Albert Aereboe (31 January 1889 – 6 August 1970) was a German painter of themodernity.
Born in Lübeck as the son of thepastor atLübeck Cathedral, Aereboe first attended theKatharineum and theJohanneum, and then in 1906 underwent his training as a craftsman and artist in Berlin.
In 1910, he returned toLübeck and attended the art school ofLeo von Lütgendorff there. On Lütgendorff's recommendation, he went toMunich in 1912 to theAkademie der bildenden Künste[1] and studied withHugo von Habermann until 1915. In 1916, he was called up for military service. Around 1917, he was commissioned by the well-knownviolistKarl Reitz to decorate his living room at Holtenauer Straße 59a inBrunswik (Kiel) [de] with murals and integrated paintings, watercolours and drawings to create a landscape. Only photographs of this work have survived.[2] After the war, Aereboe worked as a freelance artist, first in Lübeck, and from 1925 onSylt. In the meantime, from 1919 to 1926, he led the class for decorative painting at theStaatliche Kunstgewerbeschule inKassel, where he was awarded the title of professor in 1923. Here he met the painterJulie Katz (1888–1927), who had led the class for textiles since 1919 and became a professor in 1923; they both married in 1922.
One of his outstanding works isMy Ancestor Jens Aereboe. Among other things, discussed on the occasion of its exhibition at the Behnhaus underA Monumental Painting by Albert Aereboe in theLübeckische Anzeigen [de] 13 November 1927. The artist had here painted his ancestor lord, who was afaustian. Like Dürer'sJerome, the latter sits in a housing, albeit a completely Nordic one.[3] Through the window one sees an austeredunescape and raindrops run along the glass. Inside are relationships to mathematics and optics. In the centre is the mentally worked-through face of the ancestor. The suspended glass sphere that intersects the face of "Jens Aereboe" is a symbol that makes itself understood without words. Through the door in the background, wrapped only in a flowing veil, comes a naked female figure. She too is of heightened significance.
In the 1930s he also ran a studio in Berlin, but returned tobombed out Sylt in 1943 and worked exclusively in Lübeck again from 1959. He died in Lübeck.[4] Here he was buried in 1970 in accordance with his last will in theWenningstedter cemetery.[4]
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