Hellmuth Weissenborn Painter Graphic Artist

This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.

Barbed-Wire Matinee -- Five Shots -- Fire and Crystal -- The Rescuers -- Sunset Train -- The Basement and the Judge -- Spy Fever -- Nightmare Mill -- The Misted Isle -- The University of Barbed Wire -- The Vigil -- The Suicide Consultancy -- Into the Crucible -- The First Goodbyes -- Love and Paranoia -- The Heiress -- Art and Justice -- Home for Christmas? -- The Isle of Forgotten Men -- A Spy Cornered -- Return to the Mill -- The Final Trial.

This volume deals with authors in exile - those writers who were forced to leave their home country after the National Socialists seized power in 1933. Although many of the authors have continued to receive recognition in their particular fields, whether film or adult literature, one group of artists has been overlooked - the authors and illustrators of children's literature. Now for the first time German Children's and Youth Literature in Exile, 1933-1050, has recorded and made accessible a wealth of information on these German-speaking authors and illustrators who emigrated to many different countries and regions of the world. German Children's and Youth Literature in Exile, 1933-1950, contains biographies of 101 authors and illustrators of children and youth literature as well as bibliographies of the books written and illustrated by them that were published in exile between 1933 and 1950. Included are authors who were born before 1918 in Germany or in areas of the former Austro-Hungarian Empire and who lived or worked in Germany or Austria until 1933. Many of them were forced to emigrate because their lives were endangered. Some of them left before the repressive measures of the National Socialists were implemented, in order to maintain their intellectual and artistic freedom. The exile countries they chose were the United States, Great Britain, Switzerland, the Soviet Union, Czechoslovakia, France, Holland, Spain, Portugal, Italy, Sweden, Norway, Denmark, Belgium, Finland, Poland, Liechtenstein, Luxembourg, Mexico, Bolivia, Argentina, Brazil, Paraguay, Australia, Canada, China and Palestine/Israel. Among the authors listed in this volume are Kurt Held (Die rote Zora und ihre Bande 1941), Irmgard Keun (Nac.

These essays reveal the role of British intelligence in the roundups of European refugees and expose the subversion of democratic safeguards. They examine the oppression of internment in general and its specific effect on women, as well as the artistic and cultural achievements of internees.

This volume focuses on the contribution of refugees from Nazism to the Arts in Britain. The essays examine the much neglected theme of art in internment and address the spheres of photography, political satire, sculpture, architecture, artists’ organisations, institutional models, dealership and conservation. These are considered under the broad headings ‘Art as Politics’, ‘Between the Public and the Domestic’ and ‘Creating Frameworks’. Such categories assist in posing questions regarding the politics of identity and gender, as well as providing an opportunity to explore the complex issues of cultural formation. The volume will be of interest to scholars and students of twentieth-century art history, museum and conservation studies, politics and cultural studies, in addition to those involved in German Studies and in German and Austrian Exile Studies.