Early Life, Family and Training

Willi Oltmanns was born on 29 September 1905 in Bant, near Wilhelmshaven. His early years were shaped by the practicalities of a craft. Between 1920 and 1923, he underwent a painter apprenticeship, learning the fundamental mechanics of the trade. This period of training provided the technical foundation that would support his later work as a painter.

In 1924, his life moved toward the Riesengebirge. During this time, he spent his days helping his older brother, Olly, in his antique shop. This proximity to old objects and the quiet work of an antique trade likely influenced his surroundings during those formative years. He was a man defined by these early labors and the steady acquisition of skill.

Life in the Artist Colony of Schreiberhau

In 1924, the move to the artist colony of Mittel-Schreiberhau in the Riesengebirge brought a change in pace. He spent time there helping his older brother, Olly, in his antique shop. This period was marked by a steady presence within the local creative community. He joined the St. Lukas artist guild in Oberschreiberhau and became a member of the Künstlerbund Schlesien.

The work produced during these years found its way into permanent collections. Museums in Breslau and Görlitz acquired paintings from him during this time. His presence in the Silesian landscape was established through these acquisitions and his involvement in the regional art circles.

Studies in Berlin and War Years

The years 1928 and 1929 were spent in Berlin, where the focus shifted toward formal studies. During this time, a studio visit with Max Pechstein occurred, offering a moment of connection with the established art scene of the era. This period of learning was interrupted by the political shifts of the 1930s. By 1937, the National Socialists imposed an exhibition ban on his work, a decision that effectively silenced his public presence for a time.

The disruption of the war years arrived in 1942 when he was conscripted to the Wehrmacht. He was sent to the Soviet Union, where he fought on various fronts. The conflict lasted until 1947, when he finally returned from captivity in Belgium. The war had stripped him of his studio in Schreiberhau, forcing a change in where he would eventually settle and paint.

Post-War Period and Professional Memberships

After returning from captivity in Belgium in 1947, Oltmanns settled in Delmenhorst. This move followed the loss of his atelier in Schreiberhau. The transition marked a new chapter of stability in his life, far from the disruptions of the previous decade. He began to establish himself within the local art community, finding a place among the creative circles of the region.

His professional life became increasingly defined by his involvement in various artistic organizations. In 1948, he joined the Künstlergilde e. V. Esslingen. This was followed by memberships in the Neue Münchner Künstlergenossenschaft and the BBK "Junge Gruppe Oldenburg". These affiliations placed him within a network of contemporary German painters, connecting his practice to the broader developments of the post-war era.

Artistic Style and Teaching Career

Oltmanns focused his brush on the quiet arrangements of still lifes and the shifting light of landscapes. His approach sat at the intersection of expressionism and realism, capturing the physical presence of his subjects without losing the weight of their form. In the years following the war, his compositions took on a heavier character, showing a clear influence from the works of Max Beckmann. This period also saw him moving away from the canvas to create designs for "Kunst am Bau," contributing to the visual landscape of the rebuilding era.

Between 1953 and 1967, he shared his technical knowledge as a teacher at the Volkshochschule Delmenhorst. This period of instruction coincided with his regular participation in the Great Art Exhibition in Munich, which he attended every year starting in 1951. His studio, which he built and maintained until 1978, became a central part of his daily practice and a site for his annual exhibitions.

• Thunderstorm Mood
• Nach dem Regen
• Stilleben mit Früchten

Travels and Later Life

The later years of his life were marked by a steady rhythm of movement across the European landscape. He spent much of this time traveling, finding himself in places like Davos, Lake Geneva, and the shores of the Baltic Sea. These trips were not merely brief visits but repeated stays in locations such as Stöfs and Waterneverstorf. He moved through the scenery of Flanders, the Loire, and Brittany, often accompanied by friends. Even as he aged, his presence was felt in the studios and landscapes of Switzerland and the various river valleys of the Rhine, Moselle, Saar, and Neckar.

His professional life remained active through his annual participation in the Great Art Exhibition in Munich, a practice he maintained from 1951 onwards. He kept a studio that he had built, holding exhibitions there every year until 1978. In 1977, he was in Ischia, where he maintained a friendship with the painter Luigi Coppa. This period of exploration and exhibition continued until his health faltered. He suffered a heart attack in May 1978. He died in Delmenhorst on 3 January 1979.

• Blick auf S. Gaetano – Ischia (1977, watercolor)
• Selbstbildnis (1978, watercolor)

Where to See the Works Today

His paintings and sketches find their way into several museum collections. You can find his work in Görlitz, Breslau, and Oldenburg. These collections hold pieces that reflect the quiet observations of his life and travels.

The legacy of his name continues through the Willi-Oltmanns-Preis. This award is presented every three years by the Willi-Oltmanns-Stiftung. The 6th award ceremony for this prize took place in 2019. It remains a way to keep his presence felt in the artistic community.