Richard Paling

from Wikipedia, the free encyclopedia
Self-portrait, 1945

Richard Paling (born July 23, 1901 in Barmen ; † January 30, 1955 in Wuppertal ) was a German painter and graphic artist who was considered a degenerate artist under the National Socialists .

Life

Richard Paling was the first of three children of the married couple Andreas Johannes Paling and his wife Maria geb. Hellmann was born in Barmen (a district of Wuppertal since 1929). Paling came from a family of piano makers in Holland, from whose piano factory in Rotterdam his grandfather had been sent to the Ibach piano factory in Barmen. The painter Johannes Jacobus Paling (1844–1892) and William Henry Paling (1825–1895), who, as a Dutch immigrant in Sydney as a musician, entrepreneur and philanthropist, became one of the most respected Australian citizens of the 19th century, should be emphasized from this family.

Richard Paling attended school in Barmen, most recently the Bleiche high school. He became interested in chemistry, suffered an accident while doing a chemistry experiment and became blind in one eye. Richard Paling registered at the Kunstgewerbeschule in Barmen without his parents' knowledge and studied there from 1918 to 1919 with Gustav Wiethüchter and Ludwig Fahrenkrog . From 1920 to 1923 he attended the Düsseldorf Art Academy and studied a. a. with Heinrich Nauen . In 1923 Richard Paling visited the Bauhaus in Weimar . It is not known whether he was enrolled there as a student.

Paling married Else Vollenbroich in 1922, who had completed a vocal training. They had met at the arts and crafts school in Barmen. The daughter Ursula was born in 1924 and the daughter Veronika in 1928. The marriage ended in divorce in 1934. In 1940 he married Edith Thurmann. The daughter Gabriele (1942) and the sons Michael (1946) and Andreas (1950) emerged from this marriage.

Wupper and Wupperkreis

Richard Paling was with Walter Gerber , Kurt Nantke and Ferdinand Röntgen one of the founders of the artist group "Comradely Association of Young Barmer Painters - Die Wupper ", which named itself after the play of the same name by Else Lasker-Schülers and appeared in public for the first time in February 1920. During his time in Barmen, the Polish painter Jankel Adler also belonged to this group of artists. She was on friendly terms with Otto Pankok . A particularly intense and lifelong friendship existed between Richard Paling and Otto Pankok, whose wedding to Hulda Droste in 1921 Richard Paling was the best man. The circle of these Barmer painters expanded in 1928 a. a. with Alfred Hoffmann, Wilhelm Nagel, Ewald Platte and Paul Wellershaus to the “Wupperkreis”.

For the painters of the Wupperkreis, the focus was on people and their spiritual existence. Even if the confrontation with Expressionism is reflected in the pictures of the Wupperkreis, it was characteristic of all painters of the Wupperkreis that they avoided any conscious eclectic following and tried to go their own way.

Study trips

In 1925 he made a trip to Italy to Rome , Florence , Capri and Sorrento with Kurt Nantke and Ferdinand Röntgen. In 1929 a scholarship enabled Richard Paling and his painter friends Alfred Hoffmann, Kurt Nantke and Ferdinand Röntgen to travel to Brittany .

National Socialism

During the Nazi era, Richard Paling was seen as a degenerate artist. It is included in the list of artists whose works were confiscated from the Museum Folkwang in Essen in 1937. Also from the art collection of the city of Düsseldorf. and the holdings of the Barmer Kunstverein, several of his paintings were confiscated; A total of 30 works by Richard Paling were denounced in the NS agitation stagings in Hamburg, Stettin, Weimar, Vienna, Frankfurt / M., Chemnitz, Waldenburg and Halle an der Saale.

Richard Paling no longer had the opportunity to show his pictures in public exhibitions. He tried to save himself over this time with drawings and caricatures and lived in Berlin for a few months in order to earn something with illustrations for newspapers and publishers. During this time u. a. his illustrations for the fable “ Reinecke Fuchs ” by Goethe . Richard Paling was drafted as a soldier in 1943, but did not have to go to the front.Instead, because of his good knowledge of French, he was employed as a guard in a camp for French prisoners of war. On 29./30. In May 1943, his apartment and studio were completely destroyed in a bomb attack on Wuppertal. A few months later, an arts and crafts store opened in Bochum also fell victim to the bombs.

post war period

Richard Paling now lived in Anröchte . There he ran a pottery for his ceramics, which he had to give up again in 1948 for financial reasons after the currency reform . His attempts to gain a foothold in Barmen again failed due to a lack of living space for himself and his family. In early 1955 he died of a heart condition at the age of 53.

plant

Richard Paling mainly painted landscapes and portraits, but he also depicts animals and still lifes. First of all, his landscapes are created in the great outdoors. Later he painted more in the studio. His early works were rather subdued, with colors reminiscent of Erich Heckel , but around 1930 - influenced by the strong colors of Emil Nolde , Max Pechstein or Karl Schmidt-Rottluff - he began to experiment with shapes and colors. The result is watercolors of high coloristic quality. Richard Paling also erases and draws a lot and proves to be a sensitive eye-witness of everyday life. His sketchbooks contain studies of children at play, people at work, idlers and often forests, beaches, mountains and urban scenes. His drawings are not representations of great personalities, but rather those of everyone, observed at work and small pleasures, lovingly, humanly and with humor. Richard Paling's first surviving etchings date from 1922. They are portraits of his first wife and friends, female nudes, still lifes and depictions of landscapes. While he models the portraits and nudes with delicate lines, his landscapes are often characterized by strong light and shadow contrasts. In the last decade of his life, he created a large number of oil paintings and watercolors. The experiences of the last war and the post-war period probably brought about a change in his subjects. Among other things, he created pictures with biblical themes of a peculiar character, in which he used mosaic stones and fabric. In addition, Richard Paling also deals with the humorous elegance of painted ceramics, which were intended less for use than to please the viewer. In von der Heydt-Museum in Wuppertal are 6 paintings and many illustrations by Richard Paling. The Otto Pankok Museum in Hünxe-Drevenack owns some works . Seven of his etchings are in the Museum Kunstpalast in Düsseldorf. Richard Paling's works have come into private ownership through auctions and galleries. A considerable number of oil paintings, watercolors, graphics, drawings and artistically painted ceramics are owned by the family.

meaning

Richard Paling exemplifies a number of artists who, due to their age, did not become known to a broader public before the First World War and who later, at the beginning of their artistic life, could not emerge from the shadow of those who had already established themselves. Rainer Zimmermann called them "artists of the lost generation".

In his volume Encounters, Otto Pankok writes about his friend: “I only want to say a word about one of those portrayed. It's Richard Paling with whom I've squatted for so many days and nights. He was a person of overflowing abundance, who thought a lot, spoke a lot and painted a lot, with whom everything was well-flowing and whom fate had cast into a miserable nest of pugnacles and philistines. A lonely one because he loved life more intensely than anyone else could dream. In this time of officials, soldiers, hypocrites and narrow-minded petty minds he got lost, especially he, and, in order to live, he had to hunt for the pennies for the bite of bread and the colors. In the offices he had to sit around and wait and beg until the nice fat bacon fell off his body. He was one of the clumsy and unsophisticated, for whom the life force was destroyed not by cannons but by needle pricks, and whose real work for which they were created could not reach the light of day. ”.

Exhibitions

Richard Paling made his first public appearance in 1919 in the exhibition Das Junge Rheinland in Düsseldorf, where he was represented with two paintings. In 1919 the traveling exhibition of the “Young Rhineland” was shown in Barmen. a. with works by Heinrich Campendonk , Max Ernst , Wilhelm Lehmbruck , August Macke , Christian Rohlfs and Gustav Wiethüchter. As a young painter, Richard Paling also presented some pictures to an interested public in this exhibition. In the Düsseldorf art exhibition in May 1920, Richard Paling exhibited his pictures alongside Oskar Kokoschka , Christian Rohlfs, Heinrich Campendonk, Franz Marc , Else Meidner , Paul Klee , Emil Nolde , Ernst Barlach and August Macke. Annual exhibitions “Die Wupper” from February / March 1920 to December 1925 in the Hall of Fame in Barmen. Group exhibition in 1922 in Barmen. Sales exhibition of Bergischer Künstler in December 1927. Bergische Kunstausstellung in January 1928. From 1928 to December 1932 “Der Wupperkreis” exhibited in Barmen. Annual exhibition of the Rhenish Secession in the Kunsthalle Düsseldorf 1930. Winter exhibition in 1946 in the Wuppertal-Elberfeld municipal museum. Art on the Wupper 1919–1933 - Dr. Richart Reiche in memory, 1966. Wuppertal artists see Wuppertal, exhibition in Stadtsparkasse Wuppertal with loans from the von der Heydt Museum 1979. Richard Paling in memory, exhibition in Galerie Basiner, Schwelm from January 5 - February 23, 1985. " BOHÊME AN DER WUPPER ”- Walter Gerber, Kurt Nantke, Richard Paling, Ferdinand Röntgen - painting and graphics 1920–1933, exhibition Bergisches Museum Schloss Burg an der Wupper from November 15, 1992 to January 24, 1993. Ostracized - forgotten - rediscovered. Museum Baden , Solingen from November 21, 1999 to March 21, 2000. MODERN PRANGER - The Nazi campaign “Degenerate Art” 75 years ago, exhibition in the Jesuit Church Aschaffenburg from July 19 to November 11, 2012.

Individual evidence

  1. ^ Music for a Hundred Years - The Story of the House of Paling, by Eve Keane, Oswald Ziegler Publications, Sydney 1954
  2. ^ Westdeutsche Zeitung of November 29, 1985 and January 3, 1986
  3. ↑ Ulrike Becks-Malorny: The Art Association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 70
  4. ↑ Barbara Lepper, Die 'Power Takeover', in: At the beginning. Das Junge Rheinland, exhibition catalog Düsseldorf 1985, p. 121
  5. ↑ MODERNE AM PRANGER - The Nazi campaign “Degenerate Art” 75 years ago, works from the Gerhard Schneider collection, exhibition catalog MODERNE AM PRANGER of the Jesuit Church Aschaffenburg 2012, pp. 243, 247, 262
  6. ↑ exhibition catalog BOHÊME on the Wupper, Walter Gerber, Kurt Nantke, Richard Paling, Ferdinand X, painting and graphics 1920-1933, Bergisches Museum Schloss Burg on the Wupper, edited by Erika Günther, Wuppertal 1992, p 85
  7. ↑ Lotte Raven in annoRAK - Messages from the Rhenish Archive for Artists' Legacies - Issue 2, Bonn 2011
  8. ^ Rainer Zimmermann, The Art of the Lost Generation. German expressive realism painting from 1925–1975. Econ, Düsseldorf and Vienna 1980, p. 36
  9. ^ Otto Pankok, Encounters, Düsseldorf 1956, Piscator-Verlag Mülheim (Ruhr)
  10. ↑ exhibition catalog BOHÊME on the Wupper, Walter Gerber, Kurt Nantke, Richard Paling, Ferdinand X, painting and graphics 1920-1933, Bergisches Museum Schloss Burg on the Wupper, edited by Erika Günther, Wuppertal 1992, p 84
  11. ↑ Ulrike Becks-Malorny: Der Kunstverein in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 63
  12. ↑ Ulrike Becks-Malorny: Der Kunstverein in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 66
  13. ↑ Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, 270-273
  14. ↑ Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 271
  15. ↑ Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 274
  16. ↑ Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 274
  17. ↑ Ulrike Becks-Malorny: The art association in Barmen 1866-1946, civil patronage between the Empire and National Socialism, Born-Verlag Wuppertal 1992, p. 274
  18. ^ Exhibition catalog Rheinische Sezession, annual exhibition in the municipal art gallery in Düsseldorf, May – June 1930
  19. ^ Exhibition catalog of the Bergische Kunstgenossenschaft 1946
  20. ^ Exhibition catalog Kunst an der Wupper - 1919–1933 - Dr. Richart Reiche in memory, Art and Museum Association Wuppertal 1966
  21. ^ Exhibition catalog of the Basiner Gallery: Richard Paling to commemorate, Schwelm 1985
  22. ↑ exhibition catalog BOHÊME on the Wupper, Walter Gerber, Kurt Nantke, Richard Paling, Ferdinand X, painting and graphics 1920-1933, Bergisches Museum Schloss Burg on the Wupper, edited by Erika Günther, Wuppertal 1992, p 84-86
  23. ^ Catalog "Ostracized - Forgotten - Rediscovered, Art of Expressive Objectivity from the Gerhard Schneider Collection", edited by Rolf Jessewitsch and Gerhard Schneider, Wienand-Verlag Cologne 1999
  24. ↑ Exhibition catalog MODERNE AM PRANGER at the Jesuit Church Aschaffenburg 2012
personal data
SURNAME Paling, Richard
BRIEF DESCRIPTION German artist
DATE OF BIRTH July 23, 1901
PLACE OF BIRTH Barmen
DATE OF DEATH January 30, 1955
Place of death Wuppertal