428:/Duesseldorf Museum in 1960 and occasionally in the Aloys Faust Gallery. When his only living relative, his nephew Frank Eggert, moved to Whitby, Ontario, Fick began the first of six three-month visits; these took place between 1954 and 1967. Fick painted during his time in Whitby, applying the eyes of his European art experiences to the Canadian landscape Fick created a unique European-Canadian fusion. When he retired from the City of Cologne in 1956 Fick travelled extensively, during which time he regaled his Canadian family with illustrated letters. The letters demonstrate Fick's lifelong love of cartooning. By the mid-1960s Fick's emphysema slowed down art and travel. He managed to execute black marker sketches of scenes in Whitby and two days before his death he was installed by Professor Michel Sanouillet as an honorary member of the International Dada and Surrealism Association in recognition of his contributions to dada in Cologne. Willy Fick was buried in Whitby on October 5, 1967.
357:, and Fick's dada-time friends Seiwert, Räderscheidt and Hoerle, showed the mixture of Neue Sachlichkeit, glass painting and Progressive interests that blended at that time and in Fick's works as well. "Gruppe 32" had two exhibitions in Cologne and Düsseldorf before disbanding in 1933. In preparation for Fick's first solo show "Works by Willy Fick" at the City Art Museum, Düsseldorf, in March to April 1931, he had his works photographed by the Rheinisches Bildarchiv/Rhineland Picture Archive. The photo of "Morceau" shows Fick was also experimenting with sand mixed in his paints. Like Franz Wilhelm Seiwert, Fick was interested in the facture that distinguished art from photography.
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period from Nazi destruction. Thanks to the family of his nephew Frank Eggert (Dr. Frank-Michael Eggert, Angelika
Littlefield and spouses), the Fick-Eggert Collection at the AGO in Toronto acts as a permanent art historical resource. Additionally, supporting documentation for the Fick-Eggert Collection is available through the Rheinisches Archiv Kunstlernachlässe in Bonn, Germany.
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Deaths haunted Willy Fick during the inter-war period. His sister
Angelika died 1923, his mother in 1927, his brother Richard in 1932, his father in 1935 and his sister Maria in 1939. Deaths and the success of the Nazi party in 1933 dominated the negative iconography Fick developed. His dark works in
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Wilhelm Peter Hubert Fick was the third child of cabinet maker
Richard Fick of Massow, Pomerania, and Anna Kraft of Cologne, Germany. He was born in Cologne February 7, 1893. Willy's mother was the daughter of a highly placed Cologne railroad official, a loading master. While apprenticed as a cabinet
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When Willy Fick paid the back rent on his deceased sister
Angelika Hoerle's apartment on Bachemerstrasse in Lindenthal in 1923 he saved her works and those left behind by Max Ernst, Franz Wilhelm Seiwert and Heinrich Hoerle. When he hid nearly 300 items, he saved a time capsule of the dada time
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because he was a natural buffoon, Fick became the butt of sarcastic humour during the Dada time. He appeared in the
Bulletin D exhibition as an "Unknown Master from the Beginning of the 20th Century" and in the Brauhaus Winter exhibition as "a vulgar dilettante". In a taped interview with Prof.
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who were friends of the
Hoerles. However unlike those noted, Willy Fick had full-time employment. He worked for the City of Cologne Transportation Department between 1918 and 1923 during a time when cash-strapped Germany fomented with revolt. Since Willy squeezed his art time out from work and
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Fick continued to work for the City of
Cologne but ceased exhibiting. Thanks to the photos of the Rheinisches Bildarchiv / Rhineland Picture Archive, Fick's strongest works survive as black and white images. According to Fick's post-war claim for restitution, 40–45 oil paintings and over 70
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who had been a friend of Fick's sister
Angelika wrote, "Sometimes I saw pictures by him at Mrs. Ey's; they were small but very colourful. I still remember one of them clearly. It was a hot-house with steel blue and poisonous green flowers." In 1927, Richard Riemerschmidt, director of the
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When Willy Fick had his 1928–1931 works photographed by the
Rheinisches Bildarchiv / Rhineland Picture Archive, he left a record of works that show the blend of styles in Cologne during the Weimar period prior to and during Nazi persecution. These photographic records inspired
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In 1945 Fick started designing hospitals and public buildings for the High Rise
Division of the City of Cologne. In recognition for his success as an artist, he was given one day off per week to pursue his art. He did not actively pursue exhibition but he did show works at the
329:. Although it was a personally sad and politically oppressive time, Fick's career prospered. He was a member of the Werkbund bildender Künstler/Association of Progressive Artists, exhibited at the Kölnisher Kunstverein/Cologne Art Institute, Becker and Newmann Gallery and with
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in 1967 he explained his part in these exhibition/events that mocked the established art world. He also stated that his work traveled with the Bulletin D exhibition to the Graphic Cabinet Von Bergh and Co in Düsseldorf in 1920. Fick's first works under his own name appeared in
380:, Paris. Once the Nazis came into power Fick pulled back his art activities to escape notice as a former socialist and dada artist. He took the art work he'd salvaged from his sister Angelika Hoerle's apartment and hid it in the garden shed of his atelier in
253:/ Cologne School of Applied Arts, where he met artists Heinrich Hoerle and Anton Räderscheidt, who later along with him co-founded the art-political group, Stupid. Fascinated by art, music and architecture, Willy subscribed to the black-and-white periodical
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would not vote for war credits in 1914, but when it did, Willy Fick registered as a conscientious objector. He served in a non-combat position as a wagon driver from 1917 to 1918. He had time until 1917 to develop his art which started with anti-war
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represented his Weimar period works. Many works were destroyed by bombing in World War II but preserved in archival photographs in the Rheinisches Bildarchiv / Rhineland Picture Archive. Fick painted and cartooned until his death in Canada in 1967.
399:, in which a man whose gesture resembles a distorted Nazi salute is observed by empty human silhouettes and masks. On the table in front of him is a sheet of paper inscribed with the letters ABDH, a reference to the factory code of the
350:, a famous glass painter and muralist. Thorn-Prikker's most significant impact on Fick's art was his lifelong interest in transparency and his love of colour experiments that looked like stained glass.
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and Carl Oskar Jatho, both of whom had returned early from the front. From 1916 onwards Carl and Käthe Jatho ran an artist-centered anti-war group in their home where Willy met their friend
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watercolours and drawings were destroyed in the last years of the war, by the bombing of Cologne on October 31, 1944, and by the March 1945 looting of recently released foreign labourers.
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261:. Willy Fick's father was a staunch trade unionist, his young sister Angelika a budding socialist, and Willy dabbled with the anarchistic works of
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In 1932 the constellation of the short-lived "Gruppe 32" comprising glass painter Ludwig Egidius Ronig, Neue Sachlichkeit artist
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Littlefield, A. "The Dada Period in Cologne: Selections from the Fick-Eggert Collection", Toronto: Art Gallery of Ontario, 1988
265:. The Fick music evenings where Willy played piano or violin with his siblings, often turned into heated political discussions.
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Anti-war proponents such as Willy, his sister Angelika and his future brother-in-law Heinrich Hoerle felt confident the S.P.D.
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in 2008 showing that even persecution and war cannot destroy the messages Fick's works hold for future generations.
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which human simulacra float in a void and where life is played on or by a checkered board, were influenced by
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mocking the sheepishness of the masses. Willy's acquaintanceship circle enlarged during the war to include
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championed Fick so that he received a tuition-free scholarship thanks to Mayor of Cologne
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Fick's opposition to Fascism was expressed in his paintings of the 1930s. An example is
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Teuber, Dirk "Willy Fick: A Cologne Artist of the 20s", Cologne: Wienand Verlag, 1986
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movement, and in 1919 became a founding member of the artist circle called
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Angie Littlefield: Willy Fick, Holocaust Centre of Toronto
1016:"Cologne Dada--Selections from the Fick-Eggert Collection"
1030:"Künstler des Rheinischen Archivs für Künstlernachlässe"
853:"Willy Fick: The Metaphoric Language and Art of Dissent"
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Angelika Hoerle ` The Developing Artists 1912 to 1914
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maker, Willy took evening and weekend courses at the
49:. Unsourced material may be challenged and removed.
259:Sonderbund westdeutscher Kunstfreunde und Kunstler
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388:, Hoerle and Seiwert, had already been labelled
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195:(February 7, 1893 – October 3, 1967), called
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235:from 1928 until 1931. Duesseldorf art agent
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939:Erinnerungen an Heinz und Angelika Hoerle
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879:"The Art of Dissent Willy Fick 1893-1967"
109:Learn how and when to remove this message
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936:Brockmann, Gottfried (13 August 2013).
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231:at the Cologne School of Applied Arts /
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965:"The Dissenting Art of Willy Fick"
275:Social Democratic Party of Germany
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443:The Art of Dissent: Willy Fick
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556:Sometimes called Homo Sapiens
360:1931 was Fick's banner year.
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896:"DADA Companion - Who's Who"
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1018:. Art Gallery of Ontario.
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203:. He belonged to the
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988:. December 8, 2012.
424:in 1959–60, at the
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335:Gottfried Brockmann
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884:. UJA Federation.
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58:"Willy Fick"
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41:Please help
36:verification
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1076:1967 deaths
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866:(2): 39–41.
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816:References
753:Bacchanale
331:Johanna Ey
319:Surrealism
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