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compromise solution was reached. Each model in national costume was photographed (in some instances the names of the models are still known); then the costume was purchased; and finally, the painting was made from studying both the photograph and the actual costume. The results are works that combine ethnological accuracy with a talented artist's eye for character, place, detail, and emotion. However, whenever possible, Tilke painted his works directly from the models.
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Max Tilke's talent, his wide range of activity, and his exquisite workmanship secure for him a pre-eminent place among artists and ethnographers alike. Additionally, as the years pass, these works take on an added value. As examples of ethnic costume are less and less frequently seen, and as more and
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Max Tilke stands out in that he chose the complicated and unexplored path of being both a scientist and an artist. In his view, the study of historical costume was indispensable to the study of cultural history. It was Tilke's aim to show the unique importance and significance of individual ethnic
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Tilke's plan was to paint the costumes in the museum's collections as well as to undertake an ethnological expedition to paint subjects in situ. While this approach was perhaps more creative, practical realities rendered it inefficient. To overcome the many obstacles this method presented, a
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When Tilke returned to
Germany, he opened the first cabaret in Berlin on October 1, 1901, which was called "The Hungry Pegasus" ("Zum hungrigen Pegasus"). Tilke had become acquainted with it in Paris, and in Berlin he had the role of the
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Tilke, Max Karl. “Oriental
Costumes Their Designs and Colors.” Berlin: E. Wasmuth, 1922. Electronic version of English translation prepared by: Celestina Wroth and Jian Liu Reference Department, Indiana University Libraries, June, 1997.
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In 1897 Tilke married the seamstress Anna
Boelter in Berlin. The couple divorced in 1902. He remarried in 1906 to the Danish Christine Nielsen, and was divorced again in 1912. The marriages resulted in two children. In the
161:. Tilke was responsible for the illustrations. He was also interviewed by Hirschfeld about his life and cross-dressing for the book, and identified as Case 6 ("Herr F."). He is also believed to be photographed on Tafel XXIII in
132:(master of ceremonies). The cabaret was located in a small back room of the Italian restaurant "Dalbelli" at the Potsdamer BrĂĽcke. Among the (regular) guests and performers were Charles Horning, Ernst Griebel,
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In 1913, his friend Hanns Heinz Ewers helped Tilke to find a job at the "Deutsche BIOSCOP GmbH Filmgesellschaft", Neubabelsberg/Berlin. He was responsible for the costume design; for example for the movie
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to work at the
Caucasus Museum to paint the costumes in the museum's collections as well as to undertake an ethnological expedition to enlarge the collection. In 1912/1913 he worked there as a professor.
251:, Verlag Ernst Wassmuth, 1955, as translated into English as A Pictorial History of Costume and republished in 1973 by Hastings House). A copy of one of his books has been digitized and is online at the
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put an end to the project before it was completed, and Tilke returned to
Germany, taking some of his paintings with him. During the War, Tilke worked for the publishing union, Deutsche Verlag Union, in
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Returning to Berlin, he began to paint works of historical costumes, which gained him a reputation among the authorities and in high society. In 1911, at the
Lipperheide Costume Library of the
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Hirschfeld, Magnus/Tilke, Max: "Die
Transvestiten - eine Untersuchung ĂĽber den erotischen Verkleidungstrieb mit umfangreichem casuistischen und historischen Material" (2nd edition)
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Some years ago there was small exhibition on Lydia
Bagdasarianz, Tilke's assistant, at the Völkerkundemuseum Zürich (Ethnographic Museum of the University of Zürich), Switzerland.
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Hergemöller, Bernd-Ulrich: Mann für Mann. Biographisches
Lexikon zur Geschichte von Freundesliebe und mannmännlicher Sexualität im deutschen Sprachraum. Hamburg 1998, p. 692-93.
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more people forsake their national dress for westernized clothing and costume, these paintings stand as a record and a testament to a bygone, more colorful time.
144:("The Dolorosa") et al. with sketches, songs and programs. Half a year later, Tilke decided to return to painting full-time and the Hungry Pegasus disbanded.
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case interview, Tilke (as "Herr F") talked in detail about his life-long habit of cross-dressing and sexual experiences with both men and women.
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117:, Tilke had an exhibition of his first collection. The exhibition was so well received that it was purchased for the library with state money.
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Recently, there was an exhibition on Max Tilke's work (German
Painters in Georgia. 19th-20th Centuries, 19 May 2017 – 08 Oct. 2017) at the
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Die Transvestiten - eine Untersuchung ĂĽber den erotischen Verkleidungstrieb mit umfangreichem casuistischen und historischen Material
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At the Lipperheidische KostĂĽmbibliothek, Berlin, a large collection of pictures and drawings is available for research.
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Toward the end of his life, he lent his name to a collaboration with Wolfgang Bruhn. Bruhn, Wolfgang, and Tilke, Max,
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Thieme, Ulrich/Becker, Felix: "Allgemeines Lexikon der bildenden KĂĽnstler von der Antike bis zur Gegenwart."
218:(Oriental Costume: Their Designs and Colors), was published in 1922. Tilke died in Berlin of heart failure.
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as a copyist. This period had a great influence on the formation of Tilke's work. After Spain, he worked in
82:, as a son of the bookseller Carl August Tilke and his wife Louise Halisch. At the age of 17 he entered the
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Schnittmuster des Geschlechts : Transvestitismus und Transsexualität in der frühen Sexualwissenschaft
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Tilke, Max Karl. “National Costumes from East Europe, Africa and Asia.” New York, Hastings House, 1978.
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as an illustrator in 1900. At this point, he was already known for having knowledge on costumes.
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372:(in German) (Originalausg ed.). Giessen: Psychosozial-Verlag. pp. 70–2.
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Vollmer, Hans: "Allgemeines Lexikon der bildenden KĂĽnstler des XX. Jahrhunderts."
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Meanwhile, his growing reputation resulted in his coming to the attention of the
473:"Germans in Georgia - Art, Architecture, Science, 12 April 2017 - 30 April 2017"
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Self-portrait of Max Tilke at the opening of „The Hungry Pegasus“ (Berlin 1901)
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487:"German Painters in Georgia. 19th-20th Centuries, 19 May 2017 - 08 Oct. 2017"
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Jelavich, Peter: Berlin cabaret. Harvard 1996 (2nd Edition), p. 86-88.
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Tilke, Max Karl. “Costume Patterns and Designs.” New York, Rizzoli, 1990.
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Jelavich, Peter: Berlin cabaret. Harvard 1996 (2nd Edition), p. 86-88.
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Bemmann, Helga: Berliner Musenkinder-Memoiren. Berlin 1981, p. 19-28.
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in 1890. After graduating from the academy, he worked first in
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459:"Oriental Costumes Their Designs and Color, by Mak Tilke"
30:(6 February 1869, Breslau – 2 August 1942, Berlin) was a
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was so pleased with Tilke's work that he was invited to
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518:, Lipperheidische KostĂĽmbibliothek, Berlin, Germany
423:StA Charlottenburg I, Heiratsurkunde Nr. 265/1906
184:from which he received a small commission. The
434:"Herr F (Hirschfeld 6) · Lili-Elbe-Bibliothek"
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414:StA Berlin IVb, Heiratsurkunde Nr. 1160/1897
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86:in 1886 and, as a student, traveled to the
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216:Orientalische Kostume in Schnitt und Farbe
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614:People from the Province of Silesia
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136:, Georg David Schulz, Hans Hyan,
574:20th-century German male artists
559:19th-century German male artists
163:Der erotische Verkleidungstrieb.
619:People from the Weimar Republic
564:20th-century German historians
549:19th-century German historians
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440:(in German). 28 December 2020
569:20th-century German painters
554:19th-century German painters
253:Indiana University Libraries
43:historian of fashion design
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201:World War I and later life
115:Kunstgewerbemuseum Berlin
584:German costume designers
263:Georgian National Museum
84:Prussian Academy of Arts
579:German anthropologists
368:Herrn, Rainer (2005).
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604:Cultural historians
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151:published the book
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609:Fashion historians
74:Tilke was born in
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404:. imdb.com. 1914.
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39:ethnographer
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544:1942 deaths
539:1869 births
521:Max Tilke,
294:indiana.edu
207:World War I
47:illustrator
533:Categories
444:2022-07-28
320:References
249:KostĂĽmwerk
170:Kadra Sâfa
70:Early life
504:museum.ge
212:Stuttgart
516:ifskb.de
388:62276358
172:(1914).
51:Kabarett
304:Sources
271:Georgia
267:Tbilisi
190:Tbilisi
176:Tbilisi
57:of the
55:painter
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235:Legacy
121:Berlin
104:Madrid
96:Berlin
32:German
108:Paris
384:OCLC
374:ISBN
186:Tsar
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65:Life
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