Rudolf Reschreiter (1868 in München – 1939 ebenda)

Wir suchen und bieten Gemälde von Rudolf Reschreiter

Rudolf Reschreiter studierte an der Münchner Akademie bei Gabriel von Hackt. Er malte hauptsächlich in der Aquarelltechnik und wurde für seine hyperrealistische Naturdarstellung gerühmt. Eines seiner bekanntesten Werke ist die Abbildung des Waxensteinkamms von Mathaisenkar  aus. Im Jahre 1903 bereiste er mit dem Geograph Hans Meyer die südamerikanischen Kordilleren und besuchte den in Ecuador gelegenen, 6301 Meter hohen, völlig vergletscherten Chimborazo. Reschreiter malte im Anschluss eine ganze Serie „Chimborazo-Bilder“. Einen der Gletscher taufte Meyer Reschreiter-Gletscher, ein Name der allerdings keinen Bestand hatte.

Seine Werke sind zu sehen in: Alpine Museen, Kempten, München und dem Alpenverein-Museum Innsbruck.

Rudolf Reschreiter fertigte die Zeichnungen für „Schwaiger’s Fühttps://de.wikipedia.org/wiki/Alpenverein-Museum_Innsbruckhrer durch das Wettersteingebirge“, München, 1901 an. Quelle: Wikipedia.org

Erich Fraaß (1893- 1974)

 

Verkaufsangebote:

 

In the Dresden bombing raids of 1945, the vast majority of jobs created since the end of World War 1 oil painting, colored pencil work, pastels and watercolors of 1893 born in Glauchau painter and graphic artist, Erich Fraaß destroyed worden.Sein life’s work encompassed approximately 3,000 works.

Short biography of Erich Fraaß

Erich Fraaß was born on 14 April 1893 in the textile town of Glauchau the son of a master weaver. When pattern Weber his father gained a certain independence in relation to the factory workers and was paid as a supplier a little better. You just had to make a living. Early on Erich Fraaß could learn what suffering brought the decline of Webwarenindustrie in times of crisis with it. Even in his own family restrictions were felt. The children had to, according to their capacity, earn, although the father worked from dawn to dusk at the loom. Erich Fraaß wore out newspapers and worked as a pharmacy assistant later. Early in the morning before going to school, he often went out into the countryside to draw.

In the years 1899 until 1907 he attended of the Lehngrundschule in Glauchau. Some advanced teacher talented but penniless Weber children members free instruction in languages as well as in drawing and literature. Like his older brother Richard, he received additional language and character classes. It speaks for the sympathetic handling in the family Fraaß that parents perceived the talent of drawing and painting boy sympathetically. Even if a higher education could not be paid and Erich Fraaß following the elder equally gifted brother, a lithographer recorded, the desire to become a painter was overpowering.

Early funding received by the Erich Fraaß Glauchauer pastor Zinßer. Zinßer collected under the textile manufacturer money to allow him a grant to study art.

At the age of 17, he went to Dresden to audition at the Art Academy.

He had allowed a letter of recommendation Glauchauer Kommerzienrates von Lossow in his pocket, his brother was rector of the School of Applied Arts in Dresden and an idea at Oskar Zwintscher at the Academy. Zwintscher recommended visiting the School of Applied Arts to acquire to the next especially technical skills. He shared this time common education with later well-known artists such as Bernhardt Kretzschmar, Otto Dix, William Rudolph, Otto Griebel and others. With the transfer to the Academy and the painting studio of Oskar Zwintscher began for Erich Fraaß the search for his own artistic expression. All in all, he was at the Academy favorable conditions for such a route search: In Zeichensaal Richard Müller precise drawing and seeing was mediated. At the academy had Carl Bantzer. Oskar Zwintscher let his pupils not only a lot of freedom, he knew how to impart special and image value and the potential of art cant opportunities to life.

Zwintscher suggested that „the colors pure and applied correctly, to thoroughly study the forms, to respect and to subdue any individualistic arbitrariness“.

First, however, training and continuous practice of art were interrupted by the outbreak of the First World War. Erich Fraaß volunteered to the front and experienced in Flanders the impact and futility of war. At the end of the war was for Fraaß: „The political context and the absurd fact of war were aware and forced to decide“.

Politically, he became involved in the Spartacus group. He was a board member of Artists in the Academy, where he could continue his studies as a master student of Robert Sterl to 1922nd

Artistically has Sterls turning to the social issue, its conception marked by the picture as an independent world and the esteem of the expression value of the color master student always.

The twenties brought a new diversity in the Dresden Art.

Although life for most artists was not easy, have been made possible with the support of sponsors and government agencies study trips. Erich Fraaß traveled with some colleagues in the Bohemian Forest, Spain, Tyrol, Upper Bavaria, the Steirmark, to mention a few.

To young artists of the war generation to enter public ministry opportunities, founded in 1921 together with Erich Fraaß Curt Großpietsch and Willy Illmer among others „The creators“.

Chaired by Erich Fraaß, Bernhardt, and Hermann Kretzschmar Theodor Richter developed in 1931 from the re ATTACHING to the departure end of the war group „action“ the „Dresden Secession 1932“. While the existing associations, the „German Artists Association“ at the national-minded artists applied, the „Artists‘ Association“ was rather suggested oriented secession approached programmatically. On the one hand it was about the orientation of the art in human action. Bernhardt Kretzschmar provides: „A real artist is always the best educators in humans“. Secondly, it should be targeted to the general public. As formulated Edmund Kesting, people will be out of a „material world into a spiritual world“.

1934 the „Secession 1932“ was banned by the Nazis and some aim of the Grupp proved premonition of what came to be on Germany.

Despite the loss of the platform and the de facto necessary step in the inner emigration be attempted again to gather like-minded people. This could only happen on a private and friendly level. There was the so-called „Group of 7“, which met for walks and the exchange of art, but now continued without external effect. The group included Karl Kröner, Paul Wilhelm, Erich Fraaß, Fritz Winkler, John Beutner, Otto Griebel and Hans Jüchser.

Even after the end of World War II Erich Fraaß heard from the beginning to the very assets that strove to build a democratic art life in the ruined city.

On 21 May 1945 he meldetet to Dr. Frederick for building work and organized this with the Association of Visual Artists. He was a visual artist on the board of antifascist Trust Council.

The hopeful new beginning followed again the disillusionment.

In 1947 he was appointed to the Academy as a lecturer. 1953 he was appointed professor of painting. He headed until his retirement in 1958, the basic studies.

Although thematically quite the ideas of 1950 still nascent art doctrinaire policy could meet, he could not support the ideology and then remained in the role of a big old tolerated.

Inbound to privacy would be worth mentioning that Erich and Richard Fraaß, and Otto Griebel from 1911 in rural Gostritz lived on the Südhöhe of Dresden. The vast landscape overlooking the Osterzgebirge that Sächs. Switzerland, the Wilisch and the Elbe valley with lovely valleys, fields and meadows had been previously „the Goppeln“ rediscovered by the group. Among the listeners were Goppel Carl Bantzer, Oskar Zwintscher and Robert Sterl, the enthusiastic and their students for this idyll.

After the war in 1918 and from 1919 Erich Fraaß lived with his wife Grete and daughter Maja (1921) to 1947 continued in Gostritz. There emerged the largest part of his work, on the Ammonstraße 9 am Hauptbahnhof found its fulfillment in his studio.

On February 13, 1945, the studio was completely destroyed with the works located there in a bomb attack. This fate he shared with most colleagues of his generation. Some work could be saved by outsourcing; more than 1,000 burned.

1947 the family moved to the 1937-born son Jobst after chasing and early fifties due to age in the Old Market Square. Since he almost every week with the family of his daughter in the windmill in Moritzburg was at this time to visit, was created in this country a considerable number of sketches, drawings, watercolors and oil paintings. In Moritzburger environment he felt comfortable. Following his request, his final resting place is on the Moritzburger cemetery.

He died on 9 January 1974th