Erich Fraaß, Baltic Sea I At Warnemünde, 1958-65, Oil / Hf. The description of this item has been automatically translated. Baltic Sea I near Warnemünde. Where art begins, man begins. In the Dresden bombing nights of 1945, by far the largest part of what had happened since the end of World War I Oil paintings, colored pencil works, pastels and watercolors created during World War II by the painter and graphic artist Erich Fraass, who was born in Glauchau in 1893, were destroyed.
His life's work comprised approx. Short biography of Erich Fraass. Erich Fraass was born on 14. Born April 1893 in the textile town of Glauchau, the son of a master weaver.
As a pattern weaver, his father achieved a certain degree of independence from the factory workers and was paid somewhat better as a supplier. You just made your living. Erich Fraass was able to experience early on the suffering caused by the decline of the woven goods industry in times of crisis. Restrictions were also noticeable in my own family. The children had to earn a living according to their means, even though the father worked at the loom from dawn to dusk.
Erich Fraass delivered newspapers and later worked as a pharmacy assistant. Early in the morning before school he often went out into the countryside to draw. From 1899 to 1907 he attended the elementary school in Glauchau.
Here some progressive teachers gave gifted but destitute children of weavers free lessons in languages, drawing and literature. Like his older brother Richard, he received additional language and drawing lessons. It speaks for the understanding in the Fraass family that the parents recognized the talent of the drawing and painting boy benevolently. Even if higher education could not be paid for and Erich Fraass, following his older brother who was just as talented, took up an apprenticeship as a lithographer, the desire to become a painter remained overwhelming. Erich Fraass received early support from the Glauchau pastor Zinßer.
At the age of 17 he went to Dresden to audition at the art academy. He had a letter of recommendation in his pocket from the Glauchau Commercial Council von Lossow, whose brother was rector of the Dresden School of Applied Arts and made it possible for him to get an introduction to Oskar Zwintscher at the academy. Zwintscher recommended attending the arts and crafts school in order to primarily acquire technical skills. He shared this previous education, which was common at the time, with later well-known artists such as Bernhardt Kretzschmar, Otto Dix, Wilhelm Rudolph, Otto Griebel and others.With the transfer to the Academy and Oskar Zwintscher's painting room, Erich Fraass began to search for his own artistic means of expression. All in all, he found good conditions at the academy for such a path search: precise drawing and seeing was taught in Richard Müller's drawing room. Carl Bantzer worked at the academy. Oskar Zwintscher not only gave his students a lot of freedom, but he also knew how to convey the value of the image and the potential for art to exaggerate life. Zwintscher suggested "using the colors purely and correctly, studying the forms thoroughly, respecting them and not subjecting them to individualistic arbitrariness". Initially, however, training and continuous artistic practice were interrupted by the outbreak of the First World War. Erich Fraass reported for the front and experienced the impact and senselessness of this war in Flanders. At the end of the war, Fraass said: "I became aware of the political context and the nonsensical fact of the war and forced me to make a decision". He was politically active in the Spartacus group. He became a member of the board of the artists' council of the academy, where he was able to continue his studies as a master student of Robert Sterl until 1922. Artistically, Sterl's focus on social issues, his view of the picture as an independent world and the high regard for the expressive value of color fundamentally shaped the master student. The 1920s brought a new diversity to Dresden art. Although life was not easy for most artists, study trips were made possible with the support of sponsors and state institutions. Erich Fraass traveled with some colleagues to the Bohemian Forest, to Spain, Tyrol, Upper Bavaria, Styria, to name a few.
In order to give young artists of the war generation the opportunity to work in public, Erich Fraass founded "Die Schaffenden" in 1921 together with Curt Großpietsch and Willy Illmer, among other things. Under the chairmanship of Erich Fraass, Bernhardt, Kretzschmar and Hermann Theodor Richter, the "Dresdner Secession 1932" developed in 1931 from the "Action" group, which was once again linked to the start after the end of the war. While the existing associations, the "German Artists' Association" addressed nationally-minded artists, and the "Artists' Association" was more non-binding, the secession started programmatically.On the one hand, it was about the orientation of art towards human action. Bernhardt Kretzschmar sees: "A real artist is always the best educator on people". On the other hand, it should be aimed at the general public. As Edmund Kesting put it, people should be led out of a "material world into a spiritual world". In 1934, the "Secession 1932" was banned by the National Socialists and some of the group's goals proved to be a foreshadowing of what was to come in Germany. Despite the loss of the platform and the de facto necessary step towards inner emigration, like-minded people tried to gather again.
This could only happen on a private and friendly level. The group included Karl Kröner, Paul Wilhelm, Erich Fraass, Fritz Winkler, Johannes Beutner, Otto Griebel and Hans Jüchser. Even after the end of the Second World War, Erich Fraass was one of the most active people from the outset, striving to establish a democratic artistic life in the destroyed city. On the 21st In May 1945 he reported to Dr. Friedrichs for the development work and organized this with the Association of Visual Artists.
He was on the board of the anti-fascist Confidence Council for Visual Artists. The hopeful new beginning was followed by disillusionment. In 1947 he was appointed to the Academy as a lecturer.
In 1953 he was appointed professor of painting. He headed the undergraduate course until his retirement in 1958. Although he could have corresponded thematically to the ideas of an art policy that became more and more doctrinaire from 1950 onwards, he could not support the ideologization and then remained in the role of a tolerated grand old man. With regard to privacy, it should be mentioned that Erich and Richard Fraass, as well as Otto Griebel, lived in rural Gostritz on the southern heights of Dresden from 1911. The wide landscape with a view of the Eastern Ore Mountains, the Saxons.Switzerland, the Wilisch and the Elbe valley with lovely valleys, fields and meadows had previously been rediscovered by the group "the Goppelner". Carl Bantzer, Oskar Zwintscher and Robert Sterl belonged to the people of Goppel, who also inspired their students for this idyll. After the war in 1918 and from 1919 Erich Fraass lived with his wife Grete and their daughter Maja b.
1921 until 1947 in Gostritz. It was there that most of his work was created, which was completed in his studio at Ammonstraße 9 near the main train station. In February 1945, the studio and the works there were completely destroyed in a bomb attack. He shared this fate with most of his colleagues of his generation.
Some work could be saved by outsourcing; more than 1,000 burned. In 1947 the family moved to Strehlen with their son Jobst, who was born in 1937, and then to the Altmarkt in the early 1950s due to old age. Since he was visiting his daughter's family in the windmill in Moritzburg almost every week during this period, a considerable number of sketches, drawings, watercolors and oil paintings were created in this landscape. He felt comfortable in the Moritzburg environment. According to his wish, his final resting place is in the Moritzburg Cemetery.
He died on the 9th. We ask for your attention. The article is subject to differential taxation. Please ask any questions beforehand and do not hesitate to write to us! All in all, he found good conditions at the academy for such a path search: precise drawing and seeing was taught in Richard.
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