Peter Behrens

from Wikipedia, the free encyclopedia
Peter Behrens (around 1913)
Max Liebermann : Peter Behrens, 1923
Handwriting by Peter Behrens
Six Behrens assistants at work: (from left) Mies van der Rohe, Meyer, Hertwig, Weyrather (behind), Krämer, Gropius (with plan), 1908

Peter Behrens (born April 14, 1868 in Hamburg , † February 27, 1940 in Berlin ) was a German architect , painter , designer and typographer who is considered a pioneer of modern industrial design .

He was originally an artist, but before the First World War he became a pioneer of factual architecture and industrial design. He is known in particular as a co-founder of the Deutscher Werkbund and through his extensive creative work for AEG before the First World War. He is regarded as the prototype of the industrial designer and at the same time as the inventor of corporate design , in that at AEG he designed everything in a uniform sense, from letterhead to products such as electric tea kettles and their factory buildings. The architecture office he ran became particularly important because several architects who later became famous - including Walter Gropius , Ludwig Mies van der Rohe and Le Corbusier - worked there at the same time. He was also for the foundry of Brothers Klingspor as a type designer working. Here he designed a number of typefaces a . a. 1907 the Behrens Antiqua.

Life

1868-1903

The son of a Protestant family of landowners from Schleswig-Holstein visited the Christianeum in Altona from September 1877 , which he left again after Easter 1882. From 1885 to 1891 he studied painting at the art academies in Karlsruhe (from 1885), Düsseldorf (from 1889) and Munich . In Düsseldorf he was a student of the painter Ferdinand Brütt and lived at Goltsteinstraße 18 . Munich, where he began to work independently from 1892, shaped Behrens in particular as a center of the Art Nouveau movement recognized at the time . In 1890 he went on a study trip to the Netherlands to study the works of the luminarists there. Behrens was one of the founders of the Munich Secession in 1892 , from which he soon left to found the Free Association of Munich Artists with Max Slevogt and Lovis Corinth , among others . Furthermore, in 1897, Behrens co-founded the United Workshops for Art in Crafts . Friendships with members of the Pan group , among them Otto Erich Hartleben , gave him the opportunity to work on their magazine and to become better known by printing woodcuts and other works.

He now turned more to handicrafts, there were works made of glass and porcelain. In 1899 (a. Q .: 1890) he married the artist Lilli Krämer . In the same year he was appointed to the Mathildenhöhe artists' colony in Darmstadt . It was there that Behrens began to deal with architecture . The initiative for such an artist community went back to the Hessian Grand Duke Ernst Ludwig , who invited young artists from various fields to Darmstadt. When the colony presented itself to the public in 1901 with the exhibition A Document of German Art , it was above all the House of Behrens that impressed. However, some experts disliked the fact that Behrens was purely self-taught when it came to architecture .

“By fulfilling his first architectural and spatial artistic task at a high level, to the astonishment of the critics, however, he demonstrated in an excellent manner that a type of artist had grown up who, despite the derision of the reactionary academics of the so-called 'painter architects', had returned to a universal activity was capable in all areas of interior and exterior construction. Peter Behrens' house by no means had the character of a first work. "

In 1902, in addition to his work in Darmstadt, Behrens also began to hold master classes at the Bavarian Trade Museum in Nuremberg . He saw this as an opportunity to familiarize the craftsmen with the ideas of progressive artists . In 1903 he left Darmstadt and the artists' colony, where he was unable to assert himself against the (academically trained) architect Joseph Maria Olbrich .

Düsseldorf 1903–1907

On October 3, 1902, Behrens applied to the city of Düsseldorf for the post of director of the Düsseldorf School of Applied Arts on September 17, after its request. On December 16, 1902, chaired by the Lord Mayor Wilhelm Marx , the city council decided in favor of Behrens and against his competitors Martin Dülfer and Wilhelm Kreis , so that, as a 34-year-old, he took up his position on March 15, 1903 for an unusually high starting salary of 6,600 marks Director of the School of Applied Arts.

This work turned out to be difficult at first, as the Düsseldorf art scene was very much dominated by the art academy and many authorities there had little understanding of Behrens' artistic conception. That did not change when he took part in the Great Horticultural Exhibition in Düsseldorf in 1904 and proposed an "Architectural Garden" in front of the Kunstpalast , for which he designed wooden fences , pergolas and lion benches or marble benches with cats , made by the sculptor Rudolf Bosselt contributed. The Treillagen earned him the nickname Lattenpitter in Düsseldorf and was demolished in the mid-1920s under Wilhelm Kreis when the court of honor was built. A marble bench with cats is now quite weathered on the Goltsteinparterre behind the theater .

Karl Ernst Osthaus , the director of the German Museum for Art in Trade and Industry in Hagen , was one of the few who supported Behrens during these times. Via Osthaus, Behrens came into contact with the company Hagener Textilindustrie Gebr. Elbers , for which he made numerous designs for textiles in the following period. Behrens entered into another important cooperation with Gustav Gericke , for whose Delmenhorster Linoleum-Fabrik AG he developed the anchor linoleum pavilion and the corporate design in the form of letterheads, posters and brochures at the Oldenburg State Exhibition in 1905 .

In the period that followed, Behrens also set up typography courses in Düsseldorf. To this end, in 1906, through Hermann Muthesius , he contacted the British Edward Johnston , who had held similar courses at the Royal College of Art since 1902 . Behrens had already developed various fonts since 1901, such as Behrens-Fraktur , Behrens-Kursiv and Behrens-Antiqua . In 1908, together with Anna Simons , he designed the lettering Dem deutscher Volke on the Berlin Reichstag building by Paul Wallot . Behrens had a large group of students in Düsseldorf who later joined together in the Der Ring (Berlin Zehner-Ring) association and published a magazine of the same name. Ten years later, in 1918, Fritz Roeber , the director of the Düsseldorf Art Academy, managed to take over the architecture training of the School of Applied Arts, its lecturers and students, which was also renowned for Behrens' work.

It was noticeable that, as director of the School of Applied Arts, Behrens made a total of 72 business trips between March 1903 and August 1907, for example to The Hague, Vienna, London, Karlsruhe, Munich, Dresden, Berlin, Hamburg and Oldenburg, for example because of “meetings about the world exhibition in St. Louis with Officials ”, for visiting other art schools, consulting with artists, or building an art gallery. In the second year of his directorate, he asked Theodor von Möller , the Berlin Minister for Trade and Industry, to release him from his teaching obligation, which was set to six hours per week, which he grudgingly and censively approved.

Berlin 1907–1921

In 1907 Behrens settled in Berlin as a freelance architect. Before that, he had already taken on a number of orders for the interior and exterior design of buildings, for example a lecture hall at the Folkwang Museum in Hagen in 1905 , which, like the rest of the building , should have been designed by Henry van de Velde .

After Peter Behrens had previously taken on smaller design contracts for AEG , he was appointed to the company's artistic advisory board at the end of July 1907 . In the years that followed, he worked for this group in almost all design disciplines, from graphic work such as advertising brochures to product designs for household appliances and large factory and administrative buildings. As part of this activity, he not only created the preliminary drafts of today's AEG logo, but also influenced the entire corporate image.

Some architects had already settled in Berlin who, due to competition, often had to team up with partners in order to survive, such as Mebes & Emmerich , Luckhardt & Anker or Bruno Taut and Franz Hoffmann zu Taut & Hoffmann . Peter Behrens did not work alone in his studio, the Erdmannshof in the Berlin district of Steinstücke near Neubabelsberg . Employees were Walter Gropius , Ludwig Mies van der Rohe and Charles-Edouard Jeanneret-Gris, who called himself Le Corbusier from 1917 ; in addition Max Hertwig , Adolf Meyer , Jean Krämer and Bernhard Weyrather .

In addition to his work for AEG, Behrens continued to work as a freelance designer. The construction of his private house in Potsdam-Babelsberg and the designs for a garden city in Eppenhausen near Hagen fall during this time. The latter came about again through Karl Ernst Osthaus . Peter Behrens was also a board member of the German Association of Artists . From 1908 to 1910 he gave private lessons to the later painter Erich Grube . In 1909 he designed wine labels for the graphic institute Wilhelm Gerstung . Behrens was also active in the German Werkbund , for example in 1910 he organized the third annual meeting of the Werkbund. In 1911 he and others were able to prevent Hermann Muthesius from being deposed as chairman. In addition, when the Werkbund participated in the formation of a standards committee for German industry in 1917, Behrens was a member of a sub-committee for building standards .

In 1911, Behrens designed the building of the Imperial German Embassy in Saint Petersburg , which was praised in Germany primarily for its monumentality, but was criticized abroad, for example in France and Russia, for its Teutonic facade . Work for AEG ended three years later. In the same year Behrens was a member of the board of the Cologne Werkbund exhibition . In 1914 he was one of the signatories of the 93 . In 1916 he took part in the competition organized by the Werkbund for the House of Friendship in Istanbul .

After the First World War , under the influence of the economic hardship, Behrens looked for possibilities for financial savings in construction. In 1918 his work “Vom sparsamen Bauen” appeared , in which he advocated typing and using inexpensive materials such as B. Slag concrete used. He had already used this concrete in 1910/11 in the construction of workers' houses in Hennigsdorf , where he worked again for the Allgemeine Elektricitätsgesellschaft. Behrens also considered it important to concentrate and merge important community facilities such as schools , day nurseries , shops, etc. in urban development plans for housing estates . From 1920 Else Oppler-Legband was his partner.

“Peter Behrens described the role of the architect in the new rural settlements as that of a coordinator who balanced and carried out the wishes of the client and the user. He expressly rejected any intention of imposing taste from above and agreed with Gropius that the architect was only responsible for the general plan. All details should be worked out between craftsmen and residents. "

Düsseldorf / Vienna / Berlin 1921–1940

In 1921 Behrens was appointed to the Düsseldorf Art Academy. In 1922 he also succeeded Otto Wagner as director of the master school for architecture at the Vienna Academy of Fine Arts . Behrens was director of the architecture department here until 1927. In addition, the management of the Institute of Technology awarded him Prague the honorary doctorate .

During this time the design for an administration building for the Farbwerke Hoechst AG (1920-1924) in Frankfurt-Höchst was created. In 1925 Behrens took part in the international arts and crafts exhibition in Paris . He also gave a lecture on industrial construction as a cultural task at the main conference in Essen of the Association of German Architects and Engineers . In this and the two following years there was a major traveling exhibition of his works and that of his Viennese master class students, and when Ludwig Mies van der Rohe took over the management of the Werkbund exhibition in the Weißenhofsiedlung in Stuttgart in 1927 , Peter Behrens also accepted his invitation to take part participate. In 1927, Deutsche Gasolin commissioned Behrens to design gas pumps and petrol stations in order to avoid accusations of defacing the environment.

The late phase of his work in the 1930s was characterized by his concentration on urban planning tasks. Behrens was particularly active in Berlin, where such orders were necessary due to the rapid development of the city and the problems of increasing mass traffic. This activity of Behrens included u. a. the redesign of Alexanderplatz ; which, among other things, the Berlin urban planning officer Martin Wagner had suggested. After the death of Hans Poelzig in 1936, Behrens took over the management of the master school for architecture at the Prussian Academy of the Arts in Berlin.

On February 27, 1940, Peter Behrens died of a heart attack in Berlin. He was buried in the Wilmersdorf cemetery. His grave is no longer preserved.

plant

In the early stages of his work, Behrens tried to get inspiration from various trips. In addition to his trip to Holland in 1890, he was influenced by the monochrome mood painting of the school of luminarists during a visit to the École du Petit Boulevard in Paris . His pictures of this time are strongly impressionistic and naturalistic . In the course of time the ornamentation in his pictures increased, also influenced by his work in the Munich Secession. In the period that followed, the pictures tended strongly towards Art Nouveau. Techniques are often oil on canvas or woodblock prints.

The latter leads on to the period of book printing . Even if the products of this time are still characterized by the ornamentation of Art Nouveau, geometrical forms are increasingly found . Book decorations are highly abstract and flat. The fonts that Behrens later developed also went in this direction. His works during this period are heavy and powerful, but are characterized by a thoroughly factual sobriety.

“During this time, surface patterns, vignettes and border strips predominated as book decorations. The heaviness, strength and abstraction of the form made Peter Behrens' lines different from those of most other artists, who tended towards a delicate play of flowers. "

After founding the United Workshops for Art in Crafts , Behrens began to work in the arts and crafts sector. The design of a buffet comes from this time . He realized his concept of ornamentation in the field of glass painting and porcelain art, among other things. This led to the Mathildenhöhe era in Darmstadt, an artists' colony that was significantly different from others, also because there was no art academy in the residential city, but a technical university with an architecture department. The Mathildenhöhe was not an independent artists' association and the members could only give free rein to their ideas to a certain extent.

“The artist colony in Darmstadt was not a voluntary, grown or friendly union of like-minded, similarly thinking artists. It was an institution convened by a sovereign to serve specific goals and purposes. Its foundation and its career is a chapter in the regional history of cultural funding, the example of princely cultural policy in Wilhelmine Germany. "

It was here in Darmstadt that Behrens came into contact with architecture for the first time. For the exhibition Ein Document Deutscher Kunst (1901), all participating artists were asked to design their own houses, including the interior design and furniture, “but on the condition that they deliberately refused of eclectic elements to present their artistic and aesthetic intentions independently and as comprehensively as possible. ” (Kadatz, p. 37).

After he left Darmstadt, Behrens received the order for a crematorium in Hagen-Delstern through Karl Ernst Osthaus . The ornamentation consisted of meandering lines in black and white and stylized snails.

Behrens kept the ornamentation for a long time, but over time it became more and more extensive and simple, for example in the administration building of Continental AG in Hanover in 1912 and in the rooms he designed for the Werkbund exhibition in Cologne in 1914. However, under the impression of the First World War, a number of workers' settlements emerged in the period that followed, which no longer showed any of the decorations from previous years. They are kept very simple.

After the war and in the 1920s, Behrens went through another development. On the one hand, the buildings by Behrens now lacked any structure, especially on the facade, and stood out for their more complicated floor plans, as can be seen in his terrace house for the Werkbund exhibition in Stuttgart-Weißenhof. On the other hand, his buildings, primarily large administrative and public buildings, were, on the contrary, conspicuously structured, such as the technical administration building of the Farbwerke Hoechst AG in Höchst . The strong emphasis on the vertical is clearly visible in this and other buildings of this period. In the Hoechst building, the brick verticals are also bricked in different colors, a clear reference to the client.

In the late phase of his work, urban planning dominated. For example, in the course of a planned redevelopment of Alexanderplatz in Berlin , Behrens designed two similar office and commercial buildings ( Alexanderhaus and Berolinahaus ), which flank the confluence of Königstraße and thus the entrance to the city center like a city gate, of which the slightly larger Alexanderhaus in the south-east, especially in an angled form creates space.

Based on the influence of Art Nouveau, Peter Behrens found new forms of architecture that increasingly focused on purely functional buildings, especially in the field of industrial architecture. Behrens is considered the leading industrial architect of his time.

buildings

  • Behrens house in the artists' colony on Mathildenhöhe near Darmstadt (built in 1901)

  • Music room in the Behrens house with a Schiedmayer grand piano

  • Assembly hall for large machines, Berlin-Gesundbrunnen (1912)

  • Assembly hall for large machines, interior view 2005 (1912)

  • Facade of the former Dt. Embassy in St. Petersburg

  • Peter Behrens: Mannesmann House in Düsseldorf, built as the headquarters for the Mannesmann Group (1911–1912)

  • Central warehouse of Gutehoffnungshütte in Oberhausen (1921–1925)

  • Draft for a skyscraper above the never realized Gibraltardamm lock

  • Continental AG in Hanover (today the House of Economic Development )
    front (1912)

  • VEB plant for telecommunications (photo 1958)

  • Apartment building Bolivarallee 9 in Berlin

  • Friedenskirche in Linz

  • Tobacco factory in Linz

Font and book design

  • 1901: Festschrift A Document of German Art, The Exhibition of the Artists Colony in Darmstadt 1901
  • 1901: Behrens script in half bold (Gebr. Klingspor)
  • 1902: Behrensschrift (Gebr. Klingspor)
  • 1907: Behrens Antiqua (Klingspor Brothers)
  • 1907: Behrens script in italics (Gebr. Klingspor)
  • 1909: Behrens Antiqua half fat (Gebr. Klingspor)
  • 1914: Behrens Mediäval (Gebr. Klingspor)
  • 1916: Design of the inscription " DEM DEUTSCHEN VOLKE " on the Berlin Reichstag building

Design (selection)

  • various drinking glass series, e.g. B .:
  • various AEG products, e.g. B .:
    • Arc lamps
    • Factory and workshop lights
    • Kettle (range)
    • Coffee machines (percolator)
    • Fan heater
    • Factory clocks
    • Voltmeter
    • Fans

  • Ashtray in the shape of the "AEG honeycomb"

  • Parts of the drinking glass series with ruby-red feet in the exhibition for the 150th birthday of Peter Behrens in the Museum of Applied Arts Cologne (2018), made in 1901 in the Rheinische Glashütte Ehrenfeld

  • Carbon arc lamp on the AEG site in Berlin, Brunnenstrasse

  • Peter Behrens: AEG logo (1907) on an electric locomotive

  • Peter Behrens: Electric tea and water kettles for AEG (1909)

  • A model in three sizes:
    1.25  l , 1.0 l and 0.75 l capacity

  • Industrial lamp for the AEG. The product can be dismantled for transport reasons

  • Movement clock from a modular product range, designed in accordance with the corporate design of AEG

family

Peter Behrens was the husband of the textile artist Lilli Behrens and father of the engineer and inventor Josef Behrens (1890–1947) as well as the fashion draftsman and fashion journalist Petra Fiedler (1898–1993). His grandson Till Behrens (* 1931) later became an architect, urban planner and designer.

Naming and other honors

The departments for architecture and design at the Düsseldorf University of Applied Sciences jointly bear the name Peter Behrens School of Arts today . The Peter-Behrens-Werkkunstschule Düsseldorf had existed as early as the 1960s - as the successor to the Düsseldorf School of Applied Arts and the forerunner of the Düsseldorf University of Applied Sciences .

In Berlin, Düsseldorf, Frankfurt am Main, Hennigsdorf and Potsdam a street is named after him , and in Darmstadt a technical college (also for structural engineering) is named after him. In Linz the square in front of the tobacco factory building is named after him. In April 2018, on the occasion of his 150th birthday, a stamp worth 70 cents was issued. In September 2018, a 20-euro coin from the Federal Republic of Germany with the portrait of Behrens appeared, also on the occasion of his 150th birthday. Several listed industrial buildings such as the Peter-Behrens-Bau in Berlin-Oberschöneweide , the former main warehouse of Gutehoffnungshütte in Oberhausen and the former technical administration building of Hoechst AG in Frankfurt-Höchst are referred to as Peter-Behrens-Bau .

literature

  • Joseph August Beringer : Behrens, Peter . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker. tape 3 : Bassano – Bickham . Wilhelm Engelmann, Leipzig 1909, p. 206 ( Textarchiv - Internet Archive ).
  • Allgemeine Elektricitätsgesellschaft (Ed.): 75 years of AEG. Festschrift on the occasion of the 75th anniversary. Berlin / Frankfurt am Main 1958.
  • Kurt Asche (Ed.): Squaring the circle. Peter Behrens as an architect and designer. Oldenburg 1990.
  • Ina Bahnschulte-Friebe: Mathildenhöhe artists' colony, Darmstadt 1899–1914. Institut Mathildenhöhe, Darmstadt 1999, ISBN 3-9804553-6-X .
  • Jutta Boehe: Art Nouveau in the theater. The Darmstadt artists' colony and Peter Behrens. Dissertation, University of Vienna 1968.
  • Gerhard Bott: Darmstadt and the Mathildenhöhe . In: Gerhard Wietek : German artist colonies and artist locations. Munich 1976.
  • Tilmann Buddensieg : Peter Behrens and AEG. New documents on the construction history of the factories at Humboldthain. in: Charlottenburg Palace. Festschrift for Margarete Kühn. Berlin 1975.
  • Tilmann Buddensieg: industrial culture . Peter Behrens and the AEG. Berlin 1979.
  • Joan Campbell: The German Werkbund 1907-1934. DVA, Stuttgart 1981.
  • Armin Chodzinski: Art and Economy. Peter Behrens, Emil Rathenau and the dm drogerie markt. Berlin 2007.
  • Michael Eckhoff: 100 years of the Hagen crematorium. An early design by Peter Behrens. (= kunstdialoghagenwest , issue 5.) Hagen 2008, ISBN 978-3-932070-98-3 .
  • Fritz Helmuth Ehmcke :  Behrens, Peter. In: New German Biography (NDB). Volume 2, Duncker & Humblot, Berlin 1955, ISBN 3-428-00183-4 , p. 13 f. ( Digitized version ).
  • Thomas Foehl et al. (Ed.): Peter Behrens. From Art Nouveau to industrial design. Weimarer Verlagsgesellschaft, Weimar 2013, ISBN 978-3-86539-686-0 .
  • Hartmut Frank, Karin Lelonek (eds.): Peter Behrens. "Timeless and time-moving". Articles, lectures, conversations 1900–1938. (with the collaboration of Silvia Malcovati and Katrin Peter-Bösenberg) Verlag Dölling und Galitz, Hamburg 2015.
  • Hans-Joachim Kadatz: Peter Behrens. Architect, painter, graphic artist and designer. Leipzig 1977.
  • Georg Krawietz: Peter Behrens in the Third Reich. VDG, Weimar 1995, ISBN 3-929742-57-8 .
  • Bernd Nicolai: The 'coming man of our architecture'. Peter Behrens and the founding of modernity in the late German Empire . In: Klaus Rheidt , Barbara A. Lutz (eds.): Peter Behrens, Theodor Wiegand and the villa in Dahlem. (Ed. on behalf of the German Archaeological Institute on the occasion of its 175th anniversary) Mainz 2004, ISBN 3-8053-3374-9 , pp. 82-107.
  • Hans-Georg Pfeifer: Peter Behrens. But who will say what beauty is? Beton-Verlag, Düsseldorf 1990, ISBN 3-7640-0278-6 .
  • Sabine Röck, Michael Kasparek: The Behrens lamp. The large energy saving arc lamp from AEG . German Museum of Technology , Berlin 2003, DNB 972338519 .
  • Klaus Jürgen Sembach: 1910. Halfway through modern times. Hatje, Stuttgart 1992, ISBN 3-7757-0392-6 .
  • Alan Windsor: Peter Behrens. Architect and designer. Deutsche Verlags-Anstalt, Stuttgart 1985, ISBN 3-421-02833-8 . (Translated from the English by Kyra Stromberg; Original edition: Peter Behrens, Architect and Designer, 1868–1940. Architectural Press Ltd., London 1981.)
  • Art museums Krefeld , Museum for Applied Arts Cologne (MAKK) and LVR-Industriemuseum Oberhausen (editor): Peter Behrens. [12 (themed) booklets in a slipcase] (German, English), Kettler, Dortmund 2018, ISBN 978-3-86206-695-7 .
  • Petra Krutisch, Silvia Glaser: Peter Behrens. The Nuremberg Intermezzo. Verlag des Germanisches Nationalmuseums , Nuremberg 2017, ISBN 978-3-946217-09-1 .

Web links

Commons : Peter Behrens  - album with pictures, videos and audio files

Individual evidence

  1. ^ A b C. Arthur Croyle: Hertwig: The Zelig of Design. (Teaser). ( Memento of June 6, 2014 in the Internet Archive ) (PDF; 9.3 MB) Culicidae Press, 2011, ISBN 978-0-557-72969-2 , p. 102.
  2. ↑ Peter Behrens' school report
  3. ↑ a b c Friedrich Tamms : Of people, cities and bridges . Econ Verlag, Düsseldorf 1974, ISBN 3-430-19004-5 , p. 21 f.
  4. ↑ Hans Joachim Kadatz: Peter Behrens - architect, painter, graphic artist and designer 1868-1940. Leipzig 1977, p. 37.
  5. ↑ Peter Behrens ( Memento of the original from January 11, 2012 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. @1@ 2Template: Webachiv / IABot / www.weissenhof.ckom.de
  6. ↑ Benches: Professor Oeder has given the city two marble benches, "Cat and Dog", made for the exhibition by the sculptor Bosselt. They were set up in the Goltsteinstrasse jewelry plant. , in Report on the State and Administration of Community Affairs in the City for the Period April 1, 1904 to March 31, 1905. Special Section. III. Caring for economic life
  7. ↑ Alexandra Musiolek: Blooming garden spaces. The English influence on the design and use of plants in the German architectural home garden at the beginning of the 20th century. Diploma thesis at the Technical University of Berlin, University Press of the TU Berlin, Berlin 2005, ISBN 3-7983-1969-3 , p. 49 ( online in the Google book search).
  8. ↑ The benches were donated by the painter Georg Oeder . - See three new godparents for urban fountains and monuments. Pushkin memorial, Gröne Jong and 'marble bench with cats' under special care ( memento of March 4, 2016 in the Internet Archive ). Press release from the state capital Düsseldorf of December 10, 2012.
  9. ^ Wieland Koenig (Ed.): Düsseldorfer Gartenlust . Catalog for the exhibition of the Stadtmuseum Düsseldorf from May 2 to October 11, 1987, p. 185 f.
  10. ↑ Gerhard Kaldewei: "... if Delmenhorst is not to fall into disrepute" - On the history and future of Delmenhorst's industrial culture . In: Hans H. Bass (Ed.): Facets of economic research. Festschrift for Karl Marten Barfuß . LIT Verlag, Münster 2004, ISBN 3-8258-7441-9 , p. 33 ( online in the Google book search).
  11. ↑ kuenstlerbund.de: Full members of the Deutscher Künstlerbund since it was founded in 1903 / Behrens, Peter ( 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 on January 28, 2016) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  12. ↑ Hans-Joachim Kadatz: Peter Behrens. Architect, painter, graphic artist and designer . Leipzig 1977, pp. 43/48.
  13. ^ Joan Campbell: The German Werkbund 1907-1934 . Stuttgart 1981, p. 39.
  14. ↑ Joachim Kleinmanns: Super, full! A brief cultural history of the gas station . Jonas Verlag, Marburg, 2002. p. 65.
  15. ↑ Hans-Joachim Kadatz: Peter Behrens. Architect, painter, graphic artist and designer . Leipzig 1977, p. 12.
  16. ^ Cabinet based on a design by Peter Behrens . Portal d: kult on duesseldorf.de .
  17. ^ Gerhard Bott: Darmstadt and the Mathildenhöhe . In: Gerhard Wietek : German artist colonies and artist locations. Munich 1976, p. 154.
  18. ↑ Photo of the boathouse at the Berliner Rudergesellschaft Elektra e. V.
  19. ^ Charles von Büren: Glued wood construction - a success story: 100 years of the Hetzer patent - On June 22, 1906, master carpenter Karl Friedrich Otto Hetzer received the German Imperial Patent No. 197773 for curved, glued laminated beams made of two or more lamellas. That was the hour of birth of modern timber engineering. Media release by the Swiss Working Group for Wood Research (SAH), Dübendorf, June 2005, here as a memento from otto-hetzer.ch at web.archive.org, September 21, 2018. Retrieved October 17, 2019 .
  20. ↑ Christian Müller: Development of glued wood construction with special consideration of the inventions of Otto Hetzer - a contribution to the history of construction technology. Bauhaus-Universität Weimar , dissertation, Weimar 1998. Retrieved on October 17, 2019 . , Pp. 45-47
  21. ↑ City of Frankfurt, short report on the renovation of the listed buildings Schielestrasse 22 and 24–26 , accessed on October 21, 2014
  22. ^ Carsten Krohn: Restoration of the former German embassy in St. Petersburg. ( Memento from April 29, 2014 in the Internet Archive )
  23. ^ Hiltrud Kier : List of monuments Cologne old town and Deutz . Ed .: State Conservator Rhineland . tape 12.1 . Rheinland Verlag, Cologne 1979, ISBN 3-7927-0455-2 , p. 124 .
  24. ^ Dragan Damjanovic: Expressionism in Croatian Architecture of the Interwar Period . In: Architectura-Zeitschrift für Geschichte der Baukunst, 44 (2015), 1 (2014); 61-86 . ( academia.edu [accessed February 17, 2019]).
  25. ^ House Lewin. In: arch INFORM . (with picture)
  26. ^ Slovak website with pictures of the synagogue
  27. ^ Original plans by Behrens found again
  28. ^ Festschrift A document of German art: The exhibition of the artist colony in Darmstadt 1901, Munich 1901. (No longer available online.) In: von-zezschwitz.de. Archived from the original on February 19, 2015 ; Retrieved February 19, 2015 . 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. @1@ 2Template: Webachiv / IABot / www.von-zezschwitz.de
  29. ↑ Typeface design by Peter Behrens
  30. ↑ 100 years ago: The inscription "Dem deutscher Volke" was placed on the Reichstag on the website of the German Bundestag.
  31. ↑ Mila Ganeva: Women in Weimar Fashion. Discourses and Displays in German Culture, 1918–1933 , Camden House, Rochester 2008, p. 199.
  32. ↑ Welcome to the Peter Behrens School of Arts ; Website of the Düsseldorf University of Applied Sciences, accessed on October 13, 2017
  33. ^ 150th birthday of Peter Behrens - Federal Ministry of Finance - Topics. (No longer available online.) Archived from the original on June 12, 2018 ; accessed on June 10, 2018 (German). 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. @1@ 2Template: Webachiv / IABot / www.bundesfinanzministerium.de
  34. ↑ 20 euro commemorative coin “150. Birthday of Peter Behrens “- Federal Ministry of Finance - Press. Accessed June 10, 2018 (German).
personal data
SURNAME Behrens, Peter
BRIEF DESCRIPTION German painter, architect and designer
DATE OF BIRTH April 14, 1868
PLACE OF BIRTH Hamburg
DATE OF DEATH February 27, 1940
Place of death Berlin