Erna Dinklage.................
...Early Period 1920-1940 (Neue Sachlichkeit / New Objektivity) - Late Period 1970-1990 (Arte Cifra).............................


“Inner Emigration ” during the years of National Socialism and the Time after 1945








In 1935, Erna Dinklage, like many other artists, retreated from the public scene and moved to the Chiemsee region. Remarkable paintings were composed in this productive period during and after World War II, paintings which incorporated the artist’s own experiences. Flight (1946) is one example.

For the first time after the war, in 1950, an article about the artist was published in
the journal Kunst und Haus. Reproductions of several paintings were printed together with a commentary by art historian Juliane Roh.
Some 70 paintings were shown at an exhibit in the Lenbachhaus Galerie in 1954.
In spite of the difficulties and deprivations of these years, Erna Dinklage’s humour and vivacity remained undaunted, as is documented in the triptychon Carnival.
Feldafinger Carnival Football portrays the town dignitaries in a riotous football match. On the other hand, the artist portrayed Max Picard in 1940, capturing the inner serenity of her subject.
Only a few paintings from this period are still accessible, as many are now in private collections.

After a short time experimenting in ceramic art, from which comical, even diabolical figurines evolved, Erna Dinklage developed the technique of the “semi-relief”. Among these one finds monumental, vibrant paintings which in their austere composition and use of colour anticipate the works to come.
The first painting incorporating this new technique was the double portrait of Lothar_Günter_Buchheim and his Wife_Diethild (1957). Mrs. Buchheim, the prudent adviser of her husband, holds the “mirror of reality” to his face. An actual mirror is set within the picture.
Examples of semi-reliefs are The Spring, a recollection of the artist’s home on the river Lech, The_Meteor, and Jerusalem, Crown of the Desert.
The history of the Jewish people affected Erna Dinklage deeply.
She admired their many talents and was fascinated by the possibility of world religions co-existing within the City of Jerusalem.
It is not surprising that her preoccupation with Israel found expression in the Biblical series of 18 drawings based on Thomas Mann’s novel Joseph und seine Brüder and in the Leidensstationen Jesu (Stations of the Cross): 15 drawings.