Who is Heinrich Maria Davringhausen?

By Gwylym Owen

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Heinrich Maria Davringhausen (21 October 1894 – 13 December 1970) was a German painter associated with the New Objectivity.

Davringhausen was born in Aachen. Mostly self-taught as a painter, he began as a sculptor, studying briefly at the Düsseldorf Academy of Arts back participating in a bureau exhibition at Alfred Flechtheim’s gallery in 1914. He as well as traveled to Ascona gone his buddy the painter Carlo Mense that year. At this further on stage his paintings were influenced by the expressionists, especially August Macke.

Having free his left eye during his adolescence, Davringhausen was exempted from military assistance in World War I. From 1915 to 1918, he lived in Berlin where he became portion of a help of left-wing artists that included Herwarth Walden and John Heartfield. In 1919 he had a solo exhibition at Hans Goltz’ Galerie Neue Kunst in Munich, and exhibited in the first “Young Rhineland” exhibition in Düsseldorf. Davringhausen became a devotee of the “Novembergruppe” and gained some beat among the artists representing a extra tendency in German art of the postwar period.[citation needed] In 1925 he participated in the Neue Sachlichkeit (New Objectivity) exhibition in Mannheim which brought together many leading “post-expressionist” artists, including Grosz, Otto Dix, Max Beckmann, Alexander Kanoldt and Georg Schrimpf.

Davringhausen went into exile when the fall of the Weimar republic in 1933, first going to Majorca, then to France. In Germany nearly 200 of his works were removed from public museums by the Nazis upon the grounds that they were degenerate art.[citation needed] Prohibited from exhibiting, Davringhausen was interned in Cagnes-sur-Mer but fled to Côte D’ Azur. In 1945 however he returned to Cagnes-sur-Mer, a suburb of Nice, where he remained for the land of his life. He worked as an abstract painter under the declare Henri Davring until his death in Nice in 1970.

A major accomplishment from Davringhausen’s New Objectivity epoch is Der Schieber (The Black-Marketeer), a Magic realist painting of 1920–21, which is in the Kunstmuseum Düsseldorf im Ehrenhof. Painted in acidulous colors, it depicts a glowering businessman seated at his desk in a highly developed office suite that foreshortens dramatically in back him. Before him are a pen and a telephone—the tools by which a paper fortune is made—alongside an open bin of cigars and a glass of wine that symbolize his social class. The office windows read onto a bleak scene of deeply geometric skyscrapers, a style of building that did not yet exist in 1921. Although Davringhausen rarely presented social criticism in his work, in Der Schieber “the performer created the unchanging pictorial symbol of the epoch of inflation that was commencing”.

Much of Davringhausen’s work was deposited in 1989 in the Leopold Hoesch museum in Düren, which has as soon as organized several exhibitions of his pictures, above all those from the well ahead period.[citation needed]

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