Paul Keck (painter)
Paul Keck (* 1904 in Überlingen , † 1973 in Lindenberg - Goßholz ) was a German painter.
Life
Paul Keck was a son of the painter and innkeeper Otto Keck . Unlike the latter, however, he was not an autodidact , but from 1926 studied at the art academy in Munich and passed a master's examination as a decorative painter . He stayed in Paris for a short time and then returned to Allgäu around 1929/30 , where he took over his parents' inn on the one hand, and became a successful local artist on the other. Ulrike Steiner commented on this success in an essay in 1998 as follows: “Its success was borne by the mass-integrating, modern-defamatory cultural propaganda of the Third Reich [...] National Socialist politics made use of the rural population's permanent feeling of inferiority vis-à-vis the city and valued it Land and its cultural expressions [...] as a mystical refuge of human originality and timeless values. Keck was also able to feel confirmed in his art and willingly joined in. "
In 1943 he took part in the Great German Art Exhibition in Munich with the painting The Letter to the East .
After the end of the Third Reich and after an extreme polarization between abstract and representational art, Keck reacted, according to Steiner, with “taboo repression and aggressive uncertainty”. In this essay, however, she does not prove whether Keck questioned his actions that far. In 1945 he was banned from painting for a year and then apparently continued his activity to an unimpeded extent.
Paul Keck meticulously kept records of his orders, so that the large number of wall and ceiling paintings that he mainly created is well documented. His painting of the Church of St. Peter and Paul in Lindenberg im Allgäu falls completely outside the scope of these works .
St. Peter and Paul in Lindenberg
St. Peter and Paul was built between 1912 and 1914 in times of economic prosperity according to plans by Franz Rank . From the beginning, it was planned to paint the church, in particular the 10.5 by 23 meter long field above the nave, but at the time of construction the financial means were not available: They were content with an arrangement of the areas that was particularly liturgical Important, especially the choir. This work was awarded to the Munich painter Julius Exter . Due to the outbreak of the First World War and the critical situation in the interwar period, the development of the church was further delayed. In 1932 the Lindenberger Kirchenbauverein was revived, but it was initially dedicated to the procurement of an organ. From 1933 to 1957 there was no more meeting of this association. Then he met again, primarily with the aim of renovating the church, but the painting of the house of God came up again. Knitwear manufacturer Josef Spieler pushed the negotiations forward.
In the spring of 1960, the parish priest Johann Steinlehner asked for an appraisal of the church by the Bavarian State Office for Monument Preservation and received the suggestion that the empty ceiling panels should only be colored. But such an abstract solution was apparently not welcome in the church. At a general meeting of the church building association on December 4, 1960, Paul Keck appeared with well-developed designs for the ten medallions at the base of the vault, in which the four evangelists , the four church fathers and the saints Gebhard and Ulrich were to be represented, as well as for the ovals in front of the Choir and the gallery, where a Mary with child and angels as well as the patrons of Allgäu Gallus and Magnus should appear, but especially for the large ceiling painting, which should show scenes from the life of Peter and Paul . Keck presented his ideas to the assembly in the form of colored slides and quickly won their approval; He could only persuade the skeptical Pastor Steinlehner to give his consent. But on February 3, 1961, a contract was signed, according to which Keck was to put up the proposed paintings until the church fair in 1961 and to give a guarantee of 30 years of durability. The fee was set at DM 51,000, which was to be paid in four installments. Keck created the paintings in the church between April 10 and July 14, 1961.
When Johann Steinlehner informed the Bavarian State Office for the Preservation of Monuments, the responsible state curator Walter Bertram added the pastor's message with the handwritten comment: “It won't work! It can never be bold! ”Bertram suggested that Hermann Kaspar or one of his students take over the task . The fact that the church building association in Lindenberg had instead responded to the suggestion of the regional decorative painter Keck, who had no experience with composing multi-figured scenes and inserting them into the three-dimensional space, probably put them under some pressure. In the summer of 1960, when the image program had apparently already been largely determined, he began to look for templates that would help him design the church paintings in the Baroque style, and among other things, he worked in Adolf Feulner's standard work Bavarian Rococo from 1925 and Hans Tintelnot's Baroque Fresco painting in Germany from 1956. He also mainly photographed the Peter and Paul scenes by Matthäus Günther in the parish church of Götzens as well as the frescoes by Martin Knoller in the monastery of Neresheim and Januarius Zick's paintings in the monastery church of Rot an der Rot . He also devoted himself to the neo-baroque paintings by Franz Xaver Dietrich in Immenstadt . Ulrike Steiner comments: “In the course of the first preparatory phase, Keck must have realized very soon that a painting of the parish church based on the illusionistic ceiling painting was beyond his artistic abilities and possibilities [...] The effectively moving modeling light and Color painting of the South German Baroque was in no way compatible with his style of painting. ” Classicism and the art of the Nazarenes , which were represented in his closer homeland by Ludwig Glötzle and Gebhard Fugel , for example , as well as the picture Bible by Julius Schnorr von Carolsfeld, were more likely to have suited him , of which he owned two issues. Alongside Schnorr von Carolsfeld and Fugel, the Oberammergau Passion Play , which he has attended regularly since 1930, became the source for Keck's pictorial designs.
Presumably he never produced an overall design for the large ceiling painting in the Lindenberg church, but rather designed four individual images, each based on a narrow strip of flooring above the stucco frame and bordered on the right and left by trees. He filled the middle part of the picture with a wide expanse of sky. In order to ensure the cohesion of the picture scenes, he then connected them with a strip of landscape. He did without the soffit, which is typical of baroque ceiling paintings. Steiner criticizes the heterogeneous overall structure of the picture as well as anatomical inaccuracies and the wooden character of some figures, "which look like they have been put together from individual parts." by Carolsfeld or other role models, but tried to compose the scene myself with the help of a jointed dummy and living models.
Keck's church paintings also contain his self-portrait, as well as a portrait of Josef Spieler and one of the restorer Ludwig Stoller and his nephews. Under his self-portrait he wrote an extensive text that ends with the following sentences: "The pictures are painted with› Divagin ‹from the Divag paint factory in Berlin. / I get DM 51,000 for my work." He had to paint over Spieler's portrait because whose wife was not impressed to see her husband immortalized on the church ceiling. However, he did this with water-soluble paints that were later removed. The player portrait is also provided with a long text.
Other works (selection)
- 1932: Gasthaus zum Goldenen Adler in Goßholz: interior decoration of the next room with animal and hunting scenes (not preserved)
- 1935: Draft for the facade painting of the Lindau milk supply
- 1935: House Otto Keck in Immenstadt: facade paintings. Depiction of Diana with deer, two scenes from an Allgäu hunting expedition with various portraits, Saint Hubertus with deer
- 1935: House Alois Thum in Lindenberg: facade painting Das neue Reich with inscription of a quote from Hitler (not preserved)
- 1936: Richard Feuerle's house in Lindenberg: fresco with woman and farmer drinking, interior decoration of the dining room in casein painting
- 1936: Gasthaus Rieser in Simmerberg : interior decoration of the dining room with a picture showing two men and a woman harvesting hay
- 1936: House H. Josef Ferber in Weiler im Allgäu : Saint Elisabeth with two children and an old woman, fresco
- 1936: Fountain in front of the Mayser-Milz & Co. hat factory (not preserved)
- 1936: Karl Hertlein House in Oberstaufen : Fresco with the handover of the plague flag by Hugo von Königsegg to the Staufner citizens' sons in 1635 with an inscription
- 1936: House Keßler in Scheidegg : Fresco: two hunters with a dog
- 1937: Basement in Kempten : Sgraffito on the facade and interior decoration
- 1937: HJ home in Lindenberg: fresco with Nazi imperial eagle
- 1937: Heydecker company in Kempten: interior decoration of the common room
- 1937: Gasthaus zum Wilden Männle in Oberstdorf : numerous decorations
- 1937: Martin Waibel house in Seifriedsberg : fresco with two goatherds and inscription
- 1937: Peter Ruf house in Blaichach : Fresco of the settler family
- 1937: Sylvester Huber's house in Blaichach: Fresco with the inscription Siedler
- 1937: House Ellhard (t) in Oberstaufen: Bay painted with female figure
- 1937: Castle hotel on the Falkenstein near Pfronten : Interior decoration of the castle parlor with two events from local history and inscriptions
- 1938: Gasthaus zur Post in Nesselwang : ceiling picture in the breakfast room The morning drives ahead of the day
- 1938: Götzeler house in Weiler: Fresco girls at the harvest
- 1938: House Walser in Goßholz: fresco of the settler family (not preserved, replaced by shepherd boys )
- 1938: Hotel Sorgschrofen in Jungholz : fresco Tyrolean freedom fighters and staircase ceiling image Tyrolean eagle
- 1938: Heydecker company in Kempten: Bay painting
- 1939: House Rall in Sigiswang : Fresco family portrait
- 1939: School in Seifriedsberg: fresco Hitler Youth
- 1939: Karl Bühler AG carpenter's shop in Göppingen : Fresco builders with swastika and inscription
- 1940: House Dürr in Scheidegg: Fresco family
- 1940: warehouse of the loan office in Wiggensbach : fresco sower and reaper , St. Christopher
- 1946: Stefan Hiemer house in Wiggensbach: Fresco with Saints Stefan and Wendelin
- 1946: Josef Ferber's house in Weiler: Fresco Madonna and Child
- 1949: Gasthaus zum Saalbau in Pfuhl: interior decorations
- 1949: Porter's house of the Kraft cheese works in Lindenberg: milkmaid and inscription
- 1949: Alpenhof cheese factory in Hergatz : facade painting
- 1949: Michael Schneider's house in Hindelang : night watchman
- 1949: Siegfried Karg agricultural machinery workshop in Lindenberg: two scenes with working farmers
- 1950: Schoolhouse in Hegge ( Waltenhofen ): interior decoration of the break hall
- 1950: Fridolin Baldauf bakery in Lindenberg: sower and baker
- 1950: Chapel in Schmidsreute : ceiling painting of Saint Rita, nursing a sick person
- 1950: Catholic parish church in Oberstaufen: fresco hl. Christopher on the eastern outer wall of the choir
- 1951: Haus Knoblauch in Lindenberg: Madonna with deer
- 1951: House Hubertus in Scheidegg: Hubertus-Hirsch
- 1951: Hans Rosenberger house in Lindenberg: fresco and inscription Rübezahl
- 1951: Dietrich Stahl house in Oberstaufen: fresco with shepherds and sundial
- 1951: House Schweitzer in Lindenberg: wood cutter
- 1951: House Dürkop in Oberstaufen: deer with two fawns
- 1951: Werner Knothe house in Scheidegg: Hamburg coat of arms in Rococo ornaments
- 1951: Agricultural machinery Karg warehouse in Lindenberg: Fresco with two working farmers
- 1951: Hans Deffner's painting business in Heidenheim : Depiction of the four seasons
- 1953: Schuhmacher Köglmaier office building in Oberstaufen: depictions by Hans Sachs and Evchen Pogner
- 1953: Schoolhouse in Grünenbach: Depiction of a teacher with three children and three coats of arms
- 1953: House Linder in Mittelberg: Representation of the good Samaritan
- 1954: Gasthaus zum Sünzen in Lindau: wooden ceiling and coat of arms paintings
- 1954: Kaspar Streif House in Leuterschach : Depiction of a shepherd boy
- 1954: Gasthaus zum Goldenen Adler in Goßholz: various scenes
- 1954: House Sepp Ficker in Oberjoch : Bergfrieden (deer with fawn)
- 1954: Vicarage in Oberstaufen: sgraffito Madonna with child
- 1954: Sports store Benedikt Brutscher in Bad Oberdorf : mural
- 1954: Erwin Wilfer house in Oberstaufen: mural and inscription
- 1954: Large petrol station VW-Autohaus Seitz in Immenstadt: interior decoration with several cityscapes
- 1955: Fritz Hollweck house in Oberstaufen: Madonna with child and two deer
- 1955: Gasthaus Klosterwirt in Friedrichshafen-Löwental: Interior decoration with historical depiction of Kloster Löwental
- 1956: Gasthaus zum Rössle in Scheidegg: interior decoration of the next room with a depiction of Scheidegg's polar bear hunt and a pair of dancing costume
- 1956: Seitz car dealership in Kempten: interior decoration of the service room
- 1956: Doctor's house in Wiggensbach: doctor with death and mother with child as well as Saint Luke
- 1957: House Enderlin in Lindau (Fischergasse): Dr. Caspar Strohmayr and eight coats of arms
- 1957: Wine bar to the chapel in Kressbronn : Putto pouring wine, coat of arms, inscription
- 1957: Martin Koch optician's house in Lindau: Johannes Kepler
- 1959: Gym in Simmerberg : Sgraffito
- 1959: Löwenbräu brewery in Meckatz: Sgraffito
- 1959: Gasthof zur Post in Weiler: stagecoach with travelers
- 1959: Heilstätte Hirtenstein in Bolsterlang : Sgraffito: Shepherd with goats
- 1959: Catholic kindergarten in Oberstaufen: Adoration of the Holy Family by children
- 1962: Marienapotheke in Immenstadt: Madonna with child based on the miraculous image of the Don Bosco pilgrimage church in Turin
- 1962: Chapel of the Mellatz Mission House : Altar wall: Lourdes Madonna with four angels and St. Bernadette
- 1963: Town hall in Weiler: Renewal of the picture David and Goliath by Lacherbauer from 1923
- 1964: Herz-Jesu-Heim in Heimenkirch : Let the little children come to me and paint the bay
- 1965: Hotel Lindenalpe in Neugilching : deer feeding
- 1968: Gasthaus zum Adler in Oberstaufen: Staufner Viehscheid
- 1968: House Tegelberg in Schwangau : Hiltepolt, minstrel from Schwangau
- 1968: Restaurant König Wilhelm in Waldburg: Landsknecht ensign
- 1968: Montfortsches Sennhaus in Blaichach: Old dairy kitchen and Montfortscher Landsknecht
- 1968: Hotel Hirsch in Immenstadt: facade painting
- 1970: Fire station in Oberstaufen: St. Florian
- 1973: Concrete goods factory Hans Rinninger & Sohn KG in Röthenbach: Farmer with Haflinger mare and foal
- 1973: Café Mayr-Brutscher in Schweinberg : blacksmith
literature
- Cheeky, Paul . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 3 : K-P . EA Seemann, Leipzig 1956, p. 31 .
- Ulrike Steiner: It can never be cheeky! In: Andreas Tacke (Ed.): Autumn of the Baroque . Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261-290.
Web links
Individual evidence
- ↑ Place of birth and death according to www.zeller.de . In the register of the Munich Academy, however, Kecks Lindenberg is named as the place of birth.
- ↑ Entry of the matriculation database .
- ↑ a b Ulrike Steiner, Keck can never do that! , in: Andreas Tacke (Ed.), Herbst des Barock , Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261–290, here p. 272.
- ↑ Figure in: Litzmannstädter Zeitung , supplement, December 28, 1943 ( digitized version ).
- ↑ Armin Dorner, Christ had to succeed particularly well , December 24, 2011 at www.all-in.de
- ↑ Ulrike Steiner, Keck can never do that! , in: Andreas Tacke (Ed.), Herbst des Barock , Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261–290, here p. 270.
- ↑ Ulrike Steiner, Keck can never do that! , in: Andreas Tacke (Ed.), Herbst des Barock , Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261–290, here p. 274.
- ↑ Ulrike Steiner, Keck can never do that! , in: Andreas Tacke (Ed.), Herbst des Barock , Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261–290, here p. 278.
- ↑ Ulrike Steiner, Keck can never do that! , in: Andreas Tacke (Ed.), Herbst des Barock , Munich / Berlin 1998, ISBN 3-422-06229-7 , pp. 261–290, here p. 279.
- ↑ Images of the portraits and reproductions of Keck's explanatory texts can be found at www.gmv-lindenberg.de
| personal data | |
|---|---|
| SURNAME | Cheeky, Paul |
| BRIEF DESCRIPTION | German painter |
| DATE OF BIRTH | 1904 |
| PLACE OF BIRTH | Überlingen |
| DATE OF DEATH | 1973 |
| Place of death | Lindenberg in the Allgäu -Gossholz |