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Hans Schweizer was born in 1925 near Michelstadt, a town in Hessia known for its picturesque medieval centre and the regional ivory crafts schools. Having completed school and his apprenticeship as ivory carver, he was accepted at the crafts school in Offenbach. His first known sketches and watercolours document his interest in nature and human anatomy. At the age of eighteen he was drawn by the Wehrmacht and served in Bohemia, Weimar and occupied Belgium. From 1944 to 1946, he was POW at an US military camp, an experience he recorded in a series of ink sketches. In the late 1940s, he moved to Düsseldorf to study at the Academy of Arts and was given his first commissions for portraits and minor sculptures.

From 1949 until 1952 he studied at the Academy of Arts in Düsseldorf, where Joseph Beuys and Günther Grass were among his fellow students. He also studied at the Kölner Werkschulen. In 1954 he travelled to Marocco, Spain, Belgium and France.

Having completed his studies, he won various prices for his public sculptures, and got numerous commissions for decorative art at public venues and churches, including the cathedral in Bonn and at the prestigious Königsallee in Düsseldorf. Many of his religious and ethnic works of art date from this period. In the following years he moved towards more abstract forms, but he also continued to use anthropomorphic and stylised elements of nature.

In the 1960s and 19970s, he experimented with concave and convex forms in relief paintings and sculptures, developing a powerful abstract erotic visual language. He presented his works in many exhibitions. Under the influence of the growing dangers of a nuclear confrontation during the Cold War, he became increasingly interested in nature as a theme .
During the 1980s, Hans Schweizer worked with different materials, including wood, acryl, bronze, and mosaique. Public commissions and exhibitions make his work known to the wider public. He is commissioned to create a memorial sculpture for the victims of the holocaust during the Third Reich, entitled ‘DO NOT FORGET’.

Over the last decade of his work, Hans Schweizer turned to more abstract forms while he continued his watercolour paintings of the environment surrounding his home near the river Rhine. In 2002, Hans Schweizer dedicated a series of religious wood engravings to the memory of his wife Renate. This work was exhibited at his last studio exhibition. In 2004 and 2005, he enters the last phase of his artistic production, in which he used bright colours on large canvasses. He continued his ‘2005 series’ until his death in August 2005.

From 1954 until 2005, Hans Schweizer lived near Düsseldorf. He was a member of the Kunstverein Malkasten and the Bergischer Künstlerbund.




erbach, rathaus
bad könig, kurzentrum
monheim, schelmenturm
düsseldorf, atelier galerie
bonn, gallerie ossenpohl
langenfeld, stadthalle
münster, galerie glasing
monheim, raiffeisenbank
bab, köln
münsterland-ost, kunst an der autobahn
michelstadt, historisches rathaus
düsseldorf, kunstverein malkasten
mannheim, forum 77
mainz, galerie dornhöfer
hagen, galerie nova
heusenstamm, kulturamt
düsseldorf, galerie wältermann
meerbusch, galerie martin-myren
düsseldorf, robert-schumann-institut
langenfeld, galerie köhler
wuppertal, galerie ostermann
monheim, stadtspakasse
köln, galerie an gross st. martin
remscheid, galerie wicke
warendorf, skulpturengalerie budde
hilden, galerie 51
reutlingen, galerie am ledergraben
düsseldorf, schloss garath
düsseldorf, aok-gallerie
düsseldorf, sparkasse

exhibitions with other artists
düsseldorf, lembeck, olsztyn/polen, darmstadt, bad honnef, wülfrath, berlin, mettman, duisburg, offenbach, münster, langenfeld, esses, frankfurt, reutlingen, schwetzingen, köln, mayen, wiesbaden, göttingen, lübeck, bonn, hagen, paris, bocholt, hilden, warendorf, monheim

decorative art in public venues
bonn, düsseldorf, münster, erbach, monheim