able to make statements about certain extravagances of the modern art business. "
Otto Schmid was also known among schoolchildren and teaching colleagues for his humor and word games. When the Trogen Cadet Corps traveled to Lugano in the Canton of Ticino in 1930 , the usual battle was canceled due to lack of time and the Cadet Commission decided to carry out the excursion without a rifle. However, a violent opposition arose from the student body against this decision, and the deployment of a gunless company was considered unworthy. Once again Walter Schläpfer: "gave the teachers to, rather than a battle joined a burst of gunfire, but lack of training so miserably failed, that our notorious distorter, Professor Otto Schmid said that this salvo on the San Salvatore is a < gates - Salve > been. »
Professional commitment
When Schmid was asked by the cantonal Realteachers' Conference in 1926 whether he would give a lecture on the subject of art, he agreed and gave a detailed lecture in Herisau in which he emphasized above all the importance and positive influence of art lessons: «The fact The fact that you are interested in education for artistic vision and in the formation of taste shows that finally, even if we are very shy and slow, the realization penetrates that certain things in our schematized and standardized upbringing have either been suppressed or considered completely insignificant for decades Minor issues were dealt with that are suddenly missing in today's youth. [...] In school, the history of constructive human work is still neglected compared to destructive work . Certainly future citizens should learn to think; but it could do no harm if even future leaders had to feel human. "
Schmid was active for years in the “International Association for Art Education, Drawing and Applied Arts”, where he also performed the role of Secretary General. In 1935, from August 9 to 16, he was able to take the “7 Visit the International Congress for Drawing, Art Education and Applied Arts »in Brussels : 600 experts from all over the world met for networking and exchange. Four months later Schmid reported in a detailed letter to Rector Wildi and the Government Council: “Greetings came from colleagues from all over the world who were not allowed to travel to Belgium due to the current political and economic situation, but especially because of the currency difficulties . […] In order to get the most out of school, I admitted a few days and visited the art collections in the Louvre and Versailles while driving through Paris . We were officially listed in the best collections in Belgium, and the world exhibition gave us an overview of the artistic creation in the 'old' and 'modern' art and in the exhibitions on school drawing, which I have been missing so far and which is determined today or will have a beneficial effect on school operations tomorrow. This overview is what I was looking for, not learning in detail, which often leads to the adoption of techniques that are alien to the nature and nature. I was able to state that drawing lessons at our cantonal school are basically going well, even if we haven't had enough time or interest to experiment with the very latest psycho-aesthetic problems. I was confirmed in my opinion that pure craftsmanship is essential to the practice of any art and will therefore continue to attach great importance to the acquisition of some techniques, the indispensable means of artistic expression, without, however, paving the way for a somewhat free artistic expression to obstruct. Personal contact with outstanding foreign experts was particularly valuable to me. I learned from the Czechs, Finns, Poles, but especially also from Yugoslavs and Hungarians, i.e. all from representatives of younger countries, which the Swedes joined, that there school drawing in a somewhat newer form is increasingly becoming an eminently important major, because one in a leading position has recognized the value of taste formation for the national economy [...] and draws the necessary conclusions. "
retirement
In 1956 Otto Schmid retired at the age of 67. In the annual release specifications of the Canton School Association (CBT), the merger of all former students of the KST stand, his retirement, among other things: "Professor Otto Schmid [...] has hung in the box and said that he had had enough his white coat geschulmeistert . Rheumatic complaints have given him a lot of displeasure on the way to school in recent years; no wonder that the bad manners of students who would have preferred to stay at home often annoyed him and made him a little morose. So be it now enough, despite the many beautiful things in the teaching profession! "
family
At the beginning of the 1930s, Schmid acquired the so-called "Doktorhaus" in Vorderdorf 57 (today Unterdorf 6) in Trogen, not far from Landsgemeinde square on a steep street to the east, where he lived until his death. In 1932 he married Hildegard Meyer, who was 16 years his junior. The trained house keeper was the daughter of the Herisau lawyer, politician and Säntisbahn founder Carl Meyer. The two had two sons and two daughters together. In his free time Otto Schmid was also very fond of music: he sang in the Trogen men's choir and played the violin and wooden flute himself. He was also involved in the Crown Society , and during the Second World War he was a local armed forces commander and in this function was in contact with the entire population.
Schmid boarding school
For almost 20 years (from 1937 to 1952 and from 1960 to 1964) Otto and Hildegard Schmid, supported by two temporary workers, ran a guesthouse with several students in their house . Since most of the high school students were previously forced to live in Trogen while they were still in school, because public transport did not allow commuting and the capacity of the KST boys' convent was limited, a number of families from Trogen founded a boarding school. Most of the cantonal school teachers and their wives were also forced to take such a step, as the then modest salaries were barely enough. The Swiss Abroad Armando Caflisch-Himmel from the Sicilian Catania lived between 1936 and 1942 in the «Pensionat Schmid» and remembered it in 1996: «Fate was gracious to me when the drawing teacher at the time, Professor Otto Schmid (Fädeli), had decided to work in his Appenzell house to take in a few students. Fortunately for me, because although he often nagged, he was a liberal and highly artistic person whom we, initially three, later up to eight pensioners, valued very much. He trusted us and gave us a lot of freedom as much as possible. For example, each of us received our own house key with the remark that we shouldn't get caught after an exaggerated outcome, which we strictly adhered to. Frau Professor, a very young and lovable woman, was a good comrade to all of us, along with a boarding mother, and she frequently intervened to smooth things over. […] Of the eight retirees, three were Swiss from Italy who at that time could hardly communicate with their own parents, which is why we felt the family atmosphere at Schmids'. So the Fädelis let us cook our Italian specialties, or we drove them to the annual market in St. Gallen , where they actively participated. Every year we were allowed to hold a boarding party under any motto (for example " Bedouin evening"), to which we were allowed to invite friends and even girls. " During the cultivation battle in World War II , the community granted the population plots of land on which they had to grow vegetables and potatoes. Since the Schmid family had to support a large number of people because of the pension, they were assigned four "plant leaves" at different locations. Thanks to their own vegetables and the rationing stamps for the many people living in the household, the family and their pensioners survived the war without need.
death
In 1974 Otto Schmid died in Trogen at the age of 85. He had kept his sense of humor until the end. At one of the last regular meetings with colleagues and friends in the "Krone" he stood in front of the mirror in the cloakroom and said, looking at himself: "Even the mirrors are no longer what they used to be." In the obituary for his former drawing teacher and work colleague, Walter Schläpfer wrote: “Whatever he took on, he carried out precisely and reliably: in school and in his beloved garden, as a theater decorator and director [for theater productions on the KST school evening], as a draftsman and as a photographer. He lived in things and at the same time stood above them. He loved the detail and at the same time kept his distance. With his humor, his subtle irony, his original ideas, the inexhaustible puns and twisted words, he found grateful listeners during the conversation who will not forget some of his “sayings”. Many of these seemingly easily thrown bon mots were, however, quite subtle and occasionally made one forget how seriously he took life, how sensitive his soul was and how responsibly he thought and acted in every task assigned to him. "
plant
Art understanding, style
Schmid believed in the power of art and its positive effect on character: “Personally, I tend to be more inclined to Stiehl's view : 'Fine arts are the activity through which the artist gives things such a form that the viewer sees them as the artist arouse or strengthen desired moods. ›An object becomes a work of art when it receives mood content from its creator, strong enough to trigger the same mood in the beholder. The visual arts want [...] to speak directly to us in an international language, bypassing the always interested mind, it wants to show us how we should learn to see nature in one word, becoming, being and passing away, joy and suffering. " Schmid's motifs were always close to the people and representations of the environment in which he lived. In this regard, he remarked: "One shouldn't emulate any foreign role models on bad pictures, but instead capture and appreciate one's own on site." Isabelle Chappuis noted in the accompanying document to the exhibition of Otto Schmid's work: «Otto Schmid does not specifically deal with contemporary trends or artists, or at least no traces of them have survived. He found his hold in the naturalizing style of the late 19th century and only cautiously approached the post-impressionist movements in Switzerland at the beginning of the 20th century. In 1926 he wrote about current art production: ‹You will soon realize that a large part of today's art production is pure intellectual work instead of emotional work, that is, misunderstood scientific achievement, painted psychology and other things without artistic value› […] Although Otto Schmid with Carl Böckli , the Nebelspalter - cartoonists , is a close friend and certainly the other profiled political artist, Jakob Nef from (1896-1977) Herisau , know, look at the events - the two world wars and the Great Depression - little rainfall. Only from the early period are there a few works with a symbolist content that also address experiences such as death, pain and despair. " The "art language" that Schmid used to "awaken wanted moods" was always a naturalistic mode of representation, representational art that mostly used the technique of watercolors or linocut . He signed and dated some of his early works “O. Schmid ”,“ Otto Schmid ”,“ Schmidotto ”, however, mostly refrained from doing this from the mid-1920s, which is why dating his works becomes difficult from this point on, as his style has changed little over the decades.
estate
When Otto Schmid's descendants cleared the house in today's Unterdorf 6 in 2000, they came across countless drawings and paintings, photographs, graphic designs and printing blocks under the sloping roof . Her father had even kept numerous student papers. «The works were hidden in the house. It is still a mystery to the family how so many pictures could remain hidden. " The community of heirs sorted the estate in a laborious process and decided to donate it to the Appenzell Ausserrhoden canton library in Trogen so that the bundle stayed together and was properly stored. The works were accepted by the cantonal library from 2008, after which the inventory of the estate, which comprises over 1000 objects, was carried out. As a result of this work, a representative excerpt from Schmid's work was presented to the public for the first time in 2016: From May 13th to October 23rd, an exhibition took place in the Museum of Life Stories in Speicher .
Appenzellerland
Otto Schmid had made hundreds of watercolors and linocuts , mainly with Trogen motifs, the Appenzell landscape and its traditional scattered settlements . Appenzellers of the older generation were familiar with his village views from the annual calendar in the Appenzeller Zeitung or from tear- off calendars . Thus Schmid himself had somewhat inherited the Appenzell draftsman Johann Ulrich Fitzi , whom he admired and who also worked as a drawing teacher at the Trogen Cantonal School from 1838 to 1842 . On Schmid's retirement it was read in the “KVT-Mitteilungen”: “He likes to see how the smallest things are looked after and neatly cared for here, every Wiesli is tucked in, what is his own neatly separated from the neighbors, and how the houses are decorated with graceful shapes. With his sense of humor, he fits perfectly into the Appenzeller character. [...] As an artist, he was always inspired by the pleasing forms and the beauties of Trogen. He depicted the village from all sides and captured its moods: the summery scent in watercolors, the winter silence in linocuts. You can still come across reproductions of his watercolors in some houses, because the way he sees Trogen, so many Appenzellers see it. Other village images followed, and these too have become valid formulations in some communities. Otto Schmid always succeeds in depicting the Appenzell landscape and its villages in a particularly typical way. " And in his essay "Our country and we" Otto Schmid raves about the merits of his home and writes: "In very many ways, are allowed to land and people even boast of Appenzell without any arrogance, only to stand. Or do you want to deny that Appenzell is the only Swiss canton to have to manage without a single meter of federal railways ? The Appenzeller humor, however, sees a certain compensation in the fact that Bern generously allows us to help carry the SBB's debt burden. "
Canton school
In addition to the Appenzellerland, Otto Schmid also repeatedly dealt artistically with the Trogen Cantonal School . For example, he usually made the backdrops for the annual “school evening” with his school theater performances, or in 1931 he created the graduation certificate for the students in the commercial department with the theme of Mercury with a winged helmet . Even after his retirement he made his talent available: He wrote an art study on the new KST fountain by the sculptor Wilhelm Meier (himself a student at the KST from 1894 to 1897) and wrote: «Die Figur [meaning almost three Meter-high stone figure of a boy on a corner of the edge of the fountain] probably wants to make the essence and goal of 'education' visible and tangible: heavy, amorphous matter takes on form and shape under the influence of the organizing spirit. At first unsteady and massive, the structure then grows upwards and refines itself towards perfection. But the development does not take place effortlessly in a straight line; In a multi-curved serpentine line or spiral, the path forces its way beginning at the right foot through the still earthy body over the left arm and the shoulders into the raised right arm and then swings energetically into the clenched fist, symbol of the liberated will. Victory of spirit over matter - at least in the first round! " In 1964, together with Andreas Branger, he designed the sundial for the west facade of the new “Annex” building. The KVT president at the time, Elisabeth Pletscher, noted in the annual report: “The genuine Appenzell initial skepticism towards this idea disappeared more and more, the wall appeared increasingly bare and even in the summer meeting the board of directors was unanimously of the opinion that a sundial belonged there. [...] Prof. Otto Schmid was persuaded to take over the artistic design, and the project has already progressed so far that Prof. Schmid's house is almost no longer sufficient to hold the huge drawings! " Schmid's most lasting merit at the KST, however, is the design of the cover pictures for the "KVT-Mitteilungen": The Trogen Cantonal School Association (KVT) was created in 1921, a year before Schmid came to the Cantonal School as a drawing teacher, on the occasion of the 100th anniversary of the KST and responded to the need of alumni and friends of the school not to lose sight of each other. Right from the start, the KVT informed its members about the school's activities with a printed annual report or with texts from alumni from all over the world. By 1965 Otto Schmid designed most of the covers of the "KVT-Mitteilungen" with linocut motifs about the school:
Cover picture 1926:
Canton school area
Cover picture 1927: Cadet Corps Trogen
Cover picture 1939: Honnerlagscher Palace
Cover picture 1945: Canton school area
Cover picture 1953: Drawing lessons
Cover picture 1965:
"Annex" with fountain and sundial
Photographs
Otto Schmid had left behind an overwhelming number of photographs, an estimated 30,000 to 40,000. He took photographs all his life, especially after his retirement, and thus created important historical documents between 1910 and the 1970s. He equipped himself with complicated equipment early on and between 1910 and 1920 made glass plate recordings, and after the extension of the “Red Schoolhouse” at the KST was completed in 1931, he set up a darkroom in an adjoining room . His immediate surroundings were one of his favorite motifs: Appenzell landscapes with their typical scattered settlements , villages and people. But he also had his camera with him when he was active during the First World War. Things that bothered Schmid, such as, in his opinion, bad conversions, were also photographed. One of his most famous photographic works was the Säntis - Panorama . After the death of his father-in-law, the Säntisbahn founder Carl Meyer, he was on the board of directors of the Säntisbahn from 1947 to 1972 . On the one hand, he wanted to propose aesthetically acceptable solutions for construction issues, on the other hand, he wanted to reproduce the Säntis as impressively as possible for tourists. He decided to take the demanding reproduction of the view with the camera by hand and combine individual images to form an all-round perspective . The photo panorama was finally printed as an advertising brochure in the 1960s. The brochure for the exhibition “Otto Schmid - Professor Fadegrad” said about his photographic work: “His shots are also exciting because he takes on the everyday life of his contemporaries and records their work and enjoyment in an almost documentary way. There are pictures that show troughs, but on which the milkman, the postman or the transporter can also be seen. He records the Whitsun ski race on the Säntis, the cherry harvest in Schwänberg, the car race on the Landmark, the hilarious hustle and bustle in the Trogen swimming pool or the construction work on the Bruderbach Bridge. These pictures represent [...] important and historical evidence. And most of them are taken with a feeling for a balanced composition. "
Graphics
Schmid's estate includes numerous testimonies to his part-time work as a designer and commercial artist . In addition to school certificates and teachers' diplomas, drafts for letterheads, posters for private schools and inns or advertising brochures for tourist destinations have also been preserved. He also designed invitation and program cards for events for numerous clubs in the area. Last but not least, he also illustrated publications such as the annual "KVT-Mitteilungen". Isabelle Chappuis comments on Schmid's commissioned graphics: “What is characteristic about all of these works is that he puts his handwriting entirely in the service of the client, the individual works are so different. They contain a wide range of stylistic elements, from rustic or folk motifs to fabulously dreamy figures or complex scientific representations to more modern, very reduced subjects. He also benefits from his extensive technical knowledge: from woodcut or copperplate engraving to brush or pen drawing, watercolor , gouache and photography, almost everything can be found in the drafts for his commissioned work. This variety of motifs and technologies can be explained on the one hand by the general stylistic change, but also on the other hand with his desire to correspond as closely as possible to the character and wishes of the client. "
Homeland security
For several decades Otto Schmid was on the board of the “ Heimatschutz Appenzell Ausserrhoden ”, always kept a watchful eye on everything that was structurally changed or new and, if he did not like it, captured it with the camera. In the 1930s he worked as a consultant for the Johann Heinrich Tobler memorial on the Vögelinsegg and in the 1960s for that of Henry Dunant in Heiden . Walter Schläpfer wrote about Schmid's homeland protection activities: «With the founder of the same, senior court clerk Dr. Otto Tobler, he was of the opinion that some disasters could be averted with expert advice, and so he gave advice and action when it came to beautifying Appenzell village squares with coordinated painting or stylishly renovating a valuable architectural monument. Otto Schmid, however, was not a fanatic of homeland security, but precisely because of his understanding attitude he achieved a lot that is an ornament to the homeland ». Schmid's idea of painting the houses and submitting a common color concept to private house owners could stem from the colorful facade paintings by Johannes Hugentobler in Appenzell's main street from around 1930 . While the houses in Appenzell were painted in bold colors, Schmid mainly suggested muted earth colors, based on the color scheme of the Appenzell hinterland, where the houses had often been painted a light color since the 18th century. Among other things, a draft for the colored design of the Urnäsch village square has been preserved in the estate . Schmid's commitment to the Appenzellerland has been honored again and again, including when he retired in 1956: «Just as Otto Schmid found the Appenzellerland again in 1922 after his apprenticeship and traveling years, so the Appenzellerland also found him. [...] Through his eager and very fruitful work in the Appenzell Homeland Security, he soon became known in all communities. Here and there he was called to solve various aesthetic problems, and so he gradually became a kind of aesthetic conscience of the Appenzeller people. […] Otto Schmid is called in when houses or the Trogenerbahn have to be repainted or village squares need to be renewed. [...] Particularly in the maintenance of the village squares and especially the parish squares, the Appenzellerland owes most of what it has achieved in recent years to him. "
Exhibitions
- Otto Schmid - Professor Fadegrad . May 13 to October 23, 2016 in the Museum of Life Stories in Speicher
literature
- Ernst Wildi: Appenzell a. Rh. Canton school in Trogen for the hundredth year of existence. Self-published, Trogen 1921.
- Various: Rectorate correspondence from Ernst Wildi, 1905–1939. State Archives Appenzell Ausserrhoden, D.027-60.
- Various: Dossier on Otto Schmid, 1922–2016. State Archives Appenzell Ausserrhoden, D.027-60-1-11.
- Walter Schläpfer: Prof. Otto Schmid, Trogen (1889–1974). In: Appenzellian yearbooks. Volume 101, Herisau 1973.
- Various: KVT notifications. Self-published, Trogen 1921–2008.
- Otto Schmid: About education for artistic vision - lecture for the cantonal realteachers conference 1926 in Herisau. In: KVT-Mitteilungen. No. 6, self-published, Trogen 1927, pp. 29–47.
- Otto Schmid: Our country and we. In: KVT-Mitteilungen. No. 33, self-published, Trogen 1954, pp. 26-30.
- Armando Caflisch-Himmel: Trogen 1936–1942 Pension Prof. Otto Schmid. In: KVT-Mitteilungen. No. 75, self-published, Trogen 1996, pp. 92-96.
- Isabelle Chappuis: Otto Schmid - Professor «Fadegrad». Museum for Life Stories, self-published by Speicher 2016.
Web links
Individual evidence
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 6.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 7.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 9.
- ^ Otto Schmid: Telegram to Government Councilor Tanner from May 6, 1922 . State Archives Appenzell Ausserrhoden, D.027-60-1-11
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 2.
- ↑ Unknown author: Professor Otto Schmid . In: KVT-Mitteilungen , No. 35, self-published, Trogen 1956, p. 28.
- ^ Walter Schläpfer: Prof. Otto Schmid, Trogen (1889–1974) . In: Appenzellische Jahrbücher , Volume 101, Herisau 1973, p. 44.
- ^ Walter Schläpfer: From the history of the Trogener Cadet Corps. In: KVT-Mitteilungen No. 68, self-published, Trogen 1988, pp. 73–74.
- ↑ Otto Schmid: On education for artistic vision - presentation for the cantonal real teachers' conference in Herisau in 1926. In: KVT-Mitteilungen No. 6, self-published, Trogen 1927, p. 29/47.
- ^ Otto Schmid: Report to the rectorate of the canton school Trogen and the government council of Appenzell A.Rh. dated December 15, 1935 . State Archives Appenzell Ausserrhoden, D.027-60-1-11
- ↑ Unknown author: Professor Otto Schmid . In: KVT-Mitteilungen , No. 35, self-published, Trogen 1956, p. 27.
- ^ Dorothea Altherr-Sturzenegger, Franziska Gübeli-Müller: The era of pensions in the history of the Trogen Cantonal School. In: KVT-Mitteilungen No. 74, self-published, Trogen 1995, pp. 91–111.
- ^ Elisabeth Pletscher: Trogen, the school village in the twenties. In: KVT-Mitteilungen , No. 74, self-published, Trogen 1995, pp. 71–73.
- ^ Armando Caflisch-Himmel: Trogen 1936–1942 Pension Prof. Otto Schmid. In: KVT-Mitteilungen No. 75, self-published, Trogen 1996, pp. 92–93.
- ^ H. E: On the death of Prof. Otto Schmid, Trogen . In: KVT-Mitteilungen , No. 53, self-published, Trogen 1974, p. 24.
- ^ Walter Schläpfer: Prof. Otto Schmid, Trogen (1889–1974) . In: Appenzellische Jahrbücher , Volume 101, Herisau 1973, pp. 44/45.
- ↑ Otto Schmid: On education for artistic vision - presentation for the cantonal real teachers' conference in Herisau in 1926. In: KVT-Mitteilungen No. 6, self-published, Trogen 1927, p. 30.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 12.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 17.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 1.
- ↑ Unknown author: Professor Otto Schmid . In: KVT-Mitteilungen , No. 35. Self-published, Trogen 1956, pp. 27/28.
- ↑ Otto Schmid: Our country and we. In: KVT-Mitteilungen No. 33, self-published, Trogen 1954, p. 29.
- ^ Otto Schmid: Certificate of departure from the trading department in 1931 . State Archives Appenzell Ausserrhoden, D.027-60-1-11
- ^ Otto Schmid: The sundial on the new building in 1963 of the Trogen Cantonal School. In KVT-Mitteilungen No. 45, self-published, Trogen 1966, p. 31.
- ^ Elisabeth Pletscher: Annual report of the KVT. In KVT-Mitteilungen No. 44, self-published, Trogen 1965, p. 4.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, p. 20.
- ↑ Isabelle Chappuis: Otto Schmid - Professor "Fadegrad". Museum for Life Stories, self-published by Speicher 2016, pp. 19/20.
- ^ Walter Schläpfer: Prof. Otto Schmid, Trogen (1889–1974). In: Appenzellian yearbooks. Volume 101, Herisau 1973, p. 44.
- ↑ Unknown author: Professor Otto Schmid. In: KVT-Mitteilungen. No. 35. Self-published, Trogen 1956, pp. 28/29.
| personal data | |
|---|---|
| SURNAME | Schmid, Otto |
| BRIEF DESCRIPTION | Swiss draftsman, painter and teacher |
| DATE OF BIRTH | January 27, 1889 |
| PLACE OF BIRTH | Herisau |
| DATE OF DEATH | April 20, 1974 |
| Place of death | Trogen AR |