|Died||November 11, 1973 (aged 79)|
|Known for||Painting, Stained glass art|
Crodel was born in Marseille, he studied in 1914 with Richard Riemerschmid, one of the founders of the Deutscher Werkbund, at the Munich Kunstgewerbeschule and since 1915 at the University of Jena, while he became painter and lithographer. He was member of the Berlin Secession and of the executive board of the Jena art-union and became a close friend of Gerhard Marcks. In 1923, the German National Gallery of Art at Berlin and later the Bibliothèque Nationale at Paris bought first his woodcuts and lithographies. A mural in the University of Jena, another in the Weimar Schlossmuseum, bought by Wilhelm Köhler, and a third in Erfurt remain of that time.
From 1927 on, Crodel taught printing and monumental painting at the "Burg Giebichenstein", the Academy of Arts and Crafts in Halle until 1933 when he was dismissed, but he continued to teach in a private cricle at the house of Paul Frankl. In these years, Crodels murals in Halle and the murals dedicated to Goethe in 1932 at Bad Lauchstädt were destroyed in summer 1933 and had been ejected from the gleichgeschaltet (Nazi sympathetic Arts organisation) group for creating Degenerate art. At this time many refugees brought Crodels paintings and prints, which now are found at Louisville, The North Carolina Museum of Art, Raleigh, the Virginia Museum of Fine Arts and the Luther College, Decorah.
The following years Crodel found new fields of work. He designed glass decoration in Industry (together with Wilhelm Wagenfeld), and he explored pottery decoration together with Hedwig Bollhagen, while Elisabeth Crodel completed embroidery. Bollhagen with the Jewish artist Nora Herz had acquired a pottery business from Margarete Heymann to revitalize the old factory near Velten, to give work for Theodor Bogler, Werner Burri, Thoma Gräfin Grote and others also from the pottery workshop of the Bauhaus at Dornburg, like Heymann. Bollhagen worked closely with Crodel. Crodel's friendship was said to be important to Bollhagen. Crodel also began to paint stained-glass and to design mosaics.
In 1945, Crodel again taught at Halle, but also at then Berlin Academy of Arts and Dresden, and from 1952 at the Academy of Fine Arts, Munich, which had been brought together with the Munich Kunstgewerbeschule in 1947. He also became member of the renewed Deutscher Künstlerbund and Deutscher Werkbund.
Crodel's stained-glass windows are found in Germany and in Sweden. Beautiful examples are found in the Frankfurt city churches, St. Catherine's Church, Frankfurt, Alsfeld, Erfurt Cathedral, Kaulsdorf (Berlin), Königs Wusterhausen, Heinersdorf, Halberstadt Cathedral, St. Jacobi, Hamburg, St. Mary's Church, Fuhlsbüttel, Hamburg, St. Matthew's Church, Hamburg, St. Michael's Church, Hildesheim, St. John's Church, Lüneburg, Schmalkalden.
Returning from a session of the Berlin Academy of Arts, Crodel died in 1973 in Munich, at the age of 79.
- Walter Hasenclever, lithography, 1920.
- Theodor Däubler, lithography, 1921.
- Wilhelm Worringer and Herbert Koch, woodcut, 1922.
- Die Töpferin Marguerite Friedlaender, painting, Berliner Sezession, 64. Ausstellung: Künstler unter sich. Malerei. Plastik. April / März 1931.
- Carl Crodel. Malerei – Graphik – Kunsthandwerk. (Staatliche Galerie Moritzburg Halle, 27. Juli – 10. Oktober 1982, Galerie am Fischmarkt Erfurt, 19. Dezember 1982 – 13. Februar 1983). Staatliche Galerie Moritzburg, Halle 1982.
- Cornelius Steckner: "Ch. Crodel. Kunst, Handwerk, Industrie". Kulturamt der Stadt Hannover, Hannover 1983.
- Cornelius Steckner: Charles Crodel. Das graphische Werk. Ketterer, München 1985.
- Horst Ludwig: Münchner Maler im 19./20. Jahrhundert. Vol. 5: Achmann-Kursell. Bruckmann, München 1993, ISBN 3-7654-1805-6, S. 157–160.
- Katja Schneider: Charles Crodel – Kunsthandwerk. Zum 100. Geburtstag. Staatliche Galerie Moritzburg Halle, 16. September – 27. November 1994. Staatliche Galerie Moritzburg, Halle 1994, ISBN 3-86105-116-8.
- Wright, David H. (2002). "Wilhelm Koehler and the Original Plan for Research at Dumbarton Oaks". In John W. Barker (ed.) (eds.). Pioneers of Byzantine Studies in America. Byzantinische Forschungen. Amsterdam: Adolf M. Hakkert. pp. 134–175. ISBN 90-256-0619-9.
- Hedwig Bollhagen, FemBio.org, retrieved 14 April 2014
- "Archived copy". Archived from the original on 2005-12-01. Retrieved 2005-11-02.CS1 maint: archived copy as title (link)
- Statement by Charles Crodel, in: Bob Thompson (1937-1966) Memorial exhibit, Speed Art Museum, Louisville, Kentucky 1971.
- Sam Gilliam, A Study of different uses of Solid Forms in Painting, Master of Arts Thesis 1963. This thesis is based on a letter of Crodel and a given set of eight paintings to be analyzed. See also: Madeline Covi, Louisville Modern, PFA Press, Louisille, Ky. 2019, p. 13 - 14. ISBN 978-0-578-43365-3.
- "Archived copy". Archived from the original on 2005-10-30. Retrieved 2005-11-02.CS1 maint: archived copy as title (link)
- "Paintings and graphic work by Charles Crodel". Catalog of an exhibition of work by Charles Crodel presented by the University of Louisville, Allen R. Hite Institute, October 6-28, 1958 digital; Justus Bier.
- Selected works from the University collection, 1978/1979, no. 37: Charles Crodel, Wilhelm Worringer und Herbert Koch, Morris B. Belknap, Jr. Bequest Fund, 1958.