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39-625: The Malkasten (artist association) was founded in Düsseldorf in 1848 as a social association of artists of the Düsseldorf school of painting . After the club decided to admit non-artists as well, it and its festivities quickly advanced to become a social hub of the city, especially in the times of the Düsseldorfer Karneval . In addition to the "Awakening of the Hoppeditz  [ de ] " and

78-731: A "first gathering" of German visual artists in Bingen am Rhein . The meeting, held that September, brought together over 160 artists from twenty-one cities, and led to the establishment of the Allgemeine Deutsche Kunstgenossenschaft  [ de ] (General German Art Cooperative); the first national organization of artists in Germany. As the association grew, it became impractical to hold meetings and events in rented venues, which were often too small or too expensive. From 1857, efforts were made to acquire land on which to build

117-474: A focal point for Düsseldorf's intellectual community. The composer, Robert Schumann , was admitted as a member in 1850. The public at large was able to participate in some of the group's activities, through events such as a masked ball and carnival, known as the Malkasten-Redoute , which was celebrated every year until 1938. In 1856, a group of members associated with Leutze and Hermann Becker , called for

156-491: A great deal of creative preparation, the artists became particularly involved in them. They made designs for the costumes and decorations of the performances. For "Cinderella's Wedding", for example, Wilhelm Camphausen had designed historical costumes, which were published as pattern sheets. They were also binding for the clothing of the participants and spectators, who included, for example, Robert Schumann . Invitation cards, poster and handbill announcements were also designed by

195-548: A lavish Maskenempfang and Ash Wednesday Hoppeditz funeral with traditional fish supper. Malkasten Malkasten (English: "Paintbox") is a progressive German artists' association, founded in Düsseldorf in 1848, during the March Revolution . Since 1867, their headquarters have been in the Pempelfort district. During the unrest in 1848, artists also began to take part in political discussions. In August of that year,

234-411: A permanent meeting hall and administrative offices. They eventually focused their attention on a parcel near Schloss Jägerhof , which was the former residence of the philosopher, Friedrich Heinrich Jacobi . The City of Düsseldorf wanted to keep it from falling into the hands of speculators so, in 1861, they approved Malkasten's request to incorporate and acquire the property. To finance the acquisition,

273-550: The Gerda Henkel Foundation  [ de ] . According to the minutes of the general meeting in April, 2019, the organization currently has 302 regular members (mostly artists); down from 403 in 2002, when the last official list was published, but up from 280 in 2018. In addition, there are approximately 170 "extraordinary" members (friends and sponsors), and five honorary members. Malkasten has four organizational units:

312-549: The Künstlerverein (artists' association), the affiliated Weinkellerei Malkasten GmbH ( wine cellar ), their bar, restaurant and catering operations, and the Stiftung Malkasten (Malkasten foundation). The catering service has been suspended since 2014. The foundation has been officially recognized as a non-profit organization since 2012. Its aim is to support the association in maintaining its historic buildings, as well as

351-578: The Rittmeister , Armand von Ardenne  [ de ] , and his wife, Elisabeth  [ de ] , became acquainted with the magistrate, Emil Hartwich , at a Malkasten event. The subsequent love affair between Elisabeth and Emil led to a duel in which he was killed. This incident served as inspiration for the classic novel, Effi Briest , by Theodor Fontane . For the Rhenish Millennium Celebration  [ de ] in 1925,

390-645: The Schleswig-Holstein campaign and painted several scenes of the fighting as well as scenes of the War of 1866 (notably Lines of Dybbøl after the Battle , at the Berlin National Gallery ), made him famous in Germany as a representative of patriotic historical art . He also painted many portraits of German princes and celebrated soldiers and statesmen . In the 1870 Franco-Prussian War Camphausen served in

429-615: The StadtMuseum Bonn in the Ernst-Moritz-Arndt-Haus showed the exhibition Feste zur Ehre und zum Vergnügen. Artists' Festivals of the 19th and Early 20th Century . Carnival celebrations held in this particular elaborate form, known as Redoute , were celebrated until before the Second World War. The Malkasten house was badly damaged during the war and rebuilt afterwards. The Malkasten Künstlerverein nevertheless celebrates

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468-545: The Verein für demokratische Monarchie  [ de ] held an event called the "Fest der Deutschen Einheit" (Festival for German Unity). Many artists and sculptors associated with the Düsseldorfer Malerschule took part in its artistic design. On the night of the celebration, they decided to establish an artist's association which, a few days later, they named "Malkasten", at the suggestion of Karl Hübner . The name

507-408: The campaign in north-east France (1814) . The script for the event and the staging were produced by Karl Hoff , with music composed by Julius Tausch  [ de ] . This was followed by a banquet. The event made such an impression on the public officials of Düsseldorf that a mural of it was painted in the meeting room of the new Town Hall  [ de ] in 1894. In the early 1880s,

546-506: The " Venus de Milo ", made of the metal from melted paint tubes. Due to its relatively soft texture, the statue's buttocks became the target of people with crossbows , slings and blowguns . In September 1877, Emperor Wilhelm I was the guest of honor for the presentation of several tableaux vivants ; one of which depicted General Gebhard Leberecht von Blücher , crossing the Rhine near Kaub , with Prussian and Russian forces, thereby initiating

585-686: The Cologne Museum), Flight of Charles II after the Battle of Worcester (Berlin National Gallery), Cromwell 's Cavalry ( Munich Pinakothek ), are his principal earlier pictures; and his Frederick the Great at Potsdam , Frederick II and the Bayreuth Dragoons at Hohenfriedburg . He is associated with the Düsseldorf school of painting . In 1864, he accompanied the Prussian forces during

624-476: The German-born American painter, Emanuel Leutze , who played a key role in developing an art community that was independent of the academies. Although women became active in the organization well before the end of the 19th century, they were not admitted as members until 1977. Within a few weeks, the organization's statutes had been established, and the first Board of Directors elected. In the statutes it

663-516: The KVM were determined in their scenic arrangements and dramatic performances by the theme, the setting and the course of the festival. The stage play could either be introduced or concluded by a procession in which participants and spectators took part. In order to achieve the desired effect during the procession, the type of costume was usually fixed. Since the artists' festivities - historical pageants, masquerade festivals, revues, cabaret or theatre - demanded

702-697: The KVM, the painter Karl Hoff , was president of the AVdK from 1870 to 1872. The painter, caricaturist and writer Carl Maria Seyppel , a president of the AVdK and the KVM, founded the "Committee for the Organisation of an Artistic Rosenmontagszug" in 1889. One of the first mask feste took place in February 1852 under the theme "Cinderella's Wedding" in the Geislerschen Saal , from 1865 the Kaisersaal on Flinger Steinweg

741-416: The artists. The actual spectacle was documented in paintings, later in photographs. There was always a dress rehearsal beforehand. After the great Malkasten-Redoute, the gentlemen found their cheerful conclusion in the bowling alley. Through their masquerade, the guests were not limited to their role as spectators, but contributed significantly to the artistic framework and success of the event. The masquerade

780-535: The authorities for the carnival days in February 1849 as a precaution. However, shortly before the start of the street carnival, on 23 January 1849, this ban was lifted again so that the public festival could take its usual course. Close personal ties developed between the Düsseldorf Carnival and the city's artistic community. On 11 November 1849, the General Association of Carnival Friends (AVdK) awarded

819-527: The carnival parade, the Costume Ball of the KVM, the " Redoute ", was a highlight of the annual carnival and the central event on Carnival Saturday. What the Rosenmontagszüge (Rose Monday processions) were for Cologne, the masked balls on Carnival Saturdays represented in Düsseldorf - at least that's how the reporters in the local newspapers around 1900 liked to put it. The Malkasten costume party on Saturday

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858-478: The certificate of honorary membership to the KVM and asked it to cooperate. A connection between the members of the Malkasten and the oldest carnival society of Düsseldorf, the AVdK, founded in 1829, had already existed since 1848, the year the KVM was founded. From 1846 to 1847, the painter Adolph Schroedter President of the AVdK. He also belonged to the KVM since its foundation in 1848. Another very active member of

897-554: The city had been one of the centres of the democratic movement and protest in Prussia. In this context, the carnival was suspected by the authorities of being used by Rhenish " Musspreußen  [ de ] " for anti-Prussian and revolutionary rallies. During the German revolutions of 1848–1849 , in the course of which Düsseldorf citizens had formed a revolutionary vigilante group , all public demonstrations were therefore initially banned by

936-407: The corporation's Chairman, Otto Euler  [ de ] , organized a lottery. The artists provided oil paintings (in gilded frames), watercolors, lithographs , prints and photographs, as well as a marble statue; with a total value of 46,000 Thalers . Construction on the new clubhouse began in 1864, and the building was dedicated in 1867. The garden pond was decorated with a statue modeled after

975-589: The form of a festival play with a procession as an integral part of the carnival event, mainly episodes from the world of fairy tales were presented at the KVM redoubts until the beginning of the 1870s. Towards the end of the 19th century, themes appeared that could be linked to specific historical events, such as "The Hussites before Naumburg 1432" and "Triumph of the Hansa". They also reflected individual art-historically significant epochs, arranged around artistic personalities such as Dürer and Rubens . The Gründerzeit redoubt

1014-464: The members of Malkasten staged historical-themed parades, with hundreds of costumed participants. Three years later, they presented one of the last festivals honoring the artist, Albrecht Dürer . Throughout the 1920s, they presented lectures by notable writers, including Thomas Mann . Many Malkasten artists were persecuted during the Gleichschaltung (Nazification) of Germany, but the officials of

1053-520: The organization itself came to terms with the situation. Together with the Militant League for German Culture , they celebrated the "Nationale Erhebung" (National Uprising) and planted a " Hitler Oak  [ de ] " dedicated to "Our Savior in Dire Straits" The membership structure itself remained unchanged until 1939, following the outbreak of World War II . Up to then, the number of members

1092-433: The park, and preserve its independence. The association's board organizes ongoing exhibitions, artist talks, concerts, film screenings, lectures and other cultural events in the buildings and in the park. Access to the events is open to all interested parties, mostly free of charge or at a low price. Wilhelm Camphausen Wilhelm Camphausen (8 February 1818, Düsseldorf  – 16 June 1885, Düsseldorf),

1131-491: The throne that equated the artists' festival with art. The rather high entrance fee formed the main income of the Malkasten, which otherwise could not have existed. In the 1880s, the members of the artists' association only had to pay 3 marks, all the others and especially the many strangers from out of town paid 15 to 20 marks for admission. The surpluses from the Carnival Redoute were used to finance other KVM events. In

1170-400: The world of the performer. In the course of a festival, the self-irony of the artists became more and more evident. It broke with the aesthetically designed illusion on the stage and thus enabled a change to a relaxed festive mood. As in 1896 in "Die Narrenburg" (The Fool's Castle), in front of a decoration by Andreas Achenbach , who portrayed the prince, the court chancellor gave a speech from

1209-471: Was a German painter who specialized in historical and battle scenes. He studied under Alfred Rethel and Friedrich Wilhelm Schadow . As an historical and battle painter he rapidly became popular, and in 1859 was made professor of painting at the Düsseldorf Academy , together with other later distinctions. His Flight of Tilly (1841), Prince Eugene of Savoy at the Battle of Belgrade (1843; in

Malkasten-Redoute - Misplaced Pages Continue

1248-582: Was also able to summarise historical processes. The development of the Malkasten redoute was closely related to the general spread of historical pageants in the second half of the 19th century. In 1878, Prince Wilhelm, later Emperor Wilhelm II , who was studying in Bonn at the time, visited the Redoute "Gypsy Festival" at the Düsseldorf Künstlerverein Malkasten together with his entourage. In 1999,

1287-451: Was followed by Sunday, when all the children of the better classes were dressed up in costume, carrying their panniers and guns, and then Monday and Tuesday with the masked crowd in all the streets, which lasted until Ash Wednesday morning. Then the carnival came to an end, as the last, often drunken mask wearers met pious churchgoers wearing the ash cross on their foreheads. Since the Vormärz ,

1326-526: Was meant to express the equality of every "color"; artistic and political. The 112 founding members included not only academic professors, such as Theodor Hildebrandt , Heinrich Mücke and Karl Ferdinand Sohn , but also Lorenz Clasen , the editor of the satirical journal Düsseldorfer Monathefte  [ de ] , as well as many members of the Malerschule; including Johann Peter Hasenclever , Joseph Fay , Johann Wilhelm Preyer , Peter Schwingen and

1365-576: Was steady at around 400. Although some sacrifices had to be made, the strong sense of community enabled them to survive the Great Depression and the Nazi regime. After 1945, their heavily damaged buildings were rebuilt, according to plans created by the architects Helmut Hentrich and Hans Heuser  [ de ] . Hentrich served as the first Chairman of the revived organization, from 1945 to 1955. In 1977, Helga Radener-Blaschke  [ de ]

1404-444: Was stipulated that the KVM, as an "association for a sociable artistic life", should represent a heterogeneous membership and "has no other purpose than to discuss and promote the interests of art and artists, and to entertain each other socially". As early as 1849, the board was able to officially announce that almost all of Düsseldorf's male artists had joined the association. Following the decision that non-artists could join, it became

1443-468: Was the first woman to be accepted as a full member of Malkasten. Since 1992, efforts have been made to open the premises and engage with the wider public. The "Jacobihaus" contains lounges and an archive, while the "Hentrichhaus" offers a theater, artist cellar, restaurant and bar. The surrounding park, now known as Malkastenpark , has had a biergarten since 2014. Some of the extensions and annexes are still undergoing renovation, with financial support from

1482-516: Was the venue. Until 1867, the KVM did not have its own club building for larger events. In the restaurant, previously known as "Becker's Gartenlokal", there was a large hall. In this hall, already called Tonhalle at that time, the number of spectators in 1850 was close to 1,000. In 1863, the city acquired the pub and the Alte Tonhalle was available until 1914 for the masquerade parties of the Malkasten on carnival Saturdays. The masquerade festivals of

1521-406: Was usually accompanied by an introductory or concluding procession of costumed participants and spectators. The purchase of an elaborately designed ticket was enough to set the mood for the atmosphere of the event and to stimulate the imagination. The experience of community in the festival and the procession made it possible to involve the festival participants in the events and to transport them into

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