By Shulamith Behr, Marian Malet (Editors)
This quantity makes a speciality of the contribution of refugees from Nazism to the humanities in Britain. The essays study the a lot ignored topic of artwork in internment and tackle the spheres of images, political satire, sculpture, structure, artists’ corporations, institutional types, dealership and conservation. those are thought of below the huge headings ‘Art as Politics’, ‘Between the general public and the family’ and ‘Creating Frameworks’. Such different types help in posing questions in regards to the politics of identification and gender, in addition to offering a chance to discover the advanced problems with cultural formation. the quantity should be of curiosity to students and scholars of twentieth-century artwork background, museum and conservation stories, politics and cultural experiences, as well as these interested by German reports and in German and Austrian Exile stories. desk OF CONTENTS desk of Illustrations Preface Shulamith BEHR: Klaus E. Hinrichsen: The paintings Historian in the back of ‘Visual artwork in the back of the cord’ artwork AS POLITICS Duncan FORBES: Politics, images and Exile within the lifetime of Edith Tudor-Hart (1908–1973) Rebecca SCRAGG: placing Hitler: Joseph Flatter’s Mein Kampf Illustrated sequence, 1938-1942 Anna MÜLLER-HÄRLIN: Fred Uhlman’s Internment Drawings among the general public AND THE household Margaret GARLAKE: A Minor Language? 3 Émigré Sculptors and their ideas of Assimilation Volker M. WELTER: Ernst L. Freud – family Architect developing FRAMEWORKS Anna MÜLLER-HÄRLIN: ‘It all occurred during this road, Downshire Hill’: Fred Uhlman and the loose German League of tradition Dorothea McEWAN: Exhibition as Morale Boosters. The Exhibition Programme of the Warburg Institute 1938-1945 Jutta VINZENT: Muteness as Utterance of a compelled truth – Jack Bilbo’s smooth artwork Gallery (1941-1948) Ulrik RUNEBERG: Immigrant photo Restorers of the German-speaking international in England from the Nineteen Thirties to the Post-war period Index
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Additional info for Arts in Exile in Britain 1933-1945: Politics and Cultural Identity
201. 18 Hinrichsen, IWM, Accession No: 003789/09, June 1978. 19 Subsequent to the second exhibition at Hutchinson, in a letter to his wife Helma (24 December 1940), Schwitters indeed confided that progress in his ‘real art’ was slow: ‘Gefangen erlebe ich Weihnachten. Ich ging in unsere Kirche, ohne glauben zu können an Menschenliebe …Es wurden die alten Weihnachtslieder gesungen. ’ (I am experiencing Christmas [Eve] as a prisoner. I went to our church unable to believe in Christian charity … The old Christmas carols were sung.
He returned to England in summer 1939 and, with the outbreak of World War II, settled in England permanently. Klaus E. Hinrichsen: The Art Historian behind ‘Visual Art behind the Wire’ 41 68 Hinrichsen, IWM, Accession No: 003789/09, June 1978. As an export agent, the middle brother of the Hinrichsen family went into exile in Argentina, where he had friends in Buenos Aires. 69 Adrian Glew, ‘Obituary: Klaus Hinrichsen’, The Guardian, 28 September 2004. 70 ‘Klaus Hinrichsen, Obituary’, The Times, 1 October 2004.
She appears also to have gained experience briefly in a commercial studio. Her published photo essays began to appear more Politics, Photography and Exile in the Life of Edith Tudor-Hart 3: Edith Suschitzky, Unemployed Workers’ Demonstration, Vienna, 1932. 59 60 Duncan Forbes systematically – the two best on poverty in London’s East End, another on Vienna’s bathing area, the Lobau – the work of a photographer struggling to reduce her ambitions to the clearly defined commercial and political parameters of the social-democratic press (fig.