Parallel Beginnings: New German Expressionists & Ida Kerkovius

KARL OTTO GÖTZ IDA KERKOVIUS HEINZ KREUTZ BERNARD SCHULTZE

Copyright: Karl Otto Götz: © VG Bild-Kunst, Bonn 2024; Ida Kerkovius: © Familienarchiv Kerkovius, Wendelstein 2024; Heinz Kreutz: © Nachlass Heinz Kreutz; Bernard Schultze: © VG Bild-Kunst, Bonn 2024

CURATORS:

GRZEGORZ EKIERT

JAN KUBASIEWICZ

IRIS CRAMER

The Jacek E. Giedrojć Gallery was established at the Minda de Gunzburg Center for European Studies (CES) at Harvard University in 2013 with the generous support of Polish investor, scholar, and philanthropist Jacek Giedrojć. Its mission is to enhance perceptions and understanding of European culture, society, and history by facilitating conversations between the arts and social sciences. Since its inception, the gallery has hosted a series of exhibits featuring political posters, photography, and other works and organized lectures focused on the relationship between European art and politics. When CES co-founding director Guido Goldman passed away in November 2020, CES became the home of his art collection. Many of these outstanding works have now been on permanent display in the gallery and throughout the Center. Goldman’s collection mainly focused on modern German abstract art and, most prominently, on his beloved artist Bernard Schultze. Consequently, CES has one of the most extensive collections of Schultze paintings in the United States.

The idea for this exhibit was born during the visit of the President of the Deutsche Bundesbank Joachim Nagel to CES in October 2022. At the time, the Center was just bequeathed Guido Goldman’s collection of modern European art from his estate. During our conversation about Europe’s economy and the arts, President Nagel and I realized that both the CES and Bundesbank art collections have similar holdings of abstract post-war German art. This gave us the inspiration for the title of this exhibit to focus on these parallel beginnings of both collections. Interestingly, the beginnings of both collections, while separated in time, focused on two of the same artists: Ida Kerkovius and Bernard Schultze. The idea of putting these two collections together to

highlight the unique features of German art during this period was compelling. The exhibit was designed to introduce American audiences to an exceptional ensemble of artists whose creative periods coincided with the emergence of a democratic Germany, an era that succeeded the atrocities of Nazi rule and the widespread devastation of the Second World War across Europe.

The art showcased in this exhibit was created by German artists searching for a new beginning after the Second World War. The artistic expression in the visual arts, music, and design that was suppressed and forbidden under Nazism could now be re-discovered and celebrated. The figurative art of the Nazi period faded away as a move toward abstraction replaced it. Yet, their creative endeavors were not simply a return to pre-Nazi aesthetic traditions. Since figurative socialist realism was officially enforced in communist East Germany, abstract art became a symbol of the “free world” and a weapon in the political and ideological struggle of the Cold War.

Three artists shown in this exhibit – Karl Otto Götz, Heinz Kreutz, and Bernard Schultze – founded the Quadriga group following an exhibition of their work in December 1952 in Klaus Franck’s Zimmergalerie in Frankfurt under the title New Expressionists. While Ida Kerkovius was not a member of this group and began her artistic career earlier during the Bauhaus period, her art shows a different current of post-war abstract work privileging minimalism in contrast to the exuberance of the new expressionists. This exhibit features 15 works by Schultze and Kerkovius from the Guido Goldman Art Collection and 21 works by these these two artists together with Heinz Kreutz and Karl Otto Götz from the Art Collection Deutsche Bundesbank.

CES expresses profound gratitude to the Deutsche Bundesbank: President Joachim Nagel for his vision to bring this exhibit to our Center and to Harvard; Bundesbank Curator Iris Cramer and Assistant Curator Anja Hägebarth for their exceptional expertise and artistic sensibilities; and Jens Reich, Head of the Bundesbank’s New York office for his support in the U.S. Their collective contributions were instrumental in bringing this collection to fruition.

Special thanks to Professor Jan Kubasiewicz, curator of the Jacek E. Giedrojć Gallery, for designing all the exhibit materials. Our entire team at CES was indispensable for guiding the work on the exhibit from its inception, particularly Elizabeth Johnson, Director of Finance, Operations and Administration, and Gila Naderi, Director of Communications. Many thanks for their exemplary contributions to its successful completion.

Grzegorz Ekiert

Laurence A. Tisch Professor of Government Harvard University

Avant-garde at the Office:

The Genesis of the Deutsche Bundesbank’s Art Collection

By Iris Cramer Curator of the Art Collection Deutsche

Bundesbank

In the public consciousness, the Bundesbank is primarily associated with its core mandate: together with the European Central Bank and the other central banks of the Eurosystem, it works to ensure the stability of the single currency, the euro. Less well known is that the Bundesbank possesses an extensive collection of modern and contemporary art. Visitors are always taken aback to discover so many works of art residing in Bundesbank buildings or to see loans from the collection at public exhibitions.

A most extraordinary snippet of the collection is now on display at the Jacek E. Giedrojć Gallery: works by Karl Otto Götz, Heinz Kreutz, Ida Kerkovius and Bernard Schultze were among the very first pieces acquired in the 1950s. The Bundesbank, founded in 1957, picked up the baton from its predecessor, the Bank deutscher Länder, by continuing to collect contemporary art from the beginning.

These early acquisitions were made with idealistic ambitions in mind. The responsible members of the Directorate, notably Erich Zachau and Heinrich Troeger, felt that – as a public institution – the Bundesbank had a responsibility to promote art and culture and to provide direct support to artists. They also wanted to offer staff the opportunity to encounter contemporary artwork in an everyday setting.

Placed in its historical context, this vigorous commitment to contemporary art and culture makes sense. Four years after the end of the Second World War, National Socialism, and the Shoah, 1949 saw the Federal Republic of Germany founded as a democratic nation in western Germany. There was a widespread eagerness in

the nascent Federal Republic to engage with modern art. The latest developments in the art world were discussed in depth among parts of society and in the press, with the emphatic casting aside of the old in artistic terms going hand in hand with a desire for a general fresh start. “Modern art promised to satisfy West Germany’s yearning to rejoin the western fraternity of progressive ideas and shared values and simultaneously to allow the country to participate in a universal ethic that transcended its troubled history,” wrote the art critic Eduard Beaucamp. With the modern art of the period having been labelled “degenerate” during the Nazi era, contemporary art was now intended to act as a bridge to reconnect with strands in Europe and the United States. At the same time, it was hoped that abstract art would bring a young generation into contact with new values and that interacting with the new would present an opportunity for experimenting with democratic practices in the artistic domain.

This idea of utilizing encounters with art to foster tolerance and openness in a more general sense was shared by the Bundesbank and the Bank deutscher Länder. In 1955, an internal exhibition gave staff the chance to view new additions to the collection. An accompanying brochure was produced, in which the organizers expressed their hopes for spirited engagement with the material: “As we all know, beauty is in the eye of the beholder, and we can already hear the voices of approbation and repudiation that some of these pieces may well provoke. We are also not taking sides in the debate on abstract or figurative art. […] And just as one accepts tastes which differ from one’s own in other areas of life, so should one remain just as open-minded in the light of the colorful diversity presented here.”

And so modern art has had a visible presence at the Bundesbank from the outset. Works by Expressionists such as Karl Schmidt-Rottluff and Erich Heckel and representatives of modern abstraction such as Ernst Wilhelm Nay and Ida Kerkovius were added to the collection. Remarkably, the institution’s purchases also included numerous examples of avant-garde Informalism, an art movement that was only just emerging. Karl Otto Götz, Heinz Kreutz and Bernard Schultze were among the names that featured. The 1952 exhibition that they staged in Frankurt’s Zimmergalerie Franck together with Otto Greis, the fourth member of their “Quadriga” group, came to be known as one of the founding events of the German Informel. Responding to and interacting with art movements coming out of France in particular, the artists developed their own gestural visual language, which places the very process of painting at the center.

The artist Ida Kerkovius, on the other hand, belonged to an earlier generation. Born in 1879, she studied under Adolf Hölzel and, in the 1920s, at the Bauhaus in Weimar. Here, she developed her artistic vocabulary, in which the pictorial means – color, line, and form – serve as the leading conveyors of meaning. Her compositions, which oscillate between abstraction and a figurative slant, are characterized by luminous, high-contrast coloring.

From these beginnings, the Bundesbank’s art collection has continued to grow, with new contemporary pieces being added on a regular basis to this day. They are kept on display around the Bundesbank, and the purpose remains the same: to inspire conversation and discussion among staff and visitors alike, and to serve as a reflection of our past and present.

Guido Goldman: Visionary Europeanist, Transatlantic Bridgebuilder, and Art Collector

CES co-founding director Guido Goldman (1937-2020) was a visionary academic entrepreneur who left an indelible mark on Harvard and the field of European studies in the United States. He was the architect of enduring partnerships between Germany and the United States that continue to foster transatlantic exchange and mutual understanding.

Goldman was born in Zurich, the son of Nahum Goldmann (1894-1982), co-founder of the World Jewish Congress and President of the World Zionist Organization, who fled Germany in 1933. Graduating summa cum laude from Harvard College in 1959, Goldman also earned a doctorate from Harvard’s Department of Government in 1969 under Henry Kissinger’s guidance. The same year, together with the eminent scholar Stanley Hoffmann, he co-founded what later was named the Minda de Gunzburg Center for European Studies at Harvard. Goldman’s impact on Harvard extended over four decades, during which time he played a pivotal role in securing over $75 million in funding, notably for European initiatives. In 1986, when the university was reconsidering usage of Busch Hall – which formerly housed the art of the Busch-Reisinger Museum – Goldman stewarded a generous donation from the de Gunzburg family to renovate the building as the new home for CES and to establish a new endowment for the Center.

Goldman’s influence transcended academia into public life, particularly in fostering transatlantic relations. He spearheaded the creation of the German Marshall Fund of the United States (GMF), garnering crucial support from German Chancellor Willy Brandt who announced its creation at Harvard University on June 5, 1972. Goldman then served the GMF for forty years as the found-

ing Chairman of its Board, a period during which he was also a member of the Board of the American Council on Germany. In 1978, he was awarded the Commander’s Cross of the Order of Merit by the Federal Republic of Germany for his “contributions towards fostering German-American relations.”

Beyond his diplomatic endeavors, Goldman was a notable patron of the arts. At Harvard, Goldman was instrumental in raising funds for the construction of Otto Werner Hall, an addition built to the Fogg Museum to house the Busch-Reisinger Museum’s collection after its relocation from CES’s current home. He also founded the American Foundation for Textile Art, amassing a premier collection of Central Asian Ikat art. Goldman often told the story of how he discovered ikats by accident when he passed by the window of the Artweave Textile Gallery in New York City in the 1970s. Struck by their colors and abstract patterns, he went into the gallery to learn about these unusual textiles. Not only did he buy his first Ikat then, but it was the beginning of a decades-long friendship with the gallery’s owner Gail Martin who helped him curate an important collection of Ikats. After sponsoring many exhibitions of these textiles in twelve American and European museums, he donated the bulk of his collection in 2005 to the Arthur M. Sackler Gallery in Washington D.C., where the Goldman collection has made it one of the world’s foremost centers for the study of Central Asian Ikats.

Goldman’s love of colorful, abstract art started in childhood where he grew up admiring the works of Kandinsky in his parents’ home. Goldman’s passion for color is best embodied in the majestic pieces by Bernard Schultze with whom he struck a friendship.

Today, Goldman’s legacy lives on through his generous contributions to CES, including his extensive art collection. Thanks to Goldman’s benefaction, CES is fortunate to serve as home to his beautiful collection of art including 9 works by Bernard Schultze and 6 by Ida Kerkovius which are part of this exhibit. In addition to these works, Goldman bequeathed 58 works to CES from his art collection which are now on permanent display, honoring his enduring impact on Harvard and European studies.

Karl Otto Götz

Karl Otto Götz (February 22, 1914 in Aachen —August 19, 2017 in Wolfenacker) was the only German member of the international COBRA group and one of the few artists who attempted to provide theoretical underpinning and gain public attention for the abstract gestural painting of the post-war period. He co-published the magazine Meta from 1948 to 1953. Götz was a founding member of the Frankfurt Quadriga group of artists and published texts on cognitive psychology. It was from his study of Surrealist methods that Götz developed his own specific technique involving the use of distemper, broad brushes and a rake-spatula. This technique was instrumental to achieving changes of form and content using pictorial and scriptorial methods. Götz, an unwavering opponent of geometric abstraction, developed a style that was powerful, emotional, and mold breaking.

Both the temporal and spatial dimensions are clearly evident in his works. In the first stage of his painting, various colors are splashed onto the paper and daubed across the whole surface; then this static arrangement is scratched and scraped into a spatial event through vigorous application of a rake. The white ‘negative’ lines gouged out of the previously created colors and shapes add a dynamic and dramatic dimension. It is no longer possible to distinguish between foreground and background or positive and negative. The picture itself becomes a visual experience.

Karl Otto Götz

Formstudie — Form Study

Around 1955

Watercolor on paper

Art Collection Deutsche Bundesbank

Karl Otto Götz

Impression I

1957

Gouache on paper

Art Collection Deutsche Bundesbank

Ida Kerkovius

Ida Kerkovius (August 31, 1879 in Riga – June 8, 1970 in Stuttgart) belongs to the first generation of female artists who, albeit under difficult conditions and against much resistance, received professional training and were able to steadily pursue an artistic career thereafter. She was a master student in Dachau and Stuttgart under Adolf Hölzel, one of the most interesting tutors of his day. Hölzel’s teaching method was based on the communication of compositional principles, which were intended to give students a foundation on which to develop their own means of artistic expression. He encouraged them to move away from the representational in order to freely handle the artistic medium.

Between 1920 and 1923, Kerkovius continued her studies at the newly founded Bauhaus in Weimar, developing her own visual language based on line, form and color. A striking feature of this language is the luminous, high-contrast coloring, the intensity of which was increased by combining such diverse materials as watercolor, gouache and pastel. The compositions are often non-representational, though she frequently alludes to figures or objects. Her work Horizontale Komposition, shown in this exhibit, allows countless permutations of possibilities: thus seated figures within a bisected space with strong light-dark contrasts could, for example, be freely interpreted as depicting a stage performance such as a concert.

Ida

Kerkovius

Komposition – Composition 1955

Mixed media on paper

Art Collection Deutsche Bundesbank

Ida Kerkovius

Horizontale Komposition – Horizontal Composition

Before 1966

Pastel color on brown paper

Art Collection Deutsche Bundesbank

Ida Kerkovius

Wandteppich – Wall Carpet

1932

Bequest of the Guido Goldman 2020 Trust

Ida Kerkovius

Titel unbekannt – Title Unknown

1961

Bequest of the Guido Goldman 2020 Trust

Heinz Kreutz

Heinz Kreutz (December 31, 1923 in Frankfurt am Main – December 17, 2016 in Penzberg), was a photographer and self-taught artist, who was especially intrigued by colors, the role that they play in a work of art, their interaction, and the emotional responses they provoke. Kreutz developed an eleven-part color theory, which he used to establish the essential principles of painting. Within this framework, he proposed concepts of ‘color associations’ and the symbiotic relationship between form and color, which he termed the ‘color continuum’.

Kreutz acknowledged the elusive nature of color as a medium, a concept he visually articulated through his fragmented compositions and his dynamic, unrestrained style. He challenged conventional visual interpretations of patterns that emerge from the juxtaposition of colors – above and below, or in the foreground and in the background – by manipulating color transitions in a distinctive manner. By layering specific color pairings – for instance, an earthy brown against a pale blue – Kreutz accomplished conflicting effects. He repeatedly banished colors to the surface, deliberately restricting their spatial depth.

Heinz Kreutz

Gelb-Irdisch-Eruptiv – Yellow-Earthy-Eruptive 1954

Oil on hardboard

Art Collection Deutsche Bundesbank

Heinz Kreutz

Abstrakte Komposition rot – Abstract Composition Red 1959

Oil on canvas

Art Collection Deutsche Bundesbank

Bernard Schultze

Bernard Schultze (May 31, 1915 in Schneidemühl, now Piła, Poland – April 14, 2005 in Cologne) was a pioneer in abstract art in Germany after 1945. Together with three other artists – Karl Otto Götz, Otto Greis and Heinz Kreutz – of what is known today as the Group Quadriga, he presented abstract art at Klaus Franck’s Zimmergalerie in Frankfurt in 1952. The goal was to develop a new perception of art and to open to the international avant-garde movement.

For Schultze, it was important to let the subconscious flow through his art. He wanted to “let himself be led to where the painting wanted to go, leave as much as possible open to fate, as little as possible to control.” His early work was defined by black and colored lines that dominated the surface with a myriad of layers creating dynamic depth. Over the years, his work grew more three-dimensional, and Schultze constructed fantastical creatures – the so-called “Migofs” – out of wire and fabric that extended out into space.

Schultze’s late work was defined by strong colors and large formats. By expanding the canvas, the composition also changed. Small color structures appear to burgeon into infinity and yet they are constrained and structured by calmer surfaces.

Since the 1950s, the Deutsche Bundesbank’s collection primarily holds the early works of Bernard Schultze. Guido Goldman’s collection at the Minda de Gunzburg Center for European Studies, in contrast, is defined by his oversized, colorful works of the 1980s and 1990s.

Bernard Schultze

Wie Blumen – Like Flowers 1955

Mixed media on paper

Art Collection Deutsche Bundesbank

Bernard Schultze

Auf gelb – On Yellow

1955

Oil on canvas

Art Collection Deutsche Bundesbank

Bernard Schultze

Altkönig – Mount Altkönig 1984

Gift of Guido Goldman, 2011

Bernard Schultze

Titel unbekannt – Title Unknown 1989

Gift of Guido Goldman, 2011 © VG Bild-Kunst, Bonn 2024 & © David Elmes, Minda de Gunzburg Center for European Studies, Harvard University

Exhibited Works

Guido Goldman Art Collection

at the Minda de Gunzburg Center for European Studies at Harvard University

Bernard Schultze, Wird immer wieder wie Landschaft, 1989, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Title Unknown, 1989, Gift of Guido Goldman, 2011

Bernard Schultze, Altkönig, 1984, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Umher irrend, 1995, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Zu Ostern, 1989, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Bergan die bunten Fratzen, 1989, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Fafnirs Höhle, 1989, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Merlin’s Cheerfulness, 1989, Bequest of the Guido Goldman 2020 Trust

Bernard Schultze, Title Unknown, 1990, Gift of Guido Goldman, 2011

Ida Kerkovius, Title Unknown, 1951, Bequest of the Guido Goldman 2020 Trust

Ida Kerkovius, Wandteppich, 1932, Bequest of the Guido Goldman 2020 Trust

Ida Kerkovius, Title Unknown, 1961, Bequest of the Guido Goldman 2020 Trust

Ida Kerkovius, Figuren und Vogel, 1949, Bequest of the Guido Goldman 2020 Trust

Ida Kerkovius, Komposition mit Hut, 1965, Gift of Guido Goldman, 2011

Ida Kerkovius, Title Unkown, 1963, Gift of Guido Goldman, 2011

Art Collection Deutsche Bundesbank

Karl-Otto Götz, Formstudie, around 1955, Art Collection Deutsche Bundesbank

Karl-Otto Götz, Impression I, 1957, Art Collection Deutsche Bundesbank

Ida Kerkovius, Komposition, 1955, Art Collection Deutsche Bundesbank

Ida Kerkovius, Zwei Figuren, 1958, Art Collection Deutsche Bundesbank

Ida Kerkovius, Horizontale Komposition, before 1966, Art Collection Deutsche Bundesbank

Ida Kerkovius, Figuren, before 1966, Art Collection Deutsche Bundesbank

Heinz Kreutz, Gelb-Irdisch-Eruptiv, 1954, Art Collection Deutsche Bundesbank

Heinz Kreutz, Malerei über das Gelb, 1955, Art Collection Deutsche Bundesbank

Heinz Kreutz, Kleines gelbes Thema, 1955/1956, Art Collection Deutsche Bundesbank

Heinz Kreutz, Abstrakte Komposition rot, 1959, Art Collection Deutsche Bundesbank

Heinz Kreutz, Abstrakte Komposition, 1959, Art Collection Deutsche Bundesbank

Heinz Kreutz, Küssende Graus, 1955, Art Collection Deutsche Bundesbank

Bernard Schultze, Musikalische Landschaft, 1953, Art Collection Deutsche Bundesbank

Bernard Schultze, Wie Blumen, 1955, Art Collection Deutsche Bundesbank

Bernard Schultze, Vom Wasser ans Land, 1955, Art Collection Deutsche Bundesbank

Bernard Schultze, Ophelia eingedenk, 1955, Art Collection Deutsche Bundesbank

Bernard Schultze, Auf gelb, 1955, Art Collection Deutsche Bundesbank

Bernard Schultze, Komposition, 1957, Art Collection Deutsche Bundesbank

Bernard Schultze, Ohne Titel, 1953, Art Collection Deutsche Bundesbank

Bernard Schultze, Faunisch, 1954, Art Collection Deutsche Bundesbank

Minda de Gunzburg Center for European Studies

The Minda de Gunzburg Center for European Studies (CES) at Harvard University is the oldest university center devoted to the study of Europe in the United States. CES was founded in 1969 at Harvard’s Faculty of Arts and Sciences to promote the interdisciplinary understanding of European history, politics, economy, and societies. Its mission is to:

• foster the study and support of innovative research on Europe among Harvard faculty as well as graduate and undergraduate students.

• facilitate the training of new generations of scholars and experts in European studies.

• serve as a forum for vibrant discussions on European history and contemporary affairs which nurture the exchange of ideas across disciplines, sectors, generations, and across the Atlantic.

The Deutsche Bundesbank

The Deutsche Bundesbank is the independent central bank of the Federal Republic of Germany. It has formed part of the Eurosystem since 1999, sharing responsibility with the other national central banks and the European Central Bank for the single currency, the euro.

The Deutsche Bundesbank has been collecting art since it was established in 1957. Focused primarily on paintings, works on paper and sculptures from German-speaking countries, the Bundesbank’s collection today comprises several thousand oeuvres which are on display at the Central Office in Frankfurt am Main as well as at the nine regional offices and their associated branches.

Exhibit Opening Program – April 16, 2024

4:00 – 5:15 pm

Reimagining Germany after WWII: Art, History & Politics

Welcome Remarks

Grzegorz Ekiert

Laurence A. Tisch Professor of Government & Director, Minda de Gunzburg Center for European Studies, Harvard University (2012-2023)

Introduction

Hans-Helmut Kotz

Visiting Professor of Economics & Resident Faculty, Minda de Gunzburg Center for European Studies, Harvard University; Member of the Executive Board, German Bundesbank (2002-2012)

Opening Remarks

Joachim Nagel

President, Deutsche Bundesbank; Member, Governing Council of the European Central Bank

Speakers

Belinda Davis

Professor of History, Department of History, Rutgers University

Gregory Williams

Director of Undergraduate Studies and Associate Professor of Contemporary Art, Boston University

Chair

David Spreen

Assistant Professor of History & Resident Faculty, Minda de Gunzburg Center for European Studies, Harvard University

5:15 – 6:30 pm

Official Opening of “Parallel Beginnings: New German Expressionists & Ida Kerkovius

Works from the Art Collection

Deutsche Bundesbank and the Guido Goldman Art Collection”

Welcome Remarks

Jan Kubasiewicz

Professor of Design, Massachusetts College of Art and Design; Curator of the Jacek E. Giedrojć Gallery, Minda de Gunzburg Center for European Studies, Harvard University

Imprint

Edited by Gila Naderi, Director of Communications, Minda de Gunzburg Center for European Studies, Harvard University, in cooperation with the Deutsche Bundesbank and Art Curator Iris Cramer and Assistant Art Curator Anja Hägebarth of the Art Collection Deutsche Bundesbank.

Graphic design by Jan Kubasiewicz, Professor of Design, Massachusetts College of Art and Design and Curator of the Jacek E. Giedrojć Gallery

Photographs of artworks by David Elmes

Printed by Fenway Communications

Cover illustrations: Details of works by Karl Otto Götz, Ida Kerkovius, Heinz Kreutz, Bernard Schultze

Minda de Gunzburg Center for European Studies

Harvard University

Adolphus Busch Hall, 27 Kirkland Street Cambridge, MA 02138 ces.fas.harvard.edu

@EuropeatHarvard

Where Harvard & Europe Meet Since 1969

KARL OTTO GÖTZ IDA KERKOVIUS HEINZ KREUTZ BERNARD SCHULTZE

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