Wiesbaden painter and sculptor

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Wiesbaden has never had a schooling effect on artists, like the Düsseldorf school or the Munich painting school . At no time did an artist colony develop here, for example in Worpswede , in Willingshausen in Hesse or in Kronberg, which is closer to home . Wiesbaden's cultural character was already shaped in the early 19th century. Two factors were decisive for this. On the one hand this city was (and is) the seat of the government and on the other hand it was (and is) a spa town. As early as 1850, Hofrath Philipp Leyendecker (1801–1866), then chairman of the Nassau Art Association , complained that he saw “the sad need for young, promising artistic talents from our country who turned to us for recommendations for support, only for better times To have to put off. ”While the health resort promoted theater and concerts, the visual arts remained an attendant attitude. Hardly anything has changed in this to this day, as the “Art Ark” planned in 2008 shows, which is now to be connected with the municipal art library founded in the 1960s . Together, both projects aim to secure the future against the creeping oblivion of local painters and sculptors. Preserving and presenting the work of these artists is an important part of Wiesbaden's art history , along with building research and monument preservation . In 2010, works by Wiesbaden artists “slumber” once again, something that was lamented in 1963.

history

18th century

With the furnishing of the baroque Biebrich Palace by Prince Georg August Samuel von Nassau , the first artist personalities of Wiesbaden , who worked in today's state capital of Hesse , became tangible by name. An example of this is the Swiss Luca Antonio Colomba , who in 1719 painted the ceiling fresco The Admission of Aeneas to Mount Olympus in the rotunda of the castle.

Johann Daniel Bager: Still Life , around 1813

Johann Daniel Bager (Wiesbaden 1734–1815 Frankfurt) “was a portrait, genre, landscape and fruit painter”, who was also known as an etcher. He came from a widespread Wiesbaden artist family, from which Baumeister also emerged. He emigrated to Frankfurt, where, among other things, he worked as a teacher and became known as a “Goethe painter”. The poet Goethe referred to Bager in his autobiography From my life. Poetry and Truth as one of the artists who worked for his father Johann Caspar Goethe and the French royal lieutenant Count Thoranc . The Frankfurt art collector, and pioneer of art history Heinrich Sebastian Hüsgen called Bager in a treatise on the artists of Frankfurt as a painter, whose "vorzüglichstes talent may stand in portraits" and "Bager grinds good very hardworking fruit pieces, often as beautiful as de Heem have failed . “These were often counterparts that were commissioned to match the interior design of an apartment.

19th century

When the economic importance of the Wiesbaden mineral springs for the development of a health resort was recognized around 1800, increased building activity began in the city under Prince Karl Wilhelm , “because his High Princely Highness [...] wanted the city of Wiesbaden to expand by setting up new buildings and will be embellished. ”As a result, hotels were built and the first spa house was built. With the spa guests, painters came in the season who offered their services as portraitists and their products - still lifes and landscapes - through advertisements in the newspapers.

During the reign of Friedrich August in 1806, under pressure from Napoleon Nassau became a duchy . The second Duke, Wilhelm I , united the Nassau region and in 1816 elevated Wiesbaden , which had just “4608 souls”, to its capital.

Philipp Zollmann (Wiesbaden 1785–1866 Wiesbaden) served the Nassau dukes for a lifetime. In 1808/09 he received financial support from the Duke, which enabled him totrainas a medalist in Durlach near Karlsruhe with the Baden court stamp cutter Johann Martin Bückle (1742-1811). In 1810 he confidently called himself "Metailleur Zollmann von Wiesbaden" and "humbly asks for the most gracious paternal support" in order to be able to continue studying in Paris. Zollmann worked as mint master for the Duchy of Nassau for almost fifty years.

Philipp Jacob Albrecht (Limburg 1779–1860 Limburg), a Nassau painter who originally worked as a "drawing master" at the grammar school in Limburg, worked from 1817 to 1842 at the pedagogy in Wiesbaden. Outside of his job he gave the young Ludwig Knaus, among others, his first drawing lessons.

Ernst Lotichius (Wiesbaden 1787–1876 Wiesbaden) studied painting at the Düsseldorf Academy. He was the son of Johann Friedrich Lotichius, resident in Wiesbaden-Clarenthal, who was a ducal Nassau domain councilor. It is known that heexhibitedin the then famous Rheinischer Kunstverein in Mainz in1839 and 1846. Lotichius worked for a long time in Kronberg im Taunus , in Munich and in America. The artist always maintained contact with his hometown. He spent his old age in Wiesbaden.

In the further course of Wiesbaden's art history, Goethe's stay in 1814 and 1815 for the cure is important. In his work “Art and Antiquity in the Rhine-Main Areas”, he reports that in Wiesbaden “several friends of the arts […] have already signed up to form a society.” It is thanks to Goethe's entrepreneurial spirit that on 1 April 1825 the museum was opened. In addition to a cultural-historical and natural history collection, it also contained a picture gallery. Their activities in the exhibition area were mainly intended to entertain the spa guests.

Ludwig Knaus: View of the Nassau residential palace Biebrich , student paper around 1846, when Knaus worked for the court painter Otto Reinhold Jacobi

Otto Reinhold Jacobi (Königsberg 1812–1901 Ardoch , North Dakota, USA) studied from 1830 in Berlin at the Royal Academy of Arts. He then went to the Düsseldorf Art Academy to study with Johann Wilhelm Schirmer . He made a career as a landscape and genre painter in Nassau and Canada. In 1837 he was appointed court painter to Wiesbaden by the Duchess of Nassau. In those years Jacobi also gave the young Ludwig Knaus his first lessons in oil painting and recommended that he study with Karl Ferdinand Sohn at the Düsseldorf Academy. He worked in Wiesbaden until 1860 and in the same year emigrated to Canada , where he settled in Montreal . He quickly made contact with the local artists. For a short time he was a teacher at the Ontario College of Art & Design , the largest and oldest university for art and design in Canada. Over the years he became one of the most successful 19th century painters in Canada. He exhibited his works annually at the Art Association of Montreal and the Royal Canadian Academy of Arts ,founded in 1880, of which he became president in 1890.

August de Laspée (Wiesbaden 1816–1901 Wiesbaden) studied painting in Düsseldorf. His teacher was Prof. Johann Wilhelm Schirmer . De Laspée was very much appreciated by the formerly world-famous Ludwig Knaus. This emerges from a report that Knaus issued to his painter colleague in 1862 so that he could find permanent employment as the conservator of the Herzoglich-Nassauische Gemäldegalerie. In Wiesbaden he also worked as a painter and drawing teacher and left behind a theoretical work entitled Basic rules of the painterly perspective . The book was published by M. Bischkopff in Wiesbaden in 1883. In the foreword de Laspée wrote: “You shouldn't want to train artists in school, because the artist is born; the school alone should be a sure guide to talent. "

Ludwig Knaus: Portrait of a young woman , pencil drawing 1846; possibly the sitter is a Wiesbaden citizen, since Knaus executed numerous portraits as commissioned work for the Wiesbaden bourgeoisie during his apprenticeship with Jacobi

Ludwig Knaus , son of an optician from Swabia, is from today's perspective the most successful and best-known Wiesbaden painter of the 19th century. He also received his training at the Düsseldorf Art Academy . Little devoted to landscape painting, he specialized in portrait and genre painting, which brought him fame and high awards. Duke Adolf von Nassau awarded Knaus the title of professor in 1856, so "it is surprising that the Duke only gave the Wiesbaden native [...] one modest assignment." In 1866 he moved to Düsseldorf, from where he left the Prussian Ministry to the Prussian Akademie der Künste was recalled to take over a newly built master's studio. After a few years he gave up this position to be able to work freely. When he died in Berlin, he was buried in the village cemetery in Berlin-Dahlem .

Adolf Seel: Monastery interior in Andernach , probably 1860s

Adolf Seel , of the same age as Knaus and also born in Wiesbaden, was also trained at the Düsseldorf Academy. Travels took him to Paris, Spain, Portugal, North Africa and the Orient. He was particularly fond of architectural painting, which is popular and in demand again on today's art market. Like Knaus, Seel received many honors during his lifetime. Among other things, the painter received the Great Golden Medal of the City of Vienna in Austria in 1876 and the Golden Medal in Berlin in 1878 for his pictures. His Wiesbaden painting Im Kreuzgang contains an abundance of symbolic references to the transience of earthly existence and the hope of a resurrection. But the picture also vividly shows that Adolf Seel was wrongly forgotten, because in his painting style he is in no way inferior to that of his peer Knaus.

The "Society of Friends of Fine Arts in the Duchy of Nassau" - today's Nassau Art Association - which was founded on July 16, 1847, was to become important for future art events in Wiesbaden . In 1854 he was given responsibility for the museum's collection of paintings. "This supervisory right , despite several decisive changes in external circumstances [...] in principle lasted until 1929." When it came to caring for local artists, they even went so far at the beginning that young painters were commissioned to create pictures for the museum's picture gallery to draw.

Karl Hoffmann (Wiesbaden 1816–1872 Wiesbaden) wastrained as a sculptorin the workshop of Bertel Thorvaldsen in Romeas a scholarship holder of the Nassau State. In 1842 he was commissionedto createthe figure group of Hygieia , the goddess of health, who is also the patron saint of pharmacists, in Carrara marble for the Wiesbaden Kochbrunnen on Kranzplatz. The monument was inaugurated in 1850 and is now located in the Kurhaus Kolonnaden (Hygeia Gallery). Hoffmann also made the sculptures in the Bonifatiuskirche , namely the crucifixion group above the ambulatory in the apse and the two statues of St. Francis of Assisi and St. Theresa of Avila under the arcade arches of the ambulatory.

Emil Alexander Hopfgarten , originally a Berlin sculptor, was one of the few artists who traveled to Wiesbaden to settle in at the time. In 1840 he went to Rome to study with Emil Wolff . Returning to Berlin in 1844, he received numerous commissions to create sculptures in his hometown. In 1848 Duke Adolf called him to his court, wherea studio was set up forhim in the park of the Biebrich Castle, in the ruin Moosburg builtin the romantic style, in order to make the sarcophagus for the Duke's wife, born in 1845. Grand Duchess Elizabeth Mikhailovna of Russia . This was later to be installed in the Russian Orthodox Church on the Neroberg ,which was started in 1847. This tomb is the most famous work by Hopfgarten in Wiesbaden. The four evangelists in the market church , for example, also come from him and his workshop.

August Ferdinand Hopfgarten , Emil's cousin, used a fresco technique to paint the main dome and the vaulted yokes of the Russian Church.

Along with Alexej Jawlensky, Carl Timoleon von Neff (1804–1877) isthe second Russian painter from whom Wiesbaden can boast an important work, namely the iconostasis in the Russian Orthodox Church. In his time Neff had made a great career as a portraitist in the high aristocratic circles of Russia and made it to professor at the St. Petersburg Academy , was court painter to the Tsar . In 1864 he was given the post of curator at the Hermitage because of special achievements. However, Neff owed his success primarily to icon painting , which hefundamentally changed in stylein linewith Tsar Peter the Great and made accessible to Western influences. It resembles the church painting of the Nazarenes and brought him important commissions abroad. For example, the paintings on the altar walls of the Russian churches in Bad Ems , Darmstadt , Edinburgh , London and Nice come from his hand. A medallion, to the left of the south door inside the Russian Church, shows the portrait of Neff. It was created by the stonemason Johann-Peter Leonhard ( Villmar 1793–1873 Villmar).

Kaspar Kögler: Hermit in a cave , charcoal drawing, undated

Kaspar Kögler , who came from a poor farming family in the Westerwald , was fortunate that his talent for drawing was recognized and encouraged by a count at a young age. In 1856 he came to the academy in Munich and became a student of Moritz von Schwind . After almost four years he dropped out of his studies. For several years he worked as a traveling fresco painter in village churches in Liechtenstein , Graubünden , Tyrol and Northern Italy. In 1867 he came to Wiesbaden and made a career. He became the honorary chairman of the Nassau Art Association and artistic advisor to the city for the construction of the new Kurhaus and the museum. Formerly, his art was part of the Wiesbaden cityscape, whether as an oil painting in the Kurhaus, as a wall or ceiling painting in the State Theater, in the casino hall on Friedrichstrasse or in the council chambers of the town hall. The latter were destroyed and reconstructed in 1987.

As a landscaper, Carl Coven Schirm is the youngest of the series of realistic painters Knaus, Seel and Kögler. Like most Wiesbaden artists, he was only able to make his fortune abroad, but remained connected to his hometown beyond death. In Wiesbaden he attended the humanistic grammar school and graduated from high school there. After initially studying chemistry and physics in Bonn, he decided to become apainteron the advice of Christian Eduard Böttcher in 1875and attended the Grand Ducal Badische Kunstschule Karlsruhe . In 1880/81 he went on a long study trip with the painter Eugen Bracht through Syria , Palestine and Egypt , from where he brought studies with him, which he converted into paintings that are once again particularly popular today. In the following years, Schirm worked in Wroclaw and Berlin. Schirm's loyalty to his home is documented by his participation in various exhibitions, such as the one at the “Köglerische Malschule”, in which he made his oriental paintings known in 1881 in Wiesbaden, which at that time had “around 51,000 souls”. One of them, representing the Jordan plain , is kept in the Wiesbaden Museum. At the “Jubilee Art Exhibition” in 1897 for the 50th anniversary of the Nassau Art Association, he was represented with five paintings, two of which, interestingly, were loaned by Hermann Pagenstecher . Around 1900 he experimented with enamel and ceramic work. Among other things, he was involved in furnishing the magnificent Roland fountain in Berlin-Tiergarten, which his brother-in-law Otto Lessing built on behalf of Kaiser Wilhelm II in 1902. In Berlin he joined the artist group Werkring . From 1907, Schirm again devoted himself intensively to landscape painting and frequently visited the Lüneburg Heath , where he settled in Amelinghausen- Sottorf in1918. Ten years later he died there at the age of 75. He was buried in Wiesbaden.

In 1866 Nassau became Prussian. Duke Adolf left his residence in Wiesbaden. Wilhelm I's 18 visits to Wiesbaden since 1867 have always been a welcome occasion for a glamorous ball in the Kurhaus and for magnificent theater performances. Since then, the spa town has developed into a glamorous cosmopolitan spa , where poets, writers and composers found their livelihood by adding highlights to social events, for which the visual arts were less suitable. The International May Festival established itself in 1896 , when Kaiser Wilhelm II also frequently visited Wiesbaden and mainly stayed in the world spa town in May. Modern art, already rated as "gutter art" by Wilhelm II in Berlin , had little chance of winning public contracts in Wiesbaden at the time.

The former Höppli clay and faience factory in Wörthstrasse
Johann Jacob Höppli: Terracotta decoration, around 1860, detail on the market church in Wiesbaden

Johann Jacob Höppli (Switzerland 1822–1876 Wiesbaden), sculptor and modeller, came to Wiesbaden in 1846. In 1850 he founded his “clay ware and faience factory” at Wörthstraße 4–6, whose inner courtyard is stilladorned withfour caryatids , works by his hand. Höppli owes Wiesbaden the ornamental terracotta decorations of a number of villas in the city area and a few simple residential buildings in its suburbs. Höppli designed the portal of the market church from baked clay, as well as its cornices and finials, in a particularly splendid way. When Höppli died in 1876, he was buried in Wiesbaden in the old cemetery . His tomb was disposed of due to "ignorance of Wiesbaden handicrafts and lack of monument protection".

Other artists who have left their mark in Wiesbaden

First half of the 20th century

In the Kurhaus , built between 1904 and 1907, there is a gem, the shell hall. It was painted with frescoes depicting the four seasons by the painters Fritz Erler and Alexander von Salzmann (1870–1933), who were then living in Munich . When Kaiser Wilhelm II saw this painting, he was outraged by its modernity. It was only during the First World War that Erler's art, which had now become tendentious, found recognition with the last German monarch .

The 1907 war memorial on the Wiesbaden-Biebrich cemetery on Bernhard-May-Strasse was made by the sculptor Fritz Gerth (Wiesbaden 1845–1928 Berlin) . This is an ancient Greek temple facade with a male bronze figure placed between Doric columns. When Gerth erected the national monument dedicated to Duke Adolph on Biebricher Allee in 1909 , he oriented himself towards Egyptian antiquity and placed the statue of the last Nassauer on a high pedestal in front of an obelisk .

James Pitcairn-Knowles (Rotterdam 1863-1954 Hungen) came to Wiesbaden with his parents in 1872, where he attended high school in Wiesbaden-Biebrich. In 1883 he studied at the Munich Art Academy with Carl Theodor von Piloty and Fritz von Uhde . In 1887 he attended the Académie Julian in Paris. In the house of the painter Mihály Munkácsy he met Nabi József Rippl-Rónai , the most famous Hungarian painter of Classical Modernism. He had a deep friendship with him. At that time he also joined the style of the Nabi artists. Knowles stayed in Wiesbaden again in 1893. Together with Rippl-Rónai, he designed glass works for the dining room of a Hungarian count, which were produced in Wiesbaden in 1897/98 under the supervision of both artists. In 1902 Pitcairn-Knowles took up residence in Wiesbaden and negotiated a land purchase in Wiesbaden-Dotzheim , where Freudenberg Castle was built, which was ready for occupancy in 1905. He organized festivities and balls there “with fairy-like lighting.” In 1912 an exhibition was shown in the Wiesbaden art salon Aktuaryus that made Knowles known as a “woman painter”. In the same year he sold his Wiesbaden castle. Ten years later he married a princess from Solms-Braunfels . Appreciated as a portraitist, Knowles spent his old age in Solms Castle Hungen .

Richard Hartmann ( Heilbronn 1869–1924 Wiesbaden), who had studied at the Academy of Fine Arts in Munich from 1890–1892, lived in Worpswede from 1902 to 1909. There he painted pictures that are characteristic of this artist colony in terms of style and motif. From 1909 he hadhis own painting schoolin Wertheim before he came to Wiesbaden in 1917.

Carl Wilhelm Bierbrauer, mourners , 1923, memorial in Wiesbaden-Medenbach

Hans Völcker ( Pyritz 1865–1944 Wiesbaden) studied at the Berlin Academy. At the same age as Jawlensky, however, he came to Wiesbaden in 1899. Here he was known and loved in his time. In 1910 he designed the wall painting and interior decoration of the south cemetery , in 1912 a large figure frieze in the Kaiser-Friedrich-Bad . Völcker also did the decorative painting inside the Wiesbaden Museum , the last major urban building started before the First World War. Its dome of the entrance octagon was decorated with mosaics by Max Unold and the sculptor Hermann Hahn created the Goethe monument, which was erected in 1920 at the entrance to the Wiesbaden Museum.

The sculptor Carl Wilhelm Bierbrauer created the great figures of art and science , the four elements and the rest of the plastic jewelry on the facades of the museum. In 1915 he created the “strangest monument” in the city of Wiesbaden, the “Eiserner Siegfried”, a 3.80 m tall statue made of limewood, which was studded with 60,000 black and gold nails. It was installed in the town hall for many years, later “it eked its existence hardly noticed in a corner of the new museum.” Bierbrauer made the death mask of Alexej Jawlensky , of which various multi-part plaster casts exist. For the first time in 2004 a bronze, previously unknown specimen was exhibited in the Stadtmuseum project office in Wiesbaden.

Carl Watzelhan (Mainz 1867–1942 Wiesbaden) had already become a Wiesbadener as a child. Like Lotichius, de Laspée, Seel and Knaus, he also attended the Düsseldorf Art Academy to learn his painting trade. He became a sought-after landscaper and portraitist, who was shown at the major Berlin art exhibitions and exhibited in Munich. In addition, commissions from 1891 to 1899 took him to North America and later several times to Sweden. Stylistically, his painting is initially shaped by the realism of the Düsseldorf School, from which he gradually broke away and increasingly oriented himself towards Art Nouveau and even younger art movements.

Hans Christiansen , only one year younger than Jawlensky, is one of the most important Wiesbaden painters who represent Classical Modernism . 1896–1899 he studied in Paris at the Académie Julian , where his painting and drawing style was influenced by the Nabis . As a pioneer of Art Nouveau , Christiansen has achieved extraordinary things in the field of applied arts. He designed colored windows with images , furniture, ceramics and jewelry. Heworked as a graphic designerfor the Munich magazine Die Jugend . Unfortunately, far too little is known that he was also an excellent painter. From 1911 Christiansen taught at the applied arts school in Wiesbaden . In 1933 he was banned from painting.

Louis Seel (Wiesbaden 1881–1958 Wiesbaden) is another outstanding figure in recent Wiesbaden art history. His painting career began in an architectural office. In 1901 he began studying painting in Karlsruhe at the art academy . He then studied at the Städel Art Institute in Frankfurt. From around 1905 to 1914 he continued his artistic education in Paris. There he - like August Macke ,for example- was particularlyimpressed bythe painting by Robert Delaunay , known as Orphism . Seel's paintings, which have the term “abstract” in the title, can be assigned to this style and are sought after by lovers today. They make it clear that Seel regarded color as the essential compositional element, the dynamic forces of which he usually placed as a foil in front of the actual picture content.

When Wiesbaden was no longer the imperial May residence after the First World War, the year 1918 brought a turning point in previous cultural life. The Nassau Art Association was committed to the visual arts, which prompted a number of artists to settle in Wiesbaden and work here.

Josef Vinecky, Majolika 1913, Kaiser-Friedrich-Bad, Wiesbaden

Josef Vinecky (Zamosti / Hluboká nad Vltavou 1882–1949 Prague ), a sculptor, is alsoclassedas Classical Modernism. Former head of the ceramic workshop at Henry van de Velde , his work was not only in demand in Wiesbaden. At the Bauhaus he worked with Oskar Moll , Otto Mueller , Oskar Schlemmer and Georg Muche . He was involved in furnishing the Werkbundsiedlung Breslau ,founded in 1929, before becoming a professor in Bratislava in1937. Vinecky is the creator of the precious majolica in the Kaiser-Friedrich-Bad, built between 1910 and 1913. In his memoirs, Jawlensky names him and his wife first of all among the Wiesbaden-based artists who prompted him to take up residence in the spa town. Jawlensky also countedthe painter and architect Edmund Fabry ( Norderney 1892–1939 Wiesbaden) and the painter Franz Schaurte (1886–19 ??) among his close Wiesbaden friends. Vinecky was a multi-talented artist, as evidenced by a letter that Jawlensky wrote to Galka Scheyer (1889–1945): “My last experience in art was one of my [abstract] heads [...] It hung from next to a head (watercolor) Nolde . Framed in Winecki frame, light gray with gold. The picture was so beautiful that we all (some art lovers) were silent for a long time. "

Otto Ritschl was originally a bank clerk before he came to painting through literature in 1918. At first he painted autodidactically in the style of Expressionism. Later he turned to the New Objectivity . In 1925 he destroyed all of his pictures and from then on painted abstract. Similar to Jawlensky, with whom he was in contact, he said: “The abstractions that I painted did not refer to things, but to areas of the soul or their relationships.” From 1933, Ritschl's painting was considered degenerate art , whereupon he withdrew and secretly continued to work on his abstract pictures. After the Second World War, he came up with purely two-dimensional geometric shapes and bright colors. Around 1960 the colors became more toned again, "abstract space lay over the surface." With his non-representational painting, Ritschl intended "to uncover spiritual relationships, to bring spiritual values ​​closer to experience."

Alois Erbach (Wiesbaden 1888–1972 Wiesbaden) began an apprenticeship as a locksmith, which he broke off. He thentrained as a surveying technicianat the land registry office . In addition to his professional activity, he drew and painted continuously. It was not until 1911 that he was able to fulfill his wish to study painting at the art academy in Munich. In 1912 he exhibited in the art dealer Franz Josef Brakl , whichhad organized the first solo exhibitionfor Franz Marc . At the time he was livingin a studio communitywith John Heartfield . From 1915 to 1918 he did military service in World War I. From 1918 on he lived as a freelance artist in Wiesbaden. In 1927 he moved into a studio in Berlin on Kurfürstendamm, where he worked for the satirical magazines Knüppel and Eulenspiegel . After the Second World War he lived and worked again in Wiesbaden.

Alexej Jawlensky came to Wiesbaden in 1921 at the age of 56. His girlfriend Galka Scheyer (1889–1945) had organized his participation in an exhibition at the Nassauischer Kunstverein , which was a financial success for him. It was also Scheyer who brought himin connectionwith the extremely wealthy, nine years younger art collector Heinrich Kirchhoff , who was originally to be Jawlensky's long-term patron. In 1922 Jawlensky married Marianne von Werefkin's maid, Helene Nesnakomoff (1886–1965), the mother of his son Andreas (1902–1984). Jawlensky completed his old age in Wiesbaden. Here he also produced prints , lithographs and etchings for the first time. In 1924, Jawlensky merged with Wassily Kandinsky , Paul Klee and Lyonel Feininger to form the artist group Die Blaue Vier . In 1927 he suffered from arthritis . In the same year he met Hanna Bekker vom Rath and Lisa Kümmel (1897–1944). The latter should be his most important help until the end of his life. Vom Rath founded the "Association of Friends of Art Alexej von Jawlenskys" in 1929 in the hope of being able to provide him with the financial support he needed to live. In 1929 he belonged to the Free Art Association of Wiesbaden . When the symptoms of paralysis increased from 1930 onwards, he was often confined to bed for months. From 1933 on, Jawlensky was also banned fromexhibitingby the National Socialists . The Wiesbaden painter Alo Altripp secretly supported his Russian colleague in further developing his painterly work and adding a few versions. In 1937, 72 of his works were confiscated. Three of them were exhibited at the Degenerate Art exhibition, which Jawlensky visited in a wheelchair. In December he painted his last picture. Jawlensky was completely paralyzed for the last four years of his life. He died on March 15, 1941 at the age of 76. The sculptor Carl Wilhelm Bierbrauer made his death mask. Jawlensky was buried in the Russian Orthodox cemetery. The funeral speech was given by his friend Adolf Erbslöh .

Alo Altripp , whose name is derived from his place of birth Altrip , worked in Wiesbaden after his training as a painter from 1928 in the contemporary style of the New Objectivity. In the early 1930s he turned to surrealism , but remained stuck with the representational. Since 1934 he was friends with Jawlensky, who influenced his understanding of abstract painting. With the means of color and shape, both endeavored to make a kind of higher reality visible on the surface. For Jawlensky, too, Altripp was a stimulator and a giver, without whom his series of “Meditations” would not have been so extensive. For example, in 1937 he encouraged Jawlensky to practice comb painting . From the mid-1930s onwards, Altripp found a kind of informal art that only emerged fifteen years later. In 1940 Altripp was drafted into a prison camp as a guard by the Wehrmacht. From 1943 until the end of the war he worked as a draftsman at the Opel company. From 1951 to 1971 Altripp was a lecturer at the Werkkunstschule Wiesbaden. In the 1950s, different shades of black or gray dominated the white image carrier of his gestural painting. This makesthe process of drawing visiblein a kind of preliminary stage to kinetic art . Around 1960, Altripp returned to color. He usually painted watercolors. Small formats determine his late work.

Other artists from the first half of the 20th century

Marc van den Broek: Fill 30 , 1990, Wiesbaden City Hall
Thomas Duttenhöfer: Figure with Shadow , 1984, Schlossplatz Wiesbaden

The following artists have worked, lived or left their mark in Wiesbaden:

Other artists of the second half of the 20th century

The art after 1945

The Frankfurt impressionist Paula Staschus-Floeß left her adopted home, the artist colony of Nidden in East Prussia, and opened a studio at Adolfsallee 10.

After the war, the first exhibition of “Painting in the XX. Century “dedicated. It was “connected with the intention of making amends, rehabilitating those previously defamed as degenerate […] Another exhibition with the Ring of Visual Artists”, an artist group that already existed at that time, followed immediately. Still attributable to the post-war period, the artist group 50 , which is still active today, was formed in 1950 in Wiesbaden , to which the painter and Wiesbaden honorary citizen Christa Moering belonged. Only a few years later, other painters joined together in the “Real” group, who deliberately directed their activities against abstract tendencies.

Due to the consequences of the division of Germany, a restrictive cultural policy in the GDR, Ewald Hess came to Wiesbaden.

In 1962, Wiesbaden played an exceptional role in international art trends when the Fluxus movement of the then international artist avant-garde presented itself for the first time in Germany as part of the Wiesbaden Festival of New Music .

The exhibition “Wiesbaden and now?” In the Wiesbaden Museum (May 25 to July 14, 1974) showed in the interim results of a survey that, compared to cities of a similar size as Wiesbaden, local artists had little opportunity to develop here also document the emigration of the sculptor Thomas Duttenhoefer . “They just let him go”, elsewhere he received prestigious awards, “but the city of Wiesbaden [...] lost him”, regretted his older colleague Wolf Spemann in 1986.

In 1978 the artist group Tripol eV was founded by Marc van den Broek , Matthias Schneider and Hans Hollinger. They established the Wiesbaden rear building as an art and cultural center, from which a variety of cultural and political activities emerged, such as u. a. the organization of the first Kranzplatz festival.

Windows in the choir of St. Nicolai in Kalkar, which, like the other windows in the church, were designed by Karl-Martin Hartmann

Karl-Martin Hartmann is one of the most famous Wiesbaden artists today. Hebecame internationally knownprimarily through his designs for windows in a sacred context and the social plastic stele of tolerance . In 1993/94 his windows wererealizedin the Mariendom in Linz . Since 2000, the Gothic church of St. Nicolai in Kalkar has been gradually being completely equipped with 22 new windows based on Hartmann's designs. From 2004 the artist also realized the new windows for the parish church of St. Nikolaus in Rosenheim . For the 150th anniversary of the Marktkirche in Wiesbaden, three new windows based on Hartmann's designs were inaugurated.

literature

  • Ulrich Schmidt, Städt. Museum Wiesbaden, Gemäldegalerie, catalog, Wiesbaden 1967
  • Ulrich Schmidt, Bürgerliche Kunstförderung in Wiesbaden, in: Nassauische Annalen, vol. 84, 1973, p. 151 ff
  • Ulrich Schmidt, Wiesbaden artist from 3 generations, Wiesbaden 1980
  • Günther Kleineberg, sculpture, painting and graphics in the Duchy, in exh. Cat .: Duchy of Nassau 1806–1866, Museum Wiesbaden, Wiesbaden 1981, p. 331 ff
  • Alexander Hildebrand, visual artist, culture in Wiesbaden II, Mainz and Wiesbaden 1981
  • Ulrich Schmidt, Museum Wiesbaden, art collections, Munich / Zurich 1982
  • Bernd Fäthke, Wiesbaden painter of the 19th and early 20th centuries, Wiesbadener Leben, 9/1987, p. 33 ff
  • Berthold Bubner, Wiesbaden, Monuments and Historic Places, Wiesbaden 1993
  • The Nassauischer Kunstverein (ed.), Visual arts in Wiesbaden. From the bourgeois revolution until today. Wiesbaden 1997

Individual evidence

  1. ↑ Exhibition catalog: Artists' Colonies in Europe, In the Sign of the Plain and Heaven , Germanisches Nationalmuseum, Nuremberg 2001
  2. ↑ Freie Zeitung, August 1, 1850
  3. ↑ Anja Baumgart-Pietsch, Why not also Kögler and Ritschl , The art historian Bernd Fäthke pleads for street names after local artists; Need to catch up, comment by Manfred Gerber, Wiesbadener Kurier, February 6, 2009, p. 7
  4. ↑ pak. Art scholarship for women only; Comment by Katinka Fischer, Honorable, but not exactly padded , Wiesbadener Kurier, March 4, 2009
  5. ↑ Kathinka Fischer, place for artistic legacy, Wiesbaden project “Art Ark” receives support in the committee , Wiesbadener Kurier, September 13, 2008
  6. ↑ Katinka Fischer, Almasy is almost always on the go, art rental mainly has regular customers / exhibitions for the anniversary , Wiesbadener Kurier, March 24, 2009
  7. ↑ Anja Baumgart-Pietsch, “Art Ark” is slowly picking up speed, the Department of Culture supports plans to establish an estate foundation for Wiesbaden artists , Wiesbadener Tagblatt, March 26, 2009
  8. ^ Editorial office Wiesbadener Leben, open letter to Dr. Clemens Weiler, Wiesbadener Leben, vol. 12, April 1963, p. 2
  9. ^ Museum Wiesbaden, Früchtestück , undated, oil / canvas. - 36 × 40 cm, inv. No .: M 73, piece of fruit , undated, oil / canvas. - 36 × 40 cm, inv. No .: M 74
  10. ^ Friedrich Gwinner, Art and Artists in Frankfurt am Main from the thirteenth century to the opening of the Städel'schen Kunstinstitut , Frankfurt 1862, 384 ff
  11. ↑ For example, the round church of Wiesbaden-Naurod was built in 1730 by Johann Jakob Bager.
  12. ↑ Birgit Emnet, Wiesbaden's drying up sources , 27 thermal wells became 15 / Either they are out of order or they have been removed, Wiesbadener Kurier, March 5, 2009
  13. ↑ An attempt at a brief description of Wiesbaden and its warm mineral springs, initially for spa guests, by Dr. Friedrich Lehr, second city and country physicist and well doctor in Wiesbaden, Darmstadt 1799
  14. ^ MJ Horn, Official Administrator, Notice, Gracious Priviliged Wiesbadener Nachrichten, May 16, 1803
  15. ↑ Interestingly, this also included restoring “all types of oil paintings”, see Wiesbadener Wochenblatt, April 10, 1830.
  16. ↑ Silhouetteurs were also popular as portraitists at that time, cf. Wiesbadener Wochenblatt of March 5, 1816.
  17. ↑ From 1800 the following newspapers were gradually distributed in Wiesbaden: Gnädigst priviligirte Wiesbadener Nachrichten, Gnädigst priviligirtes Wiesbadener Wochenblatt, Wiesbadener Bade-Blatt, Wiesbadener Wochenblatt, Wiesbadener Tagblatt, Der Cursaal, Conversationsblatt für Taunusbäder, Hygieia, Unterhaltungsblatt für die Taunusbäder.
  18. ↑ Wiesbadener Bade-Blatt, August 21, 1881
  19. ^ Günther Kleineberg, Philipp Zollmann, a Nassau master of engraving , in exhibition catalog: Napoleon and Nassau, Wiesbadener Casino-Gesellschaft, Wiesbaden 2006, p. 157 ff
  20. ^ Museum Wiesbaden, Freight Forwarder on an Alpine Road , 1838, oil / canvas. - 32 × 39.5 cm, inv. No .: M 942
  21. ↑ Ulrich Schmidt, 150 Years Museum Wiesbaden, In: Museum Wiesbaden, Issue 2, April 1974, p. 2
  22. ^ Museum Wiesbaden, American landscape with cows by the water , undated, oil / canvas. - 21.5 × 32.5 cm, inv. No .: M 171; Three peasant women from the Idstein area , 1851, oil / oak wood - 26 × 36 cm, inv. No .: M 419
  23. ^ Museum Wiesbaden, Landscape near Adolfseck , 1878, oil / canvas. - 42 × 50 cm, inv. No .: M 151, Burg Langenau an der Lahn , no year, oil / canvas. - 24 × 31 cm, inv. No .: M 152
  24. ↑ The Wiesbaden Museum owns more than a dozen works by Knaus: Inv. No .: M 401, 402, 426, 427, 428, 429, 432, 761, 797, 803; Inv. No .: Z 74, 76, 80, 327
  25. ^ Exhibition catalog: Ludwig Knaus 1829–1910, Museum Wiesbaden 1979
  26. ↑ Bernd Fäthke, The Subject Landscape and Ludwig Knaus , in exh. Cat .: Ludwig Knaus 1829–1910, Museum Wiesbaden 1979, p. 49 ff
  27. ^ "According to reports, His Highness the Duke has given our compatriot, the painter Knaus, the character of a professor.", Mittelrheinische Zeitung, October 17, 1856
  28. ^ Günther Kleineberg, Sculpture, Painting and Graphics in the Duchy , in exh. Cat .: Duchy of Nassau 1806–1866, Museum Wiesbaden, Wiesbaden 1981, p. 338
  29. ↑ Walter Lich, The memory of Adolf Seels, 50 years ago the well-known painter died in Dillenburg, Dill newspaper February 16, 1957
  30. ^ Museum Wiesbaden, Im Kreuzgang , 1860, oil / wood. - 42 × 56 cm, inv. No .: M 104
  31. ↑ R. Au., The art our favor, The "Nassauische Kunstverein" - Its history and its cultural work in Wiesbaden , Wiesbadener Leben, vol. 5, 9/10, p. 33 f
  32. ^ Ulrich Schmidt, Museum Wiesbaden, Art Collections, Munich / Zurich 1982, p. 7
  33. ↑ Clemens Weiler, Hundred Years of Nassau Art Association, in exhib. Cat .: 100 Years of the Nassau Art Association in the State Museum Wiesbaden, Wiesbaden 1947
  34. ↑ In the house of his sponsor Marianne von Werefkin , Jawlensky got to know several paintings by Neff's hand. As luck would have it, many years later Jawlensky came across Neff's paintings in Wiesbaden in the Russian Church there.
  35. ↑ Erik Thomson, Karl Timoleon von Neff and the Russian Church on the Neroberg in Wiesbaden, in Hessische Heimat, 14th year, issue 3, 1964, p. 23 ff
  36. ↑ Bernd Fäthke, Marianne Werefkin, Munich 2001, p. 16
  37. ^ Museum Wiesbaden, self-portrait , undated, oil / canvas. - 63 × 47.5 cm, inv. No .: M 816, self-portrait , undated, watercolor - 43 × 31 cm, inv. No .: Z 358, artist's studio with self-portrait , undated, watercolor - 84 × 69 cm, inv. No .: Z 297, farmhouse parlor , around 1885, oil / cardboard - 32.5 × 39.5 cm, inv. No .: M 1042
  38. ^ Stefan Thiersch, The Portrait, Kaspar Kögler, Wiesbaden International, Journal of the State Capital Wiesbaden, 2/1973, p. 36 ff.
  39. ↑ Martin Hildebrand, embodiment of the inwardly good and the dignified with character, Wiesbadener Leben 2/1993, p. 6 f.
  40. ↑ Bertram Heide, painting technique of old masters in the Wiesbadener Ratskeller, Eberhard Münch reconstructed the paintings of the Wiesbaden painter-poet Caspar Kögler / Illusion painting lifted out of oblivion, Wiesbadener Tagblatt, June 26, 1987
  41. ↑ Wiesbadener Bade-Blatt, August 21, 1881
  42. ^ Museum Wiesbaden, Kasr el Jehŭde, 1881, oil / canvas. - 115 × 250 cm, inv. No .: M 358
  43. ↑ Catalog of the anniversary art exhibition of the Nassauischer Kunstverein in the ballroom of the town hall of Wiesbaden, Wiesbaden 1897, o. S., No. 144, "Todtes Meer; No. 145, Port of Lübeck; No. 146, Port of Lübeck; No. 147, Sinai (property of Professor Dr. Herm. Pagenstecher); No. 148, Marine (same). "
  44. ^ Wilhelm II. Visited Wiesbaden 26 times. Compare: Michael Liesch, Wasn't the Kaiser not a Wiesbaden fan? Bernd Neese presents his latest research results on Wilhelm I and Wilhelm II / Book is in progress, Wiesbadener Kurier, March 13, 2009
  45. ^ Berthold Bubner, Die Terracotta von Johann Jacob Höppli, A contribution to Wiesbadener Baukultur, Wiesbaden International, 11/1987, p. 11 ff
  46. ↑ Mario Bohrmann, Das Höppli-Haus, Zierrat für Wiesbaden, lilienjournal, Wiesbadener Stadtansichten, p. 15
  47. ^ Museum Wiesbaden, Female Nude , 1909/10, oil / plywood - 82.5 × 99 cm, inv. No .: M 208, self-portrait , 1913, oil / canvas. - 85 × 76 cm, inv. No .: M 207, Frau am Meer , n.d., oil / canvas. - 140 × 77 cm, inv. No .: M 209, autumn , around 1912, oil / canvas. - 88.5 × 80 cm, inv. No .: M 998
  48. ↑ Martin Hildebrand, Who was Alexander von Salzmann, A biography with riddles, trace also leads to Wiesbaden, Wiesbadener Leben, 10/92, p. 14 ff
  49. ↑ Bernd Fäthke, Decorative and Conservative, The frescoes in the shell hall of the Wiesbaden Kurhaus by Fritz Erler, in: Wiesbaden International, 4/1975, p. 22 ff
  50. ↑ Klaus Eiler, “Interesting for the people of all nations” - Hundred Years of the Nassau State Monument, in commemorative publication: Centenary of the Nassau State Monument, Monument to Duke Adolph of Nassau, Grand Duke of Luxembourg (1817–1905), Wiesbaden 2009, p. 4 ff
  51. ↑ Jeremy Howard, Counterparts: A study on the Art ans Relations of James Pitcairn-Knowles and József Rippl-Rónai, in: Exh. Cat .: In Neuilly, James Pitcairn-Knowles and József Rippl-Rónai, Ernst Múzeum, Budapest 2004, pp. 73 ff
  52. ↑ Exhib. Cat .: József Rippl-Rónai, 1861–1927, A Hungarian in Paris, Schirn Kunsthalle, Frankfurt 1999
  53. ^ Max Watzke, Freudenberg Castle near Wiesbaden, origin and eventful history, writings of the Heimat- und Verschönerungsverein Dotzheim e. V., No. 3, 1980
  54. ^ Dotzheimer Zeitung, February 27, 1906
  55. ↑ Ch. Wiesbaden, Der Kunstsalon Aktuaryus, Der Cicerone, Vol. IV, 1912
  56. ^ Museum Wiesbaden, "Worpswede", 1904, oil / cardboard - 33 × 43 cm, inv. No .: M 1038
  57. ^ Museum Wiesbaden, beach of Ahlbeck on the Baltic Sea , 1889, oil / canvas. - 46.5 × 70.5 cm, inv. No .: M 201, river and bridge , 1905, oil / canvas. - 87.8 × 110 cm, inv. No .: M 507
  58. ↑ Gretel Baumgart-Buttersack, Symbol of a Spiritual Power, 75 Years of the Goethe Memorial, The Presumption in Today's Handling, Wiesbadener Leben, 9/95, p. 7
  59. ^ Museum Wiesbaden, portrait bust Krekel , undated, bronze - h 44 cm, inv. No .: P 15, portrait bust of Hans Christiansen , undated, bronze - h 35 cm, inv. No .: P 56
  60. ↑ Alexander Hildebrand, Carl Wilhelm Bierbrauer, Baroque artist and humanity, For the 100th birthday of the Wiesbaden sculptor, Wiesbadener Kurier, 8./9. August 1981
  61. ↑ Ludwig Caesar Bauer, 40 years "Eiserner Siegfried", From the history of the strangest monument in our city - It once stood in the town hall, Wiesbadener Leben, 4th year, No. 17/18, 1955, p. 3
  62. ↑ Helga Lukowsky, Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel, Königstein / Taunus 2000, p. 132
  63. ^ Museum Wiesbaden, Evening Mood by the Sea , around 1913, oil / canvas. - 67.5 × 78.5 cm, inv. No .: M 637
  64. ^ Museum Wiesbaden, Ladies on the Beach in Yport , 1907, oil / cardboard. - 27 × 35 cm, inv. No .: M 198, portrait of Paul Dahlen , undated, oil / canvas. - 53 × 40.5 cm, inv. No .: M 696, horse trough, 1897, oil / canvas. - 101 × 73 cm, inv. No .: M 795
  65. ↑ Alexander Hildebrand, Ein Wegbereiter des Jugendstil, Memory of Hans Christiansen (1866–1945), Wiesbadener Leben, vol. 40, p. 32 f
  66. ^ Museum Wiesbaden, Abstract Landscape , 1915, oil / canvas. - 78 × 95 cm, inv. No .: M 924
  67. ^ Museum Wiesbaden, Sinnende , around 1921, plaster, h. 48.5 cm, inv. No .: P 13
  68. ↑ Bernd Fäthke, Alexej Jawlensky, heads etched and painted, Die Wiesbadener Jahre, Galerie Draheim, Wiesbaden 2012, p. 24 f
  69. ^ Museum Wiesbaden, Houses in the Forest , 1917, watercolor / cardboard - 20.6 × 25.1 cm, inv. No .: Z 175; Bathers in the forest , 1917, watercolor / cardboard - 21.6 × 26.3 cm, inv. No .: Z 176; Landscape 3 , around 1917, watercolor / cardboard - 21.7 × 26.9 cm, inv. No .: Z 174; Landscape with Houses , around 1918, lithograph / laid paper - 50.0 × 61.2 cm, inv. No .: L 113; Garden with houses , n.d., etching / cardboard - 29.8 × 20.2 cm, inv. No .: KR 381; Portrait Otto Ritschl , undated, etching / cardboard - 33.6 × 24.9 cm, inv. No .: KR 358
  70. ^ Museum Wiesbaden, bouquet of flowers , undated, watercolor / cardboard - 50.7 × 36.4 cm, inv. No .: Z 34; Flower vase , undated, watercolor / Japan - 58.0 × 42.2 cm, inv. No .: Z 35; French street scene , undated, watercolor / Japan - 37.4 × 29.0 cm, inv. No .: Z 191
  71. ↑ Alexej Jawlensky, Memoirs, in: Clemens Weiler, Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 120
  72. ↑ An original Vinecky frame adorns Jawlensky's Abstract Head (Red Light) from 1930 in the Museum Wiesbaden , oil / cardboard - 42.7 × 33 cm, inv. No. M 707. The other frames have only recently been rebuilt from the original.
  73. ↑ Alexej Jawkensky, letter to Galka Scheyer, May 11, 1923, private archive for expressionist painting, Wiesbaden.
  74. ^ Museum Wiesbaden, paintings from almost all creative phases, Inv. No .: M 223, 224, 228, 694, 700, 789, 791, 882 and graphics.
  75. ↑ Otto Ritschl, Das Gesamtwerk 1919–1972, Stuttgart, Berlin, Cologne, Mainz 1973, pp. XXI – XXIV
  76. ^ Museum Wiesbaden, "Wood and Clay", undated, oil / canvas. - 60.5 × 70 cm, inv. No .: M 826
  77. ^ Museum Wiesbaden, Medicine Man, 1935, oil / canvas. - 95 × 70 cm, inv. No .: M 704, composition A 34/37 V,, 1937, oil / paper - 35 × 50 cm, inv. No .: M 792, Piles twilight , 1946, oil / paper - 35 × 49.5 cm, inv. No .: M 239, wing blossom , 1951, oil / cardboard - 31 × 51 cm, inv. No .: M 240
  78. ↑ Otto Fink, Protector of Homeland Culture, The painter CJ Frankenbach held Alt-Nassau in his numerous works in pictures, Wiesbadener Leben, Jg. 5, 9/156, p. 25 f
  79. ↑ Alexander Hildebrand, The Portrait, Arnold Hensler, Wiesbaden International, 4/1978, p. 33 ff
  80. ↑ Alexander Hildebrand, Meticulousness and Atmosphere, Memory of the Painter and Architect Karl Otto Hy (1904–1992), Wiesbadener Leben, Jg. 41, 6/92, p. 15
  81. ↑ Alexander Hildebrand, survey of man, landscape and space, on the 90th birthday of the painter and draftsman Adolf Presber, Wiesbadener Leben, vol. 32, 12/86, p. 37; ders .: Realist on a metaphysical ground, On the first creative period of the painter and draftsman Adolf Presber, Wiesbadener Leben, vol. 43, 9/94, p. 10 f
  82. ^ Museum Wiesbaden, Flute Player at the Fountain , 1935, oil / canvas. - 56 × 46.5 cm, inv. No .: M 705
  83. ↑ Bruno Russ, "The Nassauische Kunstverein after 1945", in: The Nassauische Kunstverein, fine arts in Wiesbaden, From the bourgeois revolution to today, The Nassauische Kunstverein, Wiesbaden 1997, p. 91
  84. ↑ (see homepage of artist group 50)
  85. ↑ Christa Moering, March 21, 1996 honorary citizen and entry in the Golden Book
  86. ^ Richard W. Gassen / Roland Scotti (eds.): From Pop to Polit. Art of the 1960s in the Federal Republic , p. 65
  87. ↑ Bernd Fäthke, Kunst im Stadtbild 1974, interim result of a survey on the exhibition "Wiesbaden - and now?" In the Museum Wiesbaden, in exh. Cat .: Erwin Wortelkamp, ​​7th action in "Room 27", Museum Wiesbaden, Wiesbaden 1975, pp. 13–22
  88. ↑ Wolf Spemann, On the Misery of Art in Wiesbaden, The situation, the reasons - and suggestions for improving the situation, magazine, Wiesbadener Kurier am weekend, Saturday / Sunday, 1./2. February 1986
  89. ↑ Archived copy ( memento of the original from July 10, 2015 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. in: Wiesbadener Tagblatt. October 31, 2013 @1@ 2Template: Webachiv / IABot / www.wiesbadener-tagblatt.de
  90. ↑ [1] Homepage Mariendom Linz, accessed on January 12, 2019
  91. ^ [2] Report by the Rheinische Post , accessed on January 12, 2019
  92. ↑ [3] Documentation on the homepage of the Archdiocese of Munich and Freising , accessed on January 12, 2019
  93. ^ [4] Report on the homepage of the Evangelical Church in Hesse and Nassau , accessed on January 12, 2019