Franz  Heckendorf

Berlin 1888  –  Munich 1962

In pursuing his already early setting in exemplary artistic creativeness through the decades Hans Vollmer’s judging as the lexicographic interpreter of modern art pure and simple is confirmed, by which he catapulted the 35-year-old in Thieme-Becker 1923 into the center of the young ones, that is “‘to spiritualize everything that is optically visible and translate it into the sphere of the visionarily seen’, which means the

accomplishment  of  the  program  of  modern  expressionism ,

of  which  H .  is  one  of  the  most  persuasive  evangelists …

“ One of the most talented exponents of the young German generation of artists, whose personal style found its most mature expression so far in his landscapes filled by enormous dynamics of pictorial rendering and carried by strong inwardness of perception ”.

The entry besides of the same size as the one on Heckel, with whom he, just as Kirchner, too, shares his essentially autodidactic maturing. Just as the ostracism as degenerated. From which to emerge like a phoenix from the ashes nevertheless was not granted to him. So his redemption is long in coming yet. For only too convincing what has been qualified about his work from earliest up to present literature as breathlessly as the characteristic style of his palette itself. Up to the emphasis of the importance not least of his “great travels through Europe and (the) study of the old masters in the museums” by Horst Ludwig in the catalog to the solo exhibition of Galerie Hagemeier 1985. For, so Vollmer continuing,

“ Making a hard, yet very expressive contour the graphic basis of his compositions, he creates by an erratically abrupt juxtaposition of his frequently even brutally rich, glowing local colors, which part themselves as consciously from any realistic depiction as the flow of his lines, a

vehemently  accelerated  natural  impression .

The suggestion of movement which radiates from his landscapes

over  which  it  flickers  like  sheet  lightning

results  from  the  roaring  momentum  of  its  pictorial  structure ,

in which far less an outwardly excited mood of the respective natural situation than the inward excitement of the creating artist is expressed, thus these landscape visions transport a quite subjective character … . ”

And it is a sheer fascination how this œuvre spans beginning and late period without a break. With Vollmer’s resume

“ Coping  with  all  techniques  and  an  exceedingly  easily  producing  talent .”