Ramón Neckelmann

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Ramón Neckelmann (born February 15, 1907 in Hamburg ; † October 8, 2000 there ) was a German painter and graphic artist.

Life

Ramón Neckelmann grew up as the youngest of eight siblings in Hamburg-Uhlenhorst . The parents' villa (originally built by Carl Ferdinand Laeisz ) remained a reference point and mostly residence until it was sold and demolished in 1958.

Neckelmann trained as a commercial graphic artist with Theodor Paul Etbauer from 1923 to 1926. During this time he became acquainted with Klaus and Erika Mann , Pamela Wedekind and Gustaf Gründgens , who performed the play "Anja and Esther" in the Hamburger Kammerspiele in 1925. Neckelmann was already delivering graphics for the " Hamburger Echo " at this time .

In 1926 a study visit to Paris followed. There Neckelmann met numerous German artists of the time (Kurt Löwengard and Reinhard Lentz, members of the Hamburg Secession and Helmut Kolle ). In Paris he also devoted himself to painting for the first time.

From 1927 to 1928 Neckelmann studied in Belgium and worked in Switzerland as a commercial artist a. a. for the Orell-Füssli publishing house.

At times Neckelmann also worked as a painter for board parties and as a steward on a cruise ship to the West Indies. On this trip Neckelmann met the artist Eva Hagemann, with whom he had a long-standing friendship.

After studying at the Stuttgart School of Applied Arts in 1929, Neckelmann worked as a freelancer in Hamburg from 1930–1933.

1935–1936 he studied at the Karlsruhe Art Academy with Georg Siebert and Hermann Göbel .

Neckelmann was a volunteer in the Spanish Civil War from 1937 to 1939 ( Condor Legion , on the side of the putschists under Francisco Franco ) and from 1940 to 1945 a soldier in the German Wehrmacht .

Neckelmann lived in Hamburg until his death, interrupted by various trips to the Orient, the visual impressions of which he processed.

reception

Hanns Theodor Flemming: “ In his free painting, Ramón Neckelmann has developed an unmistakably unique way of expression in which expressive and decorative elements organically interpenetrate one another. Echoes of late synthetic Cubism and the Art Deco style of the twenties can also be observed in places. "

Klaus Täubert: Neckelmann's pictures live from his “ joy in the easily puzzled detail and are explained by his connection with traditional fairy tales, myths and legends. The grotesque and the ugly determine Neckelmann's work and are important to him as the counterpart of the aesthetic. "

Klaus Mann: “ During my stay in Hamburg, while I had to play every night and also enjoyed it, I was interested in everything that had nothing to do with the theater. I also had friends outside of the theater. I even preferred to move among a certain depraved jeunesse dorée, among the sons of patrician families who had become destitute in the course of the inflation. They still lived in the stately villas where their parents had once represented the dignity and prosperity of the Hanseatic tradition. Like exiled princes, sad and proud, they wandered through the deserted spaciousness of dusty good rooms and deserted gardens. I had a particular preference for one particular young man among them. He had a long, bony, sensitive face and the nervous slenderness of an aristocratic greyhound. His name was Ramon [Neckelmann]. He was gifted with a lot of grace and a tricky, melancholy and bizarre sense of humor. Ramon and his friends were somehow different from the young men from similar backgrounds in other German cities. They had more naturalness and self-irony than one generally finds among Germans . "

Exhibitions and works

  • 1940: Spain drawings, Atelier Block, Hamburg
  • 1949: Painting together with Eva Hagemann in the Bergedorf town hall (Hamburg)
  • 1950: Set design for “ The Baker's Wife ” by Marcel Pagnol, staged by Gustaf Gründgens in Düsseldorf
  • 1963: Painting and graphics in Jönköbing and Karlstad, Sweden
  • 1973: Marbella, Spain
  • 1977: Painting and graphics in the Hochhuth bookstore, Hamburg
  • 1987: Painting and graphics at the Kunsthaus, Hamburg together with Eva Hagemann
  • 1987: Graphics in the Blankenese Gallery, Hamburg
  • 1995: Painting and graphics in the Kunsthaus, Hamburg on the occasion of the presentation of the Arnold Fiedler Prize to Ramón Neckelmann
  • 1997: Painting and graphics in the Blankenese gallery

literature

  • Klaus Mann: The turning point. A life report, Reinbek 2006 ISBN 978-3-499-24409-4 .
  • Ramón Neckelmann. Painting and graphics, ed. v. Mario Sander, Hamburg 1997 (catalog for the exhibition with contributions by Hanns Theodor Flemming, Fredric Kroll, Mario Sander, Klaus Täubert)

Web links

Individual evidence

  1. ↑ Klaus Mann: The turning point. A life report, Reinbek 2006, p. 740f. ISBN 978-3-499-24409-4
  2. ↑ http://kalliope-verbund.info/de/eac?eac.id=118544683
  3. ^ Ramón Neckelmann. Painting and graphics, ed. v. Mario Sander, Hamburg 1997 (catalog for the exhibition with contributions by Hanns Theodor Flemming, Fredric Kroll, Mario Sander, Klaus Täubert) p. 5f
  4. ^ Contribution by Hanns Theodor Flemming in: Ramón Neckelmann. Painting and graphics, ed. v. Mario Sander, Hamburg 1997, p. 32
  5. ^ Contribution by Klaus Täubert in: Ramón Neckelmann. Painting and graphics, ed. v. Mario Sander, Hamburg 1997, p. 51
  6. ↑ Klaus Mann: The turning point. A life report, Reinbek 2006 p. 741f ISBN 978-3-499-24409-4
personal data
SURNAME Neckelmann, Ramón
BRIEF DESCRIPTION German painter and graphic artist
DATE OF BIRTH February 15, 1907
PLACE OF BIRTH Hamburg
DATE OF DEATH October 8, 2000
Place of death Hamburg