Peter Eng

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Peter Eng (* May 21, 1892 as Peter Engelmann in Olomouc , Austria-Hungary , today the Czech Republic ; † March 1939 there ) was an Austrian caricaturist and animator .

Along with Ladislaus Tuszyński and Louis Seel , he was one of the three most active animators in Austrian silent film - the only era in Austrian film history with notable animation.

Life

Peter Engelmann was the second son of the businessman Max Engelmann (1856–) and Ernestine Engelmann, nee. Crusher (1866-1942). One of his mother's brothers was the psychoanalyst Guido Brecher . His brother Paul Engelmann (1891-1965) became an architect, his sister Anny Engelmann (1897-1942) became a children's book illustrator.

Peter Eng grew up in Vienna and spent part of his youth in the United States . After completing his training, Eng was a full-time caricaturist and illustrator as an “academic painter” . He was also the author of humoresques and satires and worked for the specialist magazine "Filmwelt".

In December 1919 he married the painter and caricaturist Anna Pölz.

Little is known about his work after 1929. His fate was also in the dark for a long time. He and his wife are said to have tried to gain a foothold in Palestine as early as 1938, but returned to Czechoslovakia. Then the two planned to emigrate to the USA - but the required documents may not have arrived on time. On the day the German Wehrmacht invaded (the rest of) Czechoslovakia in March 1939, the two committed suicide.

Act

As a caricaturist, Peter Eng was known for his “Viennese types” - people who were seen as typically Viennese peculiarities and outward appearances. Text contributions to his drawings were often in Viennese . Stylistically, he was averse to realism. He did not want to try an illusion of the already omnipresent reality and preferred simple and sketched figures. All of this also applies to his cinematic work.

Illustrations, caricatures and fonts

In the period before 1920, Eng worked as a draftsman for the Evening Telegraph in Philadelphia and for newspapers and magazines in Munich , Copenhagen , Berlin and North America . With Anna Pölz he made drawings for the satirical magazine Muskete between 1919 and 1922 . In 1919 he also wrote the satirical confrontation with Arthur Schopenhauer : Die Welt als Unwille . He made numerous caricatures of the Olomouc circle around Ludwig Wittgenstein , all of which were lost during the period of National Socialism .

In the 1920s he created numerous advertising posters, some of which are preserved in the Museum of Applied Arts in Vienna . In addition, he illustrated series of advertisements and promotional cartoons. An advertising series he illustrated for Wiener Verkehrsbetriebe, in which the Viennese were to be encouraged to use buses more and to behave more considerately on public transport in a humorous way, became well known. One series apparently contained a derogatory caricature by a well-known city politician and had to be dismantled overnight after a scandal. The first series appeared in 1925, the second around 1928/29.

In the 1930s, Eng published various caricatures in the magazine "Mocca", by the Jewish-Austrian publisher Karl Rob (actually Robitschek), which was Aryanized in July 1938.

Animation

According to his own information, Eng was able to refer to 80 cartoons as early as 1920 that he had drawn for Sascha, Filmag and Astoria Film.

At the cinema fair held in Vienna from May 4 to 29, 1921, Eng was represented as a representative of a film company with a pavilion. He caricatured interested visitors and made short cartoons out of them, which he showed on the following day. The pavilion itself was decorated with figures he designed.

The only thing left of his cinematic work is the advertising film Der Geistige Arbeiter (approx. 1922) for the community kitchen association of the “Österreichische Freundeshilfe” campaign by Eugenie Schwarzwald , as well as the advertising film Ja, why fahrns because, made in 1929 for the second advertising series by Wiener Verkehrsbetriebe ned? In which a drawn “Viennese guy” requests to use the newly created inner-city bus routes against a real background. Both are available in the Filmarchiv Austria .

Filmography

The cinematic work of Peter Eng has so far hardly been researched. Only a few films have been proven to him so far:

  • 1919: The degreasing cure (Production: Filmag , D)
  • approx. 1922: The intellectual worker

In the holdings of the Filmarchiv Austria:

  • 1921: The discovery of Vienna at the North Pole (attributed), 35 mm mute, 140 meters
  • 1925: Yes, why don't you drive? (Propaganda film by the municipality of Vienna-Städtische Straßenbahnen), colored
  • 1926: Learn to swim , 44.4 meters
  • 1926: Schiller's robbers , 56 meters
  • 1929: It's his collar. A dance film by Peter Eng , 88 meters

literature

Web links

Individual evidence

  1. ↑ a b Ursula A. Schneider: News from Peter Engelmann (Ps. Peter Eng) and Anny Engelmann (Ps. Suska). The siblings of Paul Engelmann, figures of a vanished European modernism , at the Brenner Archive , 2011
  2. ↑ a b c d Lisi Frischengruber, Thomas Renoldner : Animated Film in Austria - Part 1: 1900 ~ 1970. ASIFA Austria, Vienna 1998, p. 16
  3. ↑ a b c artist document 16303461: Eng, Peter , Deutsche Fotothek (page accessed on December 21, 2008)
  4. ↑ Frischengruber, Renoldner, p. 18
  5. ↑ a b Frischengruber, Renoldner, pp. 16 and 17
  6. ↑ Frischengruber, Renoldner, p. 17
  7. ↑ The degreasing cure  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. @1@ 2Template: Toter Link / www.filmportal.de   , filmportal.de (page accessed on November 25, 2007)
personal data
SURNAME Eng, Peter
ALTERNATIVE NAMES Englmann, Peter
BRIEF DESCRIPTION Austrian caricaturist and animator
DATE OF BIRTH May 21, 1892
PLACE OF BIRTH Vienna
DATE OF DEATH after 1938