227:. Maria May worked with Rasch for many years on designs for carpets, coverings and wallpapers. "May-Stoffe" was the name used to market a fabric produced using innovative—and industrially applicable—injection printing techniques, and characterised by strong colours and figurative patterns. Sources also cite purely geometric patterns, designs with global-urban motifs and others that struck a historical note. Above all, the flexibility of May's techniques clearly facilitated a rich diversity of designs.
348:, most of which, according to other lawyers, he should never have taken home in the first place), only surfaced after Maria May and Kempner himself were long dead. As reported it begs more questions than it answers, but it does appear to indicate that by 1945 May was highly regarded (and trusted) by Germany's Foreign Minister. The only other reported detail is Kempner's report of May's comment that "the gold was so badly packed, that when it was unloaded it was suddenly raining gold coins".
219:, along with stencil work on fabrics and leathers. May continued to teach at the Reimann School till 1931, and retained close ties to it in the years that followed. Beyond the school gates she became increasingly well known through her development work in the schools studios, notably following her introduction in 1926 of so-called "Maria May-Stoffe" and "Maria May-Tapetten" (
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of the period, May pursued her career in industrial design and sustained her links with industry. Sources are for the most part silent about the details of her career during this period, but in terms of her business involvement she appears to have prospered. However, she would have faced pressure
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organisation.) May served as president of the West German branch between 1951 and 1956. The defining objective was equal rights in the workplace for men and women: the vision included solidarity and mutual support between professional women. The organisation became an umbrella for a number of
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fabrics collection. During a decade in which the technology and design of display infrastructure evolved rapidly, May was engaged on the design of large format injection moulded back panels for shop windows, decorations and accessories for exhibitor stands used a trade exhibitions and trade fair
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to join one or other of the government-backed trade associations: in that context it is important to note that at least one source spells out that she never joined any of the
National Socialist organisations. Like many in Germany with long historical memories, she nevertheless welcomed the
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locally based equivalent groups: May used her time as president and her formidable marketing talents to push for a stronger and clearer national profile for it. Two of her initiatives in this connection were the 1952 "Woche der berufstätigen Frau" (
407:) and, in 1954, the first UNO seminar with expert delegates from both Germany and abroad. In both cases, the objective was to bring about social changes by encouraging acceptance in West Germany of the presence of working women in society.
587:
Hanna
Elisabeth Koch (16 January 2015). ""Schönheit hat heute einen neuen Sinn" –Zum westdeutschen Design der 1950er Jahre am Beispiel der Tapetenindustrie" (Document). Philosophische Fakultät der Albert-Ludwigs-Universität, Freiburg i.
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By 1930 May was engaging increasingly in long-term contracts with her industrial clients, which coincided with a withdrawal from regular teaching commitments. He prominent mosaic on the ballroom wall on board the
244:, widely viewed during the late 1920s as the fastest and best of the trans-Atlantic liners, against which competing designs would be benchmarked during the 1930s, triggered increasing interest in her work among
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Textildesignerin, Leiterin der
Meisterschule für Mode in Hamburg, Elbchaussee 352 (Wohnadresse), Meisterschule für Mode, heute: Hochschule für Angewandte Wissenschaften, Fakultät Design, Medien und Information
375:. For the Landeskunstschule, having regard to May's record in Berlin during the 1920s, the move was presented as an opportunity to form closer ties to industry. In 1955 she moved to take charge of
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with commercial flair. The scope of her output also embraced other forms of large-format wall art such as mosaics and posters. High-profile commissions included the large mosaic "Tiefsee" (
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from 1928, and her designs were also being produced in industrial quantities by the
Monachium factory established as part of a government-backed industrial regeneration scheme at
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in 1940: "The fashion of the past was Paris—the fashion of the future lies with
Greater Germany." In 1937 she took over as head of the "Manufacturing Department" at the
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Most sources are silent about Marias May's personal life. However, one of them mentions her marriage, to a man called
Bernatzik, which ended in divorce during the
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272:. By this time Rasch were just one of a number of industrial partners with which she had teamed up. In 1931 she accepted an appointment as artistic director with
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brought another abrupt change of direction for Maria May, who now returned to a full-time teaching post. The western two thirds of
Germany were now divided into
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Geld, Gemälde und Gold der NS-Größen sind seit
Jahrzehnten Stoffe für Mythen und Spekulationen. Immer wieder gibt es neue Spuren – nun auch in der Schweiz ..
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Wie wir wurden, was wir sind: Rueckblicke in die
Geschichte der Modeausbildung an der Fachhichschule Hamburg .... Persönlichkeiten an der Hochschule
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313:: the focus of her responsibilities here involved designing textiles collections for export. In 1939 she won a commission from the long-serving
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325:. That was followed by a succession of similar commissions for various German embassies abroad. According to the papers and diaries of
252:, with evident success. By this time May's fabrics had become well known across Germany, and had also brought welcome publicity for the
344:. The story (as remembered and recorded by one retired lawyer whose legacy included a vast hoard of documentary memorabilia about the
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383:. The city authorities promoted her to a full professorship. May remained at the "Meisterschule" till her retirement in 1965.
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she was able to introduce pioneering techniques in her courses in respect of fabric dying and printing, injection printing,
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Swantje
Kuhfuss-Wickenheiser: Die Reimann-Schule in Berlin und London 1902–1943. Ein jüdisches Unternehmen . Aachen 2009,
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had entrusted her with five million mark's worth of gold coins to transport on his behalf to
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Following her retirement, in 1966 Maria May returned to the city of her birth.
681:. Oxford International Publishers Ltd. (Berg Publishers, Oxford and New York).
626:. The Brooklyn Daily Eagle from Brooklyn, New York. 7 December 1930. p. 61
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exams with distinction, and took a teaching position at Berlin's prestigious
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624:"... Berlin Shown at Art Center Under Auspices of Art Alliance of America"
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among her ancestors. Her father had worked on the ships for a time.
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Robert M.W. Kempner: Das Dritte Reich im Kreuzverhoer; Muenchen 2005
568:. Hochschule fĂĽr Angewandte Wissenschaften Hamburg. 2008. p. 29
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Maria May was born (and just over sixty-eight years later died) in
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115:(24 September 1900 – 28 October 1968) was a German
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329:, a lawyer who was involved with the prosecuting team at the
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847:"Die Geschichte des BPW von 1950 -1960"
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769:"Die verschwundenen Schätze der Nazis"
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471:Lexikon der Textildesigner 1950 - 2000
386:On 21 May 1951 Maria May founded the
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171:. Her parents came originally from
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559:"Maria May - Eine Frau im Wandel"
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139:for the cabin interiors of the
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730:. hamburg.de GmbH & Co. KG
276:, with whom she developed the
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296:. Amid the rapid social and
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187:Between teaching and commerce
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98:University-level professor
648:. Cooper Hewitt Labs., NY
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231:Between art and industry
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294:the twelve Hitler years
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258:Vereinigte Werkstätten
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213:I. G. Farbenindustrie
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94:Interiors Designer
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137:Otto Arpke
121:"Deep sea"
35:1900-09-24
719:Rita Bake
367:, in the
113:Maria May
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803:Die Zeit
487:cite web
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238:SS
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