Margret Hofheinz-Döring

Margret Hofheinz - Döring ( born May 20, 1910 in Mainz, † June 18, 1994 in Bad Boll) was a German painter and graphic artist.

She created around 9,000 images have been shown in more than one hundred exhibitions. In their experimental " structure painting" painted over them fabric collages and picture frames. Nationally known it was developed by several different techniques in image cycles to Goethe's Faust.

Life

Döring Margret was born as the daughter of originating from Thuringia sculptor and poet Franz Döring. The mother, Margaret Schirmer, Mainz came from a peasant family. The family moved in 1912 to Göppingen, where the daughter remained until graduation in 1929. Suggestions by the father and by the art educator Gustav Kolb, the editor of the magazine Art and Youth, led it to become an art teacher. After a semester at the Württemberg Art and Crafts School, where she studied abstract composition and writing at Schneidler, she studied from 1930 at the Academy of Fine Arts. She graduated in 1934 with the first service exam for teachers at upper secondary schools from.

From 1934 she worked as an art teacher at various schools Württemberg and turned to portrait painting. In 1939 she married fellow teachers and philologists Herbert Hofheinz and was now called Margret Hofheinz. In 1943, she left before the birth of her daughter the school service and worked as a freelancer. The family first lived in Baiersbronn. From this time portraits with daughter Brigitte, landscape and flower images are obtained. She illustrated the Black Forest Tell by George Hague and wrote an ( unpublished ) children's book Bärbel looking at the world.

As members of the " lost generation " they could hardly develop their art in the years 1935-1945 and the first postwar years.

The move to Freudenstadt initiated in 1953 a new artistic direction. About a trip to France in 1954, she wrote later, " by medieval stained glass window in the French cathedrals: intense desire to produce a similar effect in the field of easel painting. First attempt: glass paintings. Impressions from trips to Greece (1954 ) and Rome ( 1963), held it with the pen and processed often long after.

Artistically it was based on Emil Nolde, Wassily Kandinsky, Paul Klee, Picasso. "Sometimes the models Klee and Chagall are quite clear; yet it is only external, which connects the tame art Hofheinz - Döring Margaret with them. " In 1957 she became a member of the artistic community Freudenstädter The square in which you discussed trends in modern art. During this time she was free in their colors and shapes. Influence had thereby Adolf Hölzel and Ida Kerkovius they knew personally.

In 1964 the 55 -year-old get a driving license and buy a car. After she had three basic ideas of practicing art, outlines its principles in her text, she called herself Margret Hofheinz - Döring, signed with MHD and created a work directory. In the art scene, she found now Note: The first exhibition in Stuttgart in 1965, was accompanied interested by the press: "Above all seem Margret Hofheinz - Döring, who worked as an art educator, fairytale themes such as ' The Arabian Nights ' to lie. Since their Fabulierfreude able to develop freely, their tendency also to the grotesque. " In 1969, she taught in Göppingen a studio and exhibition space a.

From 1973 Hofheinz - Döring gave several lectures on the "origin of an idea " in the " Pastoral College Freudenstadt ". 1974 was an exhibition in Freudenstädter townhouse attention in the press.

In the same year, the couple moved to Zell unter Aichelberg. Margret Hofheinz - Döring explored the area by car journeys and recorded almost all places in the new environment. In her studio she formed up to 25 cm high bronze figures such as Mother Goose. In 1976 it was represented at the International Art Market Dusseldorf. Gisela Burkamp singled out in a report on 178 galleries this and a second solo exhibition opening: "One of the most remarkable single gallery openings include the estates of the gallery Haenle, Lauterstein - white stone, and the malt Tooth Gallery, London. In Haenle it is the painter Margarete Hofheinz - Döring, bribe their immensely poetic, sensitive pictures in their idiosyncratic and unique technology and hue. " This was followed by tours in Germany, Switzerland and Austria. Opened in 1979, her daughter a showroom in Göppingen - Jebenhausen. An exhibition at the parliamentary party in Bonn, which was attended by Mildred Scheel and Manfred Wörner, formed the climax of public attention.

After the death of her husband in 1983, often created abstract paintings, they hardly revised and working through form and color. After a heart attack in 1990, she showed hardly more in public, but continued to work. 1994 pulled the painter in the Altenwohnanlage Bad Boll in which they died unexpectedly on June 18.

Work

Techniques

Margret Hofheinz - Döring "with the righteous consequence, not to mention introduced all artistic techniques in this oeuvre of lack of consideration given Reviews: oil paintings, watercolors, pen and pencil drawing, woodcut and linocut, tempera, pastel and mixed media. " Important your art, painting in oil, it varied diverse diluted impasto or strong; with reduced range and many gray and brown tones or the entire color spectrum using; with vorgezeichnetem plan or intuitive; on canvas or hardboard, wood, cardboard, paper, even styrofoam. In the later years she used acrylic paints, but rather for priming the oil paintings. " The unconventional use of materials such as linen and wood comes in the exhibition through the use of woody pieces from an old wardrobe and by the extension of certain images on the frame for expression. "

They particularly appreciated the opportunity to rework the image later, which led to Rahmenübermalungen and structure painting to painting in oils. This technique, in which colors are absorbed differently by the substances and therefore often change unexpectedly, forcing repeated reworking. They " raised in the picture the separation of textile art and painting " ( Ingrid from the oarlocks ). In some pictures, so in watercolors, they used gold leaf (initially held by her father, the sculptor was yes ) to set light accents and to draw the eye of the beholder. They raise " a painting from the mundane to the fabulously unreal, even to the Sacred ".

Watercolor works she recorded before in the early years with pencil, later she improvised. With bright colors stand out Margret Hofheinz - Döring often non-representational pastel paintings. Inspired by Adolf Hölzel and his protégée Ida Kerkovius, she used pastels on colored pastel paper, which they often taped with foil to fix the pigments. Later she worked with oily crayons that had not be fixed.

Almost all of their important issues led the artist as a wood or linoleum cuts. After her had become too exhausting 1974 this technique, she created drawings in ink, which then appeared as offset prints in small signed editions.

Topics

Until 1953 was the representation of nature in the center ( Swabian Impressionism ) for Margret Hofheinz - Döring. Portraits, landscapes, animals, flowers and still life can be found up to 1994 again, with the way they work over time and individual was free. The Representational was her starting point for non-figurative or humorous pictures.

Equally important was the presentation of their words and thoughts. In the school there were fairy tales like Little Longnose, at the Academy, the washing of feet, after the war Murgtalsagen, which she illustrated, respectively, of which she was inspired to images.

One of its main themes was Goethe's Faust. Inspired by the fist film with Gustav Gründgens, she worked very intensively with the topic. The fist - collector Karl Theens became aware of it and organized exhibitions in Wilhelmspalais in Stuttgart and at City Hall Rothenburg oT Osman Durrani Margret Hofheinz - Döring dedicated in his book on Faust receptions own section and emphasizes: " It is one of the few artists who devoted a large part of their lives the design of the Faust theme [ ... ] Unlike other is their access is not determined by the attempt to retell the drama or show performers on stage. " in a first series in mixed media, which retells the scenes, followed by a series in watercolor with ink, in which the tracks are built calligraphic. In a third, highly abstracted, watercolor series, the artist renounced these instructions. Almost simultaneously abstract compositions created in pastel technique to Faust II Later, graphic works, on individual topics and oil and structural images to come.

The Parzival subject, they suggested several batches of images. " When reading Parzival by Wolfram von Eschenbach, whose development was influenced by a lot of people, I noticed again and again that I had already shown the types shown on pictures ".

The themes of the Bible they processed in works such as washing of the feet, the Last Supper (oil), the parable of the mustard seed ( line drawing ), Ahasuerus and Esther ( ink brush drawing).

An example of images on the poems ( by Hölderlin, Nietzsche, and especially Hesse ) is the ribbon was created in collaboration with Stephanie Kemper pictures and poems. Limericks that she " used in rhythm and form " felt as were the topic for a whole range of their structure images. "Both basically irrational and yet with schmunzelndem sympathy for tragedy and comedy of human inadequacy. "

Abstract paintings have from 1953 and until her last picture 1994 large share of its work. These include above all, their pastel paintings, also abstract compositions in oil, watercolor or mixed media, some of which were cause yet figurative associations and often developed into painted fairy tales and fables to stories about people, about human beings and animals, humans and plants.

In 1966, the painter 's attention when visiting the Linden- Museum Stuttgart in exotic masks. Locally -made drawings they later colored and decorated it with sprayed paint or ink. In the following years masks appear again and again in her work; either as a large structure images or images that have relationships between people on the subject.

Honors

Exhibitions (selection)

The first solo exhibition by Margret Hofheinz - Döring took place in 1931 at the Germania Hall in Göppingen. From 1965 they had at least one exhibition every year.

Works by the artist can be found among others in the State Gallery of Stuttgart, in the Schiller National Museum in Marbach, in the gallery of the city of Stuttgart, at the Municipal Museum of Art Spendhaus in Reutlingen, in the collection of the State of Baden- Württemberg and the Federal Art Collection. Publicly accessible are their images among others in the district hospital in Göppingen, in the Werner -Heisenberg -Gymnasium in Göppingen, in the Kurhaus Freudenstadt, in the Town Hall and in the cell under Aichelberglifte Altenwohnanlage Bad Boll.