Erna Dinklage

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Erna Elise Auguste Dinklage-Gilbert (born June 19, 1895 in Munich , † May 20, 1991 in Dietramszell ) was a German painter and graphic artist . She is one of the representatives of the art movements Neue Sachlichkeit (early work) and Arte Cifra (late work).

Life

Erna Dinklage was born on June 19, 1895 in Munich. After her parents divorced, she grew up with her mother in Geneva and Berlin until she was 17. She then moved to Munich to live with her father, Paul Crodel , an impressionist landscape painter . He discovered the daughter's talent for painting and encouraged her to study painting at the Berlin Art Academy, which she soon left, as the lessons more paralyzed her talent than encouraged it.

Back in her hometown Munich, she met the painter Georg Schrimpf , who introduced her to the Munich world of art and opened the way for her to be accepted as a member of the New Secession . She later became co-founder of the Munich artists' association “Die Juryfrei”.

In 1920 she married Karl Dinklage and their son Gideon was born. Now he created colorful garden pictures and, above all, numerous portraits such as the "Dreierportrait" (1930) (Erna Dinklage, father Paul Crodel and son Gideon), the double portrait (1920) of " Oskar Maria Graf and Georg Schrimpf " and the portrait of son " Gideon with apple ”.

In this creative period, which includes her early work, the painter developed in the style of New Objectivity. After her divorce from Karl Dinklage, she withdrew from the public art business in 1935 and moved to Lake Chiemsee . There she married Friedrich Theodor Gilbert and gave birth to son Christian and daughter Helga. The search for new forms of expression for her painting gave rise to the intermediate work (1935–1970). Examples of this period are the paintings “Escape” and the portrait “ Max Picard ” as well as the half-relief works “Quelle” and “ Lothar-Günther Buchheim with his wife Diethild”. All three portrayed belonged to the artist's circle of friends. Erna Dinklage's life was marked by several moves. First she moved to East Prussia , near Danzig . Nearly all works in the New Objectivity style were lost here at the end of the Second World War due to the invasion of the Red Army .

In the time of National Socialism her pictures were considered degenerate art , were removed from the museums of the Third Reich and disappeared. Of the few works that could be saved, two are oil paintings in the gallery in the Lenbachhaus in Munich. After fleeing East Prussia, Erna Dinklage lived in Bavaria, first in Starnberg and Feldafing on Lake Starnberg, later near Landsberg am Lech and from 1970 in Ried near Dietramszell. Here she found the peace and security to create her extensive late work between the ages of 75 and 95.

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Early work

New Objectivity - Magical Realism 1920 to 1935

Erna Dinklage was placed in a row with the painters Joseph Scharl and Rudolf Ernst ( Hans Eckstein in the “Zweijahrbuch der Juryfrei” Munich 1929/30.) Wilhelm Hausenstein and other contemporary critics and writers also praised her work.

Socially critical statements such as those to be found in the work of Otto Dix and Conrad Felixmüller were far from the artist. But she also set herself apart from magical realism , as the art historian Franz Roh characterized the bucolic, pacified style that predominated in Munich.

Erna Dinklage's paintings reveal a strongly formal approach, in which a tendency towards the poetic, transfigurative and also naive is noticeable. She combines her repertoire of forms with a luminous coloring. This is particularly evident in the numerous portraits, such as the double portrait “Oskar Maria Graf and Georg Schrimpf” or the portraits “Edzard Schaper” and the friend “Dora König with mother”. The artist's only self-portrait can be found in the “Dreierportrait” together with father Paul Crodel and son Gideon, whom she repeatedly captured in portraits of children (“Gideon with apple”, see cover of the art magazine Jugend ). Almost the entire oeuvre of the Neue Sachlichkeit of Erna Dinklage was lost at the end of the Second World War when the Russian army marched into East Prussia. Due to Hitler's dictation of “degenerate art”, only two of her works that disappeared from museums have survived.

Intermediate work

Search for new ways of artistic expression 1935 to 1970

In 1935 Erna Dinklage withdrew from the public art business under National Socialism and left Munich. The new domicile at Chiemsee and the second marriage to F. Th. Gilbert shaped this phase of life, which was interrupted by several moves, in search of new ways of her art. Numerous still lifes, portraits and watercolors were created during this period. "Max Picard" 1944, "Escape" 1946, the triptych "Fasching" and "Feldafinger Faschingsfußball". (Small selection) In 1950 the art critic Juliane Roh reproduced and commented on several of the painter's pictures in the art magazine Kunst und Haus .

In 1954, 70 works by Erna Dinklage were presented to the public in the Lenbachhaus gallery in Munich. During a short artistic excursion into ceramics, Erna Dinklage discovered the technique of the half-relief for herself. In some cases large-format pictures were created, the formal and color representation of which already give an idea of ​​the coming late work. The first work of this new technology is the double portrait " Lothar-Günther Buchheim and his wife Diethild". Examples of this new period are the compositions "Source", "The Meteor" and "Jerusalem, the Crown of the Desert".

Late work

Arte Cifra 1970 to 1990

After thirty years of searching, Erna Dinklage found her own artistic path in the seclusion of the countryside near Dietramszell between the ages of 75 and 95. An extensive late work was created that no longer shows any points of contact with the New Objectivity of the 1920s. Based on Armin's second essay Dark Dream and Promise in the catalog for Erna Dinklage's exhibition in 1989: In these paintings, the evident and the encrypted. The vegetative of man and the anthropomorphic of nature answer each other. Complementary contrasts, the alternation of plastic and painterly forms, the rhythmization of the relationship between figure and ground, as well as expressive sign language give many works a complexity. Examples include the oil paintings "The Big Fish", "Music", "Love Garden", "The Dance Around the Golden Calf", "Hommage à Michel-Angelo" and "The Couple".

What is striking about these pictures is the complete absence of the head. For Erna Dinklage, the human head was a symbol of a cold and sharp intellect and a hard pragmatism in a hectic time that threatens to lose the balance between feeling and spirit. She no longer wanted to depict this head.

A long-term process led from her realistic portraits to heads with reduced facial features, to heads that only had eyes, until finally the head disappears completely and only the eye remains. From the center of the human being, not from the intellect, Erna Dinklage wanted to develop a positive view of life in her pictures. It addresses almost all topics in life: love, suffering, war, pain, happiness, loneliness, conversation, music, dance, reading and much more. This with the help of the language of the body, the gestures and gestures of its extremities, a language that, in their opinion, is not deceptive. An important concern of the artist.

The same artistic criteria can also be found in the smaller format of the graphics and the watercolor as were presented above for the oil paintings. Both areas assert themselves as both extensive and multi-layered work. The series “Am Fenster” shows a world of dreams and fantasy. The two cycles “Stations of Suffering Jesus ” (15 parts, 1953) and “Joseph and his brothers” (18 parts, 1977) interpret biblical themes. This late work by the artist was shown in its entirety in 1989, two years before her death, in an exhibition in the Aspect Gallery in Gasteig, Munich.

Working in museums

  • The Shepherdess , 1920, oil on canvas, Städtische Galerie im Lenbachhaus , Munich
  • Winter landscape , oil on canvas, Städtische Galerie im Lenbachhaus, Munich
  • Oktoberwiese , 1954, oil on canvas, Städtische Galerie im Lenbachhaus, Munich
  • Two squirrels , oil on canvas, Städtische Galerie im Lenbachhaus, Munich
  • Die Stürzende , 1989, oil on canvas, Städtische Galerie im Lenbachhaus, Munich
  • Die Dichterin , 1989, oil on canvas, Pinakothek der Moderne , Munich
  • The yellow smiling cloud , oil on canvas, Pinakothek der Moderne, Munich
  • The cloud on the stairs , 1989, oil on canvas, aspects Galerie Gasteig, Munich
  • Mozart oil on canvas, Kulturreferat , Munich
  • State Collection of Graphics , Munich

Awards

Exhibitions

  • 1929
    • Frankfurt Art Association
    • House of Art Munich
  • 1954 Lehnbachhaus Munich
  • 1970 Holzinger collections
  • 1979
    • Kunsthalle Tübingen
    • Munich Insurance Chamber
  • 1982 Munich City Hall
  • 1989
    • Aspect Gallery Gasteig Munich
    • Zeitkunst Stuttgart Gallery
    • Art Association Cologne
  • 1990 Theater Schweinfurt
  • 1992 Gasteig Aspect Gallery

literature

  • Barbara Eschenburg (ed.): The paintings in the Lenbachhaus , Munich. From the late Middle Ages to the New Objectivity. German art publisher.
  • Wolfgang Storch: Georg Schrimpf and Maria Uhden . Life and work. Charlottenpresse, Frölich & Kaufmann, Berlin 1985.
  • Jugend (magazine) Munich 1928 No. 27 and 1928 No. 29.
  • Munich Mosaik (art magazine) issue 2 March / April 1989 and issue 6 November / December 1989.
  • Volkmar Riessner: Elective affinities. Munich artist . Anderland Publishing Company Munich.
  • Juliane Roh: Art and House (magazine) 1950.
  • General Artist Lexicon XXVII, 2000, 485.

Web links

Individual evidence

  1. ↑ a b Wolfgang Storch: Georg Schrimpf and Maria Uden. Life and work. Charlottenpresse, Fröhlich & Kaufmann, Berlin 1985.
  2. ^ Armin Second : Dark Dream and Promise. (Exhibition catalog on Erna Dinklage) Weißmann Verlag, Munich 1989, p. 8.
  3. ↑ Jugend , born 1928, No. 27 and No. 29 (cover pictures).
  4. ^ Hans Eckstein : Biennial Book of Jury Free Munich 1929/30.
  5. ^ Armin Second: Dark Dream and Promise . Catalog Erna Dinklage. Weißmann Verlag Munich 1989, p. 9.
  6. ^ Juliane Roh: Art and House 1950
  7. ^ Armin Second: Dark Dream and Promise . Catalog Erna Dinklage. Weißmann Verlag Munich 1989, p. 13.
  8. ^ Armin Second: Dark Dream and Promise . Catalog Erna Dinklage. Weißmann Verlag Munich 1989, pp. 12-14.
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personal data
SURNAME Dinklage, Erna
ALTERNATIVE NAMES Dinklage-Gilbert, Erna Elise Auguste (full name)
BRIEF DESCRIPTION German painter of New Objectivity and Arte Cifra
DATE OF BIRTH June 19, 1895
PLACE OF BIRTH Munich
DATE OF DEATH May 20, 1991
Place of death Dietramszell