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Year: 4th June 1920
Material: watercolor
Dimensions: 34 x 33 cm

A searching look objectively must have preceded this work. Fritz Griebel was 21 years old when he painted this portrait of a rooster foot. And the young art student must have been very proud of his achievement, for he signed the picture with a delicate handwriting in pencil "Fritz Griebel fourth June 1920 ". One can easily imagine how the young painter with a walk the plucked and poisonous buttercup as the study object, taking home.

Griebel began in 1917 with a degree in book arts and graphic arts at the School of Applied Arts in Nuremberg, which later became the Academy of Fine Arts. Since 1910, there was Rudolf Schiestl (1878-1931) Professor of Graphic Arts and held. Schiestl was one of the most influential artists in Nuremberg during the first half of the 20th Century. After a Bildschnitzereilehre with his father, he studied painting and graphics at the Munich Academy among others, Franz von Stuck (1863-1928). Through his father, the sculptor, he soon came into contact with medieval sculpture and drawings made for works by Dürer, Schongauer and shrinkage. The period just after the First World War was his most productive period: he etched several large leaves, such as the "Mountain Festival Walberla" (1919), he began his paintings on glass painting and in 1920 his first woodcut, "Mary" in the meadow at. Schiestls rural folk motifs and landscapes in a simple palette of forms and are covered in the Munich tradition, but modified for the purposes of the new Homeland Security style. Schiestl remained completely untouched by the modern classic, a fact that Nuremberg was symptomatic for the whole art scene and was to remain for longer.

Rudolf Schiestl: The German Spielmann, No. 36 From: the human heart. A book about love, what it was fine poets, and may be pure people. Jewelry image of Rudolf Schiestl (The German musician. A selection from the treasures of German poetry for young people and people) 2, changeable. Ed Munich 1925th

Sketches for the Lower Franconian villages Schiestl anfertigte on trips were important for his artistic development. And so we may assume that he shared this experience with his students. Fritz Griebel was always his surroundings - whether Franks and Italy - to roam, always in search of a motive. In this early work, Griebel, however, another influence is seen, which is not to deny for Schiestls view of art: The art of Albrecht Dürer (1471-1528). The study of nature has a long history in Nuremberg. "Life in nature is to recognize the truth in all phenomena. So they look to diligently teach you then go and not from nature. [...] For true art lies in the nature of who they can tear out who "she said Dürer.

Who the art from the natural beauty of the tear "", ie can distinguish who is the true artist. Almost photo realistic painting Fritz Griebel the plant. He gives the precise shades of styles and leaves of light green, dark green to almost black, again. Bright yellow flowers that stand out, are pale green buds. By isolating the plant from its natural context, Griebel devotes her his full attention. The view of the artist and a botanist interpenetrate. Especially in the early watercolors, which often show floral still life, nature was the great teacher Griebel. It will remain essential to his work, even if it is never more finely picturesque and realistic view of how these have stunning flower portraits.

Larkspur with Sweet William, 1921, 35 x 39 cm
Meadow flowers in a jug, July 17, 1920, 50 x 40 cm


Andrea M. Kluxen: Die Geschichte der Kunstakademie in Nürnberg 1662-1998. In: Jahrbuch für fränkische Landesforschung 59 (1999), 167-207, bes. S. 190.

Fritz Griebel. Scherenschnitte 1920 – 1965. Ausgewählt und eingeleitet von Karl Heinz Schreyl. Hg. von den Stadtgeschichtlichen Museen Nürnberg. Nürnberg 1980, S. 28.

Erwin Panofsky: Das Leben und die Kunst Albrecht Dürers. Hamburg 1977, S. 317.