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son of a railway civil engineer. Beginning of an architecture study in Dresden. As painters and commercial artists Autodidakt. Originally rather literary inclinations.
In June 1905 bases Heckel with Ernst Ludwig Kirchner, Karl Schmidt Rottluff and Fritz Bleyl (that soon again separates)in Dresden the group of artists the bridge, to which late max pitch stone, for short time also and starting from 1911 Otto Mueller in addition-push Emil Nolde. From now on common active exhibition activity. The group wins in the following years so-called. Passive members, thosefor it and first buyers of their works exert themselves are. A so-called appears annual.Bridge briefcase with original graphics.
Of 1907-1910 of long stays with Schmidt Rottluff in hiring branch at the North Sea; 1909 journey to Italy. In Dresden occasionally confine studio community with Kirchner. ThatStudio as arranged area, in which the utopia of a unit is tried by artistic work and life. Of 1909-1911 with Kirchner, occasionally also pitch stone, as well as the friends and models summer stays at the Moritzburger ponds with Dresden. Their topic: thatAct in free motion in free nature. Development of a pronounced group style.
In the autumn 1911 together with his future Mrs. Siddi, Umzug to Berlin, where the modern art concentrates in Germany and the crucial direction fights, from those the expressionism asWinner comes out, to be delivered. 1912 meetings and friendships with other artists such as Lyonel Feininger, Franz Mark, August Macke. Participation of the bridge artists at the large special federation exhibition in Cologne, where it itself among other things together with the large French paintersthe modern trend to present can.
In May 1913 the group of artists dissolves bridge. First single exhibition Heckels with Fritz Gurlitt in Berlin. Beginning of a lifelong friendship with the young art historian and collecting tank walter Kaesbach. June 1913 Heckel finds at thatFlensburger Förde the place (the Dörfchen Osterholz), at which he will spend in the future the summer and autumn months. 1914 longer stay with the painter Heinrich Nauen in Dilborn at the Niederrhein. After outbreak of war he can be trained as the Krankenpfleger. Sanitätsdienst, together withunite other painters, in Flanders, usually in east end. - Meetings with max of Beckmann and James Ensor. Owing to skillful duty roster possibility for relatively continuous artistic work.
it paints 1915 for the Weihnachtsfeier of the wounded ones on two tent courses the so-called. Ostender Madonna, which will hang until 1937 as loan in the citizens of Berlin national gallery (crowning prince palace) (1945 burned). 1918 after end of war initial member of the work advice for art. Later it can support than member of the purchase commission of the national gallery the interests of its former going away.1919 removal into an one-room flat in the Ems first race 21 (Berlin Wilmersdorf); in|Osterholz purchase of a small farmhouse and development of a roof studio, there Wandmalereien on wood. Heckel uses possibility for employment at the Baltic Sea coast annually some months up to the year 1943.
Through Ernst Morwitz, a lawyer and poet, who belong to the closest circle around Stefan George and are friendly since the war with the Heckel, new acquaintances with humans from the friend circle of the poet. 1922 he gets the order, an areato paint in the meadow museum to Erfurt with a mural cycle in second CO technology. Its title:Life stages. It is the only Wandmalerei of the bridge artists, who kept until today. Since 1920 annual work journeys with enrich water color yield: Alps, Southern France (1926, 1929), Italy, numerousGerman landscapes and in the early 40's Kärnten among other things 1931 large retrospective in the art hut Chemnitz.
Starting from 1937 exhibition prohibition. In the course of the action degenerate art over 700 of its work from German museums are removed and seized. In January 1944its studio in Berlin with numerous work is destroyed by a bomb attack. Briefly after end of war loss of paged out paintings by arson. - Heckel finds refuge in restraining yards at the Bodensee, where he will remain up to his end of life. 1949-1955 training order onthe academy of the forming arts in Karlsruhe.
1954-1965 regular work stays in the mountain world of the Oberengadin, in addition, the north Germans coasts, particularly on Sylt. From cause its 70. and its 80-birthday several large retrospectives. 1964 appear thatOeuvre catalog of its pressure graphics (Dube), 1965 a Monographie of Paul Vogt with the listing of its paintings. Public honours. 1967 choice in the medal Pour le Mérite for science and arts. In the last Lebensjahren he hands a majority over of his workin the form of donations and donations to public collections, particularly to the again-created bridge museum in Berlin.
the work extends over six decades.
The style of its early, pasty pictures lively of van Gogh and thatFrench Postimpressionismus. Starting from 1908/09 transition to a laminar painting with liquid colors. Around 1910 is more pronouncedly group-style-reached, which is again given up however up to the dissolution of the BRIDGE in favor of of picture solutions, which correspond to the own temper rather. The pure colorsare broken, the forms are bent. Need after psychological penetration of the figures.
In pressure graphics (woodcuts, lithographies and erasures) Heckel finds already very early to high self-sufficiency. Some its woodcuts rank among the strongest achievements of the German expressionism.
After the 1.WeltkriegDevelopment of a new to world-turn Klassizität, which accompanies with larger orientation by nature and a clarification of the pallet. Solidification of the screen layout. The picture-moderately completed landscape water color becomes the preferential kind. City and port pictures. Besides continuous development of the topic of the document at the beach to inthe 30's. Flower still life with complex picture background.
In the late work again stronger concentration on the laminarness of the picture, further absorption of the Kolorits. The ornamentale autonomy of the picture receives more weights in relation to the rendition of the direct Seherlebnisses.
- 1906,Man in recent years (Selbstbildnis), bridge museum, Berlin
- 1907, brickyard (hiring branch), collection Thyssen Bornemisza, Madrid
- 1909, young man and girl, bridge museum, Berlin
- 1909, lying girl, Pinakothek of the modern trend, Munich
- 1909, windmill with hiring branch (windmill in hiring branch), William loam bridging museum, Duisburg
- 1910 sleeping pitch stone, museum of the fantasy, Bernried
- 1910, girl with doll, new gallery New York, New York
- 1910, Fasanenschlös with Moritzburg, museum Ludwig, Cologne
- 1912, two men at the table, Hamburg arts center, Hamburg
- 1913, gene end(Triptychon), Bush Reisinger museum, Cambridge/measure., the USA
- 1913, sounds playing girl, bridge museum, Berlin
- 1913, Gläserner day, Pinakothek of the modern trend, Munich
- 1913, landscape on Alsen, museum Folkwang, meal
- 1914, when reading out, national gallery Moritzburg, resound/to Saale
- 1914, err when eating, urbanMuseum abbey mountain, Moenchengladbach
- 1914, north coast to the Flensburger Aussenförde, Pfalzgalerie, Kaiserslautern
- 1916, spring in Flanders, Karl seriousness east house museum, Hagen
- 1916, Flandri level, urban museum abbey mountain, Moenchengladbach
- 1918, spring landscape, national gallery, Berlin
- 1918, cloud shade, museum mountain Flensburg, Flensburg
- 1920, Tübingen, Bridge museum, Berlin
- 1924, mountain landscape, meadow museum, Erfurt
- 1924, autumn landscape, museum mountain Flensburg, Flensburg
- 1927, Marienveste with peppering castle, national gallery, Berlin
- 1928, Hamburg port, museum Folkwang, meal
- 1929, Mediterranean port (haven Vendres), museum mountain Flensburg, Flensburg
- 1932, Sylter dunes toWatt, Altonaer museum, Hamburg
- 1932, Geissblatt, Hamburg arts center, Hamburg
- 1933, bathing before steep bank, Musuemsberg Flensburg, Flensburg
- 1949, Selbstbildnis? , Urban gallery Karlsruhe, Karlsruhe
- 1954, winter landscape in fishing rods, Schleswig Holsteini federal state museum lock Gottorf, Schleswig
from the rich existence of graphics (altogether 1073 registered titles) only some the most well-known woodcuts in the museum Folkwang, meals , and in the bridge museum, are specified , all together Berlin.
- 1908 Fischer girls
- 1909 lying (colour print)
- 1909 two resting Mrs. (colour print)
- 1910 sleeping Negerin
- 1910 Fränzi lying (colour print)
- 1910 standing child (colour print)
- of 1913 white horses (colour print)
- 1913 squatting
- 1914 Schneetreiben
- 1917 men in the level
- 1919 man men (colour print)
- Dube, Annemarie: Erich Heckel: the graphic work. -New York: Rathenau, 1974 (vols 1-3)
- Moeller, Magdalena M. (Hrsg.): Erich Heckel : its work in the 20's. - Munich: Hirmer, 2004. - ISBN 3-7774-2265-7
- Vogt, Paul: Erich Heckel: List of works of the paintings. - Recklinghausen: Bongers,1965
Web on the left of
| | * Literature of and over Erich Heckel in the catalog of the DDB
- works of the artist in the museum portal Schleswig-Holstein
|SHORT DESCRIPTION||of German painters of the expressionism|
|DATE OF BIRTH||31. July 1883|
|PLACE OF BIRTH||Döbeln (Saxonia)|
|DYING DATE||27. January 1970|
|DYING PLACE||Radolfzell at the Bodensee|