Carl Grossberg

Carl Grossberg (born 6 September 1894 in Elberfeld, † October 19, 1940 in Laon, was Georg Wilhelm Carl Grandmontagne ) was a German painter. He designed in static- cool oil paintings and watercolors cityscapes, industrial and technical presentations. With striking turn toward New Objectivity served him factories and machines portraits as a central plant motifs.

Life

After elementary school Grossberg attended the grammar school in Lennep and from 1909 the gymnasium at Elberfeld. From 1913 he studied architecture in Aachen, but changed a year later to Darmstadt. During the same period leaves his father, Germanize to the regret of the son, whose name, from Grandmontagne will Grossberg. 1915 Grossberg is called up for military service, fighting - in its report - as an officer at the front, is wounded and returns to his homeland in 1918. Early 1919 he continued his studies; first as a student Walther Klemm at the Academy of Fine Arts in Weimar, from mid- 1919 to 1921 then as a student at the Bauhaus, Lyonel Feininger. There, he addresses such issues as painting, decorative art and space art, before moving in 1921 to study in Würzburg. Shortly after, he learns tilde Black, whom he married in 1923. The marriage produced two children go out. 1926 Grossberg his first solo exhibition at the Kunsthaus Schaller in Stuttgart, which makes him known. Another is to see in the gallery renal village in Berlin.

Since 1927, several stays follow in Cologne, Dusseldorf and Berlin. Finally, he takes part in the 1929 exhibition " New Objectivity " at the Stedelijk Museum in Amsterdam, two years later he was awarded the Prix de Rome. From 1933 Grossberg is working on the realization of his " industrial plan ," a series of paintings, which is intended to represent a cross-section of the main industries in Germany. The project remains unrealized. A year later, Grossberg takes the commission for a monumental wall paintings (45 x 12 meters) for the exhibition " People of Germany - German work" on. In the same year, a Grossberg exhibition at the Kestner-Gesellschaft in Hannover be realized, a retrospective at the Museum Folkwang in Essen follows 1935. On August 25, 1939 Grossberg receives the position command and is used as garrison officer in Poland. During a home leave he comes in the forest of Compiegne in a car accident.

Work

Located in the scenic work Grossberg's beginning of the 1920s, still continues to dominate cityscapes, for their artistic expression probably Lyonel Feininger was probably biopolitical (houses, tower and mountains 1919/20, Small Houses 1923). The bauklotzähnlichen structures are illustrated in colorful, iridescent color and still show little interest in that precision and detail, which will be characteristic of the later Grossberg. From the mid- 1920s intensified Grossberg the presentation of technical equipment, is increasingly coming under the creative aspect of an engineering -like perspective. Now he created his so-called " dream images ", in which he enriches geometrised machinery with surrealistic elements and a symbolic superimposed art space expands ( vision rotor 1927 steam boiler with bat 1928). Bats, monkeys and birds inhabit Grossberg's purist industrial and reminiscent of a re- colonization of modernity through pre- social forms of life ( Renaissance 1929). Only at the beginning of the 1930s can Grossberg of his " dream images " from. It is dominated by technological interiors that are exempt from any interfering accessories. Oversized boilers with perpendicular rearranging scaffolding and pipe systems are now also image-determining motifs ( The yellow boiler 1933, oil refinery, 1933), such as drive or flywheel designs ( with flywheel drive belt 1934). Grossberg's architectural ethos accompanied his diction always and converted industrial functionaries in isolated artificial monuments. Remoteness of organic- human liability are spanned rooms and sorted by merely mechanical point of view. Here unfolds the distances supercooled imagery, those sterility timeless views, Carl Grossberg's originality surety and ultimately established his fame as an industrial painter and artist of modernity.

Bridge over the Schwarzbachstraße Wuppertal, 1927

Steam boiler with bat, 1928

Composition with turbine, 1929

Automobile manufacturing, 1936