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Hans Potthof (1911-2003) was one of the most important Swiss artists of the 20th century. In the 1930s and early 1940s his works were characterised by progressive compositions and an impulsive painting technique. During that period, the young artist distinguished himself as an innovative proponent of post-Expressionism, Surrealism and of the New Objectivity movement.
In his early years, alongside his paintings, Potthof also created photographic works. Although very little of his photographic oeuvre was made public during his lifetime, the works are of great artistic value and can be considered groundbreaking in the context of his time. In order to achieve the desired effect and convey the message intended, Potthof chose to use innovative
methods that went far beyond simply creating a documentary record. Hans Potthof's extensive photographic work and his early paintings are presented here for the first time.
List of contents
Vorwort
Prolog: Hans Emmenegger und das Neue Sehen
Bewegungsimpressionen, Vertikalperspektive, Reflexionen
Einleitung
1 Berufen zur Kunst
Militärstrasse 1, Luzern
Inmitten von Hochbautechnikern
An der Olympiade 1936 in Berlin
Grafik, Typografie, Werbung und ‹Konkrete Malerei›
Künstlerparadies Ascona und der Monte Verità
Am Nabel der Welt – Paris Weltausstellung 1937
Die Vereinigung «Freie Zuger Künstler»
Netzwerk und Solidarität der Kulturschaffenden ... «Zentrale» in Baar
Refugium im Brüschrain
2 Fotografische Arbeiten … Komponieren luminaristischer Werte
Dokumentation des Alltäglichen
Hans Finsler und das «Neue Sehen»
«Subjektive Photographie» à la Bauhaus
Experimentelle Fotografie
Der bildende Künstler als Fotograf
3 Schwarz | Weiss … von der Objektstudie zur Sachlichkeit
Skizze, Studie und Sachzeichnung
Expressiver Realismus und Neue Sachlichkeit
Typografie und Malerei
Monochrom – Fotografie
Grafische Drucke
4 Die frühen Arbeiten im globalen Kontext
5 Stellenwert des Frühwerks in Potthofs OEuvre
Katalog
Anhang
Anmerkungen
Bibliografie
Bildnachweis und Copyrights
Dank
INDEX
Foreword
Preface : Hans Emmenegger and the New Vision Movement
Impressions of Movement, Vertical Perspectives, Reflections
Introduction
1 A Vocation for Art
Militärstrasse 1, Lucerne
Surrounded by Architectural Technicians
Participating in the Olympic Games of 1936 in Berlin
Graphic Design, Typography, Advertising and ‘Concrete Art’
Ascona and Monte Verità – an Artists’ Paradise
At the Centre of the Universe – the 1937 Paris World Exposition
The Association of “Free Zug Artists”
Networking and Solidarity among Creative Artists … the “Zentrale” in Baar
A Refuge at Brüschrain
2 Photographic Works … Composing Luminist Values
Documenting the Everyday
Hans Finsler and the New Vision Movement
“Subjective Photography” in the Bauhaus Style
Experimental Photography
The Visual Artist as a Photographer
3 Black | White … from Object Study to Objectivity
Sketches, Studies and Object Drawings
Expressive Realism and New Objectivity
Typography and Painting
Monochrome – Photography
Graphic Prints
4 The Early Works in a Global Context
5 The Position of the Early Work within Potthof’s Oeuvre
Catalogue
Appendix
Notes
Bibliography
Picture credits and copyrights
Acknowledgments
About the author
studierte europäische und ostasiatische Kunstgeschichte. Er promovierte zum Thema Transformation, Sublimation und Individuation im modernen Porträt in der Schweizer Malerei um 1900. Zu seinen Forschungsschwerpunkten gehört die Aufarbeitung der Œuvres von Hans Potthof (1911–2003), Emil Dill (1861–1938) und
Hans Emmenegger (1866–1940).
Summary
Hans Potthof (1911–2003) was one of the most important Swiss artists of the 20th century. In the 1930s and early 1940s his works were characterised by progressive compositions and an impulsive painting technique. During that period, the young artist distinguished himself as an innovative proponent of post-Expressionism, Surrealism and of the New Objectivity movement.
In his early years, alongside his paintings, Potthof also created photographic works. Although very little of his photographic oeuvre was made public during his lifetime, the works are of great artistic value and can be considered groundbreaking in the context of his time. In order to achieve the desired effect and convey the message intended, Potthof chose to use innovative
methods that went far beyond simply creating a documentary record. Hans Potthof’s extensive photographic work and his early paintings are presented here for the first time.
