25:
295:, had married artist Max Ernst in 1918 and their homes were also focal points for anti-establishment activities. By 1921 Angelika Hoerle showed symptoms of tuberculosis, aggravated by the couple's poverty. They lived without heat in winter and hustled wallpaper and men's tie designs to industrial clients to afford food. Angelika was very ill by 1922 when her husband abandoned her, fearing the disease which had killed his father and from which his sister Marie died in 1924. In an unpublished novella,
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in the Hague, Netherlands, the
Rhenish Archive for Artists’ Legacies, Bonn, Germany and in the Societe Anonyme Collection at New Haven, Connecticut, U.S.A. Her art has been in exhibitions in ten countries on three continents. She has inspired playwrights, poets, composers, novelists and art historians who continue to write about her.
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Angelika drew nearer
Seiwert's friends Kaethe and Oskar Jatho during World War I when the Jatho home became a gathering point for anti-war activists. Heinrich Hoerle and Willy Fick were registered as conscientious objectors and as such did not take up war service until 1917—Fick as a wagon driver and
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In
February 1920 the Graphisches Kabinet von Bergh & Co in Duesseldorf exhibited the Section D works, thus providing it with some heft, and Angelika co-founded the Stupid group with her brother Willy, the Raederscheidts and Seiwert. She showed works at their ongoing Hildeboldplatz exhibitions in
299:
MAF Raderscheidt (Marta
Hegemann's granddaughter) and Stephan Everling paint the word picture of Angelika playing her harmonica to stave off loneliness as she walked from the Raderscheidts’ atelier/home on Hildeboldplatz to her lonely garret in Lindenthal. Willy Fick and the Raederscheidts supported
424:
Angelika's death at 23 touched many. Artists Max Ernst, Jankel Adler, Gottfried
Brockmann, Marta Hegemann and Anton Raderscheidt commemorated her in art. Angelika Hoerle's works are in the collections of the Art Gallery of Ontario, Canada; the Museum Ludwig, Cologne, Germany; the Gerd Arntz Archive
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poke fun at the hotel staff that was flummoxed by the brouhaha that ensued when the nonsensical activities began. Following up with their interest focused on workers, Angelika and
Heinrich listed themselves as the co-chairs for the Cologne Subcommittee of the German-wide Artists’ Committee for
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Hoerle as a telephonist. In June 1919 Angelika eloped with
Heinrich Hoerle against her parents’ wishes. For a honeymoon the couple went to Simonskall in the Eifel Mountains where the Jatho family and Seiwert established the artists’ colony called Kalltalgemeinschaft. Jatho dedicated her poem
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and his newly created
Gesellschaft der Kuenste (GdK), but, despite the GdK's stated intentions to revolutionize art, Angelika took part in the dada secession from the 1919 GdK exhibition at the Cologne Kunstverein. The splinter exhibition, called Section D, issued a catalogue,
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a folder of six woodcuts that depicted murdered revolutionaries. She worked with artists
Seiwert and Raederscheidt and architect Peter Abelen who considered the young artist well-versed enough in the international politics of the day to take on the task of creating prints for
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Angelika and
Heinrich Hoerle established a "dadaheim", a term used by the Cologne press for their apartment, but, there were multiple interconnected "dadaheims" in Cologne. Marta Hegemann, had married Anton Raederscheidt and art historian
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Raderscheidt and Hoerle were documented at the Monarch fracas. Angelika as a trade union advocate, friend to Raederscheidt and as Hoerle's partner would have been there as well. Angelika's two ironic pencil drawings,
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with her readings in KĂĽnstlerhaus Schloss Balmoral (Bad Ems), Cabaret Voltaire (Zurich) and Simonskall, Germany. In February 2019 the piece premiered in a version for string quartet aboard
536:(International Workers’ Aid Association) Moscow, St. Petersburg, Saratov, October 1922 (Angelika was dead at the time of the openings but took part in the preparation for this exhibition.)
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1920 and 1921 and participated in Stupid Verlag publications. Simultaneously, she co-founded Schloemilch Verlag with her husband and it published Max Ernst's folder of prints called
412:
By 1922 Angelika was alone and too ill to participate in art or political activities; she turned to drawing contemplative works and dream-scapes. The works that American Collector
256:
Fascinated by art, especially by women in art like Hegemann, Angelika sketched and visited exhibitions during her apprenticeship in millinery. She saw the works of artist/designer
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in Cologne in 1914 she saw more works by female creators in the House of Women where there were sculptures, batik fabrics, wall hangings, rugs and linoleum designs by women.
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Dada and politics mixed again when Stupid helped organize a dada evening at the Monarch Hotel in Aachen. The Cologne connection to Aachen came through the union movement,
229:
Margaretha Angelika Fick was born 20 November 1899 in Cologne, Germany as the youngest of cabinetmaker Richard Fick and Anna (Kraft) Fick's four children. Her sibling
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351:(Let there be fashion, down with art) which echoed elements that Angelika used in her own drawings. Schloemilch Verlag/ ABK also published Heinrich Hoerle's
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233:(1893–1967), while apprenticed as a cabinet maker, took evening and weekend courses at the Koelner Kunstgewerbeschule where he met artists
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Arts Council of Great Britain, London, U.K., 1975; also in Centre Pompidou, Paris, France, July–November 1978 and Berlin, Germany, 1978
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with a cartoon that parodied Cologne's police chief and showed her knowledge of local politics. Angelika affiliated herself with
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284:, a leftist journal at factory gates and illegally placarding buildings with art, such as a proof print of Heinrich Hoerle's
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to Angelika Hoerle. That same year the couple was involved in pre-dada disruptive activities that included distributing
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of twelve lithographs showing war "cripples". Most significantly, Schloemilch, with Angelika as co-publisher, produced
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Hammer Museum, Los Angeles 2006, Phillips Collection, Washington D.C. 2006–2007, Dallas Museum of Art, 2007
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bought from the Karl Nierendorf Gallery in 1922 were proto-surrealistic and captured her isolation.
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521:(Internationaler Kongress Fortschrittlicher Kuenstler), Tietz Department Store, May–June 1922
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that showed her, Heinrich Hoerle, Seiwert, Max Ernst and Raederscheidt as participants.
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Etwas Wasser in der Seife: Portraits dadaistischer Kuenstlerinnen und Schriftsteller
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Kunstvereine als Vermittlungsinstanzen der Moderne in der Zeit der Weimarer Republik
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Art Gallery of Ontario, Toronto, Canada 2009; Museum Ludwig, Cologne, Germany, 2009
573:, Comune di Milano, Italy, Feb-May,1980; also in Rome 1980 and Stockholm, 1980-1981
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Angelika Hoerle's art career officially began in 1919 with the publication of
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https://ago.ca/events/family-secrets-inside-view-short-life-angelika-hoerle
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Die Welt zerschlagen: Die Geschichte der Dada-KĂĽnstlerin Angelika Hoerle
467:, Bora, Bora, South Seas, Pacific Ocean with Quadrivium Quartet (Poland)
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a sophisticated international dada publication. Angelika's ironic works
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https://www.fembio.org/biographie.php/frau/biographie/angelika-hoerle/
815:. Wiesbaden: Deutsches Universitaets Verlag. pp. 75, footnote 22.
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503:, Gesellschaft der Kuenste, Koelnischer Kunstverein, Cologne, 1919
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Starving Artists in Russia. Their plea for support was printed in
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733:. Munich: Ludwig Maximilian University Munich. pp. 167–168.
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Graphischen Kabinett Van den Berg & Co, Duesseldorf, 1920
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249:. Angelika was introduced to these artists and their friend
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Kaltall Gemeinschaft, Simonskall, Eifel, Germany, June 1919
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artist who was a founding member of the Cologne art group
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Yale University Art Gallery, New Haven, Conn. 2012-2013
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Vom Dadamax zum Gruenguertel: Koeln in den 20er Jahren,
445:, Jackman Hall, Art Gallery of Ontario, Toronto, 2009
591:, Art Gallery of Ontario, Toronto, Canada, 1988-1989
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a play, the Performance House, Barrie, Ontario, 1988
621:, Forum Schlossplatz, Aarau, Switzerland, 2014-2015
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Erste Allgemeine Deustsche Kunstausstellung der IAH
785:. Toronto: Art Gallery of Ontario. pp. 53–78.
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524:Karl Nierendorf Neue Kunst Galerie, Cologne, 1922
342:Art career in the Stupid group and as a publisher
300:her but Angelika died on 9 September 1923—at 23.
221:and the cofounder of a Dadaist publishing house.
852:
530:, Koelnischer Kunstverein, Cologne, October 1922
519:Erste Internationale Kunstaustellung Duesseldorf
470:David Annwn."Z206 For Angelika Hoerle", poem in
748:. Taipei: Taipei Fine Arts Museum. p. 118.
718:. Toronto: Art Gallery of Ontario. p. 28.
688:. Toronto: Art Gallery of Ontario. p. 34.
673:. Toronto: Art Gallery of Ontario. p. 27.
643:. Toronto: Art Gallery of Ontario. p. 15.
474:2008. Annwn is an Anglo-Welsh poet and author.
579:, Koelnischer Kunstverein, Germany, 1981-1982
486:The World Is Smashed | The World Is Shattered
210:; 20 November 1899 – 9 September 1923) was a
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509:, Hildeboldplatz, Cologne, ongoing 1919-1920
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613:The Societe Anonyme: Modernism for America,
607:Angelika Hoerle: the comet of cologne dada,
595:The Societe Anonyme: Modernism for America,
783:angelika hoerle: the comet of cologne dada
716:angelika hoerle: the comet of cologne dada
671:angelika hoerle: the comet of cologne dada
641:angelika hoerle: the comet of cologne dada
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658:. Cologne: Rheinland-Verlag. p. 297.
541:Exhibitions after Angelika Hoerle’s death
69:Learn how and when to remove this message
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601:Experiment Kalltalgemeinschaft 1919-1921
32:This article includes a list of general
830:. Berlin: Aviva Verlag. pp. 49–66.
810:
668:
585:, Taipei Fine Arts Museum, Taipei, 1988
571:L’Altra Meta Dell’Avanguardia 1910-1940
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798:The Kurt Schwitters Society Newsletter
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701:Luise Straus: Eine Frau blickt sich an
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728:
457:Comets and Shadows: a musical score,
443:Angelika's Promise: a monologue play
268:in Cologne in 1912. At the Deutsche
18:
796:Webster, Gwendolen. "Dada Aachen".
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13:
838:
761:"Max Ernst: Fiat modes pereat ars"
561:Cologne Kunstverein, Cologne, 1975
549:Duesseldorf and Amsterdam, 1958–59
38:it lacks sufficient corresponding
14:
902:
876:20th-century German women artists
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555:St. Anselm's, New Hampshire, 1975
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321:. In the September 1919 issue of
459:2009. Novelist Ute Bales played
384:Freie Arbeiter Union Deutschland
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492:Exhibitions during her lifetime
452:Painting 2009. Cologne, Germany
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781:Littlefield, Angelika (2009).
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714:Littlefield, Angelika (2009).
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639:Littlefield, Angelika (2009).
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436:Angelika (Drawing Woman 1920),
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565:Dada and Surrealism Reviewed,
390:of which Seiwert was a member
871:20th-century German painters
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388:Linksradikale Jugend Aachen,
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746:The World According to Dada
654:Herzogenrath, Wulf (1981).
603:, Simonskall, Germany, 2008
583:The World According to Dada
577:Angelika Hoerle 1899 - 1923
402:Die Sozialistische Republik
367:were prominently placed in
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811:Juergen, Schaefer (1993).
686:The Dada Period in Cologne
589:The Dada Period in Cologne
397:Hotelboy und Mann I and II
619:Die Dada La Dada She Dada
481:, a novel in German, 2016
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744:Foster, Stephen (1988).
208:Margaretha Angelika Fick
106:Margaretha Angelika Fick
669:Littlefield, Angelika.
484:Ennio Paola, composer,
323:Sozialistische Republik
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53:more precise citations.
826:Artinger, Kai (1999).
450:Heinrich und Angelika.
441:Angelika Littlefield,
349:Fiat modes, pereat ars
553:Yale Societe Anonyme,
547:Yale Societe Anonyme,
513:Halbmonatsaustellung,
266:Sonderbund Exhibition
239:Franz Wilhelm Seiwert
886:Artists from Cologne
729:Mues, Jenny (2018).
472:Bela Fawr’s Cabaret,
461:Comets & Shadows
386:) and its offshoot,
703:. pp. 164–165.
270:Werkbund Exhibition
243:Anton Raederscheidt
429:In popular culture
404:of December 1922.
528:Unter Eigner Jury
448:Gunther Limburg.
253:, through Willy.
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477:Ute Bales,
315:Jean Jaures
150:Nationality
51:introducing
855:Categories
813:Dada Koeln
699:Spies, W.
626:References
369:Schammade.
336:Bulletin D
310:Lebendige,
231:Willy Fick
112:1899-11-20
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501:Section D
420:Influence
327:Lebendige
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251:Max Ernst
141:Cologne,
365:Reiterin
168:Movement
162:Painting
361:Roehren
264:at the
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47:improve
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102:Born
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