Walter Heinrich Dammann

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Walter Heinrich Dammann (mostly Walter H. Dammann , born July 23, 1883 in Hamburg , † September 11, 1926 in Flensburg ) was a German art historian .

Dammann was the son of a Hamburg merchant and passed the high school diploma at the Hamburg Johanneum . From 1902 he studied architecture at the technical colleges in Berlin-Charlottenburg and Stuttgart and from 1905 art history at the University of Kiel under Carl Neumann and completed this course in 1908 at the University of Strasbourg under Georg Dehio and Johannes Ficker . With a thesis on the Michaeliskirche in Hamburg he was awarded a Dr. phil. PhD. The Hamburg museum director Alfred Lichtwark was made aware of him through his dissertation . Dammann belonged to the circle of friends around the Hamburg painter Franz Nölken , whose sister Emilie he married. Dammann completed his habilitation in modern art history at the TH Darmstadt in 1910 with his work Panorama and Tafellandschaft and worked there as a private lecturer until the winter semester of 1912/13. In 1913 he traveled to Paris with Franz Nelken and Friedrich Ahlers-Hestermann . Economic reasons forced him to give up his academic career. He went back to Hamburg, initially working as a freelance writer and as an employee of the Hamburg tourist paper. In July 1914 he became an employee of the Museum of Arts and Crafts under Justus Brinckmann . In 1919 he was one of the candidates for the vacant director's position at the Moritzburg Museum in Halle. In 1921 he became director of the applied arts museum of the city of Flensburg , for which he acquired Emil Nolde's painting "Herbstmeer X", which was confiscated in 1937 as "degenerate". Dammann's attempts to help modernity make its breakthrough in Flensburg met with massive resistance when he commissioned the young graphic artist Herbert Marxen to design the poster for the Nordmarktage in 1922 . Together with Harry Schmidt, he founded the yearbook "Nordelbingen" in 1923. Dammann also had literary and artistic ambitions and in 1922 designed the set for a production of Hebbel's "Genoveva" in the Flensburg theater. Damann, who suffered badly from the unfavorable external conditions, was only able to exercise his skills to a limited extent in Flensburg, died of a lung disease that had plagued him since he was a student.

Publications (selection)

  • The Sankt Michaeliskirche in Hamburg and its builders. A contribution to the history of modern Protestant church architecture. Leipzig 1909 ( digitized version ).
  • Panorama and table landscape. Beginnings and early days of landscape painting in Hamburg until 1830. Hamburg 1910.
  • The German village church. Stuttgart 1910.
  • Alt-Darmstadt and Georg Moller. Darmstadt 1911.
  • Lindenfels. Giessen 1913.
  • The art monuments of the Bensheim district. Darmstadt 1914.
  • The world around Rembrandt. Leipzig 1920.
  • Ancient Babylonia and Ancient Egypt. Hamburg 1921.

literature

  • Harry Schmidt : Walter H. Dammann in memory. In: Nordelbingen 5, 1926, pp. IX – XI (also in Der Wagen 1927, pp. 45–47).

Web links

Individual evidence

  1. ^ Carsten Meyer-Tönnesmann, The Hamburg Artist Club of 1897, Hamburg 1985, pp. 236f.
  2. Gustav Schiefler, Eine Hamburger Kulturgeschichte 1890–1920, Hamburg 1985, p. 258.
  3. Catalog The Comeback - Bauhaus, Meister, Moderne, Halle 2019.
  4. ^ Ulrich Schulte-Wülwer, Painting in Schleswig-Holstein - Catalog of the paintings of the Städtisches Museum Flensburg, Heide 1989, SX
  5. Ulrich Schulte-Wülwer "Ackerscholle gegen Futurismus" - The disputes about the poster of the Flensburg North Market by Herbert Marxen in 1922. In: Kunstsplitter - Contributions to Northern European Art History, Husum 1984, pp. 192-201.