The review of the sketch sheets, after all nearly 300, yielded in the first overview a lot:
The sheets are unfortunately not numbered like the books, only rarely are dates. It is probably mainly entries from the years 1928 to 1932, where certainly older sheets are used again.
During this time Hugo Lederer deals extensively with the female body and is clearly not interested in National Socialism. We were always very skeptical about the opinions in this regard expressed in art history. Here is proof of our view, which we will explore further.
A large part are sketches of women, especially ballet and sports, followed by animal designs. He also deals with spatial-architectural problems, he expresses, for example, highly critical to urban development changes in Berlin.
Increasingly follow verbal notes. He travels a lot, from Leipzig and Dresden to Cologne and Aachen, including Paris and London. Political remarks are rare, he thinks obviously national and hierarchical-authoritarian, he has a low opinion of democracy. Striking: 'Noble communism because consistent!' The tradition in the family, Goebbels had rejected him because of his contacts with socialists and gave him no more orders, is made more and more realistic by this written note. Although the rise of the Nazis takes place during this time, there is no corresponding note, no anti-Semitic statement is included. Our skepticism about art-historical opinions is thereby legitimized. He enthusiastically praises Hindenburg and Stresemann, for whom letter designs for birthdays etc. can be found. He maintains a great deal of contact with mayors, as evidenced by letters to the mayors of Leipzig (Goerdeler) and Cologne (Adenauer). He also corresponds with the Bismarck family.
The potent businessmen (who buy works from him and then quarrel to legal disputes because of the price) are received with negative criticism. He expressed disparaging and recognizable affected by the way of dealing. He praises the simple worker, whom he knows very well as a stonemason. On the other hand, he often has contact with industrialist who buy from him. Above all, there is Duisberg from the Bayer plants in Leverkusen.
The impression of first review: A very self-confident but experienced sculptor spontaneously notes and outlines what he thinks when traveling. His thinking revolves around his works and their marketing. The public space in his appearance has his attention. This also shapes his political thinking. Many historical comparisons indicate what knowledge he uses to judge.
Comment: Therefore you can name the sculptor of the Bismarck in Hamburg again and do not have to be afraid to glorify a 'Nazi' (remark of a tourist guide), and art historians could deal with how quickly not only in totalitarian times but even in our time artists are stigmatized.
Added location register of sculptures in public areas
Where can you visit Hugo-Lederer sculptures in public areas today? We have compiled a list of places where, to the best of our knowledge, such sculptures can be visited. It is added to the overview of the Catalogue Raisonné. Of course this list is not exhaustive. We are very grateful for your comments and would like to add new findings to the list. The list of small sculptures would lead too far, but in our list of works is pointed to the possible location.
Redesign Of The Website
To make the website compatible with mobile terminals it was redesigned: A new gallery was installed and the Catalogue Raisonné can now be searched. Thank you to photoswipe.com, wrensoft.com and responsiveslides.com to provide the programming for the gallerys respectively the search engine.
Sketchbooks of Hugo Lederer as a new research object
In April 2017 we were allowed to look through the sketchbooks of Hugo Lederer at the museum of Znaim. To look back on and reappraise them will take a long time. By an unprompted run-through it stood out that he sketched a great number of athletic activities but also studied a female nude. Who says now "he couldn't do female works"? As an example we add two sketches:
Short report from the Hugo Lederer exhibition in Retz
In Retz we visited the Hugo Lederer exhibition. There he was singled out as a representative of Germans in respectively from Südmähren. For lack of resources his attitude towards his homeland is not completely elutable. To my knowledge he visited only for family celebrations. (He was godfather and witness to marriage to my mother.) In Retz the museum succeed in a brilliant presentation of his art by exhibiting two shortened large-scale sculptures (Fechter and Diana) with a few other works. When you were alone in the room, you couldn't escape from his marvellous impact.
In memory of Hugo Lederer
At 6.9.2011 a memorial plaque was installed at the birthplace of Hugo Lederer by the urban beautification society of Znaim/Znojmo:
Paper article by Dr. Hans Krey discovered
At the hands of Mr. Harald Hofreiter, Retz Lower Austria, a very interested contributor, we received a transcript of a edition of the paper "Deutsch mähr. schles. Heimat." (German Moravian-Silesian home), Brünn volume 1930. An article by Dr. Hans Krey covered the creative work of Hugo Lederer. It also included a photograph of the Gustav-Stresemann-bust (see Small Sculptures and Portaits 4.1927.03.). We will add it to the gallery.
On the basis of this article, a new contribution has also been written (which can be found under Questions and Answers): How much of a "South-Moravian" was Hugo Lederer?