Ulrike Herfeld
Ulrike Herfeld (born August 28, 1945 in Berlin ; † January 2, 2019 there ) was a German artist .
Life
Ulrike Herfeld was the daughter of a physicist and an editor. In 1954 she moved to Karlsruhe with her parents and her younger sister . When she was 16, her talent was recognized in high school. In 1961 she exhibited at the Badischer Kunstverein . From 1966 to 1970 she studied at the State Academy of Fine Arts in Karlsruhe with Gottfried Meyer, Albrecht von Hancke and Fritz Klemm . From 1966 to 1969 she also studied geography at the University of Karlsruhe.
In 1971 she moved to Neuenrade in the Sauerland and got married. There are three children from the marriage. From 1971 to 1974 she accepted a teaching position at the Menden grammar school. The birth of her older daughter in 1977 inspired a central series of pictures - Partus Birth . The intense and intimate relationship with her children played a role in later picture cycles.
In 1983 Ulrike Herfeld met Cardinal Joseph Ratzinger during a baptism . A friendship developed from which the painter drew inspiration for religious motifs for decades. Likewise, through friendship with the city of Rome , she remained closely connected for a lifetime. The result was a series of pictures with the motifs of the Vatican Gardens , the Roman lemons and the magnificent architecture. From 1990 she led close friendships with the writers Reiner Kunze and Karl Krolow .
Kunze recorded the work and the art of the painter in several poems. In 2000 Herfeld opened a studio in Berlin. In the district of Berlin-Mitte opposite the Elisabeth Church, still lifes and window views were created that repeatedly take up the motif of the Elisabeth Church. After moving to Berlin, exhibitions were held in 2001, 2002, 2005 and 2009, preferably in hospitals such as the German Heart Center . Ulrike Herfeld also donated her pictures to charitable institutions such as hospices, burial chapels and hospitals.
plant
The early work of Ulrike Herfeld during the Academy years 1970/71 (diluted oil paint and pencil on cardboard) includes, among other things, the themes of "Figure in Space". In the series, she dealt with the environment around a person in general, including interpersonal relationships, with isolation, closeness, and restriction. In terms of color, she focuses on gray-pink valeurs.
In the Partus Birth series , she reflected on her womanhood, as it is seldom portrayed so openly and directly in art history. The art historian Ulrike Evers records the painter's explanations about the birth cycle. “The Partus series is a pictorial representation of the interaction of doctor / patient from person to person, it is also a cry for help from the being threatened in its existence. We are looking for a person who understands this stretching of the hand in the literal sense of the word. A certain soullessness of the medical apparatus is symbolized in the brightly shining lamp. The outstretched hands of the female figure stand for the necessity of total devotion to the fellow human beings. The birth indicates the beginning and the end, the human limits, and ultimately also those of the doctor. The pink-red tones have something of the suffering of the flesh, also something of lust. "
The painting table collages created in 1979 (100 × 200 cm, oil on canvas, spray technique) deal with transience. As Ulrike Evers describes it, edibles, cutlery, newspaper tears and painting materials are deliberately placed next to one another. The smells and putrefaction processes are factored in as a touch of vanitas that should set thoughts about human existence in motion.
In 1985, collages dealing with the subject of motherhood and painting were also exhibited in the Rosenthal Gallery in Cologne . Ulrika Evers writes about this: “The artist is particularly active in the collages, in whose preparatory work she can also involve her children. Photos of yourself or your children are adorned with insignia from everyday life, silver-plated noodle stars or leftover food; the hustle and bustle of a children's birthday party is translated into a cake picture; the children's bouquets and the painting utensils are recorded. "
Series of pictures with Christian themes emerged from 1983. During this phase Ulrike Herfeld painted large-format triptychs like Crucifixus, Pieta and Resurrection, 1984 and family pictures with Christ like He and Us from 1985. Christ is touched and touched by the family in the center of the picture. He gives support, comfort and touch. The theologian M. Longard described the picture He and Us : “We watch people on the stage of their lives and discover fear as an original human phenomenon.” Works with Christian themes are among others in collections of the em. Pope Benedict XVI. , Bishop Stehle in Equador , Cardinal Lehmann in Mainz as well as in numerous German and international chapels and sacred spaces. The art critic Dr. In 1997, Wolfgang Sauré described Ulrike Herfeld as a visionary reality painter.
In her later work from 2000 onwards, Ulrike Herfeld dealt intensively with the sensuality and hope that for her emanate from Roman landscapes and the Vatican Gardens.
The art historian Wolfgang Sauré wrote about an exhibition at the German Heart Center Berlin in 2002: “It is a world of images that is strongly derived from personal areas of the autobiographical and emotionally experienced; then from a natural lyric way of feeling and a tender affection for the world. Her art is a visionary painting of reality characterized by a spontaneously reacting sensitivity and an unmistakable vitality. Typical for Ulrike Herfeld is the emphatically strived for formal simplification of the subjects with an occasionally sketchy picture arrangement. Like the Fauvists, she depicts her feelings, her emotional connection with beings. Therefore, the action-like nature of the act of painting, the joy of handling light and color, brush and canvas, is palpable, like a pulsating, thoroughly sensual urge that is communicated to the entire body of the picture. Ulrike Herfeld captures the tangible counterpart in powerful still lifes and window views onto the canvas, early expressionistic in style, with bright, strong colors and broad outlines. "
Window views of the buildings of great architects such as the baroque master builder Bernini in Rome or Karl Friedrich Schinkel's Elisabethkirche from the Berlin studio emerged. For Ulrike Herfeld, the Roman lemons, which can be seen in many of the windows, meant memories of moments full of intimacy and poetry that were bestowed on her in the Vatican Gardens, as the artist explained to art historian Liane Burckhardt at an exhibition in Berlin in 2001. In her speech at the exhibition in 2001, Burckhardt spoke of a common characteristic of Ulrike Herfeld's art: “I see the essential characteristic of her painting in the amalgamation of poetry and immediacy, in the natural coexistence of the everyday and the transcendent.” The Brandenburg Gate in oil was hanging Office of the former politician Egon Bahr .
Exhibitions
Solo exhibitions (selection)
- 1963–1977: Badischer Kunstverein
- 1965–1977: Kunstverein Heidelberg
- 1964: Heidelberg City Hall
- 1965: Karlsruhe City Hall
- 1966: Galerie Doss, Mannheim
- 1970: Salon Européen peintres Nancy
- 1975: Neuenrade town hall
- 1977: Gallery "Die Insel" Karlsruhe
- 1979: Almelo, Holland
- 1980: Wrexham / Wales
- 1980: Osthaus Museum Hagen
- 1982: City Gallery Coesfeld
- 1983: Weserburg Bremen
- 1984: Women's Museum Bonn
- 1984: Herdringen Castle
- 1984: Gallery in Körnerpark Berlin
- 1985: Leek Exhibition, England`s Gallery, Leek
- 1985: Rosenthal Gallery, Cologne
- 1986: England´s Gallery Leek
- 1986: Gallery “Die Wand” Bonn
- 1988: Westphalian artist, Dortmund
- 1989: Gallery “Das Fachwerk”, Bad Salzuflen
- 1994: Siemens liaison office in Bonn
- 1997: Peine District Museum
- 1997: Museum Hemer
- 1998: Kolping Gallery Wiblingwerde
- 2001: Galerie Chausseestrasse, Berlin
- 2002: Bergland Clinic Lüdenscheid
- 2002: German Heart Center, Berlin
- 2005: Chest of drawers at the Humboldt University in Berlin
- 2009: Benjamin Franklin Hospital
- 2018. Meinerzhagen
Collections
- Benedictus XVI Papa emeritus Vatican City
- Bishop Stehle, Equador
- Joachim Cardinal Meissner, Cologne
- Franz Cardinal Hengsbach, Essen
- Archbishop Monteiro, LamegoPortugal
- Karl Cardinal Lehmann, Mainz
- Bishop Lettmann, Münster
- Bishop Jansen, Cologne
- Bishop Grave, food
- Babic, Sarajevo / Yugoslavia
- Federal President a. D. Richard v. Weizsacker
- Federal President a. D. Roman Herzog
- Federal President a. D. Johannes Rau
- Municipal art collection Karlsruhe
- Collection of the regional council of North Baden
- Karlsruhe graphic library
- Osthaus Museum Hagen
- Municipal art collection Lüdenscheid
- Märkischer Kreis art collection
literature
- German women artists of the 20th century. Ludwig Schultheis, Verlag Hamburg, 1983, ISBN 3-920855-01-9 .
- Ballon, magazine for art and literature, Berlin 1985.
- International Art Bulletin, 1985, pp. 18f.
Web links
1. https://www.wr.de/daten-archiv/die-letzt-expressionistin-id598975.html
2. https://www.wr.de/daten-archiv/bei-ihren-bildern-ist-alles-in-bewegung-id1868465.html
3. http://www.plettenberg-lexikon.de/zeitung/2015/227-2015/04.01.2008-rlp3.pdf
Individual evidence
- ↑ Obituary notice
- ↑ Reiner Kunze: A day on this earth . Fischer, 1998, ISBN 978-3-10-042017-6 ( google.de [accessed August 20, 2019]).
- ↑ in her book German Artists of the 20th Century. Ludwig Schultheis Verlag, Hamburg 1983.
- ↑ Everything is in motion in her pictures. January 11, 2008, accessed on August 20, 2019 (German).
- ↑ Ulrike Herfeld | artnet. Retrieved August 20, 2019 .
- ↑ One last meeting with Egon Bahr. Retrieved August 20, 2019 .
- ↑ ArtFacts: Ulrike Herfeld | Artist. Retrieved August 20, 2019 .
- ↑ Wolfgang Teipel: Pictures by Ulrike Herfeld in the community center "Mittendrin". In: TACH! - Local news. November 16, 2018, accessed on August 20, 2019 (German).
| personal data | |
|---|---|
| SURNAME | Herfeld, Ulrike |
| BRIEF DESCRIPTION | German artist |
| DATE OF BIRTH | August 28, 1945 |
| PLACE OF BIRTH | Berlin |
| DATE OF DEATH | 2nd January 2019 |
| Place of death | Berlin |