Sonderbund westdeutscher Kunstfreunde und Künstler
The special federal, officially Sonderbundskrieg West German art lovers and artists, was launched in the year 1909 in Dusseldorf as an association of artists, collectors and museum professionals, chaired by Karl Ernst Osthaus, founder of the Folkwang Museum in Hagen in life. The aim was to promote artistic activities and the collaboration between artists and audience.
Establishment of special exhibitions and Bunds
History and foundation
In 1905, the Art Association of Dusseldorf had founded the Max Clarenbachstift, August Deusser and Wilhelm Schmurr belonged, and the direct precursor of the exhibition Clubs White Nettle was whose name was referring to the white wall covering of the exhibition rooms of bleached cotton fabric. For this special covenant emerged.
In 1909, the Düsseldorf painter Julius Bretz, Max Clarenbachstift, August Deusser, Walter Ophey, Wilhelm Schmurr and others joined together and formed the group special collar, which takes its name probably to the art historian Wilhelm Niemeyer ( 1874-1960 ). She was referring to the organized from 10th to May 31st, 1908 the first special exhibition at the Kunsthalle Düsseldorf. The group, which previously consisted of seven artists, advanced by Otto von Wätjen, Serious te Peerdt, Rudolf Bosselt (1871-1938) and the typographers Fritz Hellmuth Ehmke ( 1878-1965 ). Later, a native of Hagen Christian Rohlfs was added, which was an artistic role model of the younger members. In the following years it developed into one of the most important exhibition of contemporary movements in Germany. Its first chairman was Karl Ernst Osthaus, his deputy Cologne cigarette manufacturer Josef Feinhals.
From May to June 1909, the second special exhibition artists from Düsseldorf in Düsseldorf Kunsthalle took place. Shown are 85 pictures of Düsseldorf artists together with 15 works by the French Impressionists, who were hanged between the groups of works by painters of the Special Federal, bringing the objective of the Special Federal requirement of an artistic confrontation with the French and the Düsseldorf Art already announced. After this controversial in the public exhibition was the official establishment of the special covenant West German art lovers and artists, the full name, in Dusseldorf.
Exhibitions 1910 and 1911
After the establishment of the Special Federal, whose aim was, among other things, " the problems of contemporary art through exhibitions of works consistently [ ... ] in Dusseldorf making understandable " and " the new time serious efforts of the Düsseldorf art to make known to the outside ", found three more exhibitions.
From 16 July, the second exhibition of the Special Federal West German art lovers and artists was held in the Municipal Palace of Art to 9 October 1910. It was subtitled German and French Neukunst, which thus pointed to the juxtaposition of Expressionism and Fauvism. On display were 242 paintings and sculptures as well as 278 art and craft work. Represented artists in the show have included Ernst Ludwig Kirchner, Max Pechstein, Karl Schmidt- Rottluff, Emil Nolde, Wassily Kandinsky, Alexej von Jawlensky and André Derain, Maurice de Vlaminck, Édouard Vuillard, Georges Braque and Pablo Picasso in the first time Dusseldorf were seen with their works.
1911 from May to July and the third Special League exhibition was held in the Municipal Art Gallery which was subtitled Rhenish and French art. On display were 147 exhibits, including 101 French works.
The exhibition in 1912
From the Community of the Special Exhibitions Confederation was the International Art Exhibition of the Special Federal West German art lovers and artists in 1912, the most significant. She was the fourth and found - after the three exhibitions in Dusseldorf in previous years - in 1912 in Cologne, Am Aachener Tor, from 25 May to 30 September. According to the catalog should be there, the " much-disputed painting of our day ," modernity, be systematically represented. Co-organizer was Alfred Flechtheim.
The focus of the total of 634 works that were distributed to 29 rooms, stood by Vincent van Gogh with 107 works, the halls were allocated 1 to 5, the French, who were shown in small individual presentations in the halls 6-9: Paul Cézanne 24 frames and two watercolors in hall 6, Paul Gauguin, who in a separate room - was issued - hall 7. The extensive, however separate presentation enabled the representation of artists in their unique, specific imagery.
Pablo Picasso, who was shown in Hall 8 was, with 16 plants represented alongside Henri Matisse, Georges Braque, André Derain, Auguste Herbin, Maurice de Vlaminck and Odilon Redon with two still life, Kees van Dongen and the Fauves in Room 10 and 11 in room 10, the hall of the Dutchman, Piet Mondrian hung with a hyacinth - drawing in close proximity to Peter Alma, and Otto van Rees, Henri Edmond Cross and Paul Signac hall shared 9 the Swiss artists such as Ferdinand Hodler and Giovanni Segantini were seen in hall 12, Austrian representative as Oskar Kokoschka, Egon Schiele and Albert Paris Gütersloh in room 15, Edvard Munch in room 20.
In addition, the New Artists ' Association of Munich ( NKVM ) was represented with works by Adolf Erbsloh, Alexej Jawlensky, Alexander Kanoldt and Vladimir Bechtejew in the halls 17 and 18, and Pierre Girieud and Karl Hofer in the halls 10 and 23, and also the German bridge and a selection the artists of the Blaue Reiter - including Wassily Kandinsky and Franz Marc - in the halls of 21 to 24 August Deusser received the largest space with room 25. El Greco, who had both Picasso and the Expressionists inspired, was represented with a painting at the Picasso room.
The one year later the Rhenish Expressionism associated artists were represented by Carlo Mense, Heinrich Nauen, Hans Thuar, Olga and Walter Oppenheimer Ophey. This was exhibited in Room 21 together with one painting by August Macke, Franz Matthias Jansen, William Straube and Max Clarenbachstift and two works by Rudolf Levy and two sculptures by Wilhelm Lehmbruck. Five works of Heinrich Nauen, two paintings by August Macke and one painting by Helmuth Macke, Max Pechstein and Georg Tappert were shown in Room 22. Furthermore, were Paula Modersohn -Becker, Hanns Bolz, Otto Freundlich and Paul Klee to see. In addition, there were the halls I to IV, in which the applied arts exhibition was to see " Avatar ".
- Images in the exhibition
Paul Cézanne: Still Life with Apples, 1893-1894, # 129
Paul Gauguin: Vincent van Gogh, Sunflowers painting, 1888, No. 154
Vincent van Gogh: Self-Portrait with Palette, 1889, No. 86
Franz Marc: Tiger, 1912, No. 450
Egon Schiele: Mother and Child, 1912, No. 370
The exhibition marked the farewell of the aimless collecting Look of the 19th century by, internationally oriented, programmatic and non-commercially, a new type of exhibition grounds. In recognition of modern painting which exhibits were on a white wall and hanging with mostly single-row; these funds helped the eigenvalue of the color and shape to greater effect and influenced subsequent installations of exhibitions to the present day. The inspiration for this was a planned exhibition of contemporary French artists such as Édouard Manet, Paul Cézanne in 1897 in the National Gallery in Berlin; the painting department and the new scale before presentation came from its director Hugo von Tschudi. It was rejected by Kaiser Wilhelm II and executed according to the old rules; academic painting continued to dominate, and the French artist received only a remote showroom. Other new features in Cologne included the Short Guide to the exhibited works in each space, street banners and refreshment rooms.
The Sonderbundskrieg dissipated on July 31, 1915 officially on after there had been quarrels between artists and the Board for the selection of photos from a jury. The new first chairman of the special collar, the painter August Deusser, blocked after the exhibition in Cologne in 1912, all activities of the federal government, so there were no other exhibitions more.
Importance
The Special League Exhibition 1912 was the first summary of modern art in Europe and not only had a high priority for the artist, but also for the art market, an effect which in Kassel should be comparable again until 43 years later with the documenta 1. She inspired the planning of the 1913 Armory Show in New York - the leaning in structure, in the title and partly due to the typography of the catalog on their model - after Arthur B. Davies, President of the " Association of American Painters and Sculptors " had received the catalog of the special collar to face. He then sent an emissary, Walt Kuhn, Germany, who arrived in Cologne on the last day of the exhibition. Barely six years later, many exhibits of the Cologne exhibition were shown in this first American presentation of modern European art in New York.
In 1913 the art dealer Herwarth Walden helped the Modern in Germany to a further exhibition, called First German Autumn Salon, in a specially rented building in Berlin on Potsdamer Strasse. Among the 366 exhibited paintings found next to the Blaue Reiter, Cubism, Henri Rousseau and Robert Delaunay in contrast to Cologne and New York, the Italian Futurists recording. The exhibitions of 1912 and 1913 showed the simultaneity of different, if not opposing tendencies of modernity. The members of the special federal influenced the culture of their time mainly in their different functions; An example of this is Edwin Redslob, the state of art and cultural policy, including state self-representation of the Weimar Republic much more than co kingdom Kunstwart.
Reconstruction of the exhibition of 1912
Under the title " 1912 - Mission Moderne. The century vision of the special federal " showed the Wallraf -Richartz- Museum from August 31 to December 30, 2012, a reconstruction of the Sonderbundausstellung from the year 1912. According to the information of the museum, more than 100 exhibits researched to their present whereabouts and won on loan be. The retrospective should follow the show from 1912 in their priorities and objectives and illustrate the importance of the exhibition of the history of modern art in the historical distance of 100 years.
- Impressions from the exhibition