239:. Marquardt was only employed for a year at Kiel, but in this short time produced a significant body of original work that is well documented and regarded as very fine examples of ceramics produced at the height of the art deco period. However, her ceramic work owes as much to her background in expressionist painting as it does to the more purely decorative language of art deco. She was joined in this enterprise by her partner and artistic collaborator, the highly talented
308:, probably restricted her development as an artist. As a lesbian, she was also unable (and unwilling – she had a low opinion of men in general, though she drew and painted men more often than women) to look for male support. However, the evidence of her work shows an artist of distinct character and originality. The best of her work stands up well when set beside that of the more illustrious exponents of German Expressionism.
287:. She very rarely dated her work. On works where a date appears it is very likely that they have been subsequently added to make them appear earlier than they in truth are. Though some pictures are signed, many are not. There are paintings in oil, but most of her known surviving work is on paper, using a variety of media, often mixing coloured crayons with water colour.
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243:(1895–1932). Never a person who found personal relations easy, Marquardt fell out with her employers and, with Kaiser, left Kiel on 31 March 1925. The two tried for a time to survive as independent artists, producing small ceramics, embroidery and illustrative and commercial art, but in 1927 Marquardt accepted a teaching post at a school in
181:) allowed her to develop the artistic idiom that she followed, broadly speaking, for the rest of her life in her painting and graphic work. The figure of the horse, a symbol of energy and the free spirit, a recurrent image in her work, may derive from her country upbringing but also owes much to Marc. She exhibited in the
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Konietzny (2013) contains an essay, with 8 illustrations, by
Laurence Marsh, "The Art of Hedwig Marquardt: A Personal Reflection" (text in English and German). This publication coincided with an exhibition of the work of Marquardt and Kaiser at the Frauenmuseum Wiesbaden, November 2013 – May 2014.
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style remained remarkably consistent. Most of the work known to survive probably post-dates the Second World War. Whether more of her earlier work will be discovered remains to be seen. Her most typical work favours strong outlines and sweeping diagonals, often with stern, unsmiling
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The paucity of German women artists from the earlier twentieth century who are today widely known is an indication of how difficult it was for women to succeed in a male-dominated art world. The few that did, for example
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Ceramic works by
Marquardt and Kaiser form the major element of an exhibition of Kieler Kunst-Keramik at the Ost-Holstein Museum, Eutin, February–April 2015, catalogue by Joachim and Angelika Konietzny.
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Biographical details from the catalogue introduction by
Christel Marsh, the niece of Hedwig Marquardt, for an exhibition of Marquardt's work, John Denham Gallery, London, June 1989.
304:, were often closely linked to successful male artists. Marquardt's need to turn to a teaching career to support herself, along with the repression of artistic freedom under the
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in 1906–09. Very few of her pictures before the 1920s survive. The earliest show the influence of contemporary German landscape painters, particularly those of the
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Manufaktur as a ceramic painter, decorating the work of others, particularly the popular figurines of birds by Emil
Pottner. In 1922 she met the sculptor and
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The painting no longer hangs in the church, but still survives, albeit in very poor condition. The painting is reproduced in
Christel Marsh's memoir
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Hedwig Frieda Käthe
Marquardt was the daughter of Johann Friedrich Marquardt and Hedwig Franziska Marquardt. Her father was the village doctor in
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247:, a position she held until her retirement in 1949. After the early death of Kaiser in 1932, Marquardt shared her life with the artist
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As for so many women artists, Marquardt found it hard to make a living from her art, particularly in the troubled period after the
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In 1924 she was invited by Philip Danner, who had himself left
Karlsruhe factory to lead a new company producing ceramic art in
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Their lives together are documented in the collection of their letters to Lotte Boltze in
Joachim and Angelika Konietzny,
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Apart from her ceramic work at Kiel, it is extremely difficult to date
Marquardt's work. This is because her principal
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However, there are also gentler, more naturalistic depictions, particularly of trees, that look back to
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hold ceramic pieces. Her work appears on the art market in Germany, England and the United States.
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Augusta Kaiser – die Gustl Kaiser der Kieler Kunst-Keramik – und ihr Leben mit Hedwig Marquardt
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in Berlin in 1911 and 1913 and the Magdeburg Kunstschau of 1912. In 1914 she painted a large
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Magdeburg and then, under Professor Engels, at an academy in
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A Little Gay History: Desire and Diversity across the World
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Examples of Marquardt’s work are in the collections of the
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Hedwig Marquardt and Augusta Kaiser: Ein Künstlerinnenpaar
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she saw here (in particular the work of artists such as
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from 1922 on and who was also working at the time as a
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271:Die Stadt, coloured crayon on black paper, 35x23cm
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279:of the nineteenth century, also powerful
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432:http://www.keramik-museum-berlin.de/
193:Ceramic work at Kieler Kunst-Keramik
382:See B. Manitz and H.-G.. Andresen,
228:painter at the Karlsruhe factory.
157:. By 1912 Marquardt was living in
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487:20th-century German women artists
189:for the village church at Biere.
117:Education and artistic influences
255:Identifying and dating her work
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472:German Expressionist painters
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462:20th-century German painters
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319:. The
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