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Rudolf Schlichter
Rudolf Schlichter (or Rudolph Schlichter) (December 6, 1890 – May 3, 1955) was a German painter, engraver and writer. He was one of the most important representatives of the critical-realistic style of verism within the New Objectivity movement. He also wrote some autobiographical books.
Schlichter was born in Calw, Württemberg. He lost his father early, and grew up as the youngest of six siblings. His mother, who worked as a seamstress, was a Protestant, while his father, a professional gardener, was a Catholic. According to his fathers wish, the children were brought up as Catholics. He attended the Latin school in Calw until the sixth grade.
He started in 1904 an apprenticeship as an enamel painter at a Pforzheim factory. After that he attended the State Academy of Fine Arts Stuttgart, in Stuttgart, from 1907 to 1909. He subsequently studied at the Academy of Fine Arts, in Karlsruhe, under Hans Thoma and Wilhelm Trübner, among others, from 1910 to 1916. Already during his studies, Schlichter developed into an artist who saw himself related to contemporary bohemian ideals and in rebellion against traditional bourgeois values.
Shlichter liked to portray himself as a dandy at the time, following his role model, Oscar Wilde. Schlichter undertook various study trips to Strasbourg, in Alsace, to Italy and France, and got contacts to the underworld through fellow painter Julius Kaspar. He visited Berlin for the first time around 1910, where his brother Max Schlichter (1882–1932) was head chef at the renowned Hotel Kaiserhof. As a dandy-like flaneur through the streets of the capital, with its light and dark districts, he experienced "the uninterrupted succession of fear experiences - especially through the presence of whores, gays, criminals in these streets - (these) triggered in him a panicky "thrill" that his small-town experience and adventure potential blew up".
Because of his short-sightedness, Schlichter was initially exempt from military service during the First World War. He would eventually be deployed as a munitions driver on the Western Front, but returned from there the following year after a hunger strike done to secure an early release. In 1918 he became a member of a soldiers' council.
Schlichter had a first exhibition in 1919 in the Iwan Moos Gallery, in Karlsruhe. Shortly before the opening of the exhibition, he founded the group Rih, together with other former graduates of the Karlsruhe art school, like Wladimir von Zabotin and Georg Scholz. The artists were determined to counteract the more conservative Karlsruhe art scene with their works, which could be assigned at the time to Expressionism or Dadaism. The group made provocative statements and actions; for example, phallic symbols drawn with chalk on the walls of the house pointed the way to the exhibition space. The provocative themes of the exhibition and the new artistic language were discussed very controversially back then. In 1919, Schlichter moved to Berlin, where he joined the November Group, the Berlin Secession, the Berlin Dadaists and became politically active. A first presentation of his paintings in his brother Max's new restaurant "Schlichters" quickly made Schlichter a certain acquaintance in artistic circles in the capital, including John Heartfield and George Grosz, with whom he shared a studio at times and of which he also drew the same models.
In 1920 he had his first solo exhibition in the Berlin gallery Burchard, and he took part in the First International Dada Fair. Here the object Prussian Archangel, a soldier doll with a pig's head hanging from the ceiling, which he had created with Heartfield, caused a scandal. Arbitrators, George Grosz, Wieland Herzfelde, John Heartfield and the gallery owner Otto Burchard were charged with insulting the Reichswehr.
A major work from this period is his Dada Roof Studio, a watercolor showing an assortment of figures on an urban rooftop. Around a table sit a woman and two men in top hats. One of the men has a prosthetic hand and the other, also missing a hand, appears on closer scrutiny to be mannequin. Two other figures in gas masks may also be mannequins. A child holds a pail and a woman wearing high button shoes (for which Schlichter displayed a marked fetish) stands on a pedestal, gesturing inexplicably.
Rudolf Schlichter
Rudolf Schlichter (or Rudolph Schlichter) (December 6, 1890 – May 3, 1955) was a German painter, engraver and writer. He was one of the most important representatives of the critical-realistic style of verism within the New Objectivity movement. He also wrote some autobiographical books.
Schlichter was born in Calw, Württemberg. He lost his father early, and grew up as the youngest of six siblings. His mother, who worked as a seamstress, was a Protestant, while his father, a professional gardener, was a Catholic. According to his fathers wish, the children were brought up as Catholics. He attended the Latin school in Calw until the sixth grade.
He started in 1904 an apprenticeship as an enamel painter at a Pforzheim factory. After that he attended the State Academy of Fine Arts Stuttgart, in Stuttgart, from 1907 to 1909. He subsequently studied at the Academy of Fine Arts, in Karlsruhe, under Hans Thoma and Wilhelm Trübner, among others, from 1910 to 1916. Already during his studies, Schlichter developed into an artist who saw himself related to contemporary bohemian ideals and in rebellion against traditional bourgeois values.
Shlichter liked to portray himself as a dandy at the time, following his role model, Oscar Wilde. Schlichter undertook various study trips to Strasbourg, in Alsace, to Italy and France, and got contacts to the underworld through fellow painter Julius Kaspar. He visited Berlin for the first time around 1910, where his brother Max Schlichter (1882–1932) was head chef at the renowned Hotel Kaiserhof. As a dandy-like flaneur through the streets of the capital, with its light and dark districts, he experienced "the uninterrupted succession of fear experiences - especially through the presence of whores, gays, criminals in these streets - (these) triggered in him a panicky "thrill" that his small-town experience and adventure potential blew up".
Because of his short-sightedness, Schlichter was initially exempt from military service during the First World War. He would eventually be deployed as a munitions driver on the Western Front, but returned from there the following year after a hunger strike done to secure an early release. In 1918 he became a member of a soldiers' council.
Schlichter had a first exhibition in 1919 in the Iwan Moos Gallery, in Karlsruhe. Shortly before the opening of the exhibition, he founded the group Rih, together with other former graduates of the Karlsruhe art school, like Wladimir von Zabotin and Georg Scholz. The artists were determined to counteract the more conservative Karlsruhe art scene with their works, which could be assigned at the time to Expressionism or Dadaism. The group made provocative statements and actions; for example, phallic symbols drawn with chalk on the walls of the house pointed the way to the exhibition space. The provocative themes of the exhibition and the new artistic language were discussed very controversially back then. In 1919, Schlichter moved to Berlin, where he joined the November Group, the Berlin Secession, the Berlin Dadaists and became politically active. A first presentation of his paintings in his brother Max's new restaurant "Schlichters" quickly made Schlichter a certain acquaintance in artistic circles in the capital, including John Heartfield and George Grosz, with whom he shared a studio at times and of which he also drew the same models.
In 1920 he had his first solo exhibition in the Berlin gallery Burchard, and he took part in the First International Dada Fair. Here the object Prussian Archangel, a soldier doll with a pig's head hanging from the ceiling, which he had created with Heartfield, caused a scandal. Arbitrators, George Grosz, Wieland Herzfelde, John Heartfield and the gallery owner Otto Burchard were charged with insulting the Reichswehr.
A major work from this period is his Dada Roof Studio, a watercolor showing an assortment of figures on an urban rooftop. Around a table sit a woman and two men in top hats. One of the men has a prosthetic hand and the other, also missing a hand, appears on closer scrutiny to be mannequin. Two other figures in gas masks may also be mannequins. A child holds a pail and a woman wearing high button shoes (for which Schlichter displayed a marked fetish) stands on a pedestal, gesturing inexplicably.