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In only a decade's time, artist and stage designer Egon Wilden, born in Düsseldorf in 1894, created a large oeuvre of stunning sensitivity and vigor that featured all of the hallmarks of 1920s late Expressionism. Although previously known to only a few admirers and experts, Wilden's work was recently given new exposure and subjected to reassessment after large parts of his extensive estate were incorporated into the collection of Kunstmuseum Ahlen, triggering there an exciting search for clues to fill in existing gaps. The direct encounter with his art, careful efforts by specialists to prepare an inventory of his works and compile a catalogue raisonné, and above all newly found letters written by Wilden to his wife, actress Hedwig Sparrer, in the years 1919 to 1930, now let us take a penetrating look into his life and times.
Egon Wilden was a sought-after and innovative stage designer in the 1920s. All the while exhibiting a modern approach to theater aesthetics, his stage designs evolved from flat Expressionist stylization to spatial-architectonic sets that portrayed real locations in abstract arrangements of colorful geometric forms. During the 1919/20 season, he was a member of the Düsseldorf Theater's ensemble, which under the direction of Louise Dumont and Gustav Lindemann became one of Germany's most modern playhouses. Wilden later was invited to create set designs in Herne, Gera, Hagen, Barmen-Elberfeld (Wuppertal), and Köln, contributing to a total of nearly 200 productions.
Our Exhibition also helps the public re-discover an artist whose creativity was particularly articulated through watercolors and pastels. Normally executed in small format, these works are characterized by luminous transparency, expressive color intensity, and subtle light distribution. Their themes focus on the human figure, landscapes, and religious motifs. As a second-generation Rhenish Expressionist – the artist studied at Düsseldorf's Art Academy under Heinrich Nauen and others – Wilden occasionally experimented with a constructive and abstract repertoire of images. Nevertheless, representational references and nature studies continued to be of decisive significance to Wilden throughout his short career.
Egon Wilden,
Composition with Rectangle and Parabola – and Pointed-Arch Forms, around 1923/24, water color, 16.5 x 11.5 cm, private collection
© Kinga Luchs |
In January 1931, in fulfillment of a long held wish to make a new start as an independent fine artist, Wilden took up quarters at a studio in Düsseldorf's Stockumer Künstlerhaus. But in the following summer his health took a dramatic downturn. On 7 September 1931, during a stay with friends in Ahlen to recuperate, Wilden died at the early age of 36.
Egon Wilden,
Portrait of Hedwig Sparrer with Geranium, undated,
oil on paperboard, 49 x 43 cm, private collection |
In a total of some 120 exhibits, the August Macke Haus is presenting the fine art of Egon Wilden as well as his set designs. In conjunction with a reading from Wilden's unpublished letters by actor Severin von Hoensbroech, the Exhibition will help make the world of Egon Wilden come alive once again.
Egon Wilden,
Water Mill, around 1930, water color, 40 x 34 cm, private collection
© Kinga Luchs |
Supporting Program:
Guided Tours by Curators
Sunday, 21 February 2010, 11:30 am
and Sunday, 18 April 2010, 11:30 am
"The main thing is that I find myself";
The Paintings of Egon Wilden
Dr. Martina Padberg, Curator
Sunday guided tour – free of charge
Readings in the Studio
Saturday, 20 March 2010, 7:00 pm
Egon Wilden – Letters 1919 – 1930
Severin von Hoensbroech, actor
Admission: 12 Euros; reduced 10 Euros
Incl. visit to Exhibition and glass of wine
Workshop Encounter
Monday, 29 March 2010, 8:00 pm
Backstage: Designing and Building Stage Sets
Conversation with Martin Kukulies, Stage Designer
Opera Bonn, Rehearsal Stage II, Boeselagerhof, 53111 Bonn
Admission free
Accompanying Literature:
"Egon Wilden – Leben und Werk 1894 – 1931," Hachmannedition 2009, 248 pages, 30 Euros
Photograph of Egon Wilden and Hedwig Sparrer |
Curator:
Dr. Martina Padberg |
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| and press text for the current exhibition – reproduction only with express permission of the August Macke Haus. |
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