Arthur Fitger
Arthur Heinrich Wilhelm Fitger ( born October 4, 1840 in Delmenhorst, † June 28, 1909 at Horn in Bremen ) was a German painter and poet.
Life
Fitger was the son of Postmaster and Delmenhorster innkeeper Peter Diedrich Fitger and his wife Clara Maria Caroline born Plate spoil. Dorny born. His younger brother Emil Fitger (1848-1917) was later longtime managing editor of the Weser -Zeitung.
Fitger attended elementary school and rector in Delmenhorst and then high school in Oldenburg, where he lived with Baurat Otto Lasius ( 1797-1888 ). 1858 Fitger went to the Academy at Munich, where he studied mainly at Moritz von Schwind ( 1804-1875 ), went in 1861 to Antwerp and then to Paris. In the years 1863-1865 he held a scholarship from the Grand Duke of Oldenburg in Rome, and after he had lived in the following years, alternately in Vienna and Berlin, he took up permanent residence there in 1869 in Bremen.
Fitgers paintings are much more decorative and monumental nature and for the most part belong to the fantastic area; we lift including a humorous children frieze depicting the metabolism, as well as a frieze: the night and her entourage, out, both in the ducal castle to Meiningen ( Castle Elizabeth Castle ).
In Bremen he decorated the Rembertikirche with two representations: the Prodigal Son and the Good Samaritan, the stock market with on the sea relating allegories, the house seafaring and the post office building. From easel paintings Barbarossa awakening, what inspired him the war in 1870, has become more widely known; In 1875 the decoration of the Council cellar, he was appointed with wall paintings. 1883 to 1884 he performed at the Kunsthalle in Hamburg large murals.
His artistic breakthrough had already Fitger. Around 1870, he now also received orders from wealthy Bremer private homes and had to soon take Malgehilfen in order to meet the large number of orders can Jokingly, he remarked that he had created with the assistants, " frieze compositions kilometers, hectares ceiling pictures, hundreds lego -driven shapes, and thousands of cherubs ".
Originally by Peter von Cornelius (1783-1867) and Bonaventura Genelli (1798-1868) starting, he later joined the modern coloristic direction and vied in the effort of colors sometimes with Hans Makart ( 1840-1884 ).
Fitger used at the same time the art of poetry and made in the area widely known. His spectacles: Adalbert of Bremen (Oldenburg 1873; 2nd ed with the aftermath Hie Hie kingdom of Rome, 1875! ), The Witch (ibid. 1878, 4th edition 1885), the grace of God ( 2nd ed, das. 1884) have been frequently performed. He has also for the Bremen artist club several festivals (Albrecht Dürer, Johann Kepler, and Michelangelo) as well as the little epic poem Roland and the Rose (1871 ) written. The most valuable are his rich tones of fresh collections of poetry: Itinerant people (2nd edition, Oldenburg 1883) and winter nights (ibid. 1880).
Fitger was buried in the cemetery Rien Berger. His tomb is decorated by an inspired by his paintings illustration of a female angel ( grave location U 192-195 ).
Honors
- The Arthur Fitger Roads in Delmenhorst and Ganderkesee were named after him.
- The Fitgerstraße in Bremen- Schwachhausen was named after him.
Fitger and Hanseatic taste in art
Who the cultural life in Bremen in 1900 is borne in mind inevitably come on Arthur Fitger, who was then, a local painter prince comparable dominated the scene and sustainable worked with his published in the press reviews on the Hanseatic taste in art. His words had weight and as Chairman of the Kunstverein influenced his assessment of the conservative attitude of the Bremen public. With the " new-fangled " artists that are oriented to the Worpswedern or to the contemporary French, he had no mercy and his exhibition reviews were often consigned to extremely polemical Panned. Eklatantestes example is the scathing commentary on the exhibition trial of Marie Bock and Paula Becker in the Kunsthalle Bremen at the end of 1899, which appeared in the edited by his brother Emil Fitger Weser -Zeitung and gave to understand with a condescending tone: " For the work of the two above-mentioned ladies is not enough of the words treasure of a neat language, and at a unclean we want to make no bond. " but just as able to prevent the breakthrough of Worpswede Community Fitgers criticism, so little held his judgments and the views of under his influence upper-class merchant families, the ambitious young daughters Bremen citizens depend on to look at the nearby Worpswede under the maligned painters their role models and teachers to break up as " Malweib " brave new horizons.