Paul Herrmann (painter, 1864)
Paul Herrmann (born February 5, 1864 in Munich ; died May 1, 1946 in Berlin-Schöneberg ) was a German painter and etcher, who last lived in Zechliner Hütte near Rheinsberg in the Mark. (This is the artist whose life data have so far been given either incompletely or with the wrong year of death - 1940 or 1944 respectively.)
Life and artistic career
Paul Lorenz Heinrich Herrmann, son of the royal lawyer Dr. Georg Herrmann and his wife Emma Herrmann, b. Schubart, grew up in Munich. After the death of his father in 1881, his uncle Paul Heyse (famous writer and 1910 German Nobel Prize winner for literature) took over the role of “foster father” and looked after the education of the young Paul until he was 19. Heyse financed the training to become an architect. The young Paul Herrmann absolutely wanted to become a painter. So he used the college money for Max Ebersberger's painting school.
After 1880 Paul Herrmann earned his living in collaboration with the draftsman and painter Eduard Thöny as a restorer for frescoes and as a panorama painter in Bavaria and Swabia.
On March 26, 1883, Paul Herrman enrolled for a short-term study in the class of antiquities with Professor Raab and Professor Löfz. After the falling out with his uncle Paul Heyse, Paul Herrmann continued his studies with Professor Ferdinand Barth at the Royal School of Applied Arts in Munich for four semesters .
Paul Herrmann as a fresco and panorama painter in Germany and America
In 1891 Paul Herrmann accepted an offer from Joseph Ferdinand Keppler , publisher of the New York satirical magazine Puck , to work as a decorative and panorama painter for the World's Columbian Exposition in Chicago .
From 1893 to 1895 Paul Herrmann u. a. worked as a portrait painter in Chicago, New York and San Francisco.
Paul Herrmann's (also under the names Henri Herrmann, Henri Héran) first artistic period as a humorous caricaturist in Paris
In 1895 Paul Herrmann returned to Europe, to the artist city of Paris. Inspired by Arsène Alexandre , the co-founder of the Parisian satirical magazine Le Rire: journal humoristique , he worked as a cartoonist for this paper, where he learned a.o. a. know the well-known colleague Henri Toulouse-Lautrec better. Since there was already an employee named Hermann-Paul in the editorial team , the “Le Rire” editorial team used a different name for Paul Herrmann in order to avoid confusion. At first he was called "Henri Herrmann", later "Henri Héran".
Paul Herrmann's (also under the names Henri Héran, Henry Heran) second artistic period as a lithographer in Paris and Berlin
Over time, Paul Herrmann published his original graphics and illustrations in Paris under the name "Henri Héran". In “Le Centaure. Recueil trimestriel de littérature et d'art (Vol. II). Paris, 1896 ”he signed his woodcut works“ Estampe en trois couleurs ”with this name. You are in "The Cleveland Museum of Art". As an employee of the German art and literary magazine "Pan", he published a lithograph and color woodcut work in 1897 under the American modified name Henry Heran, which he called "Playful Mermaid". It is located in the "Art Institute Chicago".
Other lithographs such as "Allegory" can be found in "The Cleveland Museum of Art", in the "National Gallery of Australia".
Paul Herrmann's third artistic period (also under the name Henri Héran) as an illustrator and etcher in Paris
He belonged to the circle of friends of:
- Edvard Munch , to whom he made himself available several times as the model “Man with a Red Beard”, cf. Munch's Jealousy (1895) and other jealousy pictures. The poster is still popular today: Double portrait of Paul Herrmann and Paul Contard from 1896/97. The original is in the "Österreichische Galerie Belvedere" in Vienna.
- August Strindberg , who saw in Paul Herrmann, who had come to Paris from America in 1895, the "doppelganger" of Francis Schlatter , a spirit healer working in America who disappeared in the same year in 1895 without a trace.
- Oscar Wilde , for whom he made several illustrations in 1897, a. a. to the poem The Ballad of Reading Gaol . Wilde had already completed the one-act play Salomé and was looking for a suitable illustrator for it. He thought of Paul Herrmann, who had offered to illustrate the poem. But it didn't happen because Herrmann was working too slowly and not sticking to the appointments. That is why he canceled Herrmann and refrained from any kind of illustration in the accounting. Nevertheless, if the book was successful, he hoped for a luxurious edition with appealing illustrations for later. Herrmann must have been preoccupied with his failure for years, because 22 years after Wilde's death, in 1922, he published an art portfolio for the one-act play "Salomé", including an etching cycle with 6 drypoint works. Georg Jacob Wolf: "It is Herrmann's most magnificent cyclical creation."
In 1900 the artist Paul Herrmann had his own exhibition under the name Henri Héran, according to the announcement of the art magazine La Revue blanche, in the gallery “Chez Hessèle, rue Lafitte, Paris”. a. as a symbolist of the fin de siècle. The author of the article, Charles Saunier, explains why Paul Herrmann chose the stage name Henri Héran . The artist showed u. a. Etchings with portraits of "Wagner", "Jules Valadon", "Strindberg", "Stéphan George", "d'Arthur Symons", "M. Dauthenday ”and about himself, lithographs and watercolors with street motifs from Paris and Rouen and illustrations for Oscar Wilde and Stefan George. Two watercolors with street motifs are now in the possession of the Musée Carnavalet Paris .
In September 1900 Herrmann gave the Beethovenhaus Bonn, under his French pseudonym Henri Héran, a test extract of the lithograph "Ludwig van Beethoven" (based on his own drawing) for the Beethoven exhibition in 1902 .
Paul Herrmann (Henri Héran) stayed in Paris until 1906.
Paul Herrmann's fourth artistic period as an illustrator and etcher in Berlin, Leipzig, Munich, Vienna
In 1906 Paul Herrmann moved to Berlin to take part in the interior decoration for the completion of the Hotel Adlon (until 1907). He took over the artistic design of wall and ceiling paintings. This particularly applies to the large entrance hall and the large mural “Bacchanal” in the American bar. He also decorated the hotel's lobby with his pictures.
In the Eden Hotel , in the Deutsche Bank and the Central German Bank he also undertook decorative designs of wall and ceiling surfaces.
Married on October 6, 1910 with Luise Werber, b. April 3, 1884. Son Paul is born on July 11, 1909 in Munich.
In 1914, on the occasion of the fiftieth birthday of Hans Wolfgang Singer, a catalog with 183 numbers of his graphic works was published.
On May 6, 1914, the first world exhibition for book trade and graphics took place, called Bugra for short , which Paul Herrmann helped to shape and in which he participated, for which he was awarded the Golden Leipzig Medal on July 1, 1914.
From May to September 1914 the artist exhibited numerous drypoint etchings, etchings and roulette, stone printing in room 28c / d under the title "Graphic Exhibition Paul Herrmann-Héran, Berlin" of the "Great Berlin Art Exhibition" from May 11 to September 27, 1914 Colors, sandblowing mezzotint from such as "Partie aus dem Park Monceau", "Garden gate in Venice", "The Schieberin", "View from Villa Falconieri to Villa d'ESte in Frascati", "Ebenhausen near Münster", "Sta . Maria della Salute in Venice ”,“ Judith ”,“ Farmhouse in Barbizon ”,“ Park Festival ”,“ Beethoven portrait ”,“ Tree study from Ahrenshoop ”,“ Blackthorn bushes in Ahrenshoop ”,“ Monastery near Siena ”,“ The time ”, "Portrait of Mrs. PH", "Palace corner near Vicenza", "Side chapel in San Marco", "The flower stand", "Dancer", "Althagen", "The hunt for the monkfish", "Coffee garden II", "Teasing", "Portrait of Privy Councilor Director Max Steinthal", "The wood (forest in Normandy)", "Margot without a hat", "Courtyard of a house in the Rue de Seine", "Staircase in a Venetian courtyard (study)", " Margot ”,“ Adam and Eve ”,“ Café in Paris ”,“ Statue in the Villa Falconieri ”,“ Stephan George ”,“ The Kiss ”,“ Portrait of the actress Paz Ferrer ”,“ Between time and eternity ”,“ Ancien Régime "woman head," sin "," dream "," caress ".
Paul Herrmann's fifth artistic period as a drypoint eraser and mezzotint artist
In Berlin, the artist Paul Herrmann refined his technique as a drypoint eraser and scraper. So after 1919 he gradually published etching cycles, each with 6 drypoint works. In addition to the "compulsory work" for the late English poet Oscar Wilde, he concentrated on works by the German classic Johann Wolfgang von Goethe.
Published graphic folders with 6 sheets
- 1918/19 First cycle "Fantasies". Mezzotint. 1. "Dream", 2. "Time", 3. "Between time and eternity", 4. "Wistfulness", 5. "War", 6. "Peace"
- 1919 "Six drypoints for the legend of the Garden of Eden". Drypoint. 1. "Adam", 2. "Birth of Eve", 3. "Eve and the snake", 4. "Seduction", 5. "Triumph of the snake", 6. "Cast off"
- 1921 The woman with six drypoint etchings (with a foreword by GJ Wolf) , 1. "Exuberance", 2. "Youthfulness", 3. "Love awakening", 4. "Advertising", 5. "Fulfillment", 6. "Mother" (located in the German National Library)
- 1922 Salomé with six drypoint etchings . 1. "Narraboth", 2. "Salome", 3. "Salome", 4. "Herodes / Salome", 5. "Salome's dance", 6. "Salome" (located in the Lindenau Museum Altenburg)
- 1923 Six drypoint etchings for songs by Goethe , 1. "Die Spröde", 2. "Nachtgesang", 3. "Close to the beloved", 4. "On the lake", 5. "Apparently dead", 6. "In front of the court".
- 1924 Faust with six drypoint etchings (the original is in the Duchess Amalia Library in Weimar, further status print in the Frankfurt Goethe-Haus Free German Hochstift)
This was followed by changing exhibitions as participating artists in Berlin and in his hometown Munich (including from 1918–1930 in the "Glaspalast").
During the time of National Socialism (1933–1943) Paul Herrmann took on "state contracts" in which he captured "buildings of the Third Reich" in pictures. These pictures were hung in the Aviation Ministry and the Reich Chancellery.
Paul Herrmann in the House of German Art in Munich: "Great German Art Exhibition" (1937–1944)
- 1937: "Alt-Berlin 1936" (watercolor), "Plenary hall of the Reichstag after the arson on February 27, 333" (watercolor)
- 1940: "The Ponte Vecchio in Florence" (watercolor), "Spring day in the Munich court garden" (watercolor)
- 1941: "Santa Maria della Salute" (drypoint), "View from Belvedere Palace in Vienna" (watercolor), "Celebration of November 9th at the Feldherrnhalle in Munich" (watercolor)
- 1942: "Die Zeit" (mezzotint), "And you have won" (watercolor), "Die Fahne" (watercolor)
- 1943: "Weg zum Canaletto" (watercolor), "Venice" (watercolor), "The Zapfenstreich at the party conference in Nuremberg" (watercolor)
- 1944: "German Fortress in Norway" (watercolor), "Industriewerk" (watercolor)
Anecdotes
Paul Herrmann (Henri Héran) and Henri Toulouse-Lautrec
Paul Herrmann's first studio in Paris was poorly furnished and more daunting than inviting for prospective buyers. One day Paul Herrmann met the German art dealer Hans Weidenbusch, who wanted to visit Herrmann in his studio. In order to be able to receive a potential buyer "somewhat" appropriately, Herrmann borrowed appropriate furniture from his friends for the time of the visit. The gem was an old French chest of drawers. A visit came, the art dealer looked around with interest and was impressed, especially by the old French dresser. He decided to buy some drawings and pictures, then pointed to the chest of drawers that he really wanted to buy and made a very good price offer. Paul Herrmann was shocked and excused himself by saying that he had to cherish this piece of furniture because it was an heirloom from his father and was not for sale. Six months later, when Paul Herrmann had returned the loaned furniture to his friends and was able to use the money to rearrange himself, Mr. Weidenbusch appeared in his studio as a complete surprise. He marveled at the new facility and was very surprised that the heirloom that was not for sale was no longer there and asked the artist Herrmann for an explanation. Reluctantly, he came out with the truth and informed him that he had borrowed this piece of furniture from Toulouse-Lautrec for Weidenbusch's first visit. This admission had a sales effect. The art collector Weidenbusch got to know the shy Henri Toulouse-Lautrec with Herrmann's help and became a "benevolent patron" for years.
Paul Herrmann (Henri Héran) and Edvard Munch
When the penniless Edvard Munch lived in Paris and his rent debts piled up, so that the landlord was compelled to quit him, he and Paul Herrmann tried a trick before he left the house. The landlord had stood in front of the door to take the last of his belongings. During that time Paul Herrmann had stood unnoticed on the street and was gradually collecting the objects that Edvard Munch let down for him on a rope to the window: easel and pictures. While Paul Herrmann brought everything to safety, Edvard Munch opened the door for the landlord.
Paul Herrmann (Henri Héran) and August Strindberg
August Strindberg, who lived in Paris, was afraid of people and felt persecuted and one day he appeared at Paul Herrmann's "excited and distraught" and said that they wanted to poison him in his house with deadly gases. Munch had already wanted to appease him, but was rejected by him as "an alleged accomplice in the plot". Paul Herrmann actually smelled "pestilential gases" in Strindberg's house. When the bed was moved to one side, you could see why. A decomposed rat was exposed as the "author of the alleged assassination attempt".
The appearance and demeanor of the artist Paul Herrmann caused disturbing irritation from the perspective of the writer August Strindberg, who was plagued by nightmares and ghostly apparitions. In the literary diary Inferno. Cape. VII "Das Pegefeuer" (from 1897) he describes in detail how he sees through Herrmann (name is not mentioned) as an "American painter" who hides behind the facade of a cosmopolitan, who is in truth completely shabby and can develop suggestive powers. Finally, Strindberg recognized him as the "double" of the miracle healer Francis Schlatter.
Paul Herrmann (Henri Héran) and Oscar Wilde
According to Singer, Paul Herrmann is said to have taken care of the seriously ill Oscar Wilde, who, after his imprisonment in 1897, was socially ostracized, deported to Paris and lived there for three years. He died on November 30, 1900. Singer: "Herrmann was one of the seven people who gave the body of Oskar Wilde the last escort on the way to the Père La Chaise cemetery".
Paul Herrmann (Henri Héran) and Stefan George
In 1889 Paul Herrmann is said to have met the poet Stefan George in Paris because they lived in the same guesthouse. In the course of time he wanted to "bring him closer" to the representatives of the new Impressionist painting, Manet, Monet and Renoir, which George refused, however, because he saw in these works the "dissolution of art". Even decades later, Herrmann was firmly convinced that George "did not understand anything about the fine arts". However, he presented him with portraits he had painted, and so in 1897 he succeeded in making a portrait of George using a sandblower mezzotint and aquatint. Singer: "... one of the most beautiful works ... is one of the most valued works of German graphics." George found this portrait "too Mephistophelian in expression". He considered the artist Herrmann (Héran) to be a "blatant cynic". For George's poem "Anniversary", the etcher Herrmann (Héran), also in 1897, created a woman's head of one and the same person, young on one side and old on the other. This illustration had been mailed to George, but he said he had never received it. It has been known since 1977 that this statement is incorrect, because the drawing was found in George's estate. Stefan George counted Herrmann (Héran) among his "friends" more out of courtesy (letter of February 27, 1998). In early 1900 he allowed him to be portrayed again. But because of a "sudden departure of the poet" (Singer) the portrait was never completed. For this Herrmann sent him his Beethoven lithograph from 1898 with the very personal dedication: "My friend Stefan George".
Paul Herrmann (Henri Héran) and Emil Nolde
Paris 1900. Emil Nolde gave Henri Héran (Paul Herrmann) a picture on his departure from Paris, which he had to frame and send Nolde's mother to Schleswig for her birthday. He took over the necessary money and the picture of Nolde. It was a copy of the Tizian painting "Alfonso d'Avalos", which Emil Nolde had made in the Louvre in a complex, time-consuming and meticulous manner. For unknown reasons, Paul Herrmann never sent this picture. Nolde only got it back after five years. In 1905 Paul Herrmann organized an exhibition with his graphic work at the Leipzig Art Association. The private lecturer in law in Leipzig, Hans Fehr, a friend of Emil Nolde, found out about this and informed the president Adolf Wach of the Kunstverein, who then had all of Herrmann's works confiscated. And so Paul Herrmann had no choice but to hand out this Tizian copy so that his exhibition could take place in Leipzig.
Membership and Awards
Member of the Association of Berlin Artists, Free Association of Graphic Artists in Berlin, Munich Secession
1914 Chairman of the Working Committee of the General German Art Cooperative
1914 Saxon State Medal, Grand Prize of the City of Leipzig, July 1st: Golden Leipzig Medal as "Master of Etching Graphics" for helping to design and participating in the first world exhibition of graphics in Leipzig
December 19, 1940: Honorary member of the Association of Painters, Sculptors, Building Artists and Art Fellows since 1814
May 1, 1941 appointed professor
February 5, 1944 Goethe Medal for Art and Science on the occasion of the artist's 80th birthday
literature
- Peter Dorp: Mystical-mysterious stories behind the picture "The painter Paul Herrmann and the doctor Paul Contard" by Edvard Munch . Pulheim 2018, ISBN 978-3-7467-0577-4 .
- Peter Dorp (Ed.): The old Hotel Adlon in Berlin. Reprint from the year 1908. With a review of the interior designer Wilhelm Kimbel and the decorative painter Paul Herrmann by Peter Dämp. Pulheim 2017, ISBN 978-3-7450-4445-4 .
- GDK Research - Image-based research platform for the major German art exhibitions 1937-1944 in Munich
- Great Berlin Art Exhibition 1914 (Ed.): Catalog. Duration of the exhibition from 11.05. to 27.09.1914 , Felix Lehmann, 1914. In it: graphic exhibition Paul Herrmann-Héran , Berlin. Pp. 105-106.
- Henri Héran: Playing Sea Woman . In: PAN , 3rd year, issue 3, Berlin, 1897.
- Henri Herrmann: Designs by Henri Herrmann . In: Le Rire: journal humoristique . No. 78 (May 2, 1896), No. 95 (29 August 1896).
- Paul Herrmann: Etchings . F.Bruckmann, 1920.
- Paul Herrmann (Henri Héran): Six drypoints on Salome. F.Bruckmann, 1921.
- Paul Herrmann (son): A story with Toulouse-Lautrec. Memories of the son of the same name of his father. Unpublished manuscript dated December 15, 1982
- Paul Heyse: memories of youth and confessions . In: ders. Collected Works, 3rd series, Volume I. Cottasche, 1924 (first publication: 1900).
- Kirsten Jüngling: Emil Nolde: The colors are my grades. Propylaea, Berlin 2013. ISBN 9783549074046
- Koch, Alexander (ed.): Interior decoration. My home. My pride. Richly illustrated arts and crafts magazine for the entire interior. 19th year, Darmstadt, 1908, January issue. In it: "The Hotel Adlon in Berlin", pp. 1–54.
- Käthe Mehlitz: Marie Luise visits the painter Paul Herrmann. I. 1943. (Contribution from an unknown magazine with statements by the artist and 3 color photos: "Blue Hour", "Zepernick", "Female Nude").
- James G. Nelson: Publisher to the Decadents. Leonard Smithers in the careers of Beardsley, Wilde, Dowson. The Pennsylvania State University, 2000. 448 pages. 35 illustrations. ISBN 978-0-271-01974-1
- Sue Prideaux: Edvard Munch: Behind the Scream . Yale University Press, 2007. 391 pages.
- Hans Wolfgang Singer: The graphic work of the painter eraser Paul Herrmann (Henri Héran) scientific directory by Hans Wolfgang Singer with fifty-eight illustrations . O. Rauthe, 1914. 88 pages.
- August Strindberg: Inferno. Authorized translation by Christian Morgenstern G. Bondi, Berlin 1898.
- Strindberg. Painter and Photographer. Exhibition catalog. Printed by Berlings Skogs AB, Trelleborg, 2001.
- Hans Wolfgang Singer: The modern graphics . A representation for their friends and collectors, EA Seemann, 1920. 2nd ed., Pp. 133-136.
- Hermann Struck: The art of etching. A manual. 4. increased u. improved edition, Paul Cassierer, Berlin, 1920. In it: Paul Herrmann with the sheet "Ancien régime" and Herrmann's contribution to mezzotint. Pp. 243-244.
- U.Thieme / F.Becker Ed .: Paul Herrmann . In: General Lexicon of Visual Artists . Vol. 16, p. 503. Leipzig 1923.
- Margherita Versari: Strategies of love speech in the poetry of Stefan Georges . Königshausen & Neumann, 2006. ISBN 3-8260-3182-2
- Birgit Wägenbaur: Paul Herrmann . In: Stefan George and his circle. A manual. Vol. 3. (Ed. By Achim Aurnhammer, Wolfgang Braungart, Stefan Breuer and Ute Oelmann. In association with Kai Kauffmann. Editing by Birgit Wägenbaur). Walter Gruyter, 2012. pp. 1424–1427. ISBN 9783110184617
- Hermann Weber (ed.): Jurists behind literature and art. Conference at the Nordkolleg Rendsburg from September 16 to 18, 2011 . Series: Legal history and legal events. Vol. 18, 2nd edition, Lit, 2013, 208 pp. ISBN 978-3-643-11768-7
- Oscar Wilde: La Ballade de la geôle de Reading. The Ballad of the Reading Gaol. Edition bilingual. Traduction, presentation and notes from Jean Besson. Editions L'Age d'Homme, Lausanne 1989. In it: Illustration de la "Ballade" . P. 74.
- Georg Jacob Wolf: The eraser Paul Herrmann . In: Art for everyone . 34th year 1918-1919, Bruckmann, 1919. pp. 428-440.
- Georg Jacob Wolf: Paul Herrmann's etching cycle "Salome" . In: The art. Monthly books for free and applied arts . 45. Vol., Bruckmann, 1922. pp. 36-40.
- Robert Wolff: Find a picture by Paul Herrmann in the estate of George , from: New contributions to George research 2 , Heidelberg, 1977, in: Wolff, Robert (ed.): Studies on Stefan George. A selection in facsimile reproductions, Society for the Promotion of the Stefan George Memorial in the Stefan George Gymnasium eV Bingen 1981.
Web links
Individual evidence
- ^ Max Ebersberger painting school
- ^ Enrollment at the Academy of Fine Arts in Munich
- ↑ Nymph effrayée. Estampe en trois couleurs
- ↑ Playful Mermaid
- ↑ Allegory (Allegory)
- ↑ Fleur de Mai (May Flower): from L'Estampe Moderne "
- ↑ exhibition
- ^ Henri Héran
- ↑ Ludwig van Beethoven
- ↑ "Bacchanal"
- ^ "Great Berlin Art Exhibition" from May 11th to September 27th 1914
- ^ Game from the Park Monceau
- ↑ The slider
- ↑ Sta. Maria della Salute in Venice
- ^ Farmhouse in Barbizon
- ↑ Park Festival
- ↑ Beethoven portrait
- ↑ Adam and Eve
- ↑ "Ancien Régime" woman's head
- ↑ August Strindberg: Inferno. Hyperionverlag, 1898. Online in the Gutenberg-DE project
- ↑ mentioned in the weekly newsreel No. 702 of February 16, 1944, minute 0:30
| personal data | |
|---|---|
| SURNAME | Herrmann, Paul |
| BRIEF DESCRIPTION | German painter and etcher |
| DATE OF BIRTH | February 5, 1864 |
| PLACE OF BIRTH | Munich |
| DATE OF DEATH | May 1, 1946 |
| Place of death | Berlin-Schöneberg |