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E
a r l y P e r i o d: 1918 – 1940
Neue Sachlichkeit (New Objectivity)
Magischer Realismus (Magical Realism)
The following text is
based on the essay “Dunkler
Traum und Verheißung” by
Dr. Armin Zweite, formerly curator of the Städtische Galerie im
Lenbachhaus in Munich, and present director of Munich’s Brandhorst
Collection.
Dr. Zweite wrote the essay in 1989 for the catalogue documenting an
exhibit of
Erna Dinklage’s oil paintings at the Aspekte-Galerie in Gasteig/Munich.
As a frequent visitor to the artist’s studio and to her exhibits,
Dr. Zweite was familiar with the different periods of Erna Dinklage’s
creative work.
In the above mentioned catalogue one can find an interview with the artist,
quoted
by Dr. Anna Jutta Pietsch (curator of the Aspekte-Galerie), and also
Erna Dinklage’s recollection of her first encounter with the
painter, Georg Schrimpf.
Helga Nitsche, the artist’s daughter, wrote the following text
with reference to Dr. Zweite’s essay.
The commentary on Erna Dinklage’s graphic art and works in water
colour was also written by Helga Nitsche.
Reviews concerning the early work
of Erna Dinklage:
Art historian Hans
Eckstein ranked Erna Dinklage’s importance with
that of the painters Joseph Scharl and Rudolf
Ernst (Zweijahrbuch 1929/30).
In 1930, Dr. Wilhelm Hausenstein, art historian and critic, commented
in the Süddeutsche Tagespost: “… I have confidence in
this talent … here we find a positive force in young Munich and
I am convinced that her future work will keep us under her spell as strongly
as does her fascinating presence.”
Dr. Hausenstein wrote again in 1948: „… I have been watching
Erna Dinklage’s artistic development for a long time, visiting
public showings and also her studio.
I consider Ms. Dinklage to be a very serious painter, an artist of exceptional
importance… .”
In a letter to the artist, the poet Hans Carossa remarked in 1930: “… Der
Irrenarzt (The Psychiatrist) in the Art Journal Jugend impressed me so
deeply, that I am anxious to see more of your work… .”
P.B., art critic for the Münchner Zeitung wrote in the same year: “To
see one of Erna Dinklage’s pictures is for me often the crowning
event of an entire exhibit. This effect is created especially by her
wonderful garden scenes that move us like painted music. The primitivism
of the “New Objectivity” movement seems in this case to be
so purified and expressive that one surrenders oneself completely to
the enjoyment of these paintings.”
Unfortunately, paintings that reflected the style of
the “New
Objectivity” fell under Hitler’s edict concerning “Entartete
Kunst” (Degenerate Art) and disappeared from public view. At
the end of World War II, when Russian troops entered Germany, Erna
Dinklage
lost not only her home but also most of her work. The paintings Winter Landscape and Shepherdess dated 1925 and 1926 are among the few works saved from this period.
Both
paintings are now in
the Städische Galerie im Lenbachhaus. Three water colours have also
survived and are in the artist’s family collection.
Erna Dinklage’s “New Objectivity”- oil paintings mentioned
in this article exist only as photographs.
Erna Dinklage’s early years were spent with her mother in Genf,
later at the home of her grandparents in Berlin. Encouraged by her father,
she began to study art in 1913 at the Academy of Fine Arts and Crafts
in Berlin, but, disappointed with the teaching methods there, she soon
discontinued her formal studies.
In Munich she met the artist Georg Schrimpf, whose pictures she much
admired. Schrimpf introduced her to many contemporary artists and writers,
who were to influence her work: Thomas and Klaus Mann, Knut Hamsun, Edzard_Schaper,
Joachim Ringelnatz, Oskar Maria Graf and the Swiss philosopher,
Max_Picard.
As seen in The
Shepherdness, her early paintings manifest a strong sense of
form without neglecting the lyrical and naïve.
Her sense of form, her luminous colours invest the motifs with an atmosphere
of enchantment, traits especially evident in her many portraits, for
example, Edzard
Schaper (1930), Dora_König
with her Mother, and the double-portrait Oskar_Maria_Graf
und Georg_Schrimpf. Three generations
are present in an austerely composed group, Triple-Portrait:
in the center father Paul Crodel, to the left, the painter Erna Dinklage
and at the
right, her first son, Gideon. The portrait Gideon
with an Apple appeared
on the title page of the most important art journal of the time, Jugend.
Gideon
with Bernhardle Kieser and
Gideon
with a Cat capture vivid childhood
moments.
Commenting on the Munich artists of the “New Objectivity” Franz
Roh, an important art historian and critic, coined the phrase “Magical
Realism”, and included Erna Dinklage’s paintings under this
heading.
Contrary to the “New Objectivity” prevalent in Berlin and
Dresden, where artists such as Otto Dix and Conrad Felixmüller used
their work to convey social criticism, “Magical Realism” in
Munich combined elements of the real and the idyllic.
But Erna Dinklage painted willfully, individualistically,
avoiding not only the oppressive visions of Edgar Ende and the social
pathos of Joseph
Scharl and Conrad Felixmüller, but also the bucolic mannerisms of
the Munich “Magical Realism” movement.
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