Rosemarie Clausen

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Rosemarie Clausen (born March 5, 1907 in Großziethen near Berlin ; † January 9, 1990 in Hamburg ; born as Rose Marie Margarethe Elisabeth Kögel ) was a German photographer . She worked as a theater and portrait photographer and has received several awards for her work.

Life

Rosemarie Clausen was a granddaughter of the court and cathedral preacher Rudolf Kögel and daughter of the pastor and school councilor Rudolf Kögel and his wife Sabine, nee. Gehring. In 1934 she married the journalist and film producer Jürgen Clausen (1905–1944), who was killed as a night fighter pilot in Big Week .

Clausen was trained as a photographer at the Lette-Haus in Berlin, first worked in the Becker & Maass studio, from 1929 to 1933 for the theater photographer Elli Marcus and, after her emigration, with her own studio in Berlin-Schmargendorf, at many Berlin theaters, including the State Theater under Gustaf Gründgens , until their general closure due to the war. Numerous photographic portraits were created, including those of Kurt Hirschfeld .

During the time of National Socialism , according to art historian Gabriele Lohmann, Clausen was one of those photographers who had no reason to fear persecution, as they met the requirements of the Propaganda Ministry and the Reich Chamber of Culture and their work was "propagandistically useful". With their work, these photographers contributed to shaping the general self -image of the National Socialist national community as well as the Nazi image of women in particular. At the end of the 1930s, Clausen took numerous private photos for the Hermann Göring family , which were distributed as picture postcards. She also illustrated journalistic propaganda reports, for example a 1941 homestory on Göring and in 1936 a report on the construction of the autobahn under the title Die Straßen des Führer .

In 1941 her photographs - along with those of Liselotte Purper and Erna Lendvai-Dircksen - were shown in an exhibition compiled by the Reichsfrauenführung under the title Frauenschaffen in Deutschland in the German-occupied Netherlands, for the first time from October 1941 in the Rijksmuseum Amsterdam , with further stops in Utrecht, Maastricht and Arnhem.

In the same year she published photographs of death masks "great Germans" (including Austrians like Adalbert Stifter ) under the title Die Vollendeten . “In dynamic shots” the dead - according to the perception of the art historian Isabel Richter 2010 - “looked sovereign, sublime and heroic at the viewer”. What unites them, according to Clausen in the foreword of the book, is that they are all united in one, "in the one word - GERMAN!" (Emphasis in the original)

Some of her railway recordings were included in the editions of the Deutsche Reichsbahnkalender of the 1930s.

From 1945 Clausen worked in Hamburg, where she fled with her three children after the death of her husband, at the Hamburger Kammerspiele , the Deutsches Schauspielhaus, the Thalia Theater and the Ernst Deutsch Theater and elsewhere and also included pantomime ( Marcel Marceau ) . She was also important as a portrait photographer ( KRH Sonderborg , Jean-Louis Barrault , Samuel Beckett and others). She had a close friendship with Wolfgang Borchert in the post-war period. She made numerous portraits of the then unknown writer. Her pictures remained formative for the Borchert picture after his death. The Wolfgang Borchert postage stamp of the Deutsche Bundespost shows a Clausen motif.

Rosemarie and Jürgen Clausen , Ohlsdorf Cemetery

She published in magazines , magazines and newspapers, in addition she published picture books and from 1962 to 1972 theater calendars. For many years Rosemarie Clausen illustrated the annual calendar of Theater heute magazine .

She was a member of the Society of German Photographers (GdL), the German Society for Photography (DGPh), the Free Academy of Arts in Hamburg and an honorary member of the Association of Freelance Photo Designers .

Fritz Peyer and Ute Karen Seggelke should be mentioned among her students .

Her son was the sociologist Lars Clausen , her brother-in-law the actor Claus Clausen , her great-niece the actress Andrea Clausen .

Rosemarie Clausen died at the age of 82. Her grave with the grave number O8, 236 is in the Ohlsdorf cemetery in Hamburg . Her artistic estate was managed by Bettina Clausen .

Awards

estate

Rosemarie Clausen's archive was lost in an air raid in Berlin in 1945 . However, an extensive collection of their exhibits is in the possession of the Hamburg Museum of Art and Industry . The negative archive , which was created after the end of the Second World War , is kept as an inheritance in the Center for Theater Research - Hamburg Theater Collection of the University of Hamburg and the positive archive in the Theater Museum Munich and at Rosemarie Clausen - Künstlerischer Nachlass GbR in Potsdam, represented by its managing director Dr. Peer Robin Paul.

Works

  • Man without a mask , Stuttgart: Tazzelwurm 1938
  • The accomplished , Stuttgart: Tazzelwurm 1941 ( death masks )
  • Eternity swings circles over them , Pforzheim: Imago no year [1952]
  • Script and mask , Hamburg: Christian Wegner 1958 (several editions)
  • Theatre. Gustaf Gründgens staged , Hamburg: Christian Wegner 1960
  • Gründgens , Velber: Friedrich 1963
  • Faust in Bilder , Braunschweig: Westermann, [1960] 1964, 7th ed.
  • Actor (text: Siegfried Melchinger ), Frankfurt a. M .: Gutenberg Book Guild 1966
  • Barlach , Hamburg: Christian Wegner ² 1966
  • Encounters , Cologne: DuMont Schauberg 1967
  • Schauspiegel , Velber: Friedrich [1963] ²1968
  • Samuel Beckett staged , Frankfurt a. M .: Suhrkamp 1969 (several editions)
  • Hamburg Thalia Theater - Boy Gobert , Hamburg: Kristall-Verlag 1980
  • Gründgens Faust . Berlin: Suhrkamp [1982] ² 1983
  • Rosemarie Clausen, Ingeborg Sello , Hamburg: Museum for Art and Industry 1988 (exhibition catalog)

Web links

Individual evidence

  1. ↑ Gabriele Lohmann, dissertation on the photographer Elisabeth Hase: Dissertation , Ruhr University Bochum 2002, pp. 119–120.
  2. ↑ a b shareholder resolution of the Rosemarie Clausen artistic estate GbR of July 1, 2018
  3. ↑ Stefanie Poley, role models in National Socialism. Dealing with the legacy, Bad Honnef 1991, p. 437.
  4. ↑ Through all the districts of Germany, The streets of the Führer, photo report with 5 photos by Rosemarie Clausen, in: Berliner Illustrirte Zeitung (BIZ), Issue No. 16 of April 16, 1936, pp. 559–561.
  5. ↑ Gabriele Lohmann dissertation on the photographer Elisabeth Hase, Ruhr University Bochum, 2002 , p. 119.
  6. ↑ Isabel Richter: The fantasized death. Images and ideas of the end of life in the 19th century. Frankfurt / M. 2010, p. 208.
  7. ^ Gordon Burgess: Wolfgang Borchert. I believe in my luck . Structure, Berlin 2007, ISBN 978-3-7466-2385-6 , p. 171.
  8. ↑ Andrea Schurian on Andrea Clausen, 2008 .
  9. ↑ "With the exception of the reproductions of the death masks by Blaise Pascal , Alexander Puschkin and Victor Hugo , the pictures are taken from the volume by Rosemarie Clausen, Die Vollendeten , previously published by Tazzelwurm Verlag ." Curt Letsche was the editor of this edition .
personal data
SURNAME Clausen, Rosemarie
ALTERNATIVE NAMES Kögel, Rosemarie (until 1934); Clausen-Kögel, Rosemarie (1934–35)
BRIEF DESCRIPTION German theater photographer
DATE OF BIRTH March 5, 1907
PLACE OF BIRTH Großziethen near Berlin
DATE OF DEATH January 9, 1990
Place of death Hamburg