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Heinrich Campendonk

* 1889, Krefeld 1957, Amsterdam

Heinrich  Campendonk
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* 1889, Krefeld, 1957, Amsterdam

Heinrich  Campendonk
Heinrich Campendonk initially began an apprenticeship in textiles. He gave this up in 1905 to pursue an artistic education, studying for a number of years at the school of Modern Applied Arts in Krefeld. In 1911 he moved to Sindelsdorf, in Bavaria. In this period he found the central theme of his work: the representation of the harmony between man and beast, of creation, and the eternal cycle of life and death. Wassily Kandinsky and Franz Marc facilitated Campendonk's link to the artist group 'Blauen Reiter' (Blue Rider). He exhibited with the group in 1911 and 1912 as their youngest member. Two years later he showed at the 'Erster Deutschen Herbstsalon' (First German Autumn Salon). Following military service, Campendonk moved to Seeshaupt on Lake Starnberg where he served as a member of the Workers’ Council for Art from 1919-1921. His work became characterized by soft flowing forms, large calm areas of intensive luminosity, and a lyrical, often fairytale-like atmosphere. After 1923 Campendonk moved to the Rhineland region of Germany, where he taught at the School for Applied Arts in Essen. In 1926 he was awarded a Professorship at the Art Academy in Düsseldorf. With Hitler's coming to power he was dismissed from the Academy in 1933, emigrating the following year to Belgium. He was to learn of the defamation and seizure of his paintings, categorized as 'degenerate art', while in exile in Amsterdam. In 1935 he took up a Professorship at the 'Rijksakademie van beeldende kunsten'. After the war, Heinrich Campendonk remained in Amsterdam, living there until his death in 1957.

(We are sorry, currently only the German version is available)

Krefeld, NS-Gedenkstätte Villa Merländer: Wandgemälde „Katzen“ und „Harlekin“, 1925

Stadtmuseum Penzberg, Nachlass Heinrich Campendonk

Glasfenster:
Hamburg, Blankenese Pfarrkirche Maria Grün, 1929/30
Penzberg, Christkönigskirche, zwei „Passionsfenster“, 1937
Paris, Weltausstellung, niederländischer Pavillon, „Jesaja“-Fenster, 1937 (Auszeichnung Grand Prix)
Penzberg, Neufassung des „Jesaja“-Fensters, 1954
Köln, Dom, 1954
Essen, Münster, „Michaelsfenster“
Köln-Kalk, Jesus-Christus-Kirche
Vochem (Brühl) Pfarrkirche St. Matthäus
Düsseldorf, St. Paulus
Bonn, Münsterkirche, Glasfensterzyklus in der Krypta, 1930
Neuss, Clemens-Sels-Museum
Linnich, Deutsches Glasmalerei-Museum
Niederlande, Glasfenster in öffentlichen Gebäuden, Banken und Kirchen

(We are sorry, currently only the German version is available)

Mathias T. Engels: Heinrich Campendonk. Recklinghausen, 1958. (Monographien zur rheinisch-westfälischen Kunst der Gegenwart ; Bd. 8) Volker Rattemeyer (Hrsg.): Das Geistige in der Kunst. Vom Blauen Reiter zum Abstrakten Expressionismus. Museum Wiesbaden, Wiesbaden 2010 Staatliche Museen zu Berlin: Expressionisten. Die Avantgarde in Deutschland 1905–1920, Henschelverlag Kunst und Gesellschaft, Berlin 1986 Deutscher Wirtschaftsverlag, AG (Hg.): Reichshandbuch der Deutschen Gesellschaft, Band 1, Berlin, 1931