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his time, in
Baumeister’s case, it was tied to his fascination for the prehistoric and archaic paintings. Baumeister intensely explored artifacts of early paintings and integrated this pictorial experience into his own painting. He identified the symbols, signs, and figures of cave painting as components of a valid archaic pictorial language that he used in his works. These included his increasing number of paintings in "oil on sand on canvas" that, in their materials, also approached the cave painting that Baumeister so admired (beg. ca. 1933). He himself collected examples of prehistoric findings, small sculptures, and tools, and occupied himself with cliff drawings that had been discovered in Rhodesia. This experience was undoubtedly important for Baumeister’s artistic disposition since he, evidently inspired by this rich store of prehistoric works, ultimately used extraordinarily reduced organic shapes for his "ideograms" (beg. ca. 1937). In these works he used a unique world of signs, which he saw as symbols for the laws of nature, their evolution, and human existence.
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Various work groups emerged at this time, including the relief-like wall pictures, and paintings with sports theme (as a symbol for modernity). In his painting, the grappling with shapes and material of the painting as well as the relationship between reality and representation became visible. Parallel to this development, nonrepresentational painting began to gain a foothold in works that centered on geometric shapes and their relationships to one another in the picture (e.g.
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580:, whose work remained important to him throughout his life. These influences of impressionism and cubism that shaped Baumeister’s early paintings played an essential role in his work until the end of the 1920s. On the one hand, his representational painting was increasingly reduced (abstracting and geometric) as it gained form and lost depth. Parallel to the paintings of his friend
349:(Hölzel and his Circle) at the Art Association in Freiburg im Breisgau, which was subsequently shown at the Ludwig Schames Art Salon in Frankfurt am Main. In 1918, still prior to being discharged from military service, he threw an exhibition with his friend Oskar Schlemmer at the Galerie Schaller in Stuttgart. Baumeister and Schlemmer campaigned to bring
654:’s theory of plant morphology. Out of this study this "eidos pictures" (eidos: idea) emerged: paintings that, unlike Baumeister’s ideograms, are rich in their variety and coloration. Moreover, these forms are organic, but seem rather than being symbols or signs, are images of simple plantlike and animal life forms. The pictures bear titles such as
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high. But his artistic development did not stop there. On the one hand, he developed his painting further in a virtuosic manner and, what is more, combined the variety of his formation phases in many other pictures—in part into "overalls structures" that nonetheless still possessed a fundamental that was reminiscent of landscape imageries (
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persecution by the
National Socialists from 1933 to 1945, only a few succeeded in achieving such pioneering strides toward new contents and forms. Following World War II, he became a spokesman in the debate on Modernism. Regarded as an advocate of "abstract" painting, he was highly regarded by some, while strongly condemned by others.
710:, 1950). On the other hand, Baumeister also produced densely packed abstractions that, proceeding from a central form, characterized him as an outstanding "nonrepresentationalist." These paintings became quite possibly the most famous of his works, and were immediately associated by a broad public with Baumeister (e.g.
523:(The Unknown in Art), which was only published in 1947, even though he had completed the manuscript in 1943–44. In 1946 he received the position to teach a class in decorative paintings at the Stuttgart Academy of Arts and in 1947 resumed his exhibition activities. In 1949 he became the co-founder of the artist group
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As an indefatigable researcher and collector, Baumeister also owned examples of
African sculpture, in which he, as in the case of the prehistorical artifacts, saw universal images for life, development, and human existence. Correspondingly, their formal language entered Baumeister’s work in the early
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Towards the end of the 1920s, the shapes in
Baumeister’s pictures grew softer. His paintings moved away from being oriented by the elementary shapes of the circle, triangle, and square towards organic forms. Although this development could also be observed concurrently in the work of other artists of
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After his return from the First World War, Baumeister rigorously developed his work further. Although one still finds figurative elements in his paintings, the forms grew increasingly geometric and took on a dynamic of their own, and
Baumeister broke the traditional connection between form and color.
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Kermer, Wolfgang: Hommage Ă Baumeister: Klaus
Bendixen, Karl Bohrmann, Peter BrĂĽning, Bruno Diemer, Peter Grau, Klaus JĂĽrgen-Fischer, Emil Kiess, Eduard Micus, Herbert Schneider, Peter Schubert, Friedrich Seitz, Ludwig Wilding. Exh. cat. Stuttgart: Staatliche Akademie der Bildenden KĂĽnste Stuttgart,
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It is clear that while working in "domestic emigration" during the Nazi dictatorship, he had no influence on the vital artistic environment. After 1945 Baumeister played an important role in the development of German and
European art. Among the German painters who remained in the country despite the
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Today, Baumeister’s work still attracts a lot of attention, particularly in
Germany, France, Italy, and Spain. In contrast to the "French classics" of Modernism, or the important American artists of the second half of the twentieth century, Baumeister receives only a scant amount of attention in the
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In this way, Baumeister single-mindedly and successfully developed a very personal and impressive visual language that was and still is unique in the German art immediately after 1945. The national and international recognition that Willi
Baumeister received in the postwar period was correspondingly
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Epic, one of the oldest surviving literary works. Therefore, Baumeister used his personal pictorial and sign language in his illustration of the narrative (beg. 1943), which resulted in an astonishingly unified cycle, which with his pictorial language came strikingly close to depicting the literary
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Kermer, Wolfgang: Zur
Kunstlehre Baumeisters: ein Vorschlag Baumeisters zur Reform des künstlerischen Elementarunterrichts aus dem Jahre 1949. Die Studierenden Willi Baumeisters an der Staatlichen Akademie der bildenden Künste Stuttgart 1946–1955. Verzeichnis der ″Didaktischen Tafeln″. Exhib. cat.
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Until 1941, when a ban on his paintings and exhibitions was issued by the National Arts Chamber, Baumeister still had many opportunities to exhibit his works abroad in Europe. Despite the prohibition and the constant surveillance, he still worked at the Herberts varnish factory, as well as on his
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in 1889, Baumeister completed an apprenticeship as a decorative painter in his native city from 1905 to 1907, followed by military service (fall 1907–1908). During his apprenticeship, Baumeister also began art studies at the Stuttgart Art Academy (Königlich Württembergische Akademie) (1905–1906),
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in Frankfurt in 1933. He continued to paint despite political persecution and economic difficulties. His work and its development are correspondingly diverse, even for the period after 1941, when he banned from exhibiting. He was the employed by the Dr. Kurt Herberts & Co. varnish factory in
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Kermer, Wolfgang (ed.): Aus Willi Baumeisters Tagebüchern: Erinnerungen an Otto Meyer-Amden, Adolf Hölzel, Paul Klee, Karl Konrad Düssel und Oskar Schlemmer. Mit ergänzenden Schriften und Briefen von Willi Baumeister. Ostfildern-Ruit: Edition Cantz, 1996 (Beiträge zur Geschichte der Staatlichen
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Until his death in 1955, Baumeister stood at the peak of his artistic career, which was demonstrated by his participation in many national and international exhibitions such as the Venice Biennale in 1948, the SĂŁo Paulo Biennale (Brazil) in 1951 (where he received a prize for his painting
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and Wilhelm Biering continued his lessons. Thereafter Baumeister earned his living mainly from commercial art, he was still however able to travel to Switzerland, Italy, and France. In the same year, his daughter Felicitas was born. In 1936 he was introduced by the Wuppertaler architect
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at the Guggenheim Museum in New York in 1953. In 1955 Willi Baumeister retired (emeritus) from the Stuttgart Art Academy, although he still received a teaching contract for the following semester. On 31 August 1955, he died sitting with his brush in his hand in his atelier in Stuttgart.
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of 1920). Baumeister’s lively exchange with other German and foreign artists must also be seen as vitally important in the consequent development of his work. Indeed, as it was for many of his fellow artists, posing such questions was part of the agenda of the modern age (for example,
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Baumeister, Willi. Das Unbekannte in der Kunst. Stuttgart, 1947; 2d ed. Cologne (Köln), 1960; 3d ed. Cologne, 1974; 4th ed. Cologne, 1988. (English: The Unknown in Art. Translated by Joann M. Skrypzak and with an essay by Tobias Hoffmann. Willi Baumeister Stiftung, Stuttgart, 2013
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Wuppertal to research antique and modern painting techniques. This protected him politically and also gave him the opportunity to explore the fundamentals of painting. In this way he furthered his knowledge on prehistoric cave painting techniques. At the same time, he looked into
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Kermer, Wolfgang. Willi Baumeister und die Werkbund-Ausstellung "Die Wohnung" Stuttgart 1927. Stuttgart: Staatliche Akademie der Bildenden Künste Stuttgart, 2003 (Beiträge zur Geschichte der Staatlichen Akademie der Bildenden Künste Stuttgart / ed. Wolfgang Kermer; 11)
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wrote to him: "Out of all of us, you will be the one who will achieve the most." Also worth noticing is that the idiosyncratic German path into modernism, expressionism, barely resonates at all in Baumeister’s work, even though he had met, for instance,
368:(Alemannic: genuine, true), which he left in 1921. In 1919 he produced his first stage design, which was followed by seventeen others. In 1920 Baumeister completed his art studies, worked as an independent artist, and participated in exhibitions in
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543:, and many others who worked in the field of fine arts after the end of the war and the dictatorship in Germany to forge a new beginning and connection to international developments. In his participation in the
408:(Art Today). Alongside his artistic work, he was also active in the area of commercial art and designed advertisements for numerous companies, such as Bosch and DLW (Deutsche Linoleumwerke)
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Following his military service, Baumeister continued his studies at the art academy. Dismissed by his teacher Poetzelberger due to lack of talent, he switched into the composition class of
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Ponert, Dietmar J. Willi Baumeister - Werkverzeichnis der Zeichnungen, Gouachen und Collagen. Dietmar J. Ponert in collaboration with Felicitas Karg-Baumeister. Cologne : DuMont, 1988.*
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to the Stuttgart Academy, which was rejected by the Academy. Klee, for his part, would have been willing to come. In 1919 Baumeister became a member of the Berlin artist association
436:. There he taught from 1928 a class in commercial art, typography, and textile printing. That very year, his daughter was born. The following year he turned down a position at the
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337:. Prior to being drafted into the army in the summer of 1914 (until 1918), Baumeister travelled to Amsterdam, London, and Paris. During the war, Baumeister met the painter
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Baumeister took part in his first exhibition in 1910, showing figurative works inspired by impressionism. His chief interest was even at this time already in cubism and
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art. In 1943, when a bomb attack rendered Wuppertal as well as Baumeister’s house in Stuttgart uninhabitable, he moved with his family to Urach in the Swabian Alps.
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in 1918, immediately following Germany’s capitulation and the fall of the monarchy. It remained one of the most important alliances of German artists until 1933.
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Kermer, Wolfgang (ed.): Ăśber Baumeister: der KĂĽnstler und Lehrer im Urteil seiner SchĂĽler. Stuttgart: Staatliche Akademie der Bildenden KĂĽnste Stuttgart, 2006
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Willi Baumeister, Lithographien / Serigraphien: 55 Werke der Zeit 1919 bis 1964. Galerie Schlichtenmaier, cat. no. 109. Grafenau: Galerie Schlichtenmaier, 1991
714:, 1955). Even so, Baumeister did not limit himself to this late "trademark." Multiform and multicoloured pictures emerged as well in the year of his death.
484:, the owner of a varnish factory in Wuppertal. He began working for the company in 1937, joining other artists ostracized by the National Socialist regime:
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Kunst. Und Design. Bemerkungen von Peter von Kornatzki aus Anlaß einer aufregenden Dokumentation ″Willi Baumeister: Typographie und Reklamegestaltung″
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SchĂĽrle, Wolfgang, and Nicholas J. Conard, eds. Zwei Weltalter. Eiszeitkunst und die Bildwelt Willi Baumeisters. Ostfildern-Ruit: Hatje Cantz, 2005.
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1989 Willi Baumeister: Typographie und Reklamegestaltung, State Academy of Fine Arts Stuttgart (and in 1990 Deutscher Werkbund, Frankfurt am Main)
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889:: Einige Aspekte der Kunstlehre Willi Baumeisters. In: 175 Jahre Friedrich-Eugens-Gymnasium Stuttgart. Stuttgart: Belser, 1971, p. 126-152
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and linguistic effects(impression) of the epic. He also produced illustrations to texts from the Bible—Saul, Esther, Salome—as well as to
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Spielmann, Heinz, and Felicitas Baumeister. Willi Baumeister: Werkkatalog der Druckgraphik. Ostfildern-Ruit: Hatje Cantz, 2005.
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Kermer, Wolfgang: Der schöpferische Winkel: Willi Baumeisters pädagogische Tätigkeit. Ostfildern-Ruit: Edition Cantz, 1992 (
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1944–1948). Both the titles and formal language reveal Baumeister’s preoccupation with other old (Latin American) cultures (
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On 31 March 1933, following the National Socialist rise to power, Baumeister was dismissed from his professorship at the
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Beye, Peter, and Felicitas Baumeister. Willi Baumeister: Werkkatalog der Gemälde. Ostfildern-Ruit: Hatje Cantz, 2002.
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in 1922. During these years, Baumeister developed professional relationships with artists such as Paul Klee, LĂ©ger,
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In Stuttgart in 1919, Baumeister took up the initiative with Schlemmer and other artists to found the artist group
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Baumeister, Schlemmer und die Ăśecht-Gruppe: Stuttgarter Avantgarde 1919. Exh. cat. Stuttgart: Hugo Matthaes, 1989.
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Kermer, Wolfgang: Willi Baumeister - Typographie und Reklamegestaltung. Exh. cat. Stuttgart: Edition Cantz, 1989
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An important collection of Baumeister’s works is preserved in the Willi Baumeister Archive, which is part of the
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recalled Baumeister's work as a typographer and advertising designer for the first time with an exhibition and a
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329:(New Art Salon) in Stuttgart. In the same year, Adolf Hölzel arranged a commission for wall paintings at the
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1043:"In my eyes, the name Baumeister takes an extremely important place among those of modern German artists." (
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Willi Baumeister: Figuren und Zeichen. Exh. cat. Hamburg, MĂĽnster, Wuppertal. Stuttgart: Hatje Cantz, 2005.
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in New York, followed by a solo exhibition in Paris the following year, where he also participated in the
452:(Circle and Square) in 1930. In the same year, he received the WĂĽrttemberg State Prize for the painting
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2004 Willi Baumeister – Karl Hofer: Begegnung der Bilder, Museum der bildenden Künste, Leipzig, Germany
674:, 1942), and with time, became increasingly colorful and in part very complex in their formal design (
404:(First General German Art Exhibition) in Moscow and, in 1925, he participated in the Paris exhibition
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1910 WĂĽrttembergischer Kunstverein (as guest of an exhibition of French painters), Stuttgart, Germany
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Haftmann, Werner. "Gilgamesch - EinfĂĽhrung." In: Willi Baumeister, Gilgamesch, 5-15. Cologne , 1976.
584:, Baumeister’s independent exploration of form and color emerged. Already around 1919, his teacher
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Willi Baumeister: Figuren und Zeichen. Exh. cat. Hamburg, MĂĽnster, Wuppertal: Hatje Cantz, 2005.
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Another example of his search for the “foundations of art” is Baumeister’s transposition of the
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Baumeister’s artistic development was not interrupted when he lost his professorship at the
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In 1927 Baumeister accepted a teaching post at the Frankfurt School of Applied Arts, later
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527:(The Group of Nonrepresentational Artists), which threw its first exhibition called
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1057:"Willi Baumeister's art belongs to the healthy, natural, appealing appearances." (
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380:. His popularity and recognition abroad became evident in a joint exhibition with
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official Willi Baumeister Website of the Baumeister Archive and Family, Stuttgart
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2005 Westfälisches Landesmuseum für Kunst- und Kulturgeschichte, Münster, Germany
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2005 Die Frankfurter Jahre 1928–1933, Museum Giersch, Frankfurt am Main, Germany
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1975 Willi Baumeister: Lithographien und Radierungen, gedruckt von Erich Mönch,
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300:. In 1906 he resumed his apprenticeship and, in 1907, completed the trade test.
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Beiträge zur Geschichte der Staatlichen Akademie der Bildenden Künste Stuttgart
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Westerdahl, Eduardo. Willi Baumeister. Tenerife: Ediciones Gaceta de Arte, 1934
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In 1945, after the end of the Second World War, Baumeister completed his book
504:. That year five of his works were shown in the National Socialist exhibition
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1951 Deutscher KĂĽnstlerbund, Hochschule fĂĽr Bildende KĂĽnste, Berlin, Germany
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Im Rampenlicht: Baumeister als BĂĽhnenbildner. Exh. cat. Munich and Berlin:
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1979 Willi Baumeister: 1945–1955, Württembergischer Kunstverein, Stuttgart
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Grohmann, Will. Willi Baumeister: Leben und Werk. 1963. Cologne : DuMont.
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Grohmann, Will. Willi Baumeister: Leben und Werk. Cologne , 1963. 1988
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1999 Willi Baumeister et la France, Musée d’Unterlinden, Colmar, France
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333:(German Werkbund Exhibition) in Cologne for Baumeister, Schlemmer, and
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551:(The Human Image of Our Time), Baumeister defended modern art against
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Objects as History in Twentieth-Century German Art: Beckmann to Beuys
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480:, with whom he work during the 1924 Exhibition in Stuttgart, to Dr.
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Bruns, Jörg Heiko Willi Baumeister. Dresden: Verlag der Kunst, 1991.
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Akademie der Bildenden KĂĽnste Stuttgart / ed. Wolfgang Kermer; 8)
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425:(Great Berlin Art Exhibition) (with his own room), where he met
415:(1898–1978) and was offered the opportunity to take part in the
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1979 Hommage Ă Baumeister, State Academy of Fine Arts Stuttgart
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earlier on, and was certainly acquainted with the works of the
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On the occasion of Willi Baumeister's 100th birthday in 1989,
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in Vienna in 1915. In 1916 he participated in the exhibition
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1940s—highly abstracted, at first chromatically restrained (
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555:'s thesis of a "loss of the center" ("Verlust der Mitte").
547:(First Darmstadt Dialogue) in July 1950, at the exhibition
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Boehm, Gottfried. Willi Baumeister. Stuttgart: Hatje, 1995
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Anglo-Saxon world. The quality of his work is undisputed.
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2004 Städtische Galerie im Lenbachhaus, Munich, Germany
448:) since 1927, Baumeister joined the artist association
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Academic staff of State Academy of Fine Arts Stuttgart
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1954 WĂĽrttembergischer Kunstverein, Stuttgart, Germany
738:– an ″exciting documentation″ for the Design Magazine
325:. In 1914 Baumeister had his first solo exhibition at
259:(22 January 1889 – 31 August 1955) was a German
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1170:) - includes numerous illustrations and photographs
1064:"You are going to have a future, with certainty." (
296:’s drawing class, and took additional lessons from
271:. His work was part of the art competitions at the
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317:(First German Autumn Salon) in the Berlin gallery
1026:. Berkeley: University of California Press, 2010.
400:. In 1924 several of his works were shown at the
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1050:"He was the most European of German painters." (
444:(Circle of New Commercial Designers) (chairman:
1204:Works at the Fine Arts Museums of San Francisco
831:2000 Musée d’Art Moderne, Saint Etienne, France
807:1965 Wallraf-Richartz-Museum, Cologne, Germany
761:1927 Galerie d’Art Contemporain, Paris, France
856:2006 Von der Heydt-Museum, Wuppertal, Germany
834:2003 Museo Thyssen Bornemisza, Madrid, Spain
1289:State Academy of Fine Arts Stuttgart alumni
1279:Art competitors at the 1932 Summer Olympics
1274:Art competitors at the 1928 Summer Olympics
767:1931 Kunstverein Frankfurt am Main, Germany
357:(November Group). The group was founded by
55:Learn how and when to remove these messages
402:Erste Allgemeine Deutsche Kunstausstellung
904:, Cantz, Stuttgart 1979, pp 129–134, 147.
776:1949 Galerie Jeanne Bucher, Paris, France
773:1939 Galerie Jeanne Bucher, Paris, France
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321:. There he met the expressionist painter
232:Learn how and when to remove this message
214:Learn how and when to remove this message
152:Learn how and when to remove this message
864:Literature by and about Willi Baumeister
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177:This article includes a list of general
902:WĂĽrttembergischer Kunstverein Stuttgart
411:In 1926 Baumeister married the painter
1244:German typographers and type designers
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417:International Exhibition of Modern Art
789:1953 Guggenheim Museum, New York, USA
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1254:German Army personnel of World War I
822:1989 Nationalgalerie Berlin, Germany
812:State Academy of Fine Arts Stuttgart
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90:adding citations to reliable sources
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859:2007 Kunstmuseum Stuttgart, Germany
804:1964 documenta III, Kassel, Germany
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801:1959 documenta II, Kassel, Germany
770:1935 Galeria Milione, Milan, Italy
597:(Bridge) artists and those of the
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1038:Quotations about Willi Baumeister
798:1955 Cercle Volnay, Paris, France
795:1955 documenta 1, Kassel, Germany
36:This article has multiple issues.
1224:20th-century German male artists
781:Central Collecting Point, Munich
549:Das Menschenbild in unserer Zeit
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422:GroĂźe Berliner Kunstausstellung
77:needs additional citations for
44:or discuss these issues on the
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900:Willi Baumeister: 1945–1955,
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331:Deutsche Werkbund-Ausstellung
1219:20th-century German painters
314:Erster Deutscher Herbstsalon
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764:1930 Venice Biennale, Italy
545:Erstes Darmstädter Gespräch
521:Das Unbekannte in der Kunst
440:in Dessau. A member of the
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940:/ ed. Wolfgang Kermer; 7)
471:. His colleague Professor
1234:German abstract painters
1194:Baumeister and Stuttgart
565:Younger European Artists
500:, and the art historian
442:ring neue werbegestalter
1239:German scenic designers
1079:List of German painters
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198:more precise citations.
1259:Artists from Stuttgart
753:Exhibitions (selected)
384:in the Berlin gallery
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1010:Deutscher Kunstverlag
747:Kunstmuseum Stuttgart
347:Hölzel und sein Kreis
298:Josef Kerschensteiner
267:, art professor, and
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1249:German art educators
1229:German male painters
1174:Stuttgart Art museum
1068:to Baumeister, 1931)
845:Bucerius Kunst Forum
664:Primordial Vegetable
458:Abstraction-Création
294:Robert Poetzelberger
277:1932 Summer Olympics
273:1928 Summer Olympics
86:improve this article
696:William Shakespeare
406:L’Art d’aujourd’hui
327:Der Neue Kunstsalon
1112:"Willi Baumeister"
1022:Chametzky, Peter.
847:, Hamburg, Germany
736:Catalogue raisonné
718:Critical reception
341:and the architect
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101:"Willi Baumeister"
1059:Wassily Kandinsky
1032:978-0-520-26042-9
1018:978-3-422-06775-2
879:978-3-8442-5100-5
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537:Ernst Wilhelm Nay
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1264:1889 births
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700:The Tempest
656:Rock Garden
494:Georg Muche
478:Heinz Rasch
454:Line Figure
269:typographer
250:Emil Stumpp
196:introducing
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1098:References
591:Franz Marc
343:Adolf Loos
323:Franz Marc
179:references
112:newspapers
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691:Gilgamesh
686:, 1948).
636:Paul Klee
386:Der Sturm
351:Paul Klee
319:Der Sturm
292:attended
289:Stuttgart
47:talk page
1073:See also
1012:, 2007,
287:Born in
275:and the
1164:Italian
1160:Spanish
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1085:Sources
1061:, 1935)
1054:, 1959)
1047:, 1949)
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