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JOHANN WALTER AS A TEACHER AND THEORIST IN HIS BERLIN PERIOD (1917-1932) (Jana Valtera pedagogiska darbiba un teoretiskie uzskati Berlines posma (1917-1932))

100%

Abele K.

Materiali Latvijas makslas vesturei

2001

vol. 2

112-129

On 9 April 1933, several months after Hitler's rise to power in Germany, a group of devoted pupils opened the memorial exhibition of Johann(es) Walter-Kurau at Victor Hartberg's in Berlin Charlottenburg. Newspapers published different opinions about the art of the late Baltic painter, but most critics agreed that he has been a beloved and influential teacher. The late, modernist paintings of the 'prodigal son' Johann Walter (1869-1932), usually named Janis Valters by Latvians, are some of the most fascinating exhibits of the State Museum of Art in Riga, although our knowledge about his life and work as Johann(es) Walter-Kurau in Dresden (1906-1916) and Berlin (1917-1932) so far has been very poor. Now much of this blank area may be covered by helpful references to recent publications about his Berlin pupils Otto Manigk (1902-1974), Karen Schacht (1900-1987), Else Lohmann (1897-1984), Hans Zank (1889-1967) and Willy Gericke (1895-1970) by German art historians striving to save several forgotten names from the undue obscurity of the 'lost generation', or art collectors wishing to gain their admission to prominent international sales. Alongside a number of archive materials, catalogues and German press publications, this eclectic, contradictory literature, ranging from fruits of enthusiastic life-long connoisseurship and trustworthy studies on particular women artists to deliberate art-historical fakes, allows us to reconstruct the history of Walter's busy Gervinusstrasse studio in Berlin-Charlottenburg, but a copy of the artist's manuscripts helps to understand the theoretic background of his mature views and creativity. Walter's own much admired authority as a great, generous man and a teacher par excellence was the Russian landscapist, professor Arkhip Kuinji (1841-1910). In his painting and theory, however, Walter drew inspiration from other sources, and his aim in the late 1920s and early 30s was the 'missing link between Impressionism and the abstract art of the day'.

'BATHING BOYS' IN JOHANN WALTER'S PAINTING ('Peldetaji zeni' Jana Valtera gleznieciba)

100%

Abele K.

Materiali Latvijas makslas vesturei

2003

vol. 3

66-77

To illustrate the interest of turn-of-the-20th century painters in the biological aspects of human existence, growing processes and the spring of life, Latvian art history literature usually offers two vivid examples from the collection of the State Museum of Art 'Jubilant Children' (190 I) by Janis Rozentals (1866-1916) and 'Bathing Boys' (c. 1900) by Johann Waiter (1869-1932), a Latvian-born artist of German origin who changed his last name to Walter-Kurau after the move to Germany in 1906 but is usually called Janis Valters by Latvians. In an earlier publication, I have already interpreted the first of these pictures as part of a bucolic line in Rozentals' creativity that brought him from an impressive painterly symbiosis of spring awakening in nature and human life to the velvety sensuousness of his 'Sun Maidens' (1912) featuring the transformation of a typically impressionist love of light into a sort of mystical sun-dreaming. The present paper in turn explores the artistic progress of Walter's life-long fascination with the interplay of light and water in his numerous versions of 'Bathing Boys', painted between c. 1900 and 1926 in Latvia and Germany. Beside the above-mentioned treasure of the State Museum of Art - one of the most beloved pictures by several generations of Latvians - this part of his heritage includes the masterly 'Boys near Water' (c. 1900) at the Tukums Museum, a number of recently discovered private possessions and several reproductions of supposedly lost works. The first appearance of young bathers in his imagery coincided with the very height of the subject's international popularity. Bathing children were eagerly painted by Liebermann and Landenberger in Germany, Kroyer in Denmark, Edelfelt in Finland, Sorolla in Spain and numerous other artists all around Europe. Walter joined this company by sending one of his turn-of-the-century boy bathing scenes to the 3rd Exhibition of the Berlin Secession (1901) and the 4th Exhibition of the 'World of Art' In St. Petersburg (1902).

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2 Materiali Latvijas makslas vesturei

2 Abele K.

1 2003

1 2001

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JOHANN WALTER AS A TEACHER AND THEORIST IN HIS BERLIN PERIOD (1917-1932) (Jana Valtera pedagogiska darbiba un teoretiskie uzskati Berlines posma (1917-1932))

'BATHING BOYS' IN JOHANN WALTER'S PAINTING ('Peldetaji zeni' Jana Valtera gleznieciba)