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“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.
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