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Lot Essay
Friedrich Vordemberge-Gildewart studied in Hannover and worked from the beginning as an abstract artist. His first real abstract work dates from 1922. In the early 1920's Germany was a centre of the avant-garde. In 1929 together with Hans Ditzsche, Vordemberge-Gildewart formed the 'Gruppe K' and later on, on instigation of Kurt Schwitters he became member of the 'Abstraction Hannover', together with artists like Carl Buchmeister, Hans Nitzsche, Rudolf Jahns. Cesar Domela was a corresponding member in Berlin. In their thinking Nitzsche and Vordemberge-Gildewart were the most constructivist of the group.
Vordemberge-Gildewart was inspired by El Lissitzky, who stayed in Hannover for a short period, and who would confirm Vordemberge-Gildewart's ideas and creations. His meeting with Theo van Doesburg in 1922 was another important mark in his artistic career. Because of the interaction of ideas between Lissitzky and Van Doesburg, it is difficult to disentangle the influence of both artists on Vordemberge-Gildewart after 1926-1927.
Unlike Lissitzky, Van Doesburg made real demands on Vordemberge-Gildewart: he wanted him to advocate in his work and writings the idea of elementary, which Van Doesburg already represented. He tried to persuade Vordemberge-Gildewart to produce leaflets and a manifesto. He also involved Vordemberge-Gildewart in his debates in the magazine of the Stijl movement. Although very impressed by Van Doesburg ideas, he thought fundamentally different about many theories, such as the application of colours.
In 1925 Friedrich Vordemberge-Gildewart gave a lecture in which he
formulated his idea about 'The Absolute Art'. (See Antje von Graevenitz, in D. Helms, opcit. P.203-210.) Kandinsky's thesis as formulated in 'Uber das geistige in der Kunst' was not sufficient for him.
Contrary to Kandinsky's view, genuine absolute art does not have a content. Vordemberge-Gildewart stated that for absolute art so-called content and object are totally impossible. He even regarded colour and form, contrast and space as the only content and his conclusion in the end was that 'form alone is dominant, it is not dummy and it has no longer any contact with natural phenomena'. A work of art only refers to itself.
Theo van Doesburg's idea about concrete art that he formulated in his manifesto in 1930 seems similar with Vordemberge-Gildewart idea about the absolute. Although very good friends Vordemberge-Gildewart rejected Van Doesburg's ideas completely. In his article from 1944 "Abstract - Concrete - Absolute" he says about absolute art: 'This new form of art is the expression of pure and elementary relations, created and conditioned only by measure and by interrelation and tensions of tones: absolute colour construction-painting, in short, entirely created from within and subject to no external influence'. (Vordemberge-Gildewart, Schriften, D. Helms ed., St. Gallen 1976, p.30.)
In 1937 after his work was exhibited in the 'Degenerate Art' exhibition in Berlin Vordemberge-Gildewart left Germany for Switzerland. In 1938 Vordemberge-Gildewart moved to Amsterdam where he stayed until 1954. There Vordemberge-Gildewart designed displays for De Bijenkorf shops and gave lectures. Later he returned to Germany and became director of visual design at the Hochschule für Gestaltung in Ulm.
Vordemberge-Gildewart was inspired by El Lissitzky, who stayed in Hannover for a short period, and who would confirm Vordemberge-Gildewart's ideas and creations. His meeting with Theo van Doesburg in 1922 was another important mark in his artistic career. Because of the interaction of ideas between Lissitzky and Van Doesburg, it is difficult to disentangle the influence of both artists on Vordemberge-Gildewart after 1926-1927.
Unlike Lissitzky, Van Doesburg made real demands on Vordemberge-Gildewart: he wanted him to advocate in his work and writings the idea of elementary, which Van Doesburg already represented. He tried to persuade Vordemberge-Gildewart to produce leaflets and a manifesto. He also involved Vordemberge-Gildewart in his debates in the magazine of the Stijl movement. Although very impressed by Van Doesburg ideas, he thought fundamentally different about many theories, such as the application of colours.
In 1925 Friedrich Vordemberge-Gildewart gave a lecture in which he
formulated his idea about 'The Absolute Art'. (See Antje von Graevenitz, in D. Helms, opcit. P.203-210.) Kandinsky's thesis as formulated in 'Uber das geistige in der Kunst' was not sufficient for him.
Contrary to Kandinsky's view, genuine absolute art does not have a content. Vordemberge-Gildewart stated that for absolute art so-called content and object are totally impossible. He even regarded colour and form, contrast and space as the only content and his conclusion in the end was that 'form alone is dominant, it is not dummy and it has no longer any contact with natural phenomena'. A work of art only refers to itself.
Theo van Doesburg's idea about concrete art that he formulated in his manifesto in 1930 seems similar with Vordemberge-Gildewart idea about the absolute. Although very good friends Vordemberge-Gildewart rejected Van Doesburg's ideas completely. In his article from 1944 "Abstract - Concrete - Absolute" he says about absolute art: 'This new form of art is the expression of pure and elementary relations, created and conditioned only by measure and by interrelation and tensions of tones: absolute colour construction-painting, in short, entirely created from within and subject to no external influence'. (Vordemberge-Gildewart, Schriften, D. Helms ed., St. Gallen 1976, p.30.)
In 1937 after his work was exhibited in the 'Degenerate Art' exhibition in Berlin Vordemberge-Gildewart left Germany for Switzerland. In 1938 Vordemberge-Gildewart moved to Amsterdam where he stayed until 1954. There Vordemberge-Gildewart designed displays for De Bijenkorf shops and gave lectures. Later he returned to Germany and became director of visual design at the Hochschule für Gestaltung in Ulm.