Wenzel Hablik

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Wenzel Hablik
Wenzel Hablik: Large, colorful utopian buildings

Wenzel Hablik (born August 4, 1881 in Brüx , Bohemia ; † March 23, 1934 in Itzehoe ) was a German painter , graphic artist and craftsman .

Life

While still at elementary school , Hablik completed an apprenticeship as a carpenter in his father's workshop from the age of 8 to 12 and, after three years as a journeyman , passed the master craftsman's examination in 1895 . After graduating from community school (1893–96) he became a porcelain painter in a factory in Brüx, then a draftsman in the office of an architect and geometer . 1898–1902 he attended the technical college for the clay industry and related trades in Teplitz-Schönau (today Teplice / Czech Republic). From 1902 to 1905 he studied painting at the Vienna School of Applied Arts under Felician Myrbach and writing and heraldry under Rudolf von Larisch. At times Hablik was also a student of Carl Otto Czeschka . The first drawings of crystalline architectures were made from 1902/03. He designed fabric samples for Hugo Schmidl's furniture factory in Vienna, who introduced him to a group of writers around Arthur Schnitzler , Jakob Wassermann and Alexander Roda Roda . 1905-07 followed by studies at the Prague Art Academy under Franz Thiele ("figurative painting"). In 1906 Wenzel Hablik traveled to northern Italy and Switzerland. The ascent of Mont Blanc was a formative experience.

In Dresden in 1907 he met the writer and editor of the magazine " Kunstwart ", Ferdinand Avenarius . This was followed by trips to East Prussia , Danzig and Denmark . With a scholarship from the “ Kunstwarts ” he spent several months on Sylt , where he mainly dealt with sea studies. During a trip to Heligoland , he met the timber merchant Richard Biel from Itzehoe, who invited him over and became his father's friend and patron . Through Biel, Hablik also met his future wife, the director of the Meldorfer museum weaving mill , Elisabeth Lindemann , for whose workshop he has been designing wall hangings and fabrics ever since. In 1908 he finally settled in Itzehoe. With the support of Richard Biel, he went on a three-month trip to Constantinople and Asia Minor in 1910.

Since 1912 there was close contact with the art critic and gallery owner Herwarth Walden in Berlin, through whom he got to know the painters Umberto Boccioni and Karl Schmidt-Rottluff . In 1913 he traveled to Finland. In 1914 he took part in the German Werkbund exhibition in Cologne with the textiles designed for Elisabeth Lindemann .

During the First World War in 1915/16 he was a war draftsman in the Carpathians , on the Isonzo Front and on Sylt, but otherwise unfit for war due to a handicap of the right arm.

In 1916 he became a member of the German Werkbund .

Wenzel Hablik and Elisabeth Lindemann married in 1917. The weaving workshop was continued as the Hablik-Lindemann hand weaving mill in Itzehoe. A Wilhelminian style villa acquired in Itzehoe and redesigned according to Hablik's designs became the center of joint artistic creation in the following years . Hablik's studio , his extensive crystal , mineral , shell and snail collections , his gemstone cutting shop and his metal workshop were also housed here. Expressionist dance and music evenings made the house a meeting place for numerous artists, including the life reformer Fidus .

Because of his years of work on utopian architectures, Hablik applied in January 1919 to participate in the “Exhibition for Unknown Architects” of the Arbeitsrat für Kunst in Berlin, whereupon the architect Walter Gropius asked him with great interest to submit works. In the exhibition that opened on March 25, 1919, Hablik was the most extensively presented participant after Hermann Finsterlin . At that time, Hablik also became a member of the Altona artists' association and the art work council. In November 1919, the architect Bruno Taut asked him to take part with eleven other architects and painters in an exchange of letters about utopian building ideas, which lasted until December 1920 and which became known as the “ Glass Chain ”. In May 1920 he took part in the exhibition “ Neues Bauen ” in the Neumann Graphisches Kabinett in Berlin, together with the architects Hans Scharoun , Hans and Wassili Luckhardt , Bruno and Max Taut and the draftsman, painter and writer Hermann Finsterlin.

In 1920 Hablik, who was born in the Habsburg Monarchy , received German citizenship.

Forest cemetery

Since 1921, Hablik has concentrated more on handicrafts and was represented with his designs for textiles, table utensils, silver cutlery and animal sculptures twice a year at the artisans' exhibitions in the Grassimuseum during the Leipzig trade fairs as well as at the most important handicraft and building exhibitions at home and abroad .

In 1925/26 he traveled to Bolivia, Chile, West India and the Azores .

Wenzel Hablik died in 1934 of complications from cancer . His grave is in the private forest cemetery of the Lindemann / Kruse families in Nordhastedt -Westerwohld in Schleswig-Holstein . His estate has been in the Wenzel Hablik Museum in Itzehoe since 1995 . In addition to the permanent exhibition, there are special exhibitions on art , architecture and design .

Create

After studying at the Vienna School of Applied Arts and the Prague Academy, he was based in Itzehoe / Holstein from 1908. In addition to paintings, he created drawings and graphic cycles on the subject of crystalline architecture . These works, the utopian literature etc. a. by Paul Scheerbart , were the earliest pictorial representations of their kind in the 20th century and prepared the expressionist architecture of the twenties. They are recognized and exhibited internationally to this day. Hablik also designed fabrics and wall hangings , furniture , complete interiors, wallpaper , cutlery , table top model, jewelry , porcelain and commercial art and created designs for fashion and for the free dance . Just as important as his work on "crystal architecture" are the expressionist interiors he designed and executed .

Wenzel Hablik was a member of the German Association of Artists . His estate is in the Wenzel Hablik Museum in Itzehoe.

plant

Wenzel Hablik: Gnarled tree
Wenzel Hablik: Sylt, sunset, dunes, 1912, Museumsberg Flensburg

From the painterly work comprising around 600 paintings (handwritten directory by the artist), around 250 oil paintings are still known today, mainly from the areas of portraits, nudes, landscape, flowers, as well as numerous symbolist motifs (e.g. dead mother, death and the girl , Salome, Menschenbaum, Woher-Wohin) as well as utopian and nature-symbolic themes (crystalline and utopian buildings, fire, universe). The first portraits were made at the Vienna School of Applied Arts. Pale incarnate , piercingly sharp eyes and thin, colorfully accentuated lips emphasize the emotional expression of the human being, a characteristic that remained in Hablik's work to the end. Böcklin , Stuck , Klinger , Hodler and Klimt were the painters he valued. The portraits from the Prague period 1905–07 were also influenced by symbolism , especially by the influence of Edvard Munch . At the same time, he created landscapes from the area around his hometown of Brüx. Hablik's impasto painting technique, in which short strokes drawn with a spatula or directly from the tube condense into currents and eddies, is clearly in the footsteps of Van Gogh .

Also due to his Alpine hike in 1906, the artist developed his own way of looking at nature, which, through Schopenhauer's influence and his understanding of Nietzsche's Zarathustra, placed the artist's god-like work measured against the forces of nature in the foreground. On this theoretical basis, his drawings of a utopian world made out of crystals, the "crystal architecture", have been created since 1902 and especially in 1906/07. On his hikes through East Prussia and on the island of Sylt, he experienced the sea as a force of nature, whose destructive and creative power he depicted in large-format oil paintings in snail and jellyfish-like ornamental forms. On the basis of the utopian drawings, a portfolio that has become widely known was created between August 1908 and April 1909 with 20 etchings , creative forces , with utopian representations and aphorisms of crystalline worlds located in the mountains, in the sea and in space.

In addition to the color resolution of the landscape details, pictures of the north German landscape show above all a division into large ornamental areas, which at times reminds of Hodler. The focus is on the great impression of nature in the form of a widely spanned vault of sky, sparks of spraying sun rays and towering weather clouds. Genre-like pictures show Hamburg coffee house scenes and motifs from the Itzehoer ox market. During and after his trip to Constantinople in 1910 he created an important complex of works of drawings and paintings of oriental street scenes, portraits, landscapes and architecture from the big city and from Asia Minor. Between 1909 and 1913 he created further utopian visions, wall-filling paintings of a space flown through by fantastic planets, which are among the earliest cosmos images of the 20th century. In 1914 and 1917 he made large-format paintings of crystal structures standing in the sea (one in the National Gallery in Prague).

Since 1908 he has designed furniture and interior decorations for the family of his patron Richard Biel as well as for a group of upper-class clients in the near and far surroundings of Itzehoe. His intense feeling for the creation of nature was expressed in a preference for exotic as well as local woods, influenced by the Vienna School of Applied Arts and the goals of the Deutscher Werkbund, which he worked with lavishly with contrasting colors and grains. Another example from this period is his table clock from 1911, made of brass with copper hands. Since 1908 he has also designed the textiles manufactured in Elisabeth Lindemann's hand-weaving mill, among which since 1911 and 1918 patterns with crystalline motifs stood out, such as the serpentine and meander fabrics, which were widely regarded well beyond the 1920s.

Under the influence of the Russian October Revolution, the literature of the activists and the revolution in Germany, Hablik created activist-utopian paintings of disappearing and crystalline and futuristic forms of newly emerging worlds in 1918/19. During and after his membership in the "Glass Chain" a new and extensive group of works of drawings and paintings on utopian crystal architecture was created , which he only completed in 1925 with a further cycle of etching Utopian architecture . Since 1919/20 he has also designed handicrafts in utopian-crystalline forms such as lamps, boxes and small sculptures, which together with the unusual furniture and expressionist colored wall decorations gave the impression of “utopian” interiors for his clients as well as in his own home. His “Universe” pictures and the crystal and natural objects collections that have been compiled for decades also contributed to this.

After Hablik's trip to South America in 1925/26, he created paintings of exotic landscapes as well as cactus pictures, which were mainly followed by flower paintings since the early 1930s. The painting technique changed fundamentally to glazes in pastel tones, whereby the rough structure of the canvas remains visible. Pictures of mentally inflated naked people, with which he sought the connection to the monumental painting of the thirties, remained isolated. In his interior design designs, he has been pursuing colorful interior concepts, furniture and fabric designs since 1920, which are influenced, among other things, by the Dutch group De Stijl and the work of Russian constructivists. His textile designs from the twenties and early thirties, like the picture tapestries he designed and woven by Elisabeth Hablik-Lindemann since 1925, are among the most modern and of the highest quality of the time. He designed the office hall built in 1926 in Bad Oldesloe by the manufacturer Friedrich Bölck and another large room in the roof as a colorful overall room.

Fonts

  • Shipbuilding and the artistic spirit , in: Neue Revue , 1st year, No. 22, Berlin 1908.
  • The current exhibition , in: Wenzel and Elisabeth Hablik (painting and weaving), exhibitions and lectures in the Altonaer Museum , No. 50, Altona 1918.
  • The self-supporting dome and its variability ... , in: Frühlicht , Heft 3, Magdeburg 1922 ( digitized in gallica ).
  • Dom! , in: Oskar Beyer (editor): Creation , Berlin 1923.
  • Eternal craft , in: Craftsmanship in the Age of the Machine , Kunsthalle Mannheim 1928.

Exhibitions (selection)

  • Wenzel and Elisabeth Hablik (painting and weaving) , Altona 1918.
  • Wenzel Hablik memorial exhibitions, Grassimuseum Leipzig, Kunsthütte Chemnitz, Brüx, Prague, Reichenberg 1934–36, Lichtwark Foundation Hamburg 1947.
  • Wenzel Hablik 1881–1934 , Schleswig-Holstein State Museum Schleswig 1960.
  • Wenzel Hablik 1881–1934 - oil paintings. Exhibition Guesthouse Hinsch, Schillerstraße 27. Itzehoe, July 1971.
  • Wenzel Hablik 1881–1934, pictures, graphics, applied arts , Ostdeutsche Galerie Regensburg, City Museum Erlangen 1979.
  • Hablik, Designer, Utopian Architect, Expressionist Artist , The Architectural Association London 1980.
  • Wenzel Hablik 1881-1934. Aspects of the complete works , Kunsthaus Itzehoe (today's Wenzel-Hablik-Museum ), Overbeck-Gesellschaft Lübeck 1981.
  • Wenzel Hablik, Orient trip 1910 , Kunsthaus Itzehoe 1988.
  • Wenzel Hablik: attraverso l'espressionismo / Expressionism and Utopia , Museo Mediceo Florence 1989/90, University of Applied Arts Vienna , Schleswig-Holstein State Museum Schleswig 1990.
  • Wenzel Hablik 1881–1934 , Gallery of Fine Arts Cheb / Eger 1992.
  • Wenzel Hablik, Textile Art and Fashion , District Museum Princesshof Itzehoe, City Museum Flensburg ( Museumsberg ), German Textile Museum Krefeld, Grassimuseum Leipzig, Badisches Landesmuseum Karlsruhe 1993/1994.
  • Wenzel Hablik, Architectural Visions 1903-1920 , Institut Mathildenhöhe Darmstadt, Wenzel-Hablik-Museum Itzehoe 1995.
  • Wenzel Hablik, Pictures from the Orient , Wenzel Hablik Museum Itzehoe, Husum Palace, Ostholstein Museum Eutin 1997.
  • Wenzel Hablik, interior architecture and design , Wenzel-Hablik-Museum Itzehoe, Focke-Museum Bremen, Museumsberg Flensburg 1998/1999.
  • Dream worlds - nature and technology in the work of Wenzel Hablik , Wenzel-Hablik-Museum Itzehoe 2001.
  • Wenzel Hablik (1881–1934) as designer , artist museum in Heikendorf 2004.
  • Wenzel Hablik, Inspiration: Mountain - Natural Experiences in Bohemia - Impulses for Creativity , Wenzel Hablik Museum 2004, Kunststätte Bossard 2006, Great Art Show Worpswede in the Roselius Museum 2006.
  • Wenzel Hablik, Fascination: Water , Wenzel-Hablik-Museum Itzehoe 2006.
  • Wenzel Hablik, impulse: Northern Germany, 100 years of Wenzel Hablik in Schleswig-Holstein , Wenzel Hablik Museum Itzehoe 2007.
  • Interwoven, Elisabeth Lindemann, a craftswoman in Schleswig-Holstein , Wenzel-Hablik-Museum Itzehoe 2009.
  • Wenzel Hablik, printmaking , Wenzel-Hablik-Museum Itzehoe 2010.
  • Wenzel Hablik. Expressionist utopias . Martin-Gropius-Bau , Berlin 2017. Catalog.

Works in public collections

Wenzel Hablik Museum, Itzehoe

literature

  • Hablik, Wenceslaus . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 404 ( Textarchiv - Internet Archive ).
  • Hablik, Wenceslaus . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 2 : E-J . EA Seemann, Leipzig 1955, p. 347 .
  • Wenzel Hablik 1881-1934. Aspects of the complete work . Catalog for the exhibition of the Steinburg artists' association in the Kunsthaus Itzehoe. Editor Wolfgang Reschke. Exhibition Itzehoe September 6-27, 1981; in the Overbeck-Gesellschaft Lübeck in November 1981.
  • Wolfgang Reschke: Wenzel Hablik in personal testimonies and examples of his work. Hansen & Hansen, Münsterdorf 1981, ISBN 3-87980-222-X .
  • Axel Feuß: Wenzel Hablik 1881–1934, on the way to utopia, architectural fantasies, interiors, handicrafts . Phil. Diss. Hamburg 1989.
  • Heinz Spielmann , Susanne Timm: Wenzel Hablik. Inventory catalog of his works in the Schleswig-Holstein State Museum at Gottorf Castle. With a contribution by Christian Rathke. Schleswig 1990. ( Small monographs. Works from our own inventory , issue 2).
  • Elisabeth Fuchs-Belhamri: Catalog for the exhibition Wenzel Hablik. Textile art and fashion . District Museum Prinzesshof Itzehoe 1993 and Badisches Landesmuseum Karlsruhe 1994. Verlag Boyens, Heide 1993, ISBN 3-8042-0626-3 .
  • Wenzel Hablik. Architectural visions 1903–1920. Institut Mathildenhöhe, Darmstadt 1995, ISBN 3-89552-013-6 .
  • Elisabeth Fuchs-Belhamri: Wenzel Hablik. Images from the Orient. Wenzel Hablik Museum, Itzehoe 1997.
  • Elisabeth Fuchs-Belhamri: Wenzel Hablik. Interior architecture and design. Wenzel-Hablik-Museum, Itzehoe 1998.
  • Elisabeth Fuchs-Belhamri: Dream Worlds . Nature and imagination in the work of Wenzel Hablik. Wenzel Hablik Museum, Itzehoe 2001.
  • Katrin Maibaum (ed.): Hablik's animal world. From the picture to the figure. Wachholtz, Neumünster 2013, ISBN 978-3-529-02598-3 .
  • Rainer Hawlik, Sandra Manhartseder (ed.): Color houses and light plants. Wenzel Hablik, Paul Scheerbart, Bruno Taut. Vienna / Bozen 2005.

Web links

Commons : Wenzel Hablik  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Citizenship since 1920
  2. ↑ s. also Hablik, Wenzel in: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. Second volume (EJ) , EA Seemann, Leipzig 1999 (study edition). ISBN 3-363-00730-2 (p. 347)
  3. ^ Stations in life: Wenzel Hablik and Elisabeth Lindemann . In: Katrin Maibaum (ed.): At home with Habliks - the artist house in Itzehoer Talstraße . Wachholtz, Neumünster 2012, pp. 44–45 ISBN 978-3-529-02596-9 .
  4. ↑ kuenstlerbund.de: Full members of the Deutscher Künstlerbund since it was founded in 1903 / Hablik, Wenzel ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on February 5, 2016) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  5. ↑ artpositions.blogspot.de: Wenzel Hablik - Orientreise 1910 (accessed on March 31, 2016)
  6. ^ Bad Oldesloe - Wenzel Hablik's color spaces in the Bölck office building, publisher: Schleswig-Holstein State Office for Monument Preservation, Kiel 2010
  7. ↑ Norddeutsche Rundschau , July 14, 1971.
  8. ↑ Wenzel Hablik . Property search on Digicult (accessed March 31, 2016)
personal data
SURNAME Hablik, Wenceslaus
ALTERNATIVE NAMES Hablik, August Wenzel
BRIEF DESCRIPTION German painter, graphic artist and artisan
DATE OF BIRTH 4th August 1881
PLACE OF BIRTH Brüx , Bohemia
DATE OF DEATH March 23, 1934
Place of death Itzehoe