Archive

Start Over

John Heartfield

  • Given name:
    John
  • Last name:
    Heartfield
  • Date of Birth:
    19-06-1891
  • Place of Birth:
    Schmargendorf (DE)
  • Date of Death:
    26-04-1968
  • Place of Death:
    Berlin (GDR)
  • Profession:
    ArtistFotomonteur (mounter of photographs)Graphic Designer
  • Introduction:

    After escaping from his first exile in Prague in December 1938, the political artist John Heartfield lived in London since 1950, working for Picture Post and the publisher Lindsay Drummond.

    Word Count: 28

  • Signature Image:
    Richard St. Barbe Baker. Africa drums. Lindsay Drummond, 1943, cover design by John Heartfield (METROMOD Archive, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021).
  • Content:

    After escaping from his first exile in Prague in December 1938, the artist John Heartfield lived in London. He had managed to escape with the support of the Czech Refugee Trust Fund (Bunbury 1938) and the war journalist Martha Gellhorn (Schultz 2020, 196). In London, Heartfield first stayed with the historian Yvonne Knapp, then moved into the home of the émigré artist Fred Uhlman and his wife Diana Uhlman at 47 Downshire Hill, Hampstead (Uhlman 1998, 265f.). The émigré art historian Francis Klingender also lived there for a time. Heartfield was interned as an enemy alien in 1940, but was released for health reasons in August of the same year. After his release, Heartfield lived at 1 Jackson Lane, Highgate. His landlord was Otto Manasse, a doctor from southern Germany who held free consultations at the Free German League of Culture House (Adam 2014, 18). Living with Heartfield was his partner Gertrud “Tutti” Fietz (Heartfield from 1952), whom he had met in London.
    In Berlin and also during his time in Prague, Heartfield had regularly designed political front pages for the AIZ (Arbeiter Illustrierte Zeitung) which called for resistance to National Socialism and exposed its leadership. In exile in England, Heartfield continued his political work under new auspices – as the exiled draughtsman fighting against Hitler; it was not for nothing that Heartfield’s first solo exhibition in London, held 4–22 December 1939, was called One Man’s War against Hitler. The exhibition took place under the auspices of the Free German League of Culture at the Arcade Gallery (28 Royal Arcade, Old Bond Street), a young gallery founded by the Viennese émigré Paul Wengraf.

    John Heartfield was already in contact by letter in Prague with the journalist Stefan Lorant, who had emigrated to London and who offered him the prospect of publication in his magazines Picture Post and Lilliput: “Thank you for your letter and the very striking photomontage-work you submitted. I think they are first-class and have decided to publish some of them in one of our next issues. I should like to discuss with you personally your ideas for photomontages as set out in your letter, and would greatly appreciate if you could come to London so that we can talk over this matter more fully.” (Lorant 1938) On 15 October 1938, Lorant published Heartfield’s montage The Happy Elephants in Picture Post, showing two winged elephants in a landscape. While one pachyderm is already flying towards the sky with its head and trunk raised, the other is in the process of taking off. The caption reads: “The elephants are happy. They are flying about in the sky. The elephants are happy because they have got peace. For how long have the elephants got peace? Ah, that alas! no one can say.” The animal montage contains a political reference: Prime Minister Neville Chamberlain’s appeasement policy intended to bring peace to the tense relationship with Hitler’s Germany, but the sustainability of the Munich Agreement concluded in September 1938 was questionable. This agreement was also momentous for émigrés in Prague like John Heartfield, as Czechoslovakia was ‘sacrificed’ as a measure of appeasement policy – Germany was granted the Sudetenland, and German troops invaded on 1 October, two weeks before Picture Post published Heartfield’s montage (Schultz 2020, 196). Ultimately, this deal, which brought only temporary peace to England, led to Heartfield’s emigration.

    Important during Heartfield’s time in exile was his involvement in the Free German League of Culture, which was founded at the end of 1938 at the home of Fred Uhlman and of whose artists’ section Heartfield was a member (Brinson/Dove 2008, 5). Heartfield was active as a stage designer in the League’s cabaret group 4 x 20 black sheep, and also wrote the libretto for The Refugees song (Dörschel 2020, 152). Heartfield was also involved in the design of the Allies Inside Germany exhibition, put on by the Free German League of Culture, which opened in 1942. The exhibition aimed to convince the English population that they had potential allies in Germany (Frowein 1986, 45). Allies Inside Germany featured photographs, pamphlets and illegal publications from Germany, as well as photomontages supplied by John Heartfield. The 27 panels depicted the rise of the Hitler regime, the war and invasions by the German army, but also mentioned the resistance and the life and work of the emigrants. Heartfield contributed with new photomontages but also used material previously published in AIZ.

    On the occasion of John Heartfield’s 50th birthday, the English art historian Herbert Read wrote in 1941: “John Heartfield is one of those rare artists who have extended the range of our aesthetic sensibility by inventing a new technique. He has seen the creative possibilities of montage – of the photograph as a plastic material which can be manipulated and made to produce effects independent of its mechanical origin.” (Read 1941, 6) In the same issue of Freie Deutsche Kultur, the League’s news bulletin, reference is made to an artist’s lecture by John Heartfield on “Photomontages and Book Bindings” on 19 June 1941.
    Heartfield also published in the Freie Deutsche Kultur himself. His article titled Daumier is a reference both to the 19th century political draughtsman and to cultural historian and Daumier connoisseur Eduard Fuchs, who had been ostracised and persecuted by the Nazis (Heartfield 1942). Moreover, John Heartfield collected works by British caricaturists from the 18th century to the present day in London, such as James Gillray, William Hogarth and Thomas Rowlandson – in other words, those artists in whom the painter Ludwig Meidner, also exiled in London, was particularly interested. Heartfield also collected contemporary caricatures from newspapers such as The News Chronicle, the Daily Mirror and the Evening Standard. Heartfield's collection includes caricatures by Victor Weisz, also an émigré like Heartfield, who published under the pen name Vicky (Schultz 2015, 262).

    Heartfield made a steady living between 1941 and 1949 and found a platform for his art at the Lindsay Drummond publishing house. Lindsay Drummond, founded in 1937, had a declared anti-fascist programme and also published books by politically committed emigrated authors such as Wilhelm Necker, Jacob S. Worm-Müller and Felix Langer. Heartfield translated the political themes of the publishing house into a specific visual language that was intended to stir, fascinate, frighten and appeal. For Wilhelm Necker’s books Hitler’s War Machine and The Invasion of Britain (1941) and The German Army of Today (1943), Heartfield used existing printed material, which he edited, combined, and sometimes treated with gouache paint.
    For the cover of Africa drums (1943) by the Africa expert Richard St. Barbe Baker, which dealt with the transmission of news by drums on the African continent, Heartfield used two photographs. The one at the back shows a gathering of people in tribal dress, while the one in front features two drums in close-up. Heartfield thus brings the central theme of the book to the forefront, with the drumheads facing the viewer, evoking the potential creation of sounds through drumming.
    The cover of Egon Larsen’s Inventors’ Scrapbook (1947), dedicated to inventions and inventors, is a collage of photographs, drawings and text. You can see inventions, such as the X-ray or the bicycle. The objects are arranged like a mind map, a hodgepodge of different things that condenses a human history of innovations onto one cover. Heartfield’s design shows that histories of technology are not inevitably based on a logical timeline of inventions, but can take place within an individual time frame and in disorderly fashion. In the process, the inventions shown can be beneficial (like the wheel) or devastating (like the atomic bomb).

    Shortly after the end of the war, Heartfield designed the book The Pen is mightier. The Story of the War in Cartoons (1946). The cover was by Walter Trier, one of the main caricaturist of the émigré newspaper Die Zeitung and the magazine Lilliput. Trier’s cover shows an artist holding a huge pen over his shoulder like a rifle, while Mussolini, Hitler, Göring and Lavar hang from it like trophies. The artist who wins over oppression can here be interpreted as the alter ego of both Walter Trier and John Heartfield. Some of the caricatures printed in the book came from John Heartfield’s collection (Schultz 2015, 262).
    Heartfield’s association with Lindsay Drummond ensured that his work was noticed in England. Lindsay Drummond’s anti-fascist books mainly reached a politically left-leaning selection of readers, but was, nevertheless, a busy and apparently successful publishing house that released 157 titles during the years of the Second World War alone. Heartfield’s signature appeared clearly on the covers of those books for whose design he was also responsible.
    Heartfield’s last published works for Lindsay Drummond appeared in 1949, followed by work for Penguin Books before he left in 1950 for the German Democratic Republic (GDR).

    Word Count: 1432

  • Bibliography (selected):

    Adam, Ursula. “Helen Reinfrank (1915–2011). Biographische Anmerkungen.” Neuer Nachrichtenbrief der Gesellschaft für Exilforschung e.V., no. 43, June 2014, pp. 16–19, www.exilforschung.de/_dateien/neuer-nachrichtenbrief/NNB43_26.6.2014.pdf. Accessed 23 March 2021.

    Brinson, Charmian, and Richard Dove. “The Continuation of Politics by Other Means: The Freie Deutscher Kulturbund in London, 1939–1946.” “I didn’t want to float; I wanted to belong to something.” Refugee Organizations in Britain 1933–1945 (Yearbook of the Research Centre for German and Austrian Exile Studies, 10), edited by Anthony Grenville and Andrea Reiter, Rodopi, 2008, pp. 1–25.

    Brinson, Charmian, and Richard Dove, editors. Politics By Other Means. The Free German League of Culture in London 1939–1946. Vallentine Mitchell, 2010.

    Buenger, Barbara Copeland. “John Heartfield in London, 1938–45.” Exil. Flucht und Emigration europäischer Künstler 1933–1945, edited by Stephanie Barron and Sabine Eckmann, exh. cat. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin, 1997, pp. 74–79.

    Bunbury, H.N., Director of Czech Refugee Trust Fund. Letter for John Heartfield (Akademie der Künste, Archiv Bildende Kunst, 10 November 1939).

    Coles, Anthony. John Heartfield. Ein politisches Leben. Böhlau, 2014.

    Dörschel, Stephan. “Longing for ‘Bold Constructions’. John Heartfield and the Theatre.” John Heartfield. Photography Plus Dynamite, edited by Angela Lammert et al., exh. cat. Akademie der Künste, Berlin, 2020, pp. 149–157.

    Frowein, Cordula. “Ausstellungsaktivitäten der Exilkünstler.” Kunst im Exil in Großbritannien 1933–1945, exh. cat. Neue Gesellschaft für bildende Kunst, Berlin, 1986, pp. 35–48.

    Heartfield, John. “Daumier im ‘Reich’.” Freie Deutsche Kultur, no. 2, 1942, pp. 7–8.

    Heartfield, John. Der Schnitt entlang der Zeit. Selbstzeugnisse, Erinnerungen, Interpretationen, edited by Roland März, Verlag der Kunst, 1981.

    Larsen, Egon. Inventors’ Scrapbook. Lindsay Drummond, 1947.

    Lorant, Stefan. Letter to John Heartfield (Akademie der Künste, Archiv Bildende Kunst, John-Heartfield-Archiv, 7 October 1938).

    Lynx, J.J. The Pen is mightier. The Story of War in Cartoons. Lindsay Drummond, 1946.

    Müller-Härlin, Anna. “The Artists’ Section.” Politics By Other Means. The Free German League of Culture in London 1939–1946, edited by Charmian Brinson and Richard Dove, Vallentine Mitchell, 2010, pp. 54–73.

    Read, Herbert. “Zum 50. Geburtstag von John Heartfield.” Freie Deutsche Kultur, no. 6, 1941, p. 6.

    Schultz, Anna. “John Heartfield. A Political Artist’s Exile in London.” Burning Bright. Essays in the Honour of David Bindman, edited by Diana Dethloff et al., UCL Press, 2015, pp. 253–263. JSTOR, www.jstor.org/stable/j.ctt1g69z6q.29. Accessed 16 April 2021.

    Schultz, Anna. “Uncompromising Mimicry. Heartfield’s Exile in London.” John Heartfield. Photography Plus Dynamite, edited by Angela Lammert et al., exh. cat. Akademie der Künste, Berlin, 2020, pp. 195–202.

    St. Barbe Baker, Richard. Africa drums. Lindsay Drummond, 1943.

    Vinzent, Jutta. Identity and Image. Refugee Artists from Nazi Germany in Britain (1933–1945) (Schriften der Guernica-Gesellschaft, 16). VDG, 2006.

    Willimowski, Thomas. Stefan Lorant – Eine Karriere im Exil. wvb, 2005.

    Word Count: 424

  • Archives and Sources:

    Akademie der Künste, Berlin, Archiv Bildende Kunst, Papers of John Heartfield.

    Word Count: 12

  • Acknowledgements:

    My deepest thanks go to Sylvia Asmus and Katrin Kokot (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main) for providing me with the images of Freie Deutsche Kultur.

    Word Count: 27

  • Author:
    Burcu Dogramaci
  • Exile:

    Prague, Czech Republic (1933–1938), London, GB (1938–1950).

  • Known addresses in Metromod cities:

    c/o Fred and Diana Uhlman, 47 Downshire Hill, Hampstead, London NW3 (residence, 1939–1940); 1 Jackson Lane, Highgate, London N6 (residence, 1940–1950).

  • Metropolis:
    London
  • Burcu Dogramaci. "John Heartfield." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/1470/object/5138-9615821, last modified: 20-06-2021.
  • Herbert Read
    Art HistorianArt CriticPoet

    The British art historian Herbert Read established himself as a central figure in the London artistic scene in the 1930s and was one of the outstanding supporters of exiled artists.

    Word Count: 30

    Howard Coster, Herbert Read, 1934 (Art in Britain 1930–40 1965, 5).
    Howard Coster, Herbert Read, 1934 (© National Portrait Gallery, London, NPG x19537).“Map showing where some of the people connected with the modern movement in art lived in Hampstead during the 1930s.” (Art in Britain 1930–40 1965, 9).Mall Studios behind Parkhill Road in Hampstead, occupied during the 1930s by Barbara Hepworth, Ben Nicholson, Cecil Stephenson and Herbert Read (Art in Britain 1930–40 1965, 8).Herbert Read. Art Now. An Introduction to the Theory of Modern Painting and Sculpture. Harcourt, Brace & Company, 1933, cover (METROMOD Archive).
    London
    A Hundred Years of Photography 1839–1939
    Book

    Six years after her arrival in London, the photographer Lucia Moholy published her book A Hundred Years of Photography 1839–1939, on the occasion of the centenary of photography.

    Word Count: 27

    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, cover (METROMOD Archive).
    Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, bastard title with Daumier’s quote “Je suis de mon temps” (METROMOD Archive).Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, title page (METROMOD Archive).Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, page with daguerreotypes (METROMOD Archive).Lucia Moholy. A Hundred Years of Photography 1839–1939. Penguin Books, 1939, page with a multiple flash photograph of the golfer Bobby Jones with a driver (METROMOD Archive).
    London
    Freie Deutsche Kultur
    Newsletter

    The Free German League of Culture was an association of emigrant artists and authors who organised exhibitions, concerts and lectures. The events were announced in the Freie Deutsche Kultur newsletter.

    Word Count: 30

    Announcement for the Camp-Art in Kanada exhibition, 1941, Freie Deutsche Kultur, no. 4, 1941, p. 3, detail (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).
    “Wir haben ein Haus.” Freie Deutsche Kultur, no. 12, 1939, p. 6 (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).36 Upper Park Road – the clubhouse of the Free German League of Culture from 1939 (Photo: Julia Winckler, 2008, originally used in Brinson/Dove 2010).Announcement for the Camp-Art in Kanada exhibition, 1941, Freie Deutsche Kultur, no. 4, 1941, p. 3: Introductory Words by John Heartfield and Herbert Lieske (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Advertisements in Freie Deutsche Kultur, no. 4, 1941, p. 11: From boardinghouses to typewriters, from modern furniture wanted to Wiener and Berliner bakeries (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Announcement for The Story of London Town exhibition, 1941, Freie Deutsche Kultur, no. 7, 1941, p. 3 (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Advertisements in Freie Deutsche Kultur, no. 2, 1942, p. 14: Lindsay Drummond publishing house, the Central Books Ltd. bookshop, the Laterndl theatre and cabaret, The Austrian Theatre and “What the Stars Foretell” – a new cabaret revue of the Free German League of Culture (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Review of the Mid-European Art exhibition (1944) at Leicester Museum and Art Gallery by Oskar Kokoschka in Freie Deutsche Kultur, no. 5, 1944, p. 3. The page includes a reproduction of Erich Kahn’s Flüchtlinge, announcements of a lecture by Francis Klingender and life classes by the sculptor Paul Hamann (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Article on “Samson Schames – Bilder und Mosaiken” at the Civil Defence Artists’ Exhibition (1944) in Freie Deutsche Kultur, no. 10, 1944, p. 13 (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).
    London
    Allies inside Germany
    Exhibition

    On 3 July 1942, the Allies inside Germany exhibition, organised by the Free German League of Culture, opened in London in an empty shop at 149 Regent Street.

    Word Count: 25

    Allies inside Germany, leaflet, cover, 1942, design by René Graetz (METROMOD Archive).
    Allies inside Germany, leaflet, pp. 2–3: Programme of Activities, 1942 (METROMOD Archive).Allies inside Germany, leaflet, p. 4: Come and see our exhibition, 1942 (METROMOD Archive).Allies inside Germany, exhibition view, shop at 149 Regent Street, 1942 (Kunst im Exil in Großbritannien 1986, 44).Allies inside Germany, panel: “1933 – Hitler comes to Power”, 1942 (Kunst im Exil in Großbritannien 1986, 41).Allies inside Germany, panel: “1934 – In Power”, 1942. Photomontage 30. Juni 1934: Heil Hitler! (1934) by John Heartfield (Kunst im Exil in Großbritannien 1986, 41, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021).Allies inside Germany, panel: “22 June 1941 – One by One”, 1942 (Kunst im Exil in Großbritannien 1986, 42).Allies inside Germany, panel: “Second Front – Victory 1942”, 1942. 5 Minutes to 12 photomontage, (1942) by John Heartfield (Kunst im Exil in Großbritannien 1986, 43, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021).Allies inside Germany, panel: “German Refugees Play Their Part for Allied Victory”, 1942 (Kunst im Exil in Großbritannien 1986, 44).Allies inside Germany, panel: “Germans whose work endures”, 1942 (Kunst im Exil in Großbritannien 1986, 43).Allies inside Germany on tour: opening ceremony in Glasgow, 1942, in Freie Deutsche Kultur, no. 12, 1943, p. 8 (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).
    London
    Lindsay Drummond
    Publishing House

    The artist John Heartfield designed covers for the publishing house Lindsay Drummond, which had an anti-fascist programme and published books by emigrated authors such as Wilhelm Necker and Felix Langer.

    Word Count: 30

    Paul Duner’s A Year and a Day (Lindsay Drummond, 1942) tells the story of the author's flight from Belgium to England (METROMOD Archive, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021). Cover design by John Heartfield.
    Jacob S. Worm-Müller’s Norway Revolts Against the Nazis (Lindsay Drummond, 1941) with a cover design by John Heartfield (METROMOD Archive, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021).Jacob S. Worm-Müller’s Norway Revolts Against the Nazis (Lindsay Drummond, 1941), title page (METROMOD Archive).Hans J. Rehfisch. In Tyrannos. Four Century of Struggle against Tyranny in Germany. Lindsay Drummond, 1943 (METROMOD Archive, © The Heartfield Community of Heirs / VG Bild-Kunst, Bonn 2021). First book publication of the émigré Club 43. Cover design by John Heartfield.Advertisement for Erika Mann’s School for Babarians. Education under the Nazis in The Manchester Guardian, 28 March 1939, p. 7 (Photo: Private Archive).Advertisement for Lindsay Drummond’s book series Europe under the Nazis in Freie Deutsche Kultur, no. 2, 1942, p. 14 (Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933–1945, Frankfurt am Main).Advertisement for Edith Hoffmann’s Chagall. Watercolours 1942–46, Lindsay Drummond, 1947 in The Manchester Guardian, 13 January 1950, p. 4 (Photo: Private Archive).
    London
    St. George’s Gallery
    Art Gallery

    In 1943, the art dealer Lea Bondi Jaray, with support of Otto Brill, also exiled from Vienna, took over St. George’s Gallery in Mayfair, exhibiting contemporary British and continental art.

    Word Count: 30

    Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, cover (METROMOD Archive).
    Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, p. 5 with Denys Sutton’s essay “Honoré Daumier” (METROMOD Archive).Honoré Daumier. Lithographs, exh. cat. St. George’s Gallery, London, June 1946, p. 8–9 (METROMOD Archive).Announcement of the Waldemar Stabell exhibition at St. George’s Gallery, London, in The Observer, 19 January 1947, p. 7 (Photo: Private Archive).Review of the exhibition of Mary Swanzy and Mary Krishna at St. George’s Gallery, London, in The Observer, 30 March 1947, p. 2 (Photo: Private Archive).Review of The New Generation exhibition with Lucian Freud, John Craxton and William Scott at St. George’s Gallery, London, in The Observer, 11 May 1947, p. 2 (Photo: Private Archive).Announcement of The Known and Unknown Paintings by British and Continental artists exhibition at St. George’s Gallery, London, in The Observer, 17 August 1947, p. 7 (Photo: Private Archive).
    London
    Die Zeitung
    Newspaper

    From 1941 to 1945, the émigré German-language newspaper Die Zeitung was published in London, reporting on the war on the continent and on the situation in Germany.

    Word Count: 25

    Front page of Die Zeitung, 7 April 1941 (Photo: Private Archive).
    Robert Ziller [Richard Ziegler], Quislings (I.): “Qui mange du Papen, en meurt", in Die Zeitung, 29 March 1941, p. 3 (Photo: Private Archive).Robert Ziller [Richard Ziegler], Quislings (IV.) Tiso: Das Vorbild des Balkan-Quislings [Model of the Balkan Quisling], in Die Zeitung, 17 April 1941, p. 3 (Photo: Private Archive).Robert Ziller [Richard Ziegler], “Seit vielen Monaten war ich zum Schweigen verurteilt” [For many months I had been condemned to silence], in Die Zeitung, 2 July 1941, p. 3 (Photo: Private Archive).Robert Ziller [Richard Ziegler], B.D.M., in Die Zeitung, 8 July 1941, p. 3 (Photo: Private Archive).Robert Ziller [Richard Ziegler], Mussolini, in Die Zeitung, 6 August 1941, p. 3 (Photo: Private Archive).Robert Ziller [Richard Ziegler], Heinrich Himmler, in Die Zeitung, 27 October 1944, p. 4 (Photo: Private Archive).Walter Trier, Des Führers Ahnengalerie [The Führer’s Ancestral Gallery] in Die Zeitung, 3 September 1941, p. 3 (Photo: Private Archive).Walter Trier, Der Führer: “Komm nur weiter, wir sind sicher bald oben!” [Keep coming, I’m sure we’ll be up there soon!] in Die Zeitung, 22 September 1941, p. 3 (Photo: Private Archive).Walter Trier, Die Ingredientien einer Hitlerrede [The Ingredients of a Hitler Speech], in Die Zeitung, 3 January 1942, p. 3 (Photo: Private Archive).Walter Trier, Himmler, Dr. Petiot: “Was? Lumpige 54 Morde? Anfänger!” [What? A measly 54 murders? Rookie!] in Die Zeitung, 3 January 1942, p. 3 (Photo: Private Archive). Walter Trier’s final illustration for Die Zeitung, dedicated to a fictional conversation between a serial killer (Petiot) and a mass murderer (Himmler).
    London
    Lilliput
    Magazine

    The magazine Lilliput, founded by the émigré journalist Stefan Lorant in 1937, gave work to emigrated artists and photographers such as Kurt Hutton, Walter Suschitzky, Walter Trier and Edith Tudor-Hart.

    Word Count: 29

    Lilliput, vol. 6, no. 2, 1940, cover by Walter Trier (METROMOD Archive).
    Lilliput, vol. 3, 1938, p. 10: “The Beautiful Llama”, Spohr, Cape Town and p. 11: “Mr. Neville Chamberlain”, photo: “, photo: Wide World, London (Photo: Private Archive).Lilliput, vol. 3, 1938, p. 223: “The Ruler of Germany”, photo: Keystone, London and p. 224: “The Terror of the Zoo”, photo: A. P., London (Photo: Private Archive).Lilliput, vol. 5, no. 4, 1939, cover by Walter Trier (METROMOD Archive).Lilliput, vol. 5, no. 4, 1939, contents for October (METROMOD Archive).Lilliput, vol. 5, no. 4, 1939, p. 322: “We shall conquer the world: German Propaganda Minister, Dr. Goebbels”, photo: Schall, Paris and p. 323: “Goodness! I’m all of a-tremble. Sea-lion in the Zoo”, photo: Keystone, London (METROMOD Archive).Lilliput, vol. 5, no. 4, 1939, p. 332: drawing by Walter Trier and p. 333: “Sea Spray” by T. Thompson (METROMOD Archive).Lilliput, vol. 5, no. 4, 1939, p. 411: “Fate in Five Words” by Alfred Polgar (METROMOD Archive). A short story on the homelessness of émigrés.Lilliput, vol. 6, no. 2, 1940, p. 148: “The Beauty of the snow: The painter who tries to capture it”, photo: Dulovits, Budapest and p. 149: “Three Stories” by Ferenc Molnar (METROMOD Archive).Lilliput, vol. 4, 1939, p. 426: “Should we have this? A beauty parlour for dogs”, photo: Edith Tudor-Hart, c. 1937 and p. 427: “Must we have this? A London slum”, photo: Edith Tudor-Hart, c. 1936 (© The Estate of Wolfgang Suschitzky).Lilliput, vol. 6, 1940, p. 311: “London Snowstorm”, photo: Wolf Suschitzky (© The Estate of Wolfgang Suschitzky).Advertisement for Lilliput in the first issue of Picture Post, vol. 1, 1938, p. 2 (Photo: Private Archive). Both magazines were founded by Stefan Lorant.Essay on Lilliput in the first issue of Picture Post, vol. 1, 1938, p. 73 (Photo: Private Archive).Advertisement for Lilliput in Picture Post, vol. 3, 1939, p. 2: overview on Walter Trier’s covers (Photo: Private Archive).
    London
    Ludwig Meidner, Drawings 1920–1922 and 1935–49, Else Meidner, Paintings and Drawings 1935–1949
    Exhibition

    In 1949, a joint exhibition of works by Ludwig and Else Meidner opened at the Ben Uri Art Gallery. It was the first solo exhibition of the artists in London.

    Word Count: 29

    Ludwig and Else Meidner at the exhibition opening at the Ben Uri Art Gallery, London, October 1949, photographer unknown (© Ludwig Meidner-Archiv, Jüdisches Museum der Stadt Frankfurt am Main).
    Ludwig Meidner, Drawings 1920–1922 and 1935–49, Else Meidner, Paintings and Drawings 1935–1949, exh. cat. Ben Uri Art Gallery, 1949, cover (© Ben Uri Archive).Ludwig Meidner, Drawings 1920–1922 and 1935–49, Else Meidner, Paintings and Drawings 1935–1949, exh. cat. Ben Uri Art Gallery, 1949, p. 1 (© Ben Uri Archive).Ludwig Meidner, Drawings 1920–1922 and 1935–49, Else Meidner, Paintings and Drawings 1935–1949, exh. cat. Ben Uri Art Gallery, 1949, pp. 2–3 (© Ben Uri Archive).Ludwig Meidner, Drawings 1920–1922 and 1935–49, Else Meidner, Paintings and Drawings 1935–1949, exh. cat. Ben Uri Art Gallery, 1949, p. 4 (© Ben Uri Archive).Else Meidner, Self-portrait with chin propped up, 1938, charcoal, 65,0 x 50,0 cm, Ludwig Meidner Archiv, Jüdisches Museum Frankfurt (© Jüdisches Museum Frankfurt, CC BY SA 4.0).Else Meidner, Self-portrait, 1952, charcoal, 68,3 x 52,8 cm, Ludwig Meidner Archiv, Jüdisches Museum Frankfurt (© Jüdisches Museum Frankfurt, CC BY SA 4.0).Ludwig Meidner, Portrait of Rosa Schapire, London, 1946, sketchbook 8 July 1945–13 September 1946, pencil on paper, 28 x 21 cm (© Ludwig Meidner-Archiv, Jüdisches Museum der Stadt Frankfurt am Main).Else Meidner exhibition, invitation card, Ben Uri Art Gallery, London, 1972 (© Ben Uri Archive).Else Meidner, exh. cat. Ben Uri Art Gallery, London, 1972, cover (© Ben Uri Archive).
    London