Willy Jaeckel
Portrait of a Girl with a Red Scarf, c. 1926
Oil on canvas
Berlin, Bröhan-Museum
Willy Jaeckel (1888-1944)
The Lighthouse
Creator, c. 1941
Oil on canvas
100 x 100 cm
Ostdeutsche Sparkassenstiftung
Jaeckel worked a lot from models in the studio, but during the summer months on Hiddensee he liked to draw in the open air. Landscape pieces were produced rather rarely or were lost with the destruction of his works in Berlin in 1944, which also brought Jaeckel's death. Jaeckel's main work of landscape art from the Hiddensee estate, the group of works that survived the war in his summer house in Kloster, is "Leuchtturm/ Lighthouse". This exemplary work expresses a partisanship contrary to Willy Jaeckel's portraiture for areas of nature that he experienced as wild and unbound. The dramatic storm atmosphere captured in the picture with the uprooted plant formation in the foreground is at the same time also an expression of the artist's crisis-like attitude to life. More on this painting
Jaeckel's father was a public lands manager and he originally intended to become a forest ranger, but poor health forced him to change his plans. From 1906 to 1908, he studied at the art school in Breslau, then enrolled at the Dresden Academy of Fine Arts, under the direction of Otto Gußmann, an ornamental painter. In 1913, he moved to Berlin to work as a free-lance artist and became a member of the Berlin Secession in 1915. Four years later, he was elected a member of the Prussian Academy of Arts and became a teacher at the University of the Arts in 1925.
Scenes in coffee houses have been a preferred subject in painting and literature since Impressionism.
His first successful painting was "Kampf" (Battle, or Struggle), a large canvas featuring a bellowing, muscular, naked man. In 1928, he was awarded the "Georg-Schlicht-Preis" for the "most beautiful portrait of a German woman". His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.
Jaeckel, Willy, 1888–1944.
“Im Romanischen Café" (In the Romanesque Café), c. 1912
Oil on canvas
101 × 100 cm.
Berlin, Bröhan-Museum.
Jaeckel turns to the subject from a rather critical side. Bizarre figures, grotesquely dressed up, form a latently aggressive audience without any recognisable relationship to one another. The painting was created in 1913, when Jaeckel moved to Berlin, and is likely to have been provoked by his examination of the new living environment. In this early painting, his orientation towards the painting and compositional style of Expressionism becomes clear. More on this painting
Willy Jaeckel
A Woman's portrait, c. 1927
Oil on canvas
w60 x h70 cm
Lower Saxony State Museum Oldenburg
The social upheavals of the interwar period also included the emancipation of women and the development of a new, self-confident, sometimes androgynous image of women, which during the Weimar Republic became a popular theme in painting, graphics and photography.
Typical of the time, Willy Jaeckel's portrait of a woman shows the 'New Woman' - in fashionable clothes and a short haircut. In 1928 Jaeckel was also represented in the exhibition “The Modern Woman Portrait” at the Gurlitt Gallery in Berlin and won the lavish prize for “the best painted woman portrait of 1928”. The jury's justification stated that in Jaeckel's picture “a distinctive type of modern woman was most strongly expressed with all artistic means”. More on this painting
Willy Jaeckel
Bildnis der Frau des Künstlers/ Portrait of the Artist's Wife (Charlotte), c. 1923
Oil on canvas
Bröhan Museum
Together with his wife Charlotte, Jaeckel organized regular parties in their shared house. More than 100 guests usually appear at the popular celebrations. In 1924, one year after completing the painting, the couple separated. Charlotte first goes to Vienna to start a singing career. In 1940 she emigrated to the USA and lived in New York without financial security. She earns her living with astrology, a passion that she has been friends with throughout her life with her ex-husband, with whom she maintains a regular exchange. More on this painting
Jaeckel, Willy, 1888 Breslau - 1944 Berlin
Birth, c. 1913
Tempera and oil on canvas
60 x 78cm
Private collection
Jaeckel came closer to new topics through the calm and domesticity of his marriage. The resulting was the painting "Birth", in which Jaeckel dealt with the imminent birth of his first child. The picture shows the suffering of the woman and the passive, helpless situation of
the man. More on this painting
Willy Jaeckel
Bildnis einer Künstlerin/ Portrait of an artist (Ruth Albu or Dorothea Albu), c. 1929
Oil on canvas
Bröhan Museum
Ruth Albu was born on April 4, 1908. She was an actress, known for Teenagers' Republic (1928), Geschminkte Jugend (1929) and Hocuspocus (1930). She died on February 27, 2000.
ALBU, DOROTHEA DANCER, ACTRESS. Germany, Kingdom Prussia, Brandenburg Province - Berlin. In the production „Mata Hari, die rote Tänzerin“ directed by Friedrich Feher she played a dancer at the side of Magda Sonja, Wolfgang Zilzer, Fritz Kortner, Mathias Wieman, Alexander Murski and Georg Paeschke.
He was named an Associate Professor in 1933, but he was dismissed when the Nazis came to power. His students protested, and he was eventually reinstated. This victory was short-lived, however. Those who took classes with him were likely not to graduate and, in 1937, some of his works were officially classified as "degenerate". In response, he painted "Plowman in the Evening" (1939), meant to depict the Nazi concept of Blood and Soil. Many of his works survived the war only because the Nazi government removed them from Berlin.
He lost his studio to a bombing raid in 1943 and he was killed during another raid early the following year. One of his major works, a four-part fresco mural at the Bahlsen bakery in Hanover dating from 1917, was destroyed later in 1944. More on Willy Jaeckel
Willy Jaeckel
Sitzender weiblicher Akt/ Sitting female nude, c. 1928/1929
Color pastel
26.1 x 21 in
Private collection
Willy Jaeckel
Liegender Frauenakt auf rotbraun karierter Decke/ Reclining female nude on a red-brown checkered blanket, ca. 1930
Pastel on Canson vellum
69 x 78,5 cm
Private collection
Warmth and softness dominate the style and tonality of the drawing." The figure representation on the one hand the mastery of the innumerable, classical academic poses, on the other hand he also chooses again and again the informal natural posture of the model. The painter almost challenges the viewer to the increasing and decreasing lines of the monumental plasticity to follow the female body shape and dare to take a private look at the model. It works Jaeckel not about the position of the secret voyeur, but about experiencing the situation in its naturalness as a matter of course. Jaeckels conception of the figure demonstrates a modern image of women in both stylistic and sociological terms. More on this painting
Willy Jaeckel
Akt im Wald/ Nude in the forest, circa 1918
Oil on canvas
120 x 120 cm
Private collection
Willy Jaeckel
Weiblicher Rückenakt/ Female nude from the back, c. 1931
Pastel and black chalk on heavy artist's board
69.7 x 60 cm
Private collection
He lost his studio to a bombing raid in 1943 and he was killed during another raid early the following year. One of his major works, a four-part fresco mural at the Bahlsen bakery in Hanover dating from 1917, was destroyed later in 1944. More on Willy Jaeckel
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