Hélène Mass (Maß), printmaker (V)

Yes all right, I know this scene is not a beergarden (Biergarten), just a garden idyll. But recently it has led me to some great works of art that are related to this theme by contemporary artists (most were born approximately 1865-1875) in the time the subject of my recent postings, Hélène Maß, created this charming woodblock print.

At least I think she must have been acquainted with many of the artists and their works shown in this posting. Although it is a totally different medium Maß’ woodblock prints rival with the paintings in oil by her colleagues. The use of light, shade and colour by Maß are very reminiscent of the paintings and style of Max Uth (1863-1914) (above) maybe there’s an unknown connection somewhere. I’ll do a posting on this charming painter soon.

I just couldn’t resist creating a posting with this theme because I couldn’t find anything similar, discovering many new to me painters: very rewarding indeed. 

The great Max Liebermann (1847-1935) enjoyed the charms of the Biergarten very much, sketches, etchings and great paintings, Berlin, Hamburg, Munich and visiting Leiden in the Netherlands. Capturing the filtered light and always the easy summer atmosphere.

Painter printmaker Daniël Staschus. 

What better place to be the in a traditional German Beergarden. After a Sunday stroll along iconic avenues or in one of the many parks enjoying a cool beer or lemonade in the shade of age-old trees. 

My favorite:  Hans Hartig (1873-1936)

Richard Bloos (1878-1956)

Seeing and being seen. Nothing much has changed in 100 years, but imagine the magic of beautiful cities like Berlin, Amsterdam, Paris and London without omni present motor vehicles and planes overhead but the pleasant noises of horse and carts, civilized conversation and laughter around you.

Georg Jauss (1867-1922) and Fritz von Uhde ((1848-1911)

There are and were many famous beer gardens (guesthouse, brasserie) in Berlin, around the Tiergarten, the famous central park with it’s equally famous Zoo and of course the Prater Biergarten and I cannot imagine this particular charming scene chosen so often but by the Berlin (post-)impressionist artists.

Fritz Gartz (1863-1960)

Max Stern (1872-1943)

Otto Eduard Pippel (1878-1960)

One more posting on Hélène Maß, her great times and her circle to go. For those who think they’ve had enough: I believe one is obliged finishing what was begun although I’m anxious to show some great new discoveries, new  forgotten printmakers and some great prints soonest. 

All pictures borrowed freely from the Internet for friendly, educational and non-commercial use.

Helene Mass (Maß), printmaker (IV)

Between 1875 and 1900 Berlin’s population (like those of London and Paris) roughly doubled. From 1 to 2 million (today 3,5 million). Around 1880 the Königliche Kunst und Gewerbe Schule was established after British Arts and Craft schools) and soon after a dozen more followed in most of Germany’s cities. In this Institution between 1890-1893 Walter Leistikow taught and  among them was Hélène Maß.   

Most of the world’ s todays great cities developed were great rivers meet the sea. There are exceptions: Paris, great river no sea. Berlin has neither sea nor Great River and rivers Spree and Havel, confluences of river Elbe are hardly navigable but creating a lovely lake district nearby. 

It was here, on the borders of the Wannsee in 1910 Max Liebermann, Germany’s great impressionist painter build his Villa Liebermann and retreated from the world, like Monet in Givenchy, to paint his garden and immediate surroundings.

Max Liebermann, one of the many paintings with chestnut and garden bench. 

Lower: Hélène Maß, (right: courtesy private collection of  Felicity Naylor)

Among the earliest German attempts on modern printmaking was Norwegian Edvard Munch (1863-1944) who was active in Berlin even before Orlik arrived. 

And in Munich Vasily Kandinsky (1866-1944) and his muse Gabriëlle Münter (1877-1962) were “at it” in the first years of the XXth century. But these artists making their later name and fame not by their printmaking but by painting. And their unusual love affair of course.   

Berlin in those years will have been riddled with Art Galleries, Art Shops, Workshops, Studio's and exhibitions held everywhere every day of the 52 weeks of the year. Around 1890-1910 Berlins cultural and artistic influences and popularity, it's many academies, schools, tutors and established artist matching London, Paris and Prag.

"Spree-schlepper" (Spree tugboat) and "bei den Spreefischern" Berlin 1906 prints by Thiemann and Klemm auction catalogue thumbnails. My WBR (web based research, with its limitations and restrictions) so far failed to locate them in color and reasonable resolution. Readers are invited to help discovering them.

In 1906 Walter Klemm and Carl Thiemann visited their colleague and teacher Orlik in Berlin. In 1907 they participated in an exhibition in Hamburg and several works of both men were discussed (reviewd and appraised) later in 1908 in "Zeitschrift für Verfielfaltigende Kunst". Several Hamburg and Prague views and these two River Spree Berlin prints were discussed. And also Thiemann’s swann and Klemm’s turkeys.

Also mentioned and much appraised was the colorful and "Japanese in execution" pine-print by Thiemann, probably the horizontal print below. The pines founnd around the lake Grünewald (Grünewaldsee), a popular and beautiful location forever linked to the many paintings by Mass' painting teacher Walter Leistikow. 

(Shiro Kasamatsu: "Kinokunisaka in Rainy Season")

See also this very fresh posting on Emil Orlik.

All pictures borrowed (reblogged) freely from the internet for friendly, educational non commmercial use.

(to be continued)

Hélène Mass (Maß), painter printmaker (III)

Emil Orlik

(Prag 1870- Berlin 1932)

Painter, Printmaker, Professor

Father of Modern Printmakers

Trying to understand how, in a relative short period, woodblock printmakers like Hélène Maß and so many of her contemporaries from northern Germany achieved such high originality and quality I’ve been journeying around the 1890-1920 period. Meeting the printmakers, painters, the professors, teachers, the visiting artist, exhibitions, critics, publications, organisations etc.

 Emil Orlik (l.) in William Nicholson mode  and Nicholson (r.) in Orlik mode

The pivotal figure in Modern Printmaking in Germany is Emil Orlik. Once he was appointed professor, aged 34, in the Royal Art School of the Arts and Crafts Museum in Berlin in 1904 I guess most later known printmaking artists, German and visitors from abroad, will have been under his guidance and influence.

Market: William Nicholson (l.) and Emil Orlik (r.)

In 1902 Orlik returned from Japan. Before he’d visited William Nicholson in London, Felix Valloton in Paris, Max Liebermann in Munich and August Lepère in Paris was still alive, all pioneers of Modern printmaking. Thus Orlik became the funnel between the “before and after” printmakers on the hinge of the 19th and 20th century.     

 Felix Valloton(l.) and Emil Orlik (r.)

In Berlin Orlik succeeded Otto Eckmann (r.) who’d died in 1902. Before, both men were active in Vienna and München. In the south of Germany a first group of German modern printmakers was inspired: Norbertine Bresslern Roth, Carl Thiemann, Carl Moll, Walter Klemm, Martha Cunz, Karl Johne, Ludwig Jungnickel. These artists often originated from neighbouring countries, Hungary, Suisse, Austria. 

Orlik held his position in Berlin until the end of his life in 1932.  Would I like to see the 1900-20 school records and archives to see who was there and when, but I fear these might not have survived the 1930's disapproval and rejection and later the rage and fires that destroyed majestic old Berlin in 1945.

 Hélène Maß, woodblock (l.) and Max Uth (1863-1914), oil (r.)

So many talented women, Else Schmiedeberg-Blume, Elisabeth von Oertzen, Eva-Maria Marcus, Hélène Maß, Joahnna Metzner, Elisabeth Consentius, Margarethe Gerhardt, Hélène Prausnitz-Sagert, Erna Halleur, Ilse Koch, Käthe Hoch, Dagmar Hooge, Lina Ammer, Lisbet Schulz, Eva Roemer, Wally Peretz-Brutzkus, Hélène Isenbart, Meta Cohn-Hendel, Christa Lettow. Relatively few men: among them Carl Alexander Brendel, Daniël Staschus and Heine Rath.

Hélène Maß, woodblock (l.) and Richard Puls (1855-1932), oil (r.)

Most of these women were from well to do families, well trained accomplished painters following courses, classes and lessons in the abundance of first class academies, schools and studios. Some even had been to Paris. A mixed company of generations, married woman and teenagers. In some cases the influence of the painter-teacher on the later printmaking careers is obvious and I think crucial to the quality, diversity and success this "new" method of creating affordable and accountable art in original and individual copies.

 Hélène Maß woodblock (l.) and Walter Leistikow drawing (r.)

Sometimes these Master-Mate connections are known and delivered to us: Else Schmiedeberg~Lovis Corinth, Hélène Maß~Walter Leistikow and Johannes Iten, Carl Alxander Brendel~Paul Frederik Meyerheim and  father Albert), Eva Maria Marcus~Corinth and Orlik. In others I hope one day more details, bits and pieces of their lives and careers will turn up. This medium is one way of trying. Feel free to comment and send suggestions, additions and corrections. 

Hélène Maß and Eva Maria Marcus (1884-1970) woodblock.

Orliks' coming to Berlin, with his drive, his talent and his printmaking know-how was not a seed that fell in a growing pot, but the Messiah of Modern printmaking sowing with generous hands in what must have been the most fertile fields of artistic and aesthetic talent on the planet in the first decades of the 20-th century.  

Emil Orlik portraits by his Munich friend Bernard Pankok (1872-1943)   

To be continued, there's more to come. 

The overlap in posting with other printmaking blogs is purely coincidental, possibly due to the present interest and Emil Orlik exhibitions in Germany.

All pictures borrowed freely from the Internet for friendly and educational use  only.