On the Sculptures of Mattis Teutsch Andreas Franzke
Notes 1 The likelihood that the artist was in Munich in 1907 is supported by the fact that Mattis Teutsch, on the death of his teacher, von Rümann, in 1906, also studied under his successor, Schmidt, who only began to teach at the Munich Academy in 1907. There is also a photo of a relief representing a bearded man in quarter-view, which has an inscription on the back: “Munich, 1907”, in what is apparently Mattis-Teutsch’s own hand. 2 The Hungarian artist, born in 1897, also came to Paris on foot, via Vienna, in the early summer of 1909 (See: Tamás Straus: Kassák: Ein ungarischer Beitrag zum Konstruktivismus [Kassák: A Hungarian Contribution to Constructivism], Cologne, 1975; P.22). 3 It was the first exhibition in the new gallery of the journal MA [Today], founded by Kassák in 1917. (See: Straus, op cit, P.44). 4 Júlia Szábo: Blaue Seele / Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus [Blue Soul / Soulflower of the : On the History of a Motif in Symbolism and Expressionism], in Acta Hist. Art.Hung., Vol. 39, Budapest, 1997, Pp. 166 ff. 5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
1 The likelihood that the artist was in Munich in 1907 is supported by the fact that Mattis Teutsch, on the death of his teacher, von Rümann, in 1906, also studied under his successor, Schmidt, who only began to teach at the Munich Academy in 1907. There is also a photo of a relief representing a bearded man in quarter-view, which has an inscription on the back: “Munich, 1907”, in what is apparently Mattis-Teutsch’s own hand. 2 The Hungarian artist, born in 1897, also came to Paris on foot, via Vienna, in the early summer of 1909 (See: Tamás Straus: Kassák: Ein ungarischer Beitrag zum Konstruktivismus [Kassák: A Hungarian Contribution to Constructivism], Cologne, 1975; P.22). 3 It was the first exhibition in the new gallery of the journal MA [Today], founded by Kassák in 1917. (See: Straus, op cit, P.44). 4 Júlia Szábo: Blaue Seele / Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus [Blue Soul / Soulflower of the : On the History of a Motif in Symbolism and Expressionism], in Acta Hist. Art.Hung., Vol. 39, Budapest, 1997, Pp. 166 ff. 5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
2 The Hungarian artist, born in 1897, also came to Paris on foot, via Vienna, in the early summer of 1909 (See: Tamás Straus: Kassák: Ein ungarischer Beitrag zum Konstruktivismus [Kassák: A Hungarian Contribution to Constructivism], Cologne, 1975; P.22). 3 It was the first exhibition in the new gallery of the journal MA [Today], founded by Kassák in 1917. (See: Straus, op cit, P.44). 4 Júlia Szábo: Blaue Seele / Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus [Blue Soul / Soulflower of the : On the History of a Motif in Symbolism and Expressionism], in Acta Hist. Art.Hung., Vol. 39, Budapest, 1997, Pp. 166 ff. 5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
3 It was the first exhibition in the new gallery of the journal MA [Today], founded by Kassák in 1917. (See: Straus, op cit, P.44). 4 Júlia Szábo: Blaue Seele / Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus [Blue Soul / Soulflower of the : On the History of a Motif in Symbolism and Expressionism], in Acta Hist. Art.Hung., Vol. 39, Budapest, 1997, Pp. 166 ff. 5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
4 Júlia Szábo: Blaue Seele / Seelenblume. Zur Geschichte eines Motivs in Symbolismus und Expressionismus [Blue Soul / Soulflower of the : On the History of a Motif in Symbolism and Expressionism], in Acta Hist. Art.Hung., Vol. 39, Budapest, 1997, Pp. 166 ff. 5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
5 See: Karina Türr: Farbe und Naturalismus in der Skulptur des 19. und 20. Jahrhunderts. [Colour and Naturalism in 19th and 20th century Sculpture.]. Sculpturae vitam insufflat pictura, Mainz, 1994, Pp. 13 ff. and 154 ff. 6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
6 Reinhold Hohl: Kubo-Expressionismus als europäischer Modestil [Cubo-Expressionism as a European Fashion Style] in Skulptur. Die Moderne, 19. und 20. Jahrhundert, Cologne, 1996, Pp. 128 ff. 7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
7 Illustrated in Carl Laszló (Ed.), William Wauer, Basle, 1979, P.21. Wauer’s sculptures dating to 1919 – 1921 also show affinities with the works of Mattis Teutsch, both in their conceptualisation of figures and in their formal style. 8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
8 Hans Mattis Teutsch in the Exhibition Catalogue of Der Sturm for July–August, 1921: Twenty-Ninth Exhibition: Paul Klee. Hans Mattis-Teutsch, Gesamtschau [A General Survey], Berlin, 1921 (no page number given). 9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
9 Hans Mattis-Teutsch, in: Rumänische Rundschau, Volume XXXVIII, Number 12. Bucharest 1984, P.98. 10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
10 For details see: Exhibition Catalogue: Hans Mattis-Teutsch. Roemeense avantgarde [Hans Mattis-Teutsch and the Rumanian Avant-Garde], Museum voor Schone Kunsten, Gent. Gent, 1999, P.54, Nr.34. 11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
11 Hans-Mattis Teutsch: Kunstideologie: Stabilität und Aktivität im Kunstwerk [Ideology of Art: Stability and Action in Works of Art]. With an Introduction by Mihai Nadin and an Afterword by Elisabeth Axmann. Bucharest, 1977, Introduction P. 59. 12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
12 Op cit. P.60. 13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
13 See: Mihai Nadin in Kunstideologie [Ideology of Art], Op cit. P.7. 14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
14 In Kunstideologie [Ideology of Art], Op cit. P. 101.
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