Wilhelm Jordan (painter)

from Wikipedia, the free encyclopedia

Wilhelm Jordan (born May 25, 1871 in Stargard in Pomerania ; † July 28, 1927 in Glasow near Mahlow , Teltow , Potsdam ) was a German painter , draftsman , illustrator and drawing teacher. Jordan specialized in portrait painting at an early age and after the turn of the century ran his own painting and drawing school in the Wilhelminian city of Berlin. From 1906 he also taught at the Royal Art School in Berlin, initially under the directorate of Viktor Paul Mohn , later - until his early death - under Philipp Franck .

life and work

Growing up in Breslau, Jordan knew early on that he wanted to become a painter, but first had to pursue this career choice against the resistance of his parents. His training began in 1890 with Albrecht Bräuer at the art school in Breslau , where he met later artists such as Hans Dreßler, Fritz Erler, Heinrich Wolff and Karl Holleck-Weithmann. In the spring of 1892 he switched to the painting class of Joseph Scheurenberg at the Berlin Academy in order to be trained in the technique of oil painting. Here he met the Berlin artists Martin Brandenburg and Hans Baluschek , with whom he remained connected through a long friendship. In 1894/95 Jordan completed his studies at the Academy in Munich under Carl von Marr and finally settled in Berlin in 1896. Together or alternately with Baluschek, Brandenburg and Holleck-Weithmann, he repeatedly undertook smaller exhibitions, for example in the Fritz Gurlitt Gallery, the Ribera Salon or the Keller & Reiner Salon. The founding of the Berlin Secession under Max Liebermann also opened up new opportunities for the debuting artists and so Jordan has been able to exhibit here again and again since the opening of the Secession - for example his pencil drawing "Shift Change" from the Rammelsberg ore mine near Goslar, published by Franz Jäger, Goslar and Berlin, was reproduced and distributed and found a certain distribution in the Goslar area. In his endeavor to work as “true to nature” as possible, Jordan's great role model in art was Adolph von Menzel . Jordan's tendency to be as realistic as possible, however, posed a problem for portraiture. Not everyone liked to see themselves portrayed this way, even if a critic said that Jordan knew how to find the expression of the soul and character of the portrayed.

At times Jordan worked as an illustrator for books and magazines. In 1897/98 he began working for the short-lived Berlin paper “Das Narrenschiff. Leaves for Happy Art ”. Here he worked - alongside Lyonel Feininger, among others - until the paper was discontinued in the spring of 1899. In 1902 he worked for a short time for the well-known joke paper "Funny Leaves". Later - during the First World War - he drew for the “Artists' Papers on War”, the “Wachtfeuer”, published by the Economic Association of Fine Artists. Here he only made portrait sketches of well-known personalities for the title pages of the magazine. Due to his accurate and characteristic drawings, the Deutsche Allgemeine Zeitung (DAZ) approached him after the war to regularly draw portrait sketches for the newspaper.

To protect himself against the vicissitudes of artistic success, Jordan founded his own painting and drawing school towards the end of 1903. A few years later, his talent as a drawing teacher led to a job - initially as an assistant teacher - at the Royal Art School in Klosterstrasse. In 1913 he was appointed professor here. Due to the war, however, he did not get his permanent position until 1920 - at the now State Art School in Berlin. He held this position until his death in 1927.

Works

Poster, 1899, insert in the art and literature magazine Pan

Jordan himself cited as his main works:

  • Pastel portrait of the Secret Upper Government Council and first director of the Berlin National Gallery Max Jordan (Museum of Fine Arts, Leipzig)
  • Lithograph: Lady with Fox (Leipzig Book Museum, destroyed in 1943)
  • three portraits of the Directors of the Poznań Landscape.

From him further:

  • two drawings "Bergmannsbilder" (lost in the Kupferstichkabinett Berlin in 1945), including "Shift Change"
  • Pastel portrait of the art writer Franz Servaes
  • Pastel portrait of Walther Jordan (Museum of Fine Arts, Leipzig)
  • Pastel portrait of the painter Martin Brandenburg
  • Oil portrait Anna Jäger
  • Portrait of the magistrate Franz Jordan
  • other lithographs: Ships, mine, miners, girls with muff, linden alley near Schwabing
  • Oil portrait director Max Jordan (State Museums in Berlin - Prussian Cultural Heritage)
  • Hotel garden in autumn
  • Rest in the forest

literature

  • Jordan, Wilhelm . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 19 : Ingouville – Kauffungen . EA Seemann, Leipzig 1926, p. 162 .
  • Rudolf Meyer-Bremen (ed.): The exhibition catalogs of the Königsberger Kunstverein (20th century). Böhlau, Cologne / Weimar / Vienna 1993, ISBN 3412106917 .
  • Otto Grautoff: The Development of Modern Book Art in Germany. Leipzig 1901.
  • Herrmann AL Degener: Who is it? Contemporary Lexicon. 4th edition, Leipzig 1909, p. 662.
  • Annual reports of the Royal Art School 1905/06 to 1914/15 (Archive of the University of the Arts, Berlin).
  • Funny leaves. Verlag der Lustige Blätter Dr. Eysler & Co. GmbH, Volume 17, Berlin 1902.
  • Wilhelm Michel: Munich graphics. Woodcut and lithograph. In: German art and decoration. Illustrated monthly booklets for modern painting, sculpture, architecture, home art and artistic work for women. 16, 1905, pp. 437-457, here pp. 451 and 456.
  • The Ship of Fools. Sheets for happy art 1–2, Berlin 1898/99.
  • Franz Servaes: Modern Berlin Painters II. In: Artist. An Illustrated Monthly Record of Arts, Crafts and Industries. 31, 1901, pp. 189-196.
  • Watch fire. Artist papers on the war. Economic Association of Visual Artists, Berlin 1914–1918 / 19.

Individual evidence

  1. ^ Notes from: Bianca Berding: The art trade in Berlin for modern applied art from 1897 to 1914. Diss. Berlin 2012, pp. 193, 499 f .;
    The art for everyone. Painting, sculpture, graphics, architecture 16, 1901, p. 194.
  2. Kai Gurski: mallets, irons and swastika. The subject of mining in the work of the painter Karl Reinecke-Altenau. Diss. Braunschweig 2008, pp. 306-312, 453.
  3. See: http://www.professor-peters.de/biblogr.htm
  4. ^ Franz Servaes: Modern Berlin Painters II. In: Artist. An Illustrated Monthly Record of Arts, Crafts and Industries. 31, 1901, pp. 189–196, here p. 196.
  5. ^ Annual reports of the Royal Art School 1905/06 to 1914/15 (Archive of the University of the Arts, Berlin).
  6. ^ Hans F. Schweers: Paintings in German museums. Catalog of the exhibited and depot works. Second updated and improved edition. Volume 2, part 1: Artists and their works. Munich / London / Paris 1994, p. 884.
  7. ^ Catalog of the 2nd art exhibition of the Berlin Secession. P. 28;
    Catalog of the VIII. International Art Exhibition in the Kgl. Glass Palace in Munich. 1901, 2nd edition, p. 144 (No. 2028).
  8. ^ Catalog of the 1st art exhibition of the Berlin Secession in 1899 (2nd edition), p. 36.
  9. ^ Catalog of the 2nd art exhibition of the Berlin Secession. 1900, 3rd edition, p. 28.
  10. ^ Catalog of the 4th Art Exhibition of the Berlin Secession / Drawing Arts. (1901/02), p. 24.
  11. ^ Directory of the 42nd art exhibition in Königsberg / Pr. in the stock exchange from March 19 to 30 April 1905.
  12. ^ Catalog of the 11th art exhibition of the Berlin Secession. 1906, p. 22.
  13. ^ Hans F. Schweers: Paintings in German museums. Catalog of the exhibited and depot works. Second updated and improved edition. Volume 2, part 1: Artists and their works. Munich / London / Paris 1994, p. 884.
  14. ^ Directory of the 47th art exhibition of the Kunstverein Königsberg eV in the new art gallery from April 6th-1st. June 1913.
  15. ^ Catalog of the Great Berlin Art Exhibition in the Kunstpalast in Düsseldorf. 1918, no.271.