{"id":43,"count":3,"description":"The ceramist Otto Lindig belongs to the most important studio ceramists of the 20th century and is one of the best known Bauh\u00e4usler in the field of ceramics.<\/strong> \r\n\r\nHe studied at the Bauhaus<\/a> and later became master of the Bauhaus pottery Dornburg, which he took over. Lindig first studied sculpture. It is assumed that he became familiar with ceramics at an early age when he took part in Henry van de Velde\u2019s modelling class from 1913 to 1915.<\/strong>\r\n\r\n

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\"Basically, pottery is always the same thing \u2013 and a very simple one. You take some earth \u2013 dirt, someone once said to me \u2013 and form a hollow vessel out of it.\u201d<\/em><\/span><\/p>\r\n\r\n

Otto Lindig [1]<\/span><\/span><\/p>\r\n\r\n

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Overview of the biographical data of Otto Lindig<\/h2>\r\n\r\n\r\n\t\r\n\t\t\r\n\t\t\t
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1895<\/span>
born in P\u00f6\u00dfneck, Germany<\/span><\/p>\r\n\r\n\t\t\t

1913-1915<\/span>
participation in the ceramics and modeling class of Henry van de Velde at the Gro\u00dfherzoglich S\u00e4chsische Kunst-Gewerbeschule in Weimar<\/span><\/p>\r\n\r\n\t\t\t

1915-1918<\/span>
sculptor studies at the Gro\u00dfherzoglich S\u00e4chsische Hochschule f\u00fcr Bildende Kunst in Weimar <\/span><\/p>\r\n\r\n\t\t\t

1919<\/span>
sculptor in the master atelier at the Staatlichen Bauhaus Weimar<\/span><\/a><\/span><\/p>\r\n\t\t\t<\/td>\r\n\t\t\t

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1920<\/span>
apprentice in the ceramic department of the Bauhaus, Dornburg<\/span><\/p>\r\n\r\n\t\t\t

1922<\/span>
apprenticeship certification exam; technical management of the Bauhaus ceramics studio; Theodor Bogler was responsible for the commercial management<\/span><\/p>\r\n\r\n\t\t\t

1930<\/span>
Lindig takes over the studio in Dornburg as tenant<\/span><\/p>\r\n\r\n\t\t\t

4. Juli 1966<\/span>
died in Wiesbaden, Germany<\/span><\/p>\r\n\r\n\t\t\t

Sources: see Fn. [2] and [3]<\/span><\/span><\/p>\r\n\t\t\t<\/td>\r\n\t\t<\/tr>\r\n\t<\/tbody>\r\n<\/table>\r\n\r\n

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Henry van de Velde\u2019s designs?<\/h2>\r\n\r\n

Otto Lindig\u2019s artistic education began from 1909-1911 at the drawing and modelling school in Lichte. An apprenticeship followed in Ilmenau with the sculptor Max Bechstein. [4] In 1913 Lindig joined Henry Van de Velde\u2019s modelling class at the Gro\u00dfherzoglich S\u00e4chsische Kunstgewerbeschule in Weimar. That Lindig learned there with Henry van de Velde, he once said himself. [5] Some even speculate that he had already produced ceramics during his time at the Gro\u00dfherzoglich S\u00e4chsische Kunstgewerbeschule. In the Angermuseum in Erfurt there are three vessels which were probably made by Lindig according to the designs of Henry van de Velde; however, there is no final confirmation of this yet. [6] Liebfriede Bernstiel<\/a>, Otto Lindig\u2019s collaborator and partner, could only remember that Lindig had already attempted glazes at the Kunstgewerbeschule. [7] From 1915-1918 Otto Lindig studied sculpture at the Gro\u00dfherzoglich S\u00e4chsische Hochschule f\u00fcr Bildende Kunst in Weimar.<\/span><\/p>\r\n\r\n

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Once a student at the Bauhaus<\/h2>\r\n\r\n

In 1919 Lindig moved into a master studio at the Staatliche Bauhaus Weimar as a freshly graduated sculptor. Just one year later he was an apprentice in the ceramic studio of the Bauhaus in Dornburg. There Otto Lindig learned the craft of ceramics from the Dornburg master ceramist Max Krehan. The sculptor Gerhard Marcks, the form master of the Bauhaus pottery, remembered this time even years later: \u201cThe apprenticeship at Krehan \u2013 the last Thuringian master \u2013 was hard and comprised splitting wood (what quantities for the old Kassel kiln!), digging clay and emptying the cloaca.\u201d [8]<\/span><\/p>\r\n\r\n

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Bauhaus pottery in Dornburg<\/h2>\r\n\r\n

After his journeyman\u2019s examination in 1922, Lindig remained active in the Bauhaus pottery Dornburg and took over its technical management in 1924; his brother-in-law Theodor Bogler was responsible for the commercial management. Bogler remembered the early days of Dornburg with enthusiasm: \u201cWe had a piece of land to cultivate and already felt like a new generation of settlers. Art, craftsmanship, nature, technology, music, air, light, water and soil pointed us to the natural wholeness of life\u201d. [9]<\/span><\/p>\r\n\r\n

When the Staatliche Bauhaus had to flee from Weimar to Dessau in 1925 due to a shift to the right in the thuringian government, the Dornburg pottery studio was incorporated into the successor institution of the Bauhaus, the Weimarer Hochschule f\u00fcr Handwerk und Baukunst, as a training studio. After his master craftsman\u2019s examination in 1926, Lindig took over the management of the pottery; master craftsman Krehan died very young in 1925. <\/span><\/p>\r\n\r\n

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\"The<\/span><\/span><\/p>\r\n\r\n

The Bauhaus in Dessau based on a design by Walter Gropius<\/strong><\/span><\/span><\/p>\r\n\r\n

Photo: Robert Z\u00fcblin<\/span><\/span><\/p>\r\n\r\n

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In 1930 Lindig finally took over the Dornburg studio as a tenant. From 1930, the first Nazi government in Germany reigned in Thuringia. The new head of the Weimarer Hochschule f\u00fcr Handwerk und Baukunst, the fascist Paul Schultze-Naumburg, was an opponent of humanistic art education. He had little interest in the former Bauhaus pottery Dornburg, which was also unprofitable. [10]<\/span><\/p>\r\n\r\n

In order to increase sales of Lindig\u2019s ceramics, the association \u201cFriends of Dornburg Ceramics\u201d was founded in 1931\/ 1932 by the museum directors Johanna Stirnemann and Eberhard Schenk zu Schweinsberg. [11] Through a subscription offer, the members received annual gifts specially produced for the association. The membership fee was 10 Reichsmark. The number of members is unknown. [12] The following annual gifts are known [13]:<\/span><\/p>\r\n\r\n

1931\/ 32: Lid can<\/span><\/p>\r\n\r\n

1932\/ 33: Bowl with ring decoration<\/span><\/p>\r\n\r\n

1933\/ 34: Coffee pot<\/span><\/p>\r\n\r\n

1934\/ 35: Hight vase<\/span><\/p>\r\n\r\n

1935\/ 36: Bowl<\/span><\/p>\r\n\r\n

The signature of these pieces consisted of the studio stamp in a circle and the respective year. [14]<\/span><\/p>\r\n\r\n

The studio in Dornburg suffered from financial difficulties until well into the 1930s. Again and again Lindig had to ask for lease and rental deferrals. Some of the landlords had already written off Lindig: \u201cWe will probably never get the full lease amount (outstanding debts) from Lindig again. Collection is hardly successful.\u201d [15] Towards the end of the thirties the financial situation of the studio improved. But even now Lindig could not start to fly high. One reason for the low financial resources was that Lindig demanded extremely little money for his ceramics. [16]<\/span><\/p>\r\n\r\n

About the work process in the pottery: There were six foot turntables for the apprentices and journeymen. Master Lindig had his own room. The pupils also turned ceramics and took over the biscuit firing \u2013 also called raw firing. Here the clay pot is first fired without glaze. The glaze firing was carried out by Otto Lindig himself. [17] The same applied to the production of the glaze. [18]<\/span><\/p>\r\n\r\n

At the end of the thirties, the painter Otto Hofmann also worked in the Lindig workshop. The former Bauhaus student painted plates and jugs as well as tiles with folkloric incised d\u00e9cors. [19] The Nazis had early on incited Hofmann\u2019s works to be \u201cdegenerate\u201d (\u201centartet\u201d), which is why he could no longer be active as an independent artist until 1945. In Lindig\u2019s studio, however, he was able to continue working.<\/span><\/p>\r\n\r\n

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The joy of experimentation<\/h2>\r\n\r\n

Gerhard Marcks provides insights into Lindig\u2019s love of experimentation: \u201cWith the mastery of craftsmanship, the courage to experiment grew: wonderful monsters of jugs and pots emerged from Lindig\u2019s hand, but the fantastic was always tamed to an almost elegant form.\u201d [20]
\r\nHowever, these pieces would have been less suitable for sale, which is why Lindig concentrated on more moderate forms in everyday workshop life. However, this did not prevent him from reviving his penchant for experimenting with glazes now and then, which leaves Marcks full of praise: \u201cThe old pots were made with lead monoxide, salt, iron, copper and tin, to which engobe clay was added as colour: primitive secrets. Now, experiments were carried out there as well, to the delight of the eye and, if possible, without the technical pharmacist. Many pieces have come out of the oven, which can confidently be seen next to eastern ceramics.\u201d [21]<\/span><\/p>\r\n\r\n

The Lindig expert Hans-Peter Jakobson says of Lindig\u2019s glazes: \u201cA highlight for me are the multi-layer glazes which, since the 1930s mostly used on voluminous spherical or cylindrical floor vases, form an incredibly dense play of colours. The most delicate watercolour-like gradients of different grey alternate with zones of finely crystallised blue or mauve tones.\u201d [22]<\/span><\/p>\r\n\r\n

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\"Vase<\/span><\/p>\r\n\r\n

Vase from the studio Otto Lindig \u2013 around 1940<\/strong><\/span><\/span><\/p>\r\n\r\n

Photo: Robert Z\u00fcblin<\/span><\/span><\/p>\r\n\r\n

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Lindig was first and foremost a form giver<\/h2>\r\n\r\n

At the Bauhaus pottery in Dornburg, very simple moulds were specifically worked on in order to produce ceramics in mass production using casting processes. [23] Although the formal language of Lindig\u2019s vessels is reduced, it is still organic and untypical of the Bauhaus. It gives the impression that Lindig never separated himself from Art Nouveau, the style of his youth. Otto Lindig came from the world of sculpture. So it is not surprising that he saw in pottery above all a \u201csculptural affair\u201d. <\/span><\/p>\r\n\r\n

His whole vocation belonged to shaping forms. But it was not the only thing that inspired him about pottery. The glaze also fascinated him. He describes it as the \u201ccharming play of surfaces and colours, [\u2026]. The glaze, the skin, is often a petty, often insidious, heavy annoying affair \u2013 one experiences very dark hours there \u2013 but on the whole it\u2019s a game. A game with formulas, with materials \u2013 inconspicuous, mysterious, kitschy coloured, etc. If they are then ground together into dull porridges, they always contain the same tension of the potter on the result, which only becomes apparent when the assembled piece has been subjected to the embarrassing procedure of the high fire. The form is more serious, nothing essential changes about it when it has finally left the potter\u2019s wheel. The ever-recurring, ever-new tension in front of the furnace that is to be opened applies above all to the glaze failure\u201d. [24]<\/span><\/p>\r\n\r\n

The model catalogue of the Otto Lindig studio dating from 1931 provides interesting insights into the quality of the shard and glazes used: \u201cThe shard is highly fired, similar to stoneware and dense even without glaze; the glazes are matched to the shard and fired at a high temperature. This prevents the glaze or the body from cracking or bursting when the temperature changes.\u201d [25]<\/span><\/p>\r\n\r\n

Against the background of the triumph of industrial production and the decline of small studios, Lindig warned against underestimating the importance of studio work: \u201cCraftsmanship offers the opportunity for development, for the growth of creative abilities, for the shaping of personality. [\u2026] In the possibility of free play with form, in searching, discarding, finding \u2013 in freedom and originality lies the wealth of craftsmanship compared to factory work, which can only work rationally according to a precise timetable and on fixed tracks.\u201d [26]<\/span><\/p>\r\n\r\n

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Fresh start in Hamburg<\/h2>\r\n\r\n

After the Second World War, Lindig briefly resumed studio operations in Dornburg. Due to renewed material shortages he decided in 1947 to follow the call of Gerhard Marcks from Hamburg. Lindig initially received a teaching position at the Landeskunstschule Hamburg. He then headed the ceramics class there [27] and was responsible for ceramics education until 1960. Lindig completely gave up his workshop in Dornburg in 1949. [28]<\/span><\/p>\r\n\r\n

Liebfriede Bernstiel<\/a>, who had already worked in the Dornburg workshop from 1939 to 1946, was at Lindig\u2019s side again in Hamburg \u2013 also privately. In 1952, her daughter Christiane Bernstiel was born.<\/span><\/p>\r\n\r\n

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- Ad -<\/i><\/small><\/span><\/p>\r\n\r\n

\u00a0<\/p>\r\n\r\n\"eurobuch.de<\/a>\r\n\r\n\r\n

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Sources:<\/h2>\r\n

[1] Otto Lindig: \u00dcber meine Arbeiten..., in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, pp. 7 f.<\/p>\r\n\r\n

[2] Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, pp. 20, 265 f.<\/p>\r\n\r\n

[3] F\u00f6rderkreis Keramik-Museum B\u00fcrgel e.V., Tr\u00e4ger des Keramikmuseums B\u00fcrgel (ed.): Otto Lindig, Die Dornburger Zeit, Gera 2010, p. 46.<\/p>\r\n\r\n

[4] Jakobson, Hans-Peter: Hommage Otto Lindig, in: Wiss. Z. Hochsch. Archit. Bauwes. \u2013 A. \u2013 Weimar 36 (1990) 1-3, S. 141.<\/a><\/p>\r\n\r\n

[5] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 50.<\/p>\r\n\r\n

[6] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 46.<\/p>\r\n\r\n

[7] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 46.<\/p>\r\n\r\n

[8] Gerhard Marcks: Otto Lindig, in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, pp. 21 f.<\/p>\r\n\r\n

[9] Theodor Bogler, Ein M\u00f6nch erz\u00e4hlt, Honnef\/Rh. 1959, p. 60.<\/p>\r\n\r\n

[10] Jakobson, Hans-Peter: Hommage Otto Lindig, in: Wiss. Z. Hochsch. Archit. Bauwes. \u2013 A. \u2013 Weimar 36 (1990) 1-3, p. 143.<\/a><\/p>\r\n\r\n

[11] Jakobson, Hans-Peter: Hommage Otto Lindig, in: Wiss. Z. Hochsch. Archit. Bauwes. \u2013 A. \u2013 Weimar 36 (1990) 1-3, p. 143.<\/a><\/p>\r\n\r\n

[12] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 53.<\/p>\r\n\r\n

[13] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 53.<\/p>\r\n\r\n

[14] F\u00f6rderkreis Keramik-Museum B\u00fcrgel e.V., Tr\u00e4ger des Keramikmuseums B\u00fcrgel (ed.): Otto Lindig, Die Dornburger Zeit, Gera 2010, p. 17, 22.<\/p>\r\n\r\n

[15] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, pp. 51-53.<\/p>\r\n\r\n

[16] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 56.<\/p>\r\n\r\n

[17] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 53.<\/p>\r\n\r\n

[18] Erinnerungen Marieluise Fischers an ihre Lehrzeit bei Otto Lindig in Dornburg \u2013 Ein Interview, in: F\u00f6rderkreis Keramik-Museum B\u00fcrgel e.V., Tr\u00e4ger des Keramikmuseums B\u00fcrgel (ed.): Otto Lindig, Die Dornburger Zeit, Gera 2010, p. 38.<\/p>\r\n\r\n

[19] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 56.<\/p>\r\n\r\n

[20] Gerhard Marcks: Otto Lindig, in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, pp. 21 f.<\/p>\r\n\r\n

[21] Gerhard Marcks: Otto Lindig, in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, p. 21 f.<\/p>\r\n\r\n

[22] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 55.<\/p>\r\n\r\n

[23] Gerhard Marcks: Otto Lindig, in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, pp. 21 f.<\/p>\r\n\r\n

[24] Otto Lindig: \u00dcber meine Arbeiten..., in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, pp. 7 f.<\/p>\r\n\r\n

[25] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 52.<\/p>\r\n\r\n

[26] Otto Lindig: Keramikklasse, in: SIGILL Bl\u00e4tter f\u00fcr Buch und Kunst, Heft 1, Folge 6, Otto Rohse Presse, Hamburg 1977, p. 39.<\/p>\r\n\r\n

[27] Jakobson, Hans-Peter: Otto Lindig: \u201eIm Grunde ist das T\u00f6pfemachen ja immer die gleiche Sache...\u201c, in: Weber, Klaus (ed.): Keramik und Bauhaus, Berlin 1989, p. 56.<\/p>\r\n\r\n

[28] Jakobson, Hans-Peter: Hommage Otto Lindig, in: Wiss. Z. Hochsch. Archit. Bauwes. \u2013 A. \u2013 Weimar 36 (1990) 1-3, pp. 143 f.<\/a><\/p>\r\n\r\n

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