Margarete Hoenerbach

Margarete Hoenerbach (19 September 1848 – 1924) was a German painter, graphic artist, medallist, and sculptor.

Hoenerbach was born in Deutz, Cologne. She trained privately with Otto Rethel and Alfred Hertel in Düsseldorf and settled in Berlin after stays in Paris and Italy. She initially devoted herself to portrait, still life, and landscape painting.

In 1868, the drawing and painting school of the Verein der Berliner Künstlerinnen was founded as the first public institution where women received basic and systematic training in art. Women were not admitted to the art academy until 1919. In 1891, the association and the school established themselves as permanent institutions within the Berlin art scene with generous subsidies from the Prussian Ministry of Education. The SecessionistsPhilipp Franck, Hans Baluschek, Ludwig Dettmann, Martin Brandenburg, Ulrich Hübner, George Mosson, and Franz Skarbina was connected to the artists' association as a teacher at the drawing and painting school and as an honorary member.

Hoenerbach was appointed director from 1892 to 1909. Well-known students included Paula Modersohn-Becker in 1896, Ilse Jonas until 1909 and lecturers Jacob Alberts, Curt Stoeving, Martin Körte, Ernst Friedrich Hausmann, Ludwig Dettmann, Max Uth, Jeanna Bauck, and in 1897 Käthe Kollwitz.^[1]

From 1887 to 1911, she was represented with her work in the annual exhibitions of the Berlin Academy and in Munich. In the Allgemeine Kunstchronik Wien, Franz Hermann commented on her contribution to the 12th exhibition of the Association of Female Artists and Art Friends in 1890 in the Royal Academy building in Berlin:

A 'garden hall decoration' by Marg. Hönerbach suffers from overly strong emphasis on the decorative, whose great talent is revealed without contradiction in a miniature panel 'Vorrathskammer' that was also given. What Fraulein Hönerbach offers us in this barely hand-sized frame is incomparably higher than the gigantic proportions of the first picture of her. In this unpretentious little corner, executed in the finest way, there is a distribution of light, a solution of color contrasts, an atmosphere that all in all has a delightful effect.^[2]

1900年、ホーネルバッハはツェーレンドルフのポツダム通り39番地で開催された「1900年女性展、アールズコート、ロンドン、南西部」に5点の絵画を出品した。^{[ 3 ]} 1911年、同じ展示会場であるポツダム通り39番地で、ベルリン初の審査なしの展覧会が開催された。「ミンネやマイヨールをモデルにした女性の優れた彫刻も見られるが、それでも独自の生命力を持っている。マルガレーテ・ホーネルバッハの肖像画は素晴らしい[...]」( Der Sturm ) ^{[ 4 ]}

眼の病気がきっかけで、彼女は絵画やグラフィックから彫刻へと転向した。シャルロッテンブルク工科大学（現在のベルリン工科大学）のために、彼女は学長グイド・ハウクの記念碑と墓を制作した。^{[ 5 ]}

彼女は1924年にベルリンで亡くなった。

• ワインの中の真実（羊の頭蓋骨に詰め物をしたレーマー、バラ、ブドウ）、1886年。
• 心の清い者は幸いなり、油彩、キャンバス、72 × 58  cm、署名：M. Hoenerbach 1896 (美術品取引 1987)。

• 女性彫刻家一覧