Fritz Gurlitt

Friedrich "Fritz" Gurlitt (3 October 1854 – 8 February 1893), originally from Vienna, was a Berlin based art dealer and collector,[1] specialising, in particular, in contemporary art.[2] After his early death the art gallery he had established in central Berlin was taken on by his son, the dealer Wolfgang Gurlitt (1888-1965).[3]

Fritz Gurlitt
Born
Friedrich Louis Moritz Anton Gurlitt

3 October 1854
Vienna, Austro-Hungary
Died8 February 1893
Thonberg (Leipzig), Germany
OccupationArt dealer
Gallery director
Spouse(s)Annarella Imhoff (1858–1935)
ChildrenAngelina (1882–1962)
Margarete (1885–?)
Wolfgang (1888–1965)
Manfred (1890–1972)
Parent(s)Louis Gurlitt 1812–1897
Elisabeth (née Lewald)

Life

Friedrich Louis Moritz Anton Gurlitt was born in Vienna. His father, Louis Gurlitt 1812–1897, was a well regarded landscape artist. The Gurlitts were among the leading families in the nineteenth century arts establishment in the German speaking world, which provided Friedrich with a relatively trouble free admission ticket to the arts community.[1] Friedrich's mother, born Elisabeth Lewald, was of Jewish provenance, which became politically significant only many years later, after a government came to power in Germany that was keen to convert visceral racism into a defining underpinning of government policy.[4]

In 1880 he founded the "Fritz Gurlitt Gallery" in Berlin. The gallery was located at Behrenstraße 29 (29 Behren Street), and specialised in contemporary art.[5] Differences have arisen over the correct name of the business, which is identified sometimes as a "gallery" ("Galerie"), sometimes as an "art dealership" ("Kunsthandlung") and sometimes as an "art salon" ("Kunst-Salon"). Artists whom he backed included Arnold Böcklin and Anselm Feuerbach.[6] In 1886, he was mandated to take charge of the "Jubilee Exhibition", described as the "first international art exhibition in Berlin".[7] The well-regarded novelist Theodor Fontane probably owed much of his knowledge of Böcklin to Fritz Gurlitt. Other artists who in large measure owed their reputations to the Gurlitt Gallery include Wilhelm Leibl, Hans Thoma, Max Liebermann, Lesser Ury, Franz Skarbina and Clara Siewert.[7]

Fritz Gurlitt died suddenly on 8 February 1893[7] as a result of the syphilis from which he suffered.[2] In the immediate term, the Fritz Gurlitt Gallery was relocated to an address in the "Leipzigerstrasse" ("Leipzig Street"),[8] but in other respects continued to operate as before, apparently under the direction of Carl Steinbart, an art collector and banker who had been a friend of Gurlitt's.[7] In 1907, when Wolfgang Gurlitt, the elder son of Fritz, reached the age of 19, he took on the gallery which retained its focus on contemporary art: there are suggestions that Wolfgang was more commercially astute than his father had been. In the end the gallery closed down, during the Second World War, in 1942.

Family

Fritz Gurlitt married Annarella Imhoff (1858–1935) in 1881. Her father was the Swiss sculptor Heinrich Max Imhof who had by this time lived in Rome, ostensibly on account of his health, for many years. Fritz and Annarella married in Rome. Contemporary sources indicate that the marriage resulted in four recorded children as follows:[1]

  • Angelina (1882–1962) who married Sigmund von Weech
  • Margarete (1885–?)
  • Wolfgang (1888–1965) art dealer
  • Manfred (1890–1972) composer, especially of operas, and orchestral conductor

After the Nazis took power people were persuaded to investigate their ancestry and "demonstrate" that none of their four grandparents were Jewish. This was particularly important for anyone with a job in public service and / or a high-profile public position. Manfred Gurlitt had a high profile as an opera conductor whose performances were frequently broadcast on national radio. He joined the Nazi Party on 1 May 1933. On 4 May 1937 his party membership was nullified on account of his Jewish provenance, presumably on account of his paternal grandmother, Elisabeth Leward/Gurlitt. Information on his Nazi Party connections during the intervening four year is incomplete, but a number of sources from the period indicate that his father was not Fritz Gurlitt but his mother's lover, Willi Waldecker. The idea was not totally preposterous, since Manfred was only 3 when his father died, and his mother did subsequently marry Willi Waldecker. Towards the end of the 1930s Manfred Gurlitt relocated to Japan where he enjoyed a career based in Tokyo as a conductor of western music.[9]

gollark: How do you like this NOW, hypothetical scroll visitors?
gollark: I'm switching to breed sort with the occasional manually swapped round thing to annoy people.
gollark: It works okay on my limited collection of dragons. Color, I mean.
gollark: Well, breed is boring, age is annoying, I can't offer options...
gollark: I just switched to by-color: why not?

References
  1. Edwin Kuntz (1966). "Gurlitt, Friedrich (Fritz) Louis Moritz Anton Kunsthändler, * 3.10.1854 Wien, † 8.2.1893 Thonberg bei Leipzig. (evangelisch)". Neue Deutsche Biographie. Historische Kommission bei der Bayerischen Akademie der Wissenschaften (HiKo), München. p. 328. Retrieved 8 August 2016.
  2. Meike Hoffmann; Nicola Kuhn (23 March 2016). Hitlers Kunsthändler: Hildebrand Gurlitt 1895-1956. C.H.Beck. p. 24. ISBN 978-3-406-69095-2.
  3. "Galerie Wolfgang Gurlitt, Berlin/München". Die Galerie des 20. Jahrhunderts in West-Berlin - Ein Provenienzforschungsprojekt. Stiftung Preußischer Kulturbesitz (Staatliche Museen zu Berlin). Retrieved 8 August 2016.
  4. Michael Haas (6 August 2013). "Manfred Gurlitt". Forbidden Music. Retrieved 8 August 2016.
  5. Heekyung Reimann (8 July 2010). "Fritz und Wolfgang Gurlitt". Deutsches Dokumentationszentrum für Kunstgeschichte, Marburg. Retrieved 8 August 2016.
  6. Theodor Däubler; Friedhelm Kemp; Friedrich Pfäfflin (1 January 1988). Im Kampf um die moderne Kunst und andere Schriften. Wallstein Verlag. p. 255. ISBN 978-3-630-80003-5.
  7. Anja Walter-Ris (19 June 2000). "Der moderne Kunsthandel an Spree und Rhein von 1850–1918" (PDF). Dissertationen online der Freien Universität Berlin. Universitätsbibliothek der Freien Universität Berlin. p. 24-26. Retrieved 8 August 2016.
  8. Paula Modersohn-Becker; Günter Busch; Liselotte von Reinken; Co-authors: Arthur S. Wensinger & Carole Clew Hoey (1998). Paula Modersohn-Becker, the Letters and Journals. Northwestern University Press. p. 458. ISBN 978-0-8101-1644-3.
  9. Irene Suchy (1992). "Manfred Gurlitt". unveröffentlichtes Manuskript (hitherto unpublished but now online manuscript), Wien: 1992. Universität Hamburg (Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit). Retrieved 8 August 2016.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.