Early Life, Family and Training

Curd Lessig entered the world on 22 November 1924 in Stuttgart. He was born to parents whose origins lay in Würzburg, a city that would eventually define his professional landscape. He was the twin brother of Heinz Bruno, though their paths would diverge into different disciplines. While his brother pursued music, Curd focused on the visual. This early distinction in their upbringing set the stage for a life dedicated to the technical and aesthetic demands of painting and design.

His formal training began with a focused period of study. From 1939 to 1940, Curd Lessig studied painting under Heiner Dikreiter. This initial instruction provided the foundational skills necessary for a career that would eventually span multiple media. He did not rely solely on academic study; he sought practical application through direct labor. Between 1940 and 1942, he completed an apprenticeship as a church painter at the Menna company in Würzburg. This period of work was critical. It grounded his artistic development in the rigorous, disciplined traditions of ecclesiastical art, a specialty that would define much of his later output.

Military Service and War Experience

The trajectory of Lessig's early development was abruptly interrupted by the realities of the Second World War. In 1942, he was drafted into military service, serving with the 17th Cavalry Regiment in Bamberg. Even during this period of mobilization, his hand remained active; he produced officer portraits, a practical application of his developing skill set amidst the chaos of conflict.

The war brought direct physical consequences when he was wounded in Normandy. This injury coincided with a period of profound displacement. Following the combat in France, he was held in American captivity from 1944 until his release in 1946. These years of confinement and the trauma of the front lines provided a stark, non-aesthetic contrast to the formal training he had begun in Stuttgart and Würzburg.

Artistic Studies and Professional Career

Lessig’s professional trajectory was defined by a rigorous academic foundation and a rapid transition into independent practice. Following his early training, he spent the years between 1948 and 1959 studying painting at the Academy of Fine Arts Munich under Walther Teutsch. This period of formal instruction provided the technical discipline required for his later, more expansive commissions. Even before completing his studies, he was already establishing himself within the professional community, becoming a founding member of the BBK Ober- und Unterfranken in Bamberg in 1947.

His career was marked by a dual focus on fine art and ecclesiastical work. He operated as a church painter and restorer for the Menna company, applying his skills to various churches throughout Franconia, Hesse, and Westphalia. This practical, hands-on engagement with religious spaces informed his later mastery of large-scale installations. By March 1957, Lessig had established his own studio, marking his full independence as a professional artist. This move allowed him to manage a diverse portfolio that spanned from the sacred to the secular.

The sheer scale of his output is evident in his cataloged works, which exceed 400 examples. His commissions were not limited to the religious sphere; he applied his vision to a wide range of public and functional structures. His work can be found in settings as varied as military barracks and assembly halls, demonstrating a versatility that moved beyond the confines of traditional studio painting. His ability to adapt his technique to different architectural environments ensured his presence in both communal and institutional spaces.

Artistic Techniques and Subject Matter

Lessig’s technical range was defined by a heavy reliance on architectural integration. He did not merely paint; he designed for permanent spaces through stained glass, mosaics, wall paintings, and frescoes. His work moved between the delicate precision of glasswork and the large-scale demands of public commissions. This versatility allowed him to occupy diverse environments, from military barracks to sacred church interiors. His output was vast, with a catalog of over 400 examples that demonstrate a disciplined command over varied media.

His graphic work reveals a technical proficiency in several printmaking methods. He utilized linocut, etching, lithography, and serigraphy to explore different textures and layers. Beyond these formal prints, he worked extensively with ink and pen, as well as colored and pencil drawings. These studies often focused on landscape gouache, capturing topographical details with a directness that avoids unnecessary ornamentation. His subject matter was not limited to the natural world; he also produced officer portraits, a practice rooted in his wartime experiences.

• Dying Forest (about 1984)

Awards and Later Years

The later decades of Curd Lessig's life were marked by significant institutional recognition within his home region. In 1982, he received the Golden Centaur alongside other prizes in Italy. This period of recognition continued through the 1990s and into the 21st century. He was awarded the Culture Prize of the City of Würzburg in 1991. His influence in the Franconia region remained evident as he received the Culture Prize of the Weinbruderschaft Franken in 2004. Finally, in 2009, he was awarded the Culture Prize of the District of Lower Franconia.

His output remained consistent through his final years. He maintained a presence in the local art scene, with exhibitions held at various venues including the Spitäle Würzburg and the Museum im Kulturspeicher. These exhibitions documented a career that spanned several decades of diverse technical application. Curd Lessig died on 23 May 2019 in Würzburg.