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@ulrich-k-roessler

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UKRin@ulrich-k-roessler· 5d

Paul Gurk (1880-1953) Cover of his Novel 'Tuzub 37' Aquarel/gouache landscape painting from a recent exhibition Berlin 18.07.25 - 10.05.26 Mitte Museum www.museumsportal-berlin.de/en/exhibitio...

Cover of his dystopian novel
'Tuzub 37
/ Der Mythos von der grauen Menschheit oder von der Zahl 1
Roman
Holle & Co. Verlag.
Berlin [1935]

[Tuzub = 'Turmbau zu Babel' - Building the Tower of Babylon]

A post-expressionist small landscape - suburbian city low on a slope under a very high morning or evening sky: threatening red and black-mauve clouds in front of a sulphourous yellowish sky. Gouache or aquarel, likely form the 1930s.

UKRin@ulrich-k-roessler· 5d

Drawings on gourd bottles, Angola, unknown artists, 1939/31 - reproduced by Hedwig Jessen-Müller (1899 - 1956); in Otto Jessen 'Reisen und Forschungen in Angola', Berlin 1936.

Drawings from the Luimbale highland, early 20th century.
Remarkable depiction of bicycle, steam boat, motor-car in a traditional (?) style.

Hedwig Jessen-Müller was proessional sculptor, illustator, an artist and accompanied her husband O. Jessen as documentarist on a geographical research travel 1939/31.

UKRin@ulrich-k-roessler· 9d

Arno Nadel (1878 - 1943) Self-portrait, 1926 pastel and charcoal on paper Source: 'Arno Nadel. The musical work of a man of many talents' by Yuval Shaked doi.org/10.1080/1462...

Intense self-portrait, only head facing himself with a gaze turned inwardly - a sketch in a post-expressionist style, strong charcoal strokes in a free rhythm - red shading create the volume of the face of a middle-aged man with dark hair.

UKRin@ulrich-k-roessler· 11d

Nachklapp aus dem Hörspiel 'Berlin, letzte Ausgabe!' von Ernst Toller von 1930, wo der Morseapparat in der vielstimmigen Montage eine eigene Rolle spielt:

UKRin@ulrich-k-roessler· 24d

Thesis also available online from the DNB d-nb.info/57902699X A lot about 'Volkskraft' - the subject fits the novel 'Das schwarze Schicksal', published a year later. From the introduction to the thesis :

UKRin@ulrich-k-roessler· Jul 14

Otto Nückel (1888 - 1955) 'Überfall' metalcut before 1931

Black and white graphic. Doorway opens to a stairhouse, strongly lit by a single lsmp in the center. A gentleman with hat and coat descending casts a huge shadow. The hall has b&s checkerboard tiles and a mosaic at the entrance, reading 'Salve'. In the front right a guy leans against the wall, cocealed in the shadow, waiting to assault the gentleman.

UKRin@ulrich-k-roessler· Jul 9

Charlotte Jacob, Portrait drawing of Michael Gorlin (1909 - 1942(?)) from cover of 'Märchen und Städte' Berlin, 1930

B&W drawing - head, like a passport photo, of the very young poet and student Mikhail H. Gorlin who translated his own poems written in Russian under the translator name D. Mirajew into German.

UKRin@ulrich-k-roessler· Jul 9

Music as formative practise of a community : nachrichten.idw-online.de/2026/07/09/t... - transferable to musical traditions without religious or spiritual roots ?

Title of the book 'Communities of Sound / Religion, Displacement, and Caste in the Bay of Bengal'
by Carola E. Lorea

The cover shows people singing and making music in a colorful charivari of photographs in the center on a red background; below the sub-title a strip of a photograph with dark-blue sea - a few waves; the top of the cover has a photograph of a Bengal waterworld - tropical forest in the background forming the coast of an multi-armed inlet - the sea an expanse of calm water.

Citation:
Lorea, C.E. (2026). Communities of Sound: Religion, Displacement, and Caste in the Bay of Bengal. Middletown: Wesleyan University Press. https://dx.doi.org/10.1353/book.138262.

UKRin@ulrich-k-roessler· Jun 17

A second edition of 'Die Magd' by Arthur Silbergleit was pubished in 1923, illustrated in a more expressionist style by Ernst Zoberbier.

Title of the 2nd edition with a lithography showing a drawing of the young maid with a star as headdress.

Colour lithography - two figures in a coarsely sketched landscape; one kneeling and embracing another, who is standing in front of a setting sun and clouds like an aureola or a set of wings - unclear whether (s)he is the Madonna or an angel.

UKRin@ulrich-k-roessler· Jun 17

Erich Büttner (1889 - 1936) Illustrations for 'Die Magd' by Arthur Silbergleit (1881 - 1943) Eigenbrödler Verlag, Berlin 1919 hand-coloured lithographies

Title of Arthur Silbergleits 'Die Magd'
first edition of 1919
The fontipiece shows the Maid-Servant as saintly figure in a brown cloth, kneeling and praying in front of the apparition of the Madonna in blue coat standing on a crescent moon like a slim golden barge.
A very light drawing coloured in bright colours.

UKRin@ulrich-k-roessler· Jun 12

Hans Spiegel (1893 - 1966) 'Figurine' 1920 Source: hans-spiegel.de/bilder.html

Painted in the modernist period - Spiegel as a lesser member of the Üecht group uses various elements from cubism, but adhers to a figuratuve representation of a dancer in an emptied space.
Interestingly his colours are aiming more at balance than striking effect - an aim traceable from Hölzl and common to many others around the _Stuttgarter Sezession_. The result resembles later paintings ftom magic realism & surrealism.

UKRin@ulrich-k-roessler· Jun 10

Wilhelm Blutbacher (1888 - 1959) Self portrait oil on canvas 1928

Casual self portrait, the painter half, round broad-rimmed glasses has hands in pocket and looks inquisitively at us. It was cold in the studio and he wears a beige sweater, brown shawl, and a black cap - the strongest part of the muted colours, the background a uniform non-colour brown-whitish, like spilled red-wine stains on a tablecloth.

UKRin@ulrich-k-roessler· Jun 10

Almost like this assembly in black & white commons.wikimedia.org/wiki/File:0....

Exhibition photograph : corner of a salon with the two walls plastered by Malevich's abstract black & white paintings. The most famous fundamental square in the corner in the position of the sacred place for a painting of a saint in the house - a house-god in fact.

UKRin@ulrich-k-roessler· Jun 9

Helmut Muehle (1902 - 1991) 'Herbstblumen' oil on canvas undated

Expressionist still life : jug with a flowers in the center in front of a red curtain.

UKRin@ulrich-k-roessler· Jun 9

Adolph von Menzel (1815 - 1905) 'Eisenwalzwerk (Moderne Cyklopen)' oil on canvas 1872-1875 Source: recherche.smb.museum/detail/958605

The interior of an iron rolling mill (for railway tracks) in 19th century - in full operation, workers handling the red hot iron and machinery in an immense hall. This is a generation after Blechen's picture. The title 'Modern Cyclopes' is not by Menzel, but the view on industrial work as that of heroic giants is telling for the changed attitude. Now, the perspective is much closer to production and the works going on there - still there is an alienated distance between us and these heroes, and there are working human bodies.

UKRin@ulrich-k-roessler· Jun 9

Carl Blechen (1798 - 1840) 'Walzwerk bei Neustadt-Eberswalde' oil on woodplate ca. 1830 Source: de.wikipedia.org/wiki/Walzwer...

Early painting having an industrial production site as subject - 'Rolling mill' at Eberswalde. Large building in the middle with smoke from one chimney, other chimney - painted in a romantic style, transitioning towards realism. But the building appears similar to a mill or another part of the landscape, a focus of human activity - not necessarily alien or overwhelming as a huge bizarre shape.

Foreground a river with some figures around a barge.

UKRin@ulrich-k-roessler· Jun 8

Leo Hubert Braun (1891 - 1969) 'Grube Reserve Eschweiler (Bergwerk und Kokerei)' oil on canvas undated - before 1944 (?)

A rather traditionalist or naturalist painting of an industrial landscape: coke plant with fuming smoke-stacks, next to a coal mine with pithead towers fill the horizon - all seen from the outside. Interestingly, the many big structures of these huge machinery and their artificial/uncommon shapes should appear as surrealistic or enigmatic for anyone not familiar with the technology here at work. In this sense, the view from outside by the non-initiated on-looker is appropriate: a bizarre landscape filled by incomprehensible entities.

In the middle-ground a shallow hill, possibly a huge heap of scoria. The foreground has two houses half hidden in green shrubs of gardens and some meadow with trees - birches ? - on a slope to the left. This part of the painting then is just some naturalist representation informed by German impressionism - nothing uncommon here.

The landscape is modern - a vista of early 20th century key industry - and possibly the site is a realistic representation of such a facility the coal pit "Reserve" which operated between 1856 and 1944 at the birthplace of the painter, Eschweiler in the Rhenish mining area.

Does the painting celebrate the grandeur of this industrial work ? Or is this a threatening alien place ? - at least the fact, that the foreground is contrasting the real subject in this picture may indicate some willful distance introduced between observer and this facility.

L.H.Braun had paintings at the exhibition of the _Stuttgarter Sezession_ since 1924 and also at the _Juryfreie Ausstellungen_ 1931 and 1932 with titles like „Concordiahütte“, „Rote Brücke“ „Hochofen mit Brücke“ and „Bahnwärterhäuschen“. He also has works about the buildings of the Reichsautobahn at the Große Deutschen Kunstausstellung in Munich 1940, one drawing „Baustelle der Reichsautobahn Rohrbachtal-Brücke II“ was acquired by Hitler.

UKRin@ulrich-k-roessler· Jun 5

Immanuel Knayer (1896 - 1962) 'Arbeiter bei der Frühstückspause' oil on canvas 1925

Post-expressionist painting : a construction worker sitting in a bit ragged clothes at a rickety table behind him, coffee or tea breakfast, depicted as an isolated cup and jug like a still life behind the worker. Background is a wall from raw red tiles and some wooden box.
The freedom to change and adjust proportions, as gained by expressionism, here allows for uncommonly big hands of the worker, and some falling lines, breaking our usual ideas about representation of the three dimensions in the tableau. Hence, this is not simply a painting belonging to a proletarian subject in manner of the _Neue Sachlichkeit_.

UKRin@ulrich-k-roessler· Jun 4

Leonhard Schmidt (1892 - 1978) 'Fräulein H. In Rot' oil on wood-plate ca. 1925

Half - portrait of a young woman in red. Posture and style of painting resemble northern Renaissance portraits, or pre-Raffaelite regressions in the Romantic era, but now resumed with the means of the _Neue Sachlichkeit_.

UKRin@ulrich-k-roessler· May 24

Eduard Hermanutz (1902 – 1992) participates only once at the 1932 exhibition of the _Stuttgarter Sezession_ with 3 plaster sculptures, works 33-39 in Luxemburg: 'Elephant' earthenware for Villeroy & Boch, after military service 39-45, works as sculptor: carnival masks for the five 'Urdämonen' 1950s.

Earthenware figure - an elephant baby with raised trunk, blue and gold tuskers, inner ears, feet, and eyes. A mostly useless thing.

"Traditional" figures of the svabian-alemannic carnival, called the 'Urdämonen' from Ehingen, Schwenningen - upper Danube river area.
The monster with the large head is called the 'Groggadäler'
The lindwood masks have been designed by Eduard Hermanutz.

Source:
https://www.narrenzunft-spritzenmuck.de/daemonen/

UKRin@ulrich-k-roessler· May 23

Gustav Kampmann (1859 - 1917) '"Nachtessen-Kochen" Grötzingen, 28.April [?]' carbon drawing before 1900

Village road, Grötzingen near Karlsruhe 1900. Houses along and beyond a mud road, chimneys sending smoke into the air from fires, lightened to cook evening meals.
Dynamical landscape, impressionistic drawing minus any exuberance or colour - a poor & sober kind of art.

UKRin@ulrich-k-roessler· May 21

Rudolf Kuhn (1893 - 1936) 'Überredung' oil painting 1921

Expressionist painting - hues of red, black, grey and white.

Creepy situation, persuasion, seduction ? A pair in black & white - a man, dark, black hair, suit, one hand pointing at, the other hand gripping the shoulder of a young woman painted in light colours between rose, pink and white. He is accosting the woman, sitting both behind a round table, she is slightly turning away from him with down-cast eyes.

Table cloth and background are red, two glasses, dark and bright, and a white empty plate ln the table - evoking a nightclub, a separee in a bar or a theater.

UKRin@ulrich-k-roessler· May 21

Gustav Schopf (1899 - 1987) 'Selbstbildnis mit Hut und Mantel' oil on cardboard 1930

Half-portrait frontal, a dark figure with long hair in a black coat and hat in front of a red-brown background. Style of painting is unique for the time, modern after expressionism, but realistic, too.

Schopf is described as a special, incommensurable character, strongest talent among the painters of the _Neue Stuttgarter Sezession_. But, possibly due to his ailing health, as a result of injuries incured during military service in First World War, ultimately causing loss of hearing, but also recurrent fits of paralysis, he may not have produced artistic works commensurate to his potential abilities. He takes part in the three exhibitions of the _Neue Sezession, 1929 as founding member, 1931 and 32.
After the Second World War between 1951 and 81, he refused to take part in any exhibitions with his works.

UKRin@ulrich-k-roessler· May 20

Julius Hüther (1881 - 1954) Portraits of Olaf Gulbransson Half-portrait, pastel 1929 Profile, gouache 1936

UKRin@ulrich-k-roessler· May 20

Maxim Köhler (1908 - 1959) tapestry in Johanneskirche Beilstein-Billensbach undated 1950s (?)

Source:
https://www.beilstein-evangelisch.de/fileadmin/mediapool/gemeinden/KG_beilstein/Gemeindebrief/Gemeindebrief_01_2022_Web.pdf

UKRin@ulrich-k-roessler· May 20

Julius Hüther (1881 - 1954) 'Schwebende' painting - unknown technique 1926

Nude - floating female figure, seen from the back.
Expressionist liberties with proportions of the figure, composition and delineation of volumes.

Source:
https://www.bildindex.de/document/obj20830768

Hüther spends most of his career in Munich. Only in 1926 exhibition, he is present at the Stuttgarter Sezession with a nude, but it is uncertain which painting he showed from his large work.

UKRin@ulrich-k-roessler· May 19

Walter H. Kohler (1903 - 1945) 'Der Versucher' mural painting in Christuskirche, Reutlingen 1936

The tempter in plain clothes points to the crystalline wealth on earth, the Christ points up towards heavens.

The painting blends very ancient figurative forms with modern simplicty - _Neue Sachlichkeit_ and post-expressionist plain-area painting.

Source:
https://www.kirchen-online.com/content/___-in-bad_-wuertt_/reutlingen-_-christuskirche-_-fresken-im-chor.html

Kohler has pictures at the 1928 exhibition of the Stuttgarter Sezession and at the three exhibitions of the _Neue Sezession_ 1929, 31, 32.

Since 1926, he works as free artist, mainly mirals and coloured glass windows for church buildings.

UKRin@ulrich-k-roessler· May 18

Heinrich Kübler (1905 - 1965) 'Der weiße Rabe' oil on hardboard ca. 1940

Group of human figures - highly stylized, almost abstract. in the center a monochrome muddy white person lifts right arm. The other arm holds something like a brighter white piece of paper in front of the body. He is gesticulating like a speaker or a leader in a rally.
All other figures in the background are smaller, less active, attentive but calm, and they are displayed in less bright colours, mostly monochrome - composed from flat areas with little shading or graduated colouring. Background are some flat coloured areas too.

Source:
https://schaufenster-kunst-bw.ub.uni-stuttgart.de/viewer/image/29d40faf-5a25-4637-9c87-bf78d6d4283e/

Kübler had taken part at the 1932 exhibition of the Stuttgarter Sezession with a painting "Der Spieler" and in the 1930, 1931, and 1932 exhibitions of the 'Juryfreie Künstlervereinigung Stuttgart', before the rise of the Nazis. He still worked between 1933 and 1940 or 41 as a free artist in Stuttgart. This painting as an almost abstract re-appropriation of expressionist styles must have been a private hidden activity around 1940. Kübler compromised, took part in some exhibitions 1933-40, and by his public activities and later as soldier from 1941 onwards. In particular, working for the Nazi propaganda apparently
Exhibition

Die Geburt der Grafiksammlung des Kunstmuseums Stuttgart im Nationalsozialismus /
Grafik für die Diktatur
01.11.2024 - 14.09.2025,
Kunstmuseum Stuttgart
and publication
Grafik für die Diktatur
VDG Weimar / arts + science weimar
Deutsch
352 Seiten, 150 Abbildungen
ISBN 978-3-89739-988-4

UKRin@ulrich-k-roessler· May 17

Gustav Schopf (1899 - 1987) 'Badende am Max-Eyth-See' oil on cardboard 1935

Painting, beach of a lake with various groups of bathers, post-expressionist free forms, distorted, simplified, sketchy - but with an impressionist lightness of colours and brush-work.

UKRin@ulrich-k-roessler· May 17

Manfred Henninger (1894 - 1986) 'Ascona' watercolour ca. 1943