Der Keramiker Max Krehan

Total Page：16

File Type：pdf, Size：1020Kb

Gefördert durch die www.digiporta.net Der Keramiker Max Krehan Porträtierte Person: Krehan, Max Kurzbiografie: Zusammen mit Gerhard Marcks Lehrmeister am Stattlichen Bauhaus in Weimar (Schüler u.a. Marguerite Wildenhain, Gertrud Coja, Lydia Foucar, Johannes Driesch, Theodor Bogler und Otto Lindig). Lebensdaten: 1875 - 1925 Berufsindex: Keramiker Normdaten: DNB: 1027881173 VIAF: 276362733 Quellen: DKA_NLMarcksGerhard_IB11_2f-0011a Deutsche Nationalbibliothek Beschreibung: Vollfigur im Profil nach rechts gewandt in einer Werkstatt. Max Krehan hat beide Hände auf eine Arbeitsfläche vor sich gelegt und raucht eine Pfeife. Er trägt einen Arbeitskittel und dunkle Hosen. Im Vordergrund stehen diverse Kannen auf einem Arbeitstisch, im Hintergrund sind weitere Keramiken auf Regalen zu sehen. Beschriftung (Rückseite): Meister Max Krehan an Meister Gerhard Marcks durch M. Fr. 10. Nov. 1925 Entstehungsort: Dornburg/Saale Datierung: 10.11.1925 Technik: Silbergelatineabzug Trägermaterial: DKA_NLMarcksGerhard_IB11_2f-0011b Karton Bildformat: 109 x 81 mm (Höhe x Breite) Blattformat: 133 x 89 mm (Höhe x Breite) Porträtart: Einzelporträt Klassifizierung: Foto-Postkarte Vorlage: Fotografie www.digiporta.net Seite 1 von 2 Farbigkeit: monochrom Aus Bestand: Marcks, Gerhard Gehört zu Signatur: Marcks, Gerhard, I,B-11.2 f Bildnummer: DKA_NLMarcksGerhard_IB11_2f-0011a Bildnummer: DKA_NLMarcksGerhard_IB11_2f-0011b Sammlungsbezug: Die Aufnahme gehört zu einem Konvolut von 27 Fotografien von Marcks' Freunden und Kollegen aus den Jahren 1913 bis 1975. Der große Bestand Marcks enthält außerdem Personenstandsdokumente, Unterlagen über Wettbewerbe, Auftragsarbeiten, Ausstellungen und Ehrungen, Korrespondenz unter anderem mit Friedrich Ahlers-Hestermann, Karl Jakob Burckhardt, Lyonel Feininger, Charles Grodel, Walter Gropius, Theodor Heuss, Karl Hofer, Wilhelm Kreis, Heinrich Graf von Luckner, Paul Westheim, Frederick S. Wight, Franz Rudolf, Marguerite Wildenhain und Hans Wimmer, angereichert durch Marcks' Briefe an seine Familie über eine Gesamtlaufzeit von 1885 bis 1981. Archiv: Deutsches Kunstarchiv im Germanischen Nationalmuseum Kornmarkt 1 90402 Nürnberg Tel.: +49 911 1331-250 archive(at)gnm.de www.digiporta.net Seite 2 von 2.

Copy Link

Recommended publications

The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933
[Show full text]
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
[Show full text]
B Au H Au S Im a G Inis Ta E X H Ib Itio N G U Ide Bauhaus Imaginista
bauhaus imaginista bauhaus imaginista Exhibition Guide Corresponding p. 13 With C4 C1 C2 A D1 B5 B4 B2 112 C3 D3 B4 119 D4 D2 B1 B3 B D5 A C Walter Gropius, The Bauhaus (1919–1933) Bauhaus Manifesto, 1919 p. 24 p. 16 D B Kala Bhavan Shin Kenchiku Kōgei Gakuin p. 29 (School of New Architecture and Design), Tokyo, 1932–1939 p. 19 Learning p. 35 From M3 N M2 A N M3 B1 B2 M2 M1 E2 E3 L C E1 D1 C1 K2 K K L1 D3 F C2 D4 K5 K1 G D1 K5 G D2 D2 K3 G1 K4 G1 D5 I K5 H J G1 D6 A H Paul Klee, Maria Martinez: Ceramics Teppich, 1927 p. 57 p. 38 I B Navajo Film Themselves The Bauhaus p. 58 and the Premodern p. 41 J Paulo Tavares, Des-Habitat / C Revista Habitat (1950–1954) Anni and Josef Albers p. 59 in the Americas p. 43 K Lina Bo Bardi D and Pedagogy Fiber Art p. 60 p. 45 L E Ivan Serpa From Moscow to Mexico City: and Grupo Frente Lena Bergner p. 65 and Hannes Meyer p. 50 M Decolonizing Culture: F The Casablanca School Reading p. 66 Sibyl Moholy-Nagy p. 53 N Kader Attia G The Body’s Legacies: Marguerite Wildenhain The Objects and Pond Farm p. 54 Colonial Melancholia p. 70 Moving p. 71 Away H G H F1 I B J C F A E D2 D1 D4 D3 D3 A F Marcel Breuer, Alice Creischer, ein bauhaus-film.
[Show full text]
Læs Keramiske Noter 49/2019
keramiske noter 49/2019 25. årgang Keramikkens Venner Udstillinger hvor og hvornår – Danmark ved Gunnar Jakobsen Udstillingsoversigten er udarbejdet på grundlag af afsøg- På fire store nye relieffer med titlen Here Be Dragons ninger på Internettet. Udstillingsoversigten indeholder et (hvert ca. 130 x 130 cm) har den vandrette brænding ikke udvalg af udstillinger med keramik, gruppeudstillinger, levnet udsmeltningen nogen udveje, hvilket har ført til et hvor keramik indgår, og enkelte udstillinger af andre for- endnu rigere og mere komplekst glasurmaleri end i kunst- mer for kunsthåndværk. Oversigten publiceres med for- nerens sædvanligvis tredimensionale værker. Resultatet er et landskab fuldt af dybe nuancer. behold for eventuelle aflysninger/ændringer. Serien på seks Moon Jars låner sit navn fra en traditionel København koreansk krukkeform, men Espersens 45 cm høje ’måner’ Designmuseum Danmark, Bredgade 68, 1260 er både mere kuglerunde og farve- og formmæssigt intense København K. Website: https://designmuseum.dk. end forbilledet. Her har tyngdekraften fået lov at være aktiv medspiller og gjort glasurspillet nærmest ustyrligt. Både Ny Carlsberg Glyptotek, Dantes Plads 7, 1556 Køben- Moon Jars og den store serie af mindre Glaze Pearls (25 havn V. Website: www.glyptoteket.dk. stk., ca. 17 x 17 cm Ø) er glaseret spontant og mere eller mindre i blinde, for at skabe en friskhed og give plads til galskaben, hvorefter de bedste farvekombinationer er valgt Davids Samling, Kronprinsessegade 30, 1306 København ud. Formen er perfekt som en perles. K. Website: https://www.davidmus.dk. Rundvisninger: Billetter kan ikke reserveres, men udleveres gratis i museums- Som kronen på værket stod udstillingens to største krukker butikken på dagen for rundvisningen.
[Show full text]
Press Release
Press Release Bauhaus legacy extends to New York Works by Bauhaus-trained Frans Wildenhain on view at upcoming exhibit ROCHESTER, N.Y. – The global legacy of Bauhaus extends from its roots in Weimar, Germany, across time and space to some of the most unexpected of locations. Rochester Institute of Technology (RIT) is one such place. RIT’s Western New York campus is where Bauhaus-trained Frans Wildenhain, a Guggenheim Fellowship recipient, taught for 20 years. Wildenhain learned his craft from Bauhaus masters Gerhard Marcks and Max Krehan, and he shared it with emerging ceramics students. His blended training of artistic and functional design at Bauhaus carried through for the rest of his life in both his art and teaching-style. A Master Potter, Wildenhain was a seminal figure at RIT during the formative years of the School for American Craftsmen, now named the School for American Crafts (SAC). In addition to Wildenhain’s legacy at RIT, the school now is in possession of more than 300 of his works thanks to a generous donation from one collector. Approximately 150 ceramic pieces from the collection will be on display at the RIT campus Aug. 20 through Oct. 2, 2012, in the Bevier Gallery and Dyer Arts Center. The exhibition, Frans Wildenhain 1950-75: Creative and Commercial American Ceramics at Mid-century, is free and open to the public. The Bauhaus association does not end with the upcoming exhibit of Wildenhain’s work. Like the Bauhaus, RIT is of a blended framework: a product of the Rochester Athenaeum, devoted to science and technology, and the Rochester Mechanics Institute, founded to train students in technology and industrial arts, within a humanistic context.
[Show full text]
Oral History Interview with Frans Wildenhain, 1978 April 10-1979 July 28
Oral history interview with Frans Wildenhain, 1978 April 10-1979 July 28 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Frans Wildenhain on 1978 April 10 - 1979 July 28. The interview was conducted at Bushnell's Basin, New York by Robert Brown for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview ROBERT BROWN: This is an interview with Frans Wildenhain. This is April 10, 1978, and we're in Bushnell's Basin, New York. FRANS WILDENHAIN: Bushnell's Basin, Pitchfork. MR. BROWN: Mr. Wildenhain, you were born in Leipzig, which is now in East Germany, in 1905. MR. WILDENHAIN: Yes. MR. BROWN: Could you give a description a bit of your family? What did your parents do? What was your childhood like? MR. WILDENHAIN: Leipzig is -- or was or has been or will be a famous town. Many people have lived there. St. Nicholas Church [Nikolaikirche] church, Richard Wagner was born in Leipzig. And Beckman was born in Leipzig. And Schiller came to Leipzig and Goethe studied in Leipzig, and it was once, Goethe called it "Little Paris" 200 years ago.
[Show full text]
Bauhaus · Modernism · Design 
Bauhaus · Modernism · Design Editorial The State Bauhaus School was founded in 1919 and became more than just a world-famous school of architecture and art: The Bauhaus was a trailblazer, representing the modernism movement that gained interna- tional acclaim. Today it is considered to be the most influential German cultural export of the 20th century. The Bauhaus stands for great ideas in both design and social reform. It significantly shaped architecture, art, and design, and its influence has lasted up until the present day. Experi- ments in form and colour, architectural icons and everyday design, wild parties and minimalist buildings are closely associated with the Bauhaus. The roots of this modern movement — how it evolved, how it inspired and polarised — can all be experienced in and around Weimar more impressively than in almost any other region. Revolution. New begin- nings. Departure into a new era in Germany’s first democracy, which was also founded in Weimar in 1919. Full of hope, with the absolute will to design and to change. Courage to experiment and zest for life. But also: Arguments and contradiction. Rejection. Expulsion. In Weimar and the surrounding cities of Jena, Erfurt, and Gera, along with the nearby countryside, the bountiful architectural testimonials, the artistic works and historical venues, the current exhibitions and events explain the suspenseful history of the Bauhaus and modernism. Travellers in Thuringia not only find the heritage left by the international artistic avantgarde during the Bauhaus era, but they can also discover the in spiring designers who are working there today and will continue to do so in the future.
[Show full text]
A Finding Aid to the Frans Wildenhain Papers, Circa 1890-1991, in the Archives of American Art
A Finding Aid to the Frans Wildenhain Papers, circa 1890-1991, in the Archives of American Art Jayna M. Josefson 2019/03/18 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1930-circa 1980..................................................... 4 Series 2: Correspondence, 1895-1981.................................................................... 5 Series 3: Diaries and Notebooks, 1930-1978.......................................................... 6 Series 4: Writings and Notes, 1940-1980...............................................................
[Show full text]
Pond Farm Pottery Historic District
NPS Form 10-900 0MB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in •-~~,,,,,..AM~D 2280 Bulletin, How to Complete the National Register of Historic Places Regislralion Form. If any item does not apply lh • property · emg documented, enter "NIA" for "not applicable." For functions, architectural classification, materials, and areas of si ifi llllcct_ , Gl~;:r ~ nw categories and subcategories from the instructions. IVI~ T I 2Q f 4 1. Name of Property NAT. REGISTER OF H NATIONAL PARiKsromc PLACES Historic name: Pond Farm Pottery Historic District " SERVICE Other names/site number: Pond Farm Workshops, Pond Farm, Walker Ranch, Rancho Del Lago Name of related multiple property listing: NIA (Enter "N/A" if property is not part of a multiple property listing 2. Location Street & number: 17000 Armstrong Woods Road. Austin Creek State Recreation Area City or town: GuerneviUe State: California County: Sonoma Not For Publication: D Vicinity: 0 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this _x__ nomination _ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property __x_ meets _ does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: _K_national _statewide _local Applicable National Register Criteria: _LA _c _D Jenan Saunders, Deputy State Historic Preservation Officer Date California State Office of Historic Preservation State or Federal agency/bureau or Tribal Government In my opinion, the property _ meets _ does not meet the National Register criteria.
[Show full text]
And Craft: Material Politics in German Design, 1919–1939
The Journal of Modern Craft ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rfmc20 Cleanliness, Clarity – and Craft: Material Politics in German Design, 1919–1939 Freyja Hartzell To cite this article: Freyja Hartzell (2020) Cleanliness, Clarity – and Craft: Material Politics in German Design, 1919–1939, The Journal of Modern Craft, 13:3, 247-269, DOI: 10.1080/17496772.2020.1843787 To link to this article: https://doi.org/10.1080/17496772.2020.1843787 Published online: 25 Dec 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rfmc20 The Journal of – Modern Craft Cleanliness, Clarity Volume 13—Issue 3 and Craft: Material November 2020 pp. 247–269 Politics in German DOI: 10.1080/17496772.2020.1843787 Design, 1919–1939 Reprints available directly from the publishers Freyja Hartzell Photocopying permitted by license only Freyja Hartzell is Assistant Professor of Modern Design, © 2020 Informa UK Limited, Architecture, and Art at Bard Graduate Center in New York City. trading as Taylor & Francis She received her PhD in the History of Art from Yale University and Group her MA in Decorative Arts, Design History, and Material Culture from Bard Graduate Center. She is currently completing her first book, Living Things: Richard Riemerschmid and the Modernist Object, and is engaged in research for a second book on glass, transparency, and modernity in the nineteenth and twentieth centuries. Abstract This essay juxtaposes modern German design with cultural politics from 1919 to 1939, demonstrating the interlocking relationship of craft and industry during this pivotal period.
[Show full text]
Pond Farm Workshops) HALS CA-95 17000 Armstrong Woods Road Guerneville Sonoma County California
POND FARM POTTERY HALS CA-95 (Pond Farm Workshops) HALS CA-95 17000 Armstrong Woods Road Guerneville Sonoma County California WRITTEN HISTORICAL AND DESCRIPTIVE DATA HISTORIC AMERICAN LANDSCAPES SURVEY National Park Service U.S. Department of the Interior 1849 C Street NW Washington, DC 20240-0001 HISTORIC AMERICAN LANDSCAPES SURVEY POND FARM POTTERY (Pond Farm Workshops) HALS NO. CA-95 Location: 17000 Armstrong Woods Road, Guerneville, Sonoma County, California Austin Creek State Recreation Area, California Department of Parks and Recreation Boundaries: the property has an irregular outline and is enclosed on three sides by rustic wood and wire fencing. The fourth boundary is the top of the bank of the middle fork of Fife Creek. The main entry is marked by the overhead “pond farm pottery” sign. Latitude: 38.550492, Longitude: -123.003431 (Pond Farm Pottery sign over the entry to the property, Google Earth, Simple Cylindrical Projection, WGS84) Significance: The Pond Farm Pottery landscape is significant as the school, studio, and residence of Marguerite Wildenhain, an influential ceramist and teacher. Description: Pond Farm Pottery is a rural property of about 1.3 acres. It is located in the hills above the Russian River in Austin Creek State Recreation Area, Sonoma County, California. It has a rustic appearance with wooden buildings set in a meadow. The property is partially surrounded by forest. The barn/studio is a two-story tall structure with a prow-like entry and commands attention at the highest point of the property. The nearby guest house is a simple one-story building just northwest of the barn.
[Show full text]
Pond Farm Docent Manual
Transformations: Land and Lives Renewed A Visit to Pond Farm State Park Docent Manual Stewards of the Coast and Redwoods Funding provided By: Sonoma County Landmarks Commission Photo taken in 1959 Version 3/3/18 © Stewards of the Coast and Redwoods TaBle of Contents Page # Contact Information 4 Chapter 1 Where We Are – Andrea Mapes, State Parks 5 Pond Farm and Austin Creek State Recreation Area Stewards of the Coast and Redwoods Pond Farm and Current Status Chapter 2 Being a Docent – Gail Vann 9 Framework for Docent Work General Tips Preparing for a Tour or Talk Your Audience Inquiry Based Interpretation – Questioning Skills Concluding the Visit Evaluation and Improvement Chapter 3 The Pond Farm Story – Janet Gracyk 14 Marguerite and Pond Farm Pottery / Pond Farm Workshops / Marguerite’s Life / Life at Pond Farm Pottery / Pond Farm and State Parks Chapter 4 Transformations Over Time: Notes on Pond Farm 23 and Marguerite Wildenhain – Natalie Robb-Wilder The Land / HaBitat / Early People and Settlers / Pond Farm’s Origins / The Colony Begins / Going Solo: Pond Farm Pottery 4.A – Influences on MW: Early Bauhaus, Her Masters, Values, and Goals How Bauhaus Experiences Influenced M’s Student-Teacher Relationships / Marguerite’s Innovations in the Modern Bauhaus Style / Form unified with Function / Marguerite’s designs influence commercial production/ Marguerite’s forced resignation, resettlement, flight to U.S. / Marguerite’s Professional Timeline / Rodin’s “Testament” 2 4.B – Challenges to Their Dream 1939-52 The Herrs and Marguerite Create
[Show full text]