Wednesday, 27 July 2016

Schütz, not identified printmaker.

Unknown German printmaker. 

Some months ago these block prints (linoleum ?) showed up in Ebay and before being sold I archived the photographs. Maybe showing them together wil help reveal the identity of the maker. Someday. 





And there's this nice print that was shown in a Swiss exhibition last winter by a unknown maker: Hans Schütz. 


All help is welcomed. 

Pictures borrowed freely from the Internet for friendly, educational and  non commercial use only

Monday, 25 July 2016

Recently my attention was pointed to and was asked by a reader of the blog to pay attention to Doramaria Purschian, a painter and graphically active woman artist. She had not come to my attention but I agree, she should be in my index. So far I was only able to find one example of her graphic work, an etching. 


Purschian, Doramaria (Ella Margaretha Maria Dora) 
Berlin 06-07-1890 – 11-07-1972 Berlin
Painter, portrait painter and graphic artist. 

She was the daughter of engineer Ernst Purschian and his wife Gabriela, studied 1907-1909 at Berlin “Königliche Kunstschule in the "Zeichenlehrer-seminar” graduating as a teacher at drawing in 1909. She was one of the first women to graduate from an official institution in Germany, at the time very controversial: Berlin “Staatliche Kunstakademie” not accepted female students until 1919. 

Castle (Schloß) Eutin (between Kiel and Lübeck). 

She continued her studies in 1912 with Fritz Bürger (1867-1927) and Lovis Corinth (1858-1925). Her first and very successful solo exhibition was held in 1918 in the Roemer- und Pelizaeus Museum in Hildesheim. She worked as a Red-Cross nurse in WWI 1914-1918 and afterwards as a free creating artist until 1930 and well known portrait painter. After her brother Frank died in 1939 she lead the heating company established by her father. Described as “gute Portraitistin und Kindermaler” (good portrait and children painter) in the (Nazi) “Reichskammer für bildende Künste (Leistungsgruppe B)”.


After WWII she received a "Mention Speciale" during the 1969 New York "2nd Exhibition of European Painters in the U.S.A.” and an honorary membership in Rome’s Art Academy.

Member of the VdBK 1928/29-1961 and member of the "Darlehns- und Unterstützungsdasse  since 1946. Exhibited with the VdBK 1928/29, 1929, 1934, 1937, 1942, 1954.Member of the VdBK 1929-1961 and since 1946 of the “Berufsverband Bildender Künstler Berlins”. In 1949 she was the victim of a brutal robbery and became severely injured never recovering completely. She is buried in the old part of Berlin-Lichterfelde “Parkfriedhof” cemetery.

Dresslers KHB 1930: Berlin Dahlem, Humboldstraße 19, Member RvBK, VdK.


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Her teacher 
Fritz Bürger (Munich 16-07-1867 – 1927 Lindau) 
Painter, lithographer and well known portrait painter. 

Studied at Munich “Kunstakademie” 1883-1888, at the “Ecole des Beaux-Arts” 1891-1897 and at the “Académie Julian” in Paris 1893-1896. Awarded many awards gold and silver medals 1897-1909. Settled 1899-1905 in Basel and then moved to Berlin where he became a professor in the “Kunstakademie” moving to a villa near Berlin 1910.


Exhibited from 1895 in the Munich Secession and at the “Großen Berliner und Dresdner Kunstaustellungen” and was awarded many silver and gold medals. He was a celebrated portrait artist painting many of his contemporaries and was highly praised for his children portraits. Bürger is from Swiss descent. Besides his portraits he known from a series of 1898 lithographs: "Frauentypen vom Münchner  Künstlerfest". 

  
He married sculptor, painter and arts and crafts artist Sophie Hartmann (Munich 23-05-1868 – 1940 Munich), selftaught but also studying 1884-1887 at Munich “Königliche  Kunstgewerbe-schule” at the “Damen-akademie des Münchners Künstlerinnenverein” and at the “Académie Julian” in Paris where she met her husband.

Bronze pen holder  

Like her husband she was an international award winning artist 1900-1907. After a stay in Dürnbach they moved to Lindau in 1922 and after the death of Fritz Bürger she moved back to Munich. 

Dresslers KHB 1921: Dürnbach near Gmund at Tegernsee (Bavaria). Member VBK, VSMBA, BasKG, MS, ADK.   


All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 

Monday, 4 July 2016

Elise Daimler, Stuttgart painter and printmaker.

Elise Daimler
(Stuttgart June 13th 1875-1956 Stuttgart)
German painter and printmaker. 


Dresslers Kunsthandbuch 1930: M.: Ge. (“MalerinGewerblerin”, painter and arts and crafts artist), Reinsburgerstrasse 10. 
Note: Gottlieb Daimler (Däumler) (1834-1900) automobile pioneer and founding father of the Daimler-Benz (Mercedes) Motor Company originated from the nearby village of Schorndorf. There may be a (although not direct) family relation, Gottlieb had three brothers: Johannes (1832), Karl-Wilhelm (1840), and Christian-Albert (1845). 
She was a contemporary to Stuttgart  painter Helene Wagner (1878-1956).





I was pleasantly surprised recently finding a woodblock print "Föhren" (Sea pines) in a local car boot created by a German woman printmaker who was completely new to me. So here's what I was able to find out researching a bit. 


She studied in Stuttgart “Kunstakademie” with Christian Landenberger (1682-1927) and also in Munich (probably also with Landenberger who taught in both academies) and Paris. So far this is all I was able to find out besides a handful of pictures of paintings from auction sites. (South German) Landscapes, a still-life, a nude etc. 


The most interesting painting, to me, by Elise Daimler is this 1912 painting showing the Dutch village of “Bergen aan Zee”. 



Following the year (1912) on the painting I'm convinced she was in the company of her teacher Landenberger (and/or his class) visiting the Dutch coast. It is recorded Landenberger travelled to the Dutch coast that same year. Their company, traveling from Amsterdam no doubt, will have embarked at this platform in Bergen.  


And probably stayed in Hotel "Prins Maurits", the first Hotel to be build in Bergen.



Although much has changed there will be little difference in the enjoyment of Bergen beach life in summer, today or a century ago. This painting by contemporary artist Hans Versfelt (b.1968) shows the path from the Dunes. Nothing much has changed there over a 100 years.  
  


Elise's teacher Landenberger is an interesting figure (see his short biography below), an impressionist painter, professor in Stuttgart Academy and an advocate of "plein-air" painting ("Freilicht-malerei", outdoor painting). He'd become quite known in his time, awarded and famous for his many paintings of bathing nude boys. 





The "Badende Knaben" theme probably "invented" by Max Liebermann (1847-1934) a decade or two before. Liebermann was a frequent visitor of the Dutch North Sea coast and came often from Berlin to paint. Like his colleague Lovis Corinth (1858-1925) and many others 


And from the "Sammlung Elise Daimler" (probably from her personal estate) comes this "Pierette" by Stuttgart fellow artist Clara Rettich (1860-1927). The intriguing look in the eyes of the beautiful sitter (is it a portrait of Elise ?) is astonishing. And what its the meaning of the clowns costume ? Leaving the painting untitled, undated and unsigned is puzzling and maybe suggesting a very close personal link. To my knowledge both women never married. 


Clara Rettich proved also to be an interesting yet obscured artist. Born in New-York she studied and lived in Stuttgart (I have no idea why she chose Stuttgart and not Munich, Paris or Berlin). She was asked by antroposophist Rudolf Steiner to paint some of his esoterical designs  (the s.c. "apocalyptic seals") in oil.  And she is known to have worked in needle-work also. 



If you happen to stumble over this posting: please send me further biographical, artistical and genealogical (Stuttgart/Schorndorf Daimler family)  


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Christian Adam Landenberger 

(Ebingen 07-04-1862 – 13-02-1927 Stuttgart)

(self-portrait)













Impressionist painter and professor, who was appointed in 1905 in Stuttgart “Kunstakademie” after  a  gold award winning "Badende Buben" (nude bathing boys). Studied from 1879 at Stuttgart “Kunstschule” with Jacob Grünenwald (1821-1896) and Carl von Häberlin (1832-1911) and in Munich “Kunstakademie” 1883-1887 with Frans (von) Defregger (1835-1921). Founding member of the Munich Secession exhibiting regularly from 1916. In 1895 he established a private painting school and teaches 1899-1905 at Munich of the “Münchner Künstlerinnenvereins Damen-akademie”. He is an advocate of outdoor painting (“Freilichtmalerei”). Travels to the Donau, Black Forest, Bodensee (Sw.), Norway, the isle of Sylt and the Dutch coast (see his student Elise Daimler). He is known of his series of bathing boys (“badende Knaben”) created between 1893-1915. Helene Wagner (1878-1956) a Stuttgart painter had also  been his student in Munich. 

Rettich, Clara (Klara) (New-York 19-10-1860 – 19-05-1916 Stuttgart)

Portrait, animal and flower painter but also worked in other media. Student of impressionist painter, illustrator, lithographer and Stuttgart “Kunstakademie” director (1902-1912) Robert von Haug (Stuttgart 1857-1922). She was involved in executing in oil the designs created by antroposophist Rudolf Steiner (1861-1925), the so-called Apocalyptic Seals in 1907.  
Dresslers KHB 1921: Stuttgart Ostheim, Atelier: Rotenburgerstrase 2.

All pictures borrowed from the Internet for friendly, educational and non commercial use only.  

Monday, 20 June 2016

Siegfried Berndt: pioneer printmaker from Dresden (I)

Several years ago (2011 !) Charles wrote his posting and spoke in admiration of Siegfried Berndt (read here). Berndt's influence on Modern Printmaking is probably much greater then until now is realized. In 2013 a booklet, referred to in the comments of Charles posting, was published. 


Winning a first price at the end of his studies enabled Siegfried Berndt (1880-1946) to travel to Brussels (where he'd lived the first 4 years of his life because his father had moved there), to Paris (engaging his wife), England and Scotland in 1907-08. Although the price was awarded to an oil painting created in 1906 ("Heu-ernte") in the final stages of his studies he was already heavily involved (and experienced !) in creating prints "the Japanese way". 



Here're the two earliest examples I could find (also 1906 !) showing the steps of Pillnitz Castle near his native Dresden on river Elbe, and Windstille" a truly remarkable early print. It shows he already was heavily inspired, influenced and experienced with printmaking "the Japanese way". In those years (from 1905) Emil Orlik just had started teaching in Berlin. I often wonder about the possible connections. It is even said Berndt taught and trained his teachers and professors in Dresden in woodblock printmaking (!) And because of that his printmaking influence must be in every Dresden later trained printmaker including the later expressionist "Brücke" artists, Martin Erich Philipp and many others.   





This is a fine opportunity showing you some remarkable things that I've discovered recently comparing pictures of prints by Berndt from my pictures archive (I actually own just one print by Berndt, the iconic sailing boat print (later) as my interest and true field of investigation and collecting is pioneering German women printmakers born before 1900 (they were all followers, not teachers, but it is the influence of their possible teachers that is so interesting)



I noticed Berndt played with composition comparing this color print of Notre Dame and a similar, also 1912, monochrome print obviously inspired by his Paris visit. (Meeting Henri Riviere , August Lepere and the Beltrand brothers ?) The question is wether he elongated or shortened the composition: I suggest the first. 


(Note he actually separated the lower part from the upper, moving Notre Dame to the right by adding a bridge arch to the left but stretching the ships to the right !) probably to position the hauling sailor underneath the large vertical spire dividing the composition more harmoniously.


He did the same with the sailing boat print, changing the composition from square to vertical. In this case by adding an inch or so to the bottom with an extra block. 


And then it struck me I could hardly find two identical prints of the same print/composition (there are, probably when he was content printing an edition) showing he experimented happily with his blocks. 



And then, by sheer co-incidence, I stumbled over this Japanese woodblock by (I think by Hasagawe Satanobu II 1848-1940 or his father HS I (1809-1875). Could this be the print for  Berndt's inspiration ? 


Some serious research has been done into the Japanese prints that inspired Vincent van Gogh (1853-1890) and comparing is besides great fun revealing much about the artists history and history of Art.


In Scotland-Edinburgh I suspect Berndt will have met Frank Morley Fletcher (1866-1949) who was head of the Edinburg college of art from 1907 and before he had been experimenting, like Berndt, making prints in the Japanese way in London. Around the time Orlik came back from his Japan experience in 1901 and moving from Munich to Berlin. 

Experimenting Berndt did with almost all his prints. These are just examples that I managed to find and safe, there must be many others available. Here's a 1911 print showing a Polish village and landscape in different colors which made me think of Fletchers print made in 1916.  



Please consider these are just personal observations and in no way to be valued having  any art historical relevance. And beware: there's even more to come ...........

All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.