Ernest Neuschul

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Ernst Neuschul later Ernest Neuschul and from 1946 Ernest Norland (born May 17, 1895 in Aussig , † September 11, 1968 in London ) was a German-Czech painter. In the Weimar Republic he was one of the most famous painters of the New Objectivity . As a result of his persecution as a Jew , his flight to England and his name change, he was forgotten in Germany in the years after the war .

biography

Childhood and youth in Aussig (1895–1913)

Ernst Neuschul was born in 1895 as the eldest of three sons of the ironmonger Josef Neuschul and his wife Jeanette, née Feldmann, in Aussig on the Elbe in northern Bohemia . North Bohemia then belonged to the Austro-Hungarian monarchy and in 1918 became part of the new Czechoslovak Republic . The Neuschul family was one of the city's respected and influential Jewish community. Neuschul attended the state high school in Aussig, which he left without a degree.

First art studies in Prague (1913–1915)

Against his father's wishes, Neuschul wanted to study at the Art Academy in Prague . However, this did not happen because his parents refused to give him financial support. That is why he worked in Prague as a house painter and attended the courses at the academy as an external person.

Vienna years (1915-1916)

He then went to Vienna , where he attended the KK Graphische Lehranstalt . The threat of being called up for military service prompted him to go from Vienna to Krakow in 1916 .

Cracow years (1916-1918)

Neuschul continued his studies at the Art Academy in Krakow , which at that time belonged to Austria-Hungary. He took lessons from the Art Nouveau artist Józef Mehoffer . A diary from this time with his own poems and quotes by artists and philosophers as well as his own thoughts on them identifies Neuschul as a seriously searching young person who is interested in ideological and art-theoretical questions and answers.

Prague years (1918-1920)

In the summer of 1918 Neuschul went to Prague, where he continued his studies at the Academy of Fine Arts with Franz Thiele . In August 1918 he met the Dutch-Javanese dancer Takka-Takka, real name Lucie Lindenmannovou (1890–1980), who grew up in Berlin and later became his wife. He was fascinated by the exoticism of this woman. In July 1919 Neuschul had his first solo exhibition with 39 works in Weinert's salon in Prague. As a letter of recommendation from his professor shows, Neuschul intended to continue his studies at the Academy of Fine Arts in Berlin at the end of 1919 . But this did not happen because he was traveling to Java and East India with his future wife .

Berlin years (1920–1922)

From August 1920, Neuschul was registered in the apartment of his partner Takka-Takka in Berlin-Charlottenburg . Inspired by her dancing skills, Neuschul dealt with East Indian dance and wrote scripts for experimental films based on Asian myths. He designed dance costumes for his wife. a. performed in the Kursaal of the Lucerne Theater. On June 24, 1922, Neuschul and Takka-Takka married in Berlin. In the following years it became his most important model. In 1922 Neuschul also had his first solo exhibition in Rome .

As a Javanese dancer couple on a world tour (1922–1926)

From August 1922 Takka-Takka and Ernest Neuschul went on tour through Europe, the USA and Canada as a Javanese dancer couple with their program Asian Fantasies under the name “Yoga-Taro” (connoisseurs of yoga ) . Guest performances in Frankfurt and Berlin formed the end. These successful years of performance with Takka-Takka are an expression of Neuschul's extraordinarily versatile talent. Like his wife, he was enthusiastically celebrated as a dancer. He used the trips on the tour to find motifs for drawing, painting, photography and exhibitions. Between the dance engagements in Paris , Amsterdam , Rome, Madrid , New York and Montreal and many other cities in Europe and the USA, he and Takka-Takka lived in Paris, Berlin or in his hometown of Aussig, where exhibitions of his works were also held. An anti-Semitic article against the work of the 28-year-old artist appeared at the first exhibition in his hometown. In January 1926, the couple's last appearance took place in the winter garden in Berlin. In that year Neuschul became a member of the November group in Berlin, with whom he had several exhibitions in the following years. Here he also made the acquaintance of the painters Ludwig Meidner and Arthur Segal .

Berlin years (1926–1933)

The year 1927 brought Neuschul's big breakthrough. For the first time it was noticed by a broad public in Germany. He successfully participated in eight exhibitions, six of them in Berlin. His work is recognized in 48 surviving press articles. In the same year he received a contract with the renowned Neumann-Nierendorf gallery in Berlin , which now ensured the artist a regular income.

In the following years he also took part in exhibitions in many German cities. In 1929 he became a member of the Reich Association of German Artists . In 1931 Neuschul took over the chair for drawing and painting at the Charlottenburg City Art School.

The self-portrait Der Agitator from 1932 shows Neuschul on the eve of Hitler's Germany as an anti-fascist fighter. In 1933 Neuschul became the last chairman of the November Group before it was banned by the National Socialists. At its last exhibition in February 1933 in the “House of Artists” on Schöneberger Ufer in Berlin, the works on display were confiscated and many of them destroyed. Immediately after these events, Ernest Neuschul fled to Czechoslovakia. Takka-Takka and his later second wife Christl Bell saved his works in his Berlin studio and brought them to Aussig.

Second time in Aussig (1933–1935)

Ernest Neuschul and Takka-Takka had split up in the meantime. On February 3, 1934, Neuschul married his second wife, Christl Bell, a painter and, until 1933, a painting restorer at the Kaiser Friedrich Museum in Berlin - today the Bode Museum . On March 25, 1934 his first son Til Peter was born, whose first name was later changed to Khalil. In mid-1939 Neuschul received an invitation from the Moscow Artists' Association to Moscow .

Years in Moscow (1935–1936)

On September 6, 1935, Ernest Neuschul and his wife Christl traveled to Moscow with 40 works that had been created between 1929 and 1934. They initially lived in the “Metropol” hotel and later in their own apartment. Good contacts develop with other artists living in Moscow at the time through the club of foreign workers and also with Russian artists. Neuschul was initially enthusiastic about what he experienced and especially about the people he met. On the second day, Pravda reported very positively about his solo exhibition at the Museum of New Western Art in Moscow , so that Neuschul received a number of commissions in the period that followed. Among other things, he was commissioned to portray Josef Stalin and Georgi Dimitrov . On January 1, 1936, Neuschul became a member of the Moscow Artists Union and the Union of Soviet Artists. He turned down a chair at the Academy of Fine Arts in Kharkov . Shortly before the start of the second Stalin Purge , Neuschul received the advice from Andrei Bubnow , the People's Commissar for Popular Education and later himself a victim of the Stalin trials, to leave Moscow as soon as possible.

Third time in Aussig (1936–1937)

In February 1936 Neuschul gave a lecture on the Soviet Union in Aussig . In June 1936, the picture supplement Die Welt am Sonntag reported in detail to the Prague press about his stay in the Soviet Union. In 1937 his last exhibition took place in his hometown. In this exhibition two of his works were cut up and smeared with swastikas . On November 3, 1937, Neuschul left his hometown Aussig forever and moved with his family to Prague, before the Czechoslovak border areas were annexed by Hitler's Germany and declared the new Reichsgau Sudetenland the following year .

Years in Prague (1937–1939)

Neuschul became a member of the Oskar Kokoschka Club and gave lectures on degenerate art , to which his works were also declared. In the first few months in Prague he portrayed the Czech President Edvard Beneš three times alone . In 1938 Neuschul was in a desperate situation. He was on the Nazis' black list and, as a Sudeten German, threatened to extradite him to the “Third Reich” from the Czech side. Many of his friends have already left Prague. Kokoschka and others went to England. Neuschul knew that he too had to flee again, but he didn't know where to go. He neither wanted nor could he go to the Soviet Union. On March 10, 1939, Neuschul withdrew from the police and continued to live as an “illegal” in Prague. Via Wenzel Jaksch, a member of the German Social Democratic Workers' Party in the Czechoslovak Republic (DSAP) and his connection to the British Labor Party , it was possible to prepare the emigration of Neuschuls and his family to England in just a few days. Because the Gestapo was not yet aligned during this period of upheaval, the German Wehrmacht issued an exit permit, and the Neuschul family took the last train to Germany on March 24, 1939, via Holland to England . Neuschul's mother, who did not want to leave Prague because of his sick brother, was later murdered in Auschwitz with the family members who remained in Prague .

Last phase of life in England (1939–1968)

The family initially lived in Mumbles near Swansea in Wales . On May 19, 1939 Neuschul became a member of the Free German Cultural Association in England, the Free German Artists Association . The second son Misha was born on June 13, 1943. Neuschul gave lectures on the history of art, where he was particularly interested in its social aspects. In 1946 he decided to stay in England and moved to London with his family. As a rejection of the past, he changed his name from Neuschul in Norland . He lived in the house in London-Hampstead until the end of his life. He made numerous trips - in 1966 for the first time to Berlin. There were seven solo exhibitions up until his death. Ernest Neuschul died on September 11, 1968 at the age of 73.

Artistic development

At the beginning of Ernst Neuschul's artistic activity, expressionism was en vogue, with intense colors in abstract forms. Neuschul converted this style into the more concrete style of New Objectivity. At first women were his preferred topic, but gradually socially critical topics found their way into his range of motifs. At first he represented the marginalized groups of society. He painted drinkers or women from the demi-world and then more and more motifs from the world of work - workers in the fields or workers at their machines. The representation of people in the world of work then led to the invitation of the Moscow Artists Association. In Moscow, however, Neuschul was given to understand that he should not paint the workers in their current precarious situation, but in the style of socialist realism and the ideal state aimed at by communism . He refused. Neuschul remained true to himself and continued to paint what he saw and not what he should see. After the war he continued to abstract his style, but like other emigrants who had left Germany forever, such as B. George Grosz , can no longer build on the success he had before his escape. He was rediscovered in Germany in 2001 when the Art Forum East German History organized a four-week exhibition of his pictures in Regensburg in cooperation with the Czech Republic . Mainly works from Czech and German museums as well as private loans were shown. Many of Neuschul's pictures were destroyed, many are missing.

Works (selection)

  • 1915: Self-portrait , pastel on paper, 61.5 × 41 cm, Jewish Museum in Prague
  • 1917: Still life with a grandfather clock , oil on canvas, 70 × 40 cm, Museum of the City of Aussig
  • 1918 approx .: Tantalos , oil on canvas, 95 × 76.5 cm, Jewish Museum Prague
  • 1919: Am Totenbett , colored drawing on paper, 22.2 × 21.5 cm, private collection
  • 1920: The monkey around 1920, etching on paper, 12 × 8.2 cm, private collection
  • 1920: Landscape with Trees , colored woodcut on paper, 19.7 × 27.7 cm, private collection
  • 1920 approx .: Girl with cat , oil on canvas, 90 × 70 cm, Berlinische Galerie , State Museum for Modern Art
  • 1923: Beach near Biarritz , oil on cardboard, 44.5 × 57.5 cm, Liberec Regional Gallery
  • 1924: Samson II , oil on canvas, 100.5 × 138.5, Jewish Museum Berlin
  • 1926: Resting women , oil on canvas, 67 × 87 cm, Berlinische Galerie, State Museum for Modern Art
  • 1926: Boats on the Elbe , oil on canvas, 70 × 49 cm, private collection
  • 1926: The Kalkschaufler , oil on canvas, 58 × 59 cm, private collection
  • 1926: Kaschemme II , oil on canvas, 98 × 80 cm, National Gallery Berlin
  • 1927: Self-portrait , oil on canvas, 63 × 48 cm, Museum of the City of Aussig
  • 1927: Children , oil on canvas, 80 × 74 cm, private collection
  • 1927: The Drunkards , oil on canvas, 102 × 86 cm, Hessisches Landesmuseum Darmstadt
  • 1928: Die Rast , oil on canvas, 139 × 100.5 cm, Museum of the City of Aussig
  • 1929: Der Steinklopfer , oil on canvas, 113.5 × 144.7 cm, Kunstforum Ostdeutsche Galerie , Regensburg
  • 1929: At the Canal , oil on canvas, 100 × 81 cm, Ministry of Youth, Education and Sport of the Czech Republic
  • 1929: Nude at the vanity , oil on canvas, 120 × 100.5 cm, private collection
  • 1929: Sick Girl , oil on canvas, 100.5 × 64.7 cm, private collection
  • 1929: Sleeping fat woman , oil on canvas, 60 x73 cm, private collection
  • 1930 approx .: Plätterin , oil on canvas, 65 × 46 cm, National Gallery Berlin
  • 1931 approx .: Gypsies , oil on canvas, 65 × 53 cm, Museum of the City of Aussig
  • 1931: Woman applying makeup , oil on canvas, 72 × 50.3 cm, private collection
  • 1931: Grape picker , oil on canvas, 81.5 × 100 cm, Jewish Museum Prague
  • 1932: Landscape with Trees , oil on canvas, 61.5 × 91.2 cm, private collection
  • 1932: Three trees , oil on canvas, 53 × 43 cm, private collection
  • 1932: Nude from the back , oil on canvas, 146.5 × 89 cm, Berlinische Galerie, State Museum for Modern Art
  • 1934: White House , oil on canvas, 80 × 102 cm, private collection
  • 1933: Dead Tree , oil on canvas, 86 × 101 cm, private collection
  • 1933: Self-portrait with Mimi , oil on canvas, 60 × 73 cm, private collection
  • 1933: Christel with beret , oil on canvas, 55.5 × 46.5 cm, private collection
  • 1933 approx .: House in the garden , oil on canvas, 64 × 50 cm, Museum of the City of Aussig
  • 1933: Sunflowers , oil on canvas, 76.5 × 63 cm, private collection
  • 1934: Der Junge ( Der Krüppel ), oil on canvas, 64 × 50 cm, Museum of the City of Aussig
  • 1934: Female nude (half nude), watercolor on paper, 43 × 29 cm, Museum of the City of Aussig
  • 1934: My wife with our child , oil on canvas, 100 × 75 cm, private collection
  • 1935: Worker with a pickaxe , oil on canvas, 65 × 51 cm, Museum of the City of Aussig
  • 1936: Harvest in the low mountain range , oil on canvas, 74 × 100 cm, Museum of the City of Aussig
  • 1937: Self-portrait with the son , oil on canvas, 90 × 70 cm, National Gallery Berlin
  • 1937: Old man , pencil on paper, 44.2 × 27.8 cm, private collection
  • 1938: Netzflicker in Marseille , oil on canvas, 69.5 × 66 cm, private collection
  • 1938 approx .: Self-portrait , oil on canvas, 45.4 × 35.5 cm, private collection

Exhibitions

  • 1919: Solo exhibition in Prague at the end of his studies in Prague
  • 1921: Participation in the Great Berlin Art Exhibition , Free Secession Department
  • 1921: Participation in the "Young Rhineland" exhibition in Düsseldorf in May
  • 1922: Solo exhibition in Rome
  • 1923: Collective exhibition in Aussig from October 27th to November 4th
  • 1924: Solo exhibition in Prague organized by the Art Association for Bohemia January 19 to February 13
  • 1924: Solo exhibition in Rome in April
  • 1924: Solo exhibitions in Barcelona and Madrid
  • 1924: Solo exhibitions in New York for the Society of Fine Arts and in Chicago
  • 1926: Participation in the Great Berlin Art Exhibition in May at Lehrter Bahnhof
  • 1926: Participation in the exhibition of the Berlin Secession
  • 1927: Exhibition at the Neumann-Nierendorf Gallery in Berlin
  • 1927: Participation in the spring exhibition of the Academy of the Arts April / May
  • 1927: Participation in the art show in the Moabiter Glaspalast
  • 1927: Participation in the exhibition of the Aid Association for Young Art in the Neumann-Nierendorf Gallery
  • 1927: Participation in the Silesian Art Exhibition Scheitnig
  • 1927: Participation in the exhibition "The Portrait" in the Städtische Galerie Königsberg
  • 1928: Solo exhibition in Paris
  • 1928: Participation in the exhibition “The Portrait in Young Art” at the Duisburger Kunstverein in March
  • 1928: Participation in the spring exhibition of the Berlin Academy in May / June
  • 1928: Participation in the Great Berlin Art Exhibition at Lehrter Bahnhof, May to mid-July
  • 1928: Participation in the exhibition German Art in Düsseldorf in June
  • 1928: Participation in the art and technology exhibition at the Folkwang Museum in Essen, June 8 to July 22
  • 1928: Participation in the autumn exhibition of the German Art Association in the Berlin Palace in October
  • 1928: Participation in the jury-free art show in Berlin in November
  • 1928: Participation in the still life exhibition of the Kunstkammer Berlin
  • 1929: Participation in the spring exhibition The beautiful Berlin in the Berlin Palace
  • 1929: Participation in the Great Berlin Art Exhibition at Lehrter Bahnhof in May
  • 1929: Participation in the art and technology exhibition at the Kunstverein Cologne , June to July
  • 1929: Participation in the jury-free art show in Berlin as part of the November group
  • 1930: Ernest Neuschul's collective exhibition at the Art Association for Bohemia in Prague from March 27th to April 21st
  • 1930: Collective exhibition in the public library in Aussig from April 19 to March 4
  • 1930: Participation in the spring exhibition of the Prussian Academy of the Arts in Berlin, May to June
  • 1931: Participation in the Great Berlin Art Exhibition at Lehrter Bahnhof
  • 1932: Participation in the Great Berlin Art Exhibition at Lehrter Bahnhof
  • 1933: Solo exhibition “Newer Pictures” in the House of Artists on Schöneberger Ufer Berlin in February
  • 1933: Participation in the exhibition of the Association for Art Care in Aussig
  • 1935: Collective exhibition in the Volksbücherei Aussig with 108 works, from January 28 to February 23
  • 1935: Solo exhibition at the Museum of Western Art in Moscow, November 1935 to January 23, 1936
  • 1937: Collective exhibition in the Aussig city library with 74 paintings, August 29 to September 19
  • 1938: Solo exhibition in the halls of the Czechoslovak Werkbund in Prague, April 28 to March 12
  • 1946 to 1968: Seven solo exhibitions in Great Britain
  • 1959: Exhibition "Ernest Neuschul-Norland - Paintings", Bezalel National Museum Jerusalem, March 28th to April 19th
  • 1966: Retrospective “From the New Objectivity to the New Unobjectiveness”, oil paintings from 1926 to 1966, Berlin, June 14th to July 17th
  • 1991: Exhibition "Ernst Neuschul & Family", gallery in Haus am Lützowplatz, Berlin, May 7th to June 2nd
  • 2001: Exhibition in Brno / Slovakia from December 12, 2001 to January 27, 2002
  • 2001: Exhibition in Regensburg from February 7, 2001 to April 14, 2001 in the Museum Ostdeutsche Galerie Regensburg

literature

  • New school, Ernest . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 3 : K-P . EA Seemann, Leipzig 1956, p. 474 .
  • Meir Mindlin: Ernest Neuschul-Norland - Paintings. Catalog for the exhibition March 28 to April 19, 1959. Publisher: Bezalel National Museum Jerusalem, 1959.
  • Catalog for the exhibition “From the New Objectivity to the New Unobjectiveness”, June 14th to July 17th, Office for Art, District Office Berlin-Tiergarten, 1966.
  • Campbell & Franks (Fine Art): Ernst Neuschul 1895-1968: New Objectivity & Social Realism. 1976.
  • Leicestershire Museums (ed.): Ernest Neuschul 1895-1968: A Retrospective Exhibition of Paintings. 1988, ISBN 978-0-85022253-1 .
  • Exhibition catalog: Ernst Neuschul & Family. May 7 to June 2, 1991. Office for Art, District Office Berlin-Tiergarten, 1991.
  • Ernest Neuschul 1895–1968. Catalog for the exhibitions from December 12, 2001 to January 27, 2002 in Brno and February 7, 2001 to April 14, 2002 in Regensburg. Museum Ostdeutsche Galerie Regensburg , 2001, ISBN 80-7009-127-4 .
  • Kathy Talbot: The Painter and the Politician - Ernest Neuschul and DR Grenfell MP The National Library of Wales , 2002.

Web links

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah Museum Ostdeutsche Galerie Regensburg : Ernest Neuschul 1895–1968. (Catalog), 2001.
  2. ^ Samson II , Jewish Museum Berlin
  3. ↑ Prager Tagblatt , July 1919
  4. ^ German daily newspaper , Berlin, 1921
  5. ^ Düsseldorfer Nachrichten , May 1921
  6. ↑ Catalog with 68 titles from the Association for Art Care Aussig, 1921
  7. ^ Prager Tagblatt , January 17, 1924
  8. ↑ 8am Evening Journal of the National Zeitung , Berlin May 21, 1926
  9. ↑ 8am Evening Journal of the National Zeitung , Berlin October 23, 1926
  10. ↑ 8 o'clock evening paper of the national newspaper , Berlin February 3, 1927
  11. ↑ Forward , June 21, 1927
  12. ^ Ostpreussische Zeitung , Königsberg December 19, 1927
  13. ^ Max Osborn in Vossische Zeitung , Berlin, June 1928
  14. ^ Düsseldorfer Tagblatt , June 19, 1928
  15. ↑ Berliner Lokal-Anzeiger , July 11, 1928
  16. ↑ Leipzig Latest News , October 28, 1928
  17. ↑ Berliner Volks-Zeitung , morning edition, December 21, 1928
  18. ^ The day January 11, 1929
  19. ↑ Cologne City Gazette , June 1, 1929
  20. ^ Prager Tagblatt , March 27, 1930
  21. ↑ Kuckuck , Vienna, May 4, 1930
  22. ^ The day February 8, 1930
  23. ^ Aussiger Tagblatt , January 9, 1935
  24. ^ Ernst Neuschul about his next work in: Deutsche Zentral-Zeitung , Moscow, September 1935
  25. ↑ Aussiger Tagblatt , August 30, 1937
  26. ↑ Czechoslovak newspaper evening , April 29, 1938
  27. ^ Catalog for the exhibition "Ernest Neuschul-Norland - Paintings", author: Meir Mindlin, publisher: Bezalel National Museum Jerusalem, 1959
  28. ↑ Catalog for the exhibition “From the New Objectivity to the New Unobjectivity”, Office for Art, District Office Berlin-Tiergarten 1966
  29. ^ Catalog for the exhibition "Ernst Neuschul & Family", publisher: Office for Art, District Office Berlin-Tiergarten, 1991
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personal data
SURNAME New school, Ernest
ALTERNATIVE NAMES Neuschul, Ernst; Norland, Ernest
BRIEF DESCRIPTION German-Czech painter
DATE OF BIRTH May 17, 1895
PLACE OF BIRTH Aussig
DATE OF DEATH September 11, 1968
Place of death London