Early Life, Family and Training

Born on June 7, 1880, in Geldern, Germany, Bernhard Hergarden was destined for a life defined by the visual arts. Before finding his footing in the academic world, he completed an apprenticeship in 1903/04, a period of practical discipline that preceded his formal entry into the Düsseldorf Art Academy. It was within these academy walls that his technical foundation was laid, shaped by the guidance of several notable instructors, including Peter Janssen der Ältere, Willy Spatz, Ludwig Keller, and Eduard von Gebhardt.

His development as a painter, draftsman, and graphic artist progressed steadily through the first decade of the twentieth century. By 1912, his talent had earned him the distinction of becoming a master student under Adolf Münzer. This period of intensive study helped refine the sensibilities that would characterize his later work as a member of the Düsseldorfer Schule. His training was not merely a matter of technique, but a deep immersion into the traditions of the region.

Personal life and professional identity eventually became intertwined through his marriage to Ilse Domen in 1920. The couple established a home together and raised children, anchoring his existence amidst the shifting landscapes of German history. While his career would later see him navigating the complexities of the mid-century, his early years remained rooted in the rigorous academic traditions of Düsseldorf and the quiet stability of his family life.

Artistic Style and Subject Matter

A practitioner of the Düsseldorfer Schule, Hergarden developed a visual language defined by a gentle, impressionistic touch. His canvases often favored a palette of pastel tones, a stylistic choice that eventually led to him being nicknamed "the Chagall vom Niederrhein." This moniker reflected a certain lyrical quality in his approach to color and form, distinguishing his work from the more rigid academic traditions of his era.

His interests were broad, ranging from the intimate to the expansive. He frequently turned his attention to the human figure, capturing people in various states of repose or interaction. Beyond portraiture, his repertoire included landscapes, religious motifs, animals, and still-lifes. Whether depicting a quiet scene in the Niederrhein or a more structured arrangement of objects, his work maintained a consistent focus on the interplay of light and soft color.

His membership in the Künstlerverein Malkasten placed him within a significant circle of creative activity, allowing his varied subjects to find an audience. His ability to navigate between the observational and the emotive allowed him to move fluidly between different genres, from the natural world to the spiritual.

War and Life in Düsseldorf

The trajectory of Hergarden’s life was abruptly altered by the onset of the First World War. On March 1, 1915, he was drafted into military service, a period of upheaval that would soon bring physical hardship. By June 4, 1915, he had sustained wounds in the conflict. During his recovery, he was stationed in a Verwundetenkompanie in Emmerich. Even amidst the constraints of wartime service, his creative impulse remained active; he found opportunities to exhibit his paintings while stationed there, maintaining a connection to his vocation despite the chaos of the era.

Following the conclusion of the war, Hergarden returned to the familiar surroundings of Düsseldorf. He established a studio situated above the city's rooftops, a vantage point that offered a unique perspective on the urban landscape. This period marked a settled chapter in his professional life, as he became an active member of the Künstlerverein Malkasten. His presence in the local art scene was steady, marked by a commitment to his craft and a continued engagement with the artistic community of the Rhineland.

Key Works and Exhibitions

Hergarden began presenting his work to the public in 1913, marking the start of a long period of exhibition activity. His presence in the art scene was marked by various appearances in regional shows, including the Düsseldorf – Münchener Kunstausstellung in 1932. During this era, his output was diverse, ranging from landscapes to religious motifs and still lifes. However, the political climate of the 1930s brought significant loss to his body of work. In 1937, during the Nazi 'Degenerate Art' action, his oil painting Mother with Child was confiscated from the art collections of the city of Düsseldorf and destroyed.

Despite these losses, he continued to exhibit in major venues. He was included in the Great German Art Exhibition in Munich in both 1941 and 1943. His work Schafstall vom Niederrhein was featured in the GDK in 1943. This piece, an oil painting from about 1942/1943, remains a notable example of his ability to capture the essence of the Niederrhein landscape. His career reflects the complex navigation required of many artists of his generation, balancing personal expression with the rigid demands of the era's official exhibitions.