Romuald Hengstler

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Romuald Hengstler as a young man

Romuald Hengstler (born March 31, 1930 in Deißlingen , † February 15, 2003 in Rottweil ) was a German painter , graphic artist and art teacher .

Career

Hengstler studied from 1952 to 1954 at the Stuttgart Art Academy with Karl Rössing . In 1957 he received the Youth Art Prize in Baden-Baden and the Stuttgart Youth Art Prize in 1962.

the painting oT 1994
the painting oT 1996
the painting 22-95- from 1995

In 1962 he created the first pictures of his structure type, which he constantly perfected. He turned to scriptural painting, but through condensation he created a colored pictorial body that did not dispense with filling in shapes and colors. Overlapping layers - provisional, successful and less successful states - he carefully recorded. Later the success of conceptual art favored Romuald Hengstler's painting. Just recording the passage of time - date images - seemed to be sufficient. Here, Hengstler showed a fundamentally different understanding of how time becomes visible. Existing complexes sank layer by layer through vertical overlapping. He steadfastly refused the opportune conclusion of pictures.

meaning

The international art scene from 1960 was determined by artists like Mark Tobey , Jackson Pollock , On Kawara , Roman Opalka and Hanne Darboven . Encouraged by this international art scene, Romuald Hengstler developed an independent artistic path in the Rottweil art space . At the latest with the founding of Forum Kunst , of which Hengstler was a member, a center of contemporary art emerged with him and the artists Erich Hauser , Franz Bucher and Felix Schlenker . They spoke of the gang of four . Jürgen Knubben published this in 2006 as the beginning of modernism in the Rottweil art space. At the vernissage of the exhibition Zeitsequence , Robert Kudielka described Hengstler as the most important modern artist in the art space between Stuttgart and Zurich.

plant

Ink drawings

From October 15, 1976 to February 9, 1977, Hengstler created 112 ink drawings , which he called letters . Hengstler's graphic diaries record what later memories might elude. On each cover is the title of the week, every week contains seven letters dated and each letter consists of a shorthand-like pen drawing on Chamois handmade paper . Hengstler completed more than 150 weekly books in just a few years.

Oil painting

With his oil painting , a change in emphasis began in 1976/77. The backs of the pictures conquered the fronts. Hengstler perfected the layering method he used. Complex color spaces with significant depths emerged from grid-like structures.

My pictures are created by dealing with the previous picture state ... a picture is only finished when it no longer needs me. (Quote from Hengstler).

Kudielka stated: A picture was only finished when it began to open up from the depths of compression. Romuald Hengstler has moved the painting process into the future with his system. On the back of the oil paintings he noted the colors he used and the corresponding date. Kudielka stated that the back is, so to speak, Hengstler's calendar. Hengstler made a record (notation) of his individual painting steps in order to reveal them to everyone.

The artist's pictures have no titles. The works are only provided with numbers (examples: picture # 04/64 oil on canvas 145 × 125 cm, collection: Christina Sigle); Picture # 25/73 Oil on canvas 180 × 170 cm, estate: Romuald Hengstler.

Board pictures

Hengstler's Bretterbilder, oil on wood, were created in 1988 in different sizes. Here he shows how confidently he knew how to deal with the criterion of openness in the compression (examples: board picture # 2-5 (35 × 205 cm); board picture # 8 front and back (26 × 200 cm)).

calendar

In 1995 Romuald Hengstler and his namesake, the poet Hans Hengstler , designed a calendar with historical views of Deißlingen . Hans Hengstler contributed to the design with poems and sayings in local colors.

Stained glass

Romuald Hengstler was a master of stained glass . Georg Meistermann , the creator of his own significant color windows, placed Hengstler in the forefront of modern glass painting. Hengstler's art of stained glass is not about depicting, but about revealing, about the transparency of another reality.

Hengstler's most recent works brought about a clear reversal: first he set the limits, then the structure. Chromatic surfaces of existing precision and liveliness (...) testify to a cultivated color technique.

From 1962, Rottweil was the stronghold of glass painting. Well-known artists met in the glass workshop in Rottweil near Derix (papal court glass painting since 1908). Emil Kiess talks about glass painting and the encounters in the Rottweil glass workshop with the artists Romuald Hengstler, Josef Bücheler and Gotthard Glitsch . The windows in the former Rottweil district hospital are still figurative windows by the artist. He also made figurative ceramic designs for the Geislingen kindergarten. But then he turned away from figuration because it was too old-fashioned for him . Windows in the Rottweil hospital with a very dense lead net already belong to the modern age. Typical for stallions are the windows of the church in Spaichingen -Hofen and in the Franziskusheim Schwenningen. From 1960 to 1990 he carried out a total of 38 projects with Derix Glasstudios.

Architecture-related work (selection)

  • Leaded glass windows of the hospital chapel in Rottweil
  • Leaded glass windows and mosaics in the Augustinian Chapel in Rome
  • Lead glass window of the Evangelical Church in Deißlingen
  • Lead glass windows and choir wall design of the Catholic Church in Prad (South Tyrol)
  • Leaded glass window of the Catholic Church in Zimmer ob Rottweil
  • Leaded glass window in the hospital chapel in Villingen
  • Concrete glass walls of the Catholic Church in Gosheim
  • Leaded glass window of the Catholic Church in Empfingen
  • Concrete and leaded glass windows of the Catholic Church in Deißlingen
  • Concrete glass window of the Catholic Church in Aldingen
  • Concrete glass window of the St. Brother Klaus Church in Villingen
  • Wooden ceiling and leaded glass windows in the Rottweil hospital chapel
  • Concrete and leaded glass windows with the design of the choir of the Franziskuskirche in Schwenningen
  • Choir room design and leaded glass windows of the Catholic Church in Spaichingen -Hofen
  • Concrete glass windows and choir room design of the Catholic Church in Ebingen
  • Exterior wall design and chapel with tapestry in the children's hospital in Schwenningen
  • Lead glass window of the consecration hall in Mittelzell ( Reichenau )
  • Wall painting in the cultural center of the city of Lüdenscheid
  • Plastic outside at the vocational school center in Schramberg- Sulgen

Fool figure for the Deißlingen fools guild

Romuald Hengstler created the figure of the Deißlinger Hagenverwürger together with Albert Haller in the 1960s . In 1993 he added the "hoarn" to the fool's figure. Hengstler created clothes and larvae for the carnival club.

For the Hagenverwürger Marsch (1954) composed by Otto Sauter, the artist Romuald Hengstler created a text that calls on everyone: Vu hott, wischd-kummet hear you fool! (The fools come from left and right!)

Local politician

According to the minutes of December 15, 1964, Romuald Hengstler came as a replacement for Mr. Schumpp on the CDU list for the remaining term of office of around one year in the Deißlingen municipal council. In the municipal council election on November 7, 1965, he was elected to first place in the CDU with 1116 votes. From 1964 he was a member of the administrative committee, from 1965 a member of the building committee, the appraisal committee and the Deißlinger Anzeiger committee.

Hengstler was a full electoral term in the Deißlingen municipal council and resigned in November 1971.

Exhibitions

Public collections

Solo exhibitions (selection)

  • 1966: Saba-Studio Villingen
  • 1967: Small Gallery Schwenningen
  • 1968: Galerie Kröner Freiburg
  • 1969/1971: Gallery in the Kolpinghaus Stuttgart
  • 1973: Forum Kunst Rottweil
  • 1975: Kunstverein Tuttlingen
  • 1975: Art Association Gelsenkirchen
  • 1976: Small gallery in Tübingen
  • 1976: Art Basel with the Galerie Schießel Freiburg
  • 1977: Galerie W. Storms Munich
  • 1978: Gallery No. 6 Leonberg near Stuttgart
  • 1978: Hilger and Schmeer Gallery, Duisburg
  • 1979: Gallery Cuenca Ulm
  • 1979: Gallery in the Kolpinghaus Stuttgart
  • 1979: Obier-Recklingshausen showroom
  • 1982: Gallery and publishing house Beatrix Wilhelm Leonberg near Stuttgart
  • 1983: Municipal Gallery Lüdenscheid
  • 1984: Municipal gallery in the Franziskaner VS-Villingen
  • 1988: Gallery of the district of Waldshut
  • 1988: House Knubben Rottweil
  • 1988: Galerie Hartl and Klier Tübingen
  • 1988: Kreuzkirche Nürtingen
  • 1989: Gallery “Arte'rie” Wiesenbach / Baden
  • 1990: Galerie Keller VS-Villingen
  • 1991: Gallery Hartl and Klier Tübingen
  • 1993: Gallery in the Donaueschingen tower
  • 1994: Gallery in the Sebastianskirche Ulm
  • 1995: Gallery forum VS-Villingen
  • 1995: Forum Kunst Rottweil
  • 2000: Galerie Wohlhüter Leibertingen
  • 2004: Galerie Wohlhüter Leibertingen
  • 2005: Forum Kunst Rottweil, exhibition for Romuald Hengstler's 75th birthday
  • 2005: Gallery Zeherith Deißlingen-Lauffen
  • 2008: Gallery in the Griesbad Ulm
  • 2011: Kunstraum Donau Neckar Tuttlingen and VS-Schwenningen (Volksbank Donau-Neckar eG)
  • 2012: Martinikirche Siegen

Participation in exhibitions

  • Since 1964: Artists 'Association of Baden-Württemberg and German Artists' Association
  • 1957: Baden-Baden Youth Art Prize
  • 1962: Art Prize of the Stuttgart Youth
  • 1967: Week of Young Artists Rottweil
  • 1971: Deutscher Künstlerbund Stuttgart
  • 1973: German Association of Artists Berlin
  • 1973: Society of Friends of Young Art Baden-Baden
  • 1974: Artists make flags for Rottweil
  • 1974: Prints after 1960 Freiburg
  • 1976: Deutscher Künstlerbund Mannheim
  • 1977: Deutscher Künstlerbund Frankfurt
  • 1977: Rottweil art space
  • 1977: State Pavilion Stuttgart
  • 1977: Galerie Walter Storms Munich
  • 1978: Artists work in the Gelsenkirchen Art Association
  • 1978: Düsseldorf art market with Hilger and Schmeer Gallery
  • 1979: Art (I) Basel with the Waldshut gallery. Artists make suitcases for Rottweil.
  • 1980: Art (II) Basel
  • 1993: For Franz , Forum Kunst Rottweil
  • 1997: Magic of Numbers , State Gallery Stuttgart
  • 2003: Der Narrenspiegel , Forum Kunst Rottweil
  • 2006: Gang of Four , Kunst Raum Rottweil, Dominican Museum
  • 2009: Kunst & KsK Kunst Raum Rottweil, Dominican Museum
  • 2011: Remembrance , Galerie Wohlhüter-Leibertingen

literature

  • Romuald Hengstler. Sign and number , ed. by Jürgen Knubben, Bernhard Rüth and Christina Sigle, Bonn 2012 (with texts by Robert and Susanne Kudielka) ISBN 978-3-00-037679-5 .

Individual evidence

  1. ↑ Schwäbische Zeitung # 117, May 5, 1970
  2. ↑ Schwäbische Zeitung # 255, November 4, 1977
  3. ↑ Südwestpresse June 11, 2011
  4. ↑ Schwäbische Zeitung # 278, November 30, 1977.
  5. ↑ Schwäbische Zeitung # 293, December 21, 1982
  6. ↑ Schwäbische Zeitung # 293, December 21, 1982
  7. ↑ Prof. Dr. Kudielka - Signs and Numbers, page 11
  8. ↑ Schwäbische Zeitung # 266, November 17, 1995
  9. ↑ Characters and Numbers, page 14
  10. ↑ Rottweiler Zeitung # 19 of May 14, 2005
  11. ↑ Schwäbische Zeitung # 50 of March 1, 1969
  12. ↑ Black Forest Messenger of April 4, 2013
  13. ↑ Source: Signs and Numbers 2012 (page 67)
  14. ^ Rottweiler Zeitung # 63 of March 16, 1988
  15. ↑ Black Forest Messenger of February 14, 2009
  16. ↑ Narrenzunft Deißlingen eV: The fools guild. Retrieved February 18, 2017 .
personal data
SURNAME Hengstler, Romuald
BRIEF DESCRIPTION German painter, graphic artist and art teacher
DATE OF BIRTH March 31, 1930
PLACE OF BIRTH Deißlingen
DATE OF DEATH February 15, 2003
Place of death Rottweil