A master of colour remembered by the region

Intimate portraits, light-filled watercolours, striking paper cut-outs: from 27 March 2026, the exhibition “A Master of Colour in the Region’s Memory” at the White Castle in Heroldsberg invites visitors to rediscover Fritz Griebel – a key figure in Nuremberg art after 1945.
Anyone wishing to understand how art in Nuremberg and the region was reshaped after 1945 cannot overlook one name: Fritz Griebel (1899–1976). To mark the 50th anniversary of his death, the Museum Weißes Schloss Heroldsberg is dedicating a special exhibition to the artist, bringing together his most important groups of works whilst demonstrating why Griebel was a key figure in Nuremberg art of the 1950s and 1960s: as an artist, teacher and cultural influencer.
Fritz Griebel was born on 22 August 1899 in Unfinden (Lower Franconia) and moved to Heroldsberg as a child, where he worked for much of his life and also died in 1976. His training took him first to the Nuremberg School of Applied Arts to study under his teacher Rudolf Schiestl, and later to Berlin. He established himself early on as an independent voice, and also as a pioneer of modern paper cutting. After 1945, Griebel played a decisive role in shaping the Nuremberg Academy of Fine Arts: from 1946 as a professor, and from 1948 to 1957 as director during the post-war reconstruction phase.
Portraits form the core of the exhibition. Griebel does not view people in a ‘representative’ manner, but rather attentively and unhurriedly. The portraits of his family and artist friends come alive through posture, gaze and precise drawing.
A second focus is on watercolours, in which Griebel displays his particular strength: lightness of brushstroke, transparently applied colours, clear compositions and a sense of light make these works highlights of the exhibition. Here, Griebel reveals himself as an artist who creates atmosphere with minimal means – and who captures the essence without oversimplifying.
Fritz Griebel also became known for his paper cut-outs. In black and white, created solely through cutting, surprisingly vivid figures and scenes emerged. It is precisely these works that demonstrate Griebel’s flair for contour, rhythm and emphasis.
The depictions of Heroldsberg hold a particular appeal. Views of the town and motifs from his familiar surroundings lend the exhibition a local depth: Heroldsberg appears not as a backdrop, but as a place that shaped Griebel’s perspective and which he, in turn, shaped artistically. For visitors from Nuremberg and the surrounding region, a piece of cultural memory is brought to life here.
Griebel embodies an artistic philosophy that takes technical precision seriously whilst remaining open to modernity. In doing so, he became a guiding light for an entire generation and one of the unsung architects of Nuremberg’s art scene during those decades.
Alexander Rácz

Last edited on 18.03.2026