Tilla Durieux: Echoes of a Remarkable Life
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In the dazzling world of the 1920s, where modernity and artistic expression were at their zenith, one name shone brightly — Tilla Durieux. She wasn’t just a celebrated star of film and theater; she embodied the spirit of her era, a modern woman with a strong political voice, and quite possibly, the most portrayed woman of her time. Born in 1880 and passing away in 1971, Tilla Durieux’s life and career were as multifaceted as the artists who sought to capture her essence, such as Auguste Renoir, Max Slevogt, Lovis Corinth, Franz von Stuck, Charley Toorop, Ernst Barlach, August Gaul, Mary Duras, Emil Orlik, Sasha Stone, Oskar Kokoschka, Olag Gulbransson, Max Oppenheimer, and photographers Frieda Riess and Lotte Jacobi.
Tilla Durieux’s journey into the world of entertainment began in her hometown, where she received actor’s training. Her talent soon caught the attention of theater directors, leading her to perform in Olomouc and Wroclaw. However, it was in Berlin in 1903 that Durieux truly came into her own when she started working under the renowned director Max Reinhardt. Initially cast in minor roles, her breakthrough came when the celebrated actress Gertrud Eysoldt, famous for her portrayal of Salome in Oscar Wilde’s eponymous play, fell ill and graciously allowed Durieux to take her place. It was this pivotal moment that marked the birth of the legend of Tilla Durieux.
With her newfound fame, Tilla Durieux’s star continued to rise. She graced the stages of major theaters across Europe, taking on a plethora of challenging roles that showcased her versatility as an actress. Her talents weren’t confined to the theater alone; she also ventured in front of the camera, proving her mettle in the burgeoning world of film.
Beyond her acting career, Durieux’s life was closely intertwined with the art world. Her first husband, the artist Eugen Spiro, introduced her to the world of visual arts, and through him, she became a part of the circles that revolved around this captivating realm. Her second husband, the esteemed art dealer and publisher Paul Cassirer, further cemented her place in the art scene. Durieux wasn’t content with merely being a muse; she was an active collector and continued to model for artworks until the dark days of Nazi rule descended upon Germany.
But Durieux’s commitment didn’t stop at the world of art. She was a woman deeply engaged with social and political issues. During World War I, she sought refuge in Zurich during her time in exile, and later, she found herself in the midst of the tumultuous Munich Soviet Republic. Her bravery extended even further when she and her third husband, the industrialist and collector Ludwig Katzenellenbogen, joined the Zagreb resistance against National Socialism, an act that showcased her unwavering determination and principled stance against tyranny.
Rising to Stardom and Competing with Legends
In Berlin, Tilla Durieux embarked on her acting career with humble beginnings, taking on small roles that barely paid the bills. However, destiny had an extraordinary twist in store for her when Oscar Wilde’s provocative masterpiece, “Salome,” made its triumphant debut during her inaugural season in 1903. At the time, Durieux was cast as Herodias, a supporting role in the production.
A turn of events occurred during the play’s third night when the celebrated actress originally cast as Salome fell ill. Without hesitation, Durieux seized the opportunity, stepping into the limelight and assuming the coveted title role — a character she had previously portrayed during her stint in Wroclaw. Her rendition of Salome was nothing short of captivating, electrifying the audience with her scintillating performance. From that pivotal moment, she began sharing the role with the established star, Gertrud Eysoldt (1870–1955).
What set Durieux apart in her portrayal of Salome was her bold approach. Opting for a more voluptuous costume, which she had to provide for herself at the time, Durieux imbued the character with sensuality and charisma. It was this daring interpretation that marked the birth of the star, Tilla Durieux. Several artists immortalized her as Salome, with Eugen Spiro capturing the actress in this iconic role. Another notable depiction came from Max Slevogt (1868–1932) in his 1907 portrait, believed to showcase Durieux in her magnetic portrayal of Salome.
As Durieux’s star ascended, she inadvertently became acompetitor to Gertrud Eysoldt, who was a decade her senior. Eysoldt’s legendary status was built upon her groundbreaking 1909 role as Puck in Shakespeare’s “A Midsummer Night’s Dream,” a production in which Durieux had initially played Oberon before later taking on the role of Titania.
Despite the fierce competition that had developed between them, Eysoldt and Durieux displayed a remarkable duality in their relationship. They not only collaborated professionally but also joined forces in advocating for workers’ rights and even hosted joint private recitals, proving that even in a world of fierce competition, shared purpose could transcend rivalries.
Durieux and the World of Berlin’s Artistic Elite
In the words of Tilla Durieux, “Through him, my eyes have seen the splendor of the world but also cried the most desperate tears.” This poetic sentiment shows the relationship between Durieux, her first husband Eugen Spiro, and the charismatic art dealer Paul Cassirer (1871–1926). Their story unfolded in Berlin’s vibrant cultural scene in the early 20th century.
The fateful meeting between the Spiro/Durieux couple and Paul Cassirer occurred at a dinner hosted by Julius Meier-Graefe in 1905. Cassirer, hailing from a wealthy background, possessed charm and a well-rounded education. To Durieux, he seemed like a gateway to a world she had always dreamt of, one that she believed might be hidden somewhere. Despite his marital history as a divorcee with two children, Cassirer took a keen interest in Durieux’s career. He provided guidance, advising her to refine her breathing technique and elocution. More significantly, he introduced her to the dazzling art and literary circles of Berlin.
Yet, Paul Cassirer was not a one-dimensional character. Beneath the surface of charm and charisma was a restless, short-tempered, and at times, even cruel individual. His bouts of jealousy and infidelity added complexity to their relationship. The Spiro/Durieux family and the Cassirer family, including the prominent publisher Bruno Cassirer and philosopher Ernst Cassirer, seldom found common ground, maintaining a respectful distance from each other.
However, it was among the artistic luminaries orbiting Paul Cassirer that Tilla Durieux truly found her place. Over the years, she became an integral part of their circle, a select group that included illustrious painters such as August Gaul, Ernst Barlach, Max Slevogt, Leo von König, Lovis Corinth, and Max Liebermann. Writers like Tilly and Frank Wedekind, Else Lasker-Schüler, Heinrich Mann, Harry Graf Kessler, Samuel Fischer, Julius Elias, Julius Meier-Graefe, and Max Osborn also counted themselves among this distinguished gathering.
The Cassirer home in Berlin served as a vibrant hub for gatherings, inviting artists represented by Paul Cassirer’s gallery. Icons like Ernst Barlach and Oskar Kokoschka often found themselves as overnight guests when visiting Berlin. The bonds formed in these convivial gatherings were not merely social but also deeply artistic, fostering collaboration and mutual inspiration.
Even the tumultuous years of World War I and the subsequent exile in Switzerland did not break the bonds between Durieux, her husband, and their artistic circle. If anything, the challenges of war and displacement seemed to intensify their connections, as they continued to surround themselves with a close-knit community of artists and intellectuals.
Sculpting Beauty
The allure of Tilla Durieux extended far beyond the confines of the stage and screen. Her captivating presence and enigmatic charm inspired a plethora of artists to render her likeness in various sculptural forms, using an array of media and materials. Among the talented artists who found muse in Durieux’s visage, one name stood out prominently — Ernst Barlach (1870–1938).
Durieux’s relationship with Barlach was profound, and her countenance served as both template and wellspring of inspiration for many of his graphic and sculptural masterpieces. Barlach’s body of work encompassed not only four portrait busts fashioned from plaster, bronze, and porcelain but also a trove of sketches capturing the actress engrossed in the study of her diverse roles. Even during their exile in Switzerland amidst the turmoil of World War I, Paul Cassirer continued to commission works that celebrated his wife’s beauty and charisma. Notably, he enlisted the talents of Hermann Haller (1880–1950) to craft a series of sculptural portraits, meticulously carved from terracotta.
The artistic tributes to Tilla Durieux extended beyond the classical portrait busts. Arnold Rechberg (1879–1947) and Tina Haim-Wentscher (1887–1974) were among the artists who skillfully captured her essence on canvas and in clay. They immortalized her not only as herself but also in various iconic roles. Mary Duras (1898–1982) envisioned Durieux as the enigmatic Lady Macbeth, while Hugo Lederer (1871–1940) portrayed her as the captivating Franziska.
As the years advanced, Durieux’s appeal continued to inspire sculptors to create stunning portraits. In the late 1960s, the talented artist and stage designer Götz Loepelmann (1930–2017) sculpted several busts that captured the essence of Durieux’s persona. Additionally, a lifelike group of figures depicting a scene from the era of Robespierre was meticulously crafted from papier-mâché for an exhibition honoring Erwin Piscator’s legacy.
One piece held a unique place of honor. It was a life mask of the actress, captured during the complex period following the first anniversary of Paul Cassirer’s passing. Sculptor Hans Müller masterfully rendered her likeness, and upon seeing the result, Durieux penned a poignant reflection in her diary on January 6th, 1927: “So much grief in my face.”
A Life in Exile
In Durieux’s life, there were moments when the tumultuous currents of existence eclipsed the drama of the stage. The actress, known for her captivating performances, once mused, “For life today is so overwhelmingly powerful for each and every one of us that no actor, no play can elicit the agitations caused by life itself.” It was a reflection that would prove prophetic in the face of profound personal challenges.
Following the tragic suicide of her husband, Paul Cassirer, Durieux retreated from the spotlight, seeking solace in the written word. In a bold departure from her theatrical pursuits, she penned a roman à clef titled “A Door is Closing,” a reckoning with the complexities of her husband’s family. The work soared to bestseller status, but Durieux carried a lingering regret for its publication throughout her life.
In 1930, Durieux embarked on a new chapter of her life, marrying Ludwig Katzenellenbogen (1877–1943), a divorcee and the CEO of Ostwerke AG and Schultheiss-Patzenhofer AC. Like her previous husbands, Katzenellenbogen was also of Jewish descent. Their union faced turbulent times as Katzenellenbogen’s fortunes took a severe blow. Charged with accounting fraud in the backdrop of virulent anti-Semitic sentiments, he faced a sensational trial and conviction. It was Tilla Durieux who stepped into the breach, sustaining their livelihood through tireless guest appearances and the sale of her cherished jewelry and paintings.
A fateful decision marked a crucial turning point in their lives. Forewarned by the theater director, Durieux discreetly slipped away from her evening performance on March 31st, 1933, foregoing the final applause. Her aim was to catch an overnight train to Prague alongside her husband, and thus, they embarked on a journey into an uncertain future.
Their path led them through Ascona, Zagreb, and Opatija, where they assumed the management of the Hotel Cristallo. Meanwhile, Durieux continued to grace stages in countries where she was still permitted to perform. She also dedicated herself to teaching at the Salzburg Mozarteum. In a desperate bid to secure visas for the United States, she even turned to Honduran passports, but her efforts proved fruitless.
Tragedy struck in Durieux’s absence when Katzenellenbogen was transported to Berlin, where he passed away in 1943. Durieux found refuge in Zagreb, taking part in the resistance movement and penning the play “Zagreb 1945.” With the war’s conclusion, she embarked on a new chapter as a costume designer for a puppet theater. Her remarkable collection of costumes became a public treasure, accessible on select days, while a portion of it still resides in the Zagreb City Museum.
It wasn’t until 1952 that Durieux, tentatively, stepped back onto the Berlin stage. Gradually, she rekindled her connection with Germany, finally returning to her homeland in 1955.
Celebrating an Artistic Legacy
“The memories are there, and they are good.” On the occasion of her 85th birthday, the legendary actress Tilla Durieux fondly reminisced about her extraordinary life. She shared her recollections with journalist Joachim Preuß, who would go on to compile a comprehensive biography spanning her life from 1952 to 1971. This biography, titled “My First Ninety Years,” served as a poignant reflection on Durieux’s life journey, chronicling her experiences, struggles, and triumphs.
The biography stood as a sequel to her earlier memoirs penned as “A Door is Open.” Durieux had completed these memoirs in 1954 while residing in Zagreb. However, it was Joachim Preuß who meticulously crafted the biography, weaving together the threads of her remarkable story, but only after the actress had departed from this world.
Throughout the decades, Tilla Durieux had diligently recorded her thoughts, pondering not only her illustrious acting career but also touching upon subjects as diverse as fashion and pressing social issues. Her writings delved deep into the recesses of her own life, providing a poignant insight into the mind of a multifaceted artist.
In the twilight of her life, Durieux took on the task of organizing her estate with meticulous care. She sifted through a treasure trove of documents, correspondence, written material, and a vast collection of photographs. She annotated, commented, and, on occasion, erased or perhaps even discarded certain records, all with the intention of shaping the overall picture of her remarkable life. After her passing, her estate found its home at the Berlin Academy of Arts, preserving the legacy of one of the most celebrated figures in German theater.
To mark her impressive 65-year stage anniversary, Durieux established the Tilla Durieux Jewellery Foundation. As a gesture of appreciation for her own illustrious career, she gifted an exquisite Art Deco necklace, likely once received as a gift from her husband, Paul Cassirer. This beautiful piece of jewelry has since been passed on every decade to an outstanding representative of German dramatic art, carrying with it the weight of Durieux’s legacy. It has graced the necks of accomplished actresses, with the most recent recipient being Gabriela Maria Schmeide in March 2022.
Even in the most intimate aspects of her life, Durieux had made careful provisions. She had meticulously planned her own funeral, ensuring that it would be a reflection of her theatrical essence. Following the speeches and recitations during her interment on March 1st, 1971, her unforgettable voice once again resonated, reciting a poignant poem by Janne Furch-Allers titled “Ihr, die ihr leben dürft…” [You, Who Are Allowed to Live].
