SCANDINAVIAN
J E W I S H F O R U M
DET UFORSONLIGE FINNES"
"DET UFORSONLIGE FINNES"
KURT HARALD ISENSTEIN
Paa Grund af de politiske Forhold emigrerede Harald Isenstein 1933 fra Tyskland, hvor han havde vundet et Navn som Portrættør af Mellemkrigstidens Personligheder.
Han er en udpræget Portrætbegavelse med Evne til, under sin foretrukne Form: Portræthovedet, at omskrive Personens aandelige Karakter og Ydre i en plastisk Syntese
Kurt Harald Isenstein (1898 Hannover, Tyskland – København 1980) var en tysk/dansk kunstner og billedhugger.
Han var søn af grosserer Adolf Isenstein og Jenny født Meyer.
The abstract beauty concept in clear form is not in the blood of Northern European and few people perceive this "musical form" or «volume» as the sculptor Ernesto de Fiori, has named that art form.
This “music” is featured in the sculptural works of the young sculptor from Berlin, Kurt Harald Isenstein in a harmony that is certainly unique. Indeed there were many other young stars that rose like meteors and produced this first glory. But whoever takes a look at the development of Isenstein’s work, one will find a peaceful progression of a maturing artist’s personality.
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DENMARK
The drawing is from a collection of paperworks by the artist Kurt Harald Isenstein ca. 1934
A collection of paperworks by the artist Kurt Harald Isenstein is currently for sale.
The whole private collection, about 120 of them, are signed, all of them are unframed and placed in portfolios.
For further information, please contact: scandinavianjewishforum@gmail.com
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WORKS BY KURT HARALD ISENSTEIN
by Prof. emeritus Leo Goldberger
After its first appearance in 1942, and following Jen Lund’s identification of its very existence, the cartoon was eventually referenced and reproduced in articles by Hans Kirchhoff, the leading contemporary Danish historian of the German occupation period and the persecution of the Jews (Kirchhoff, in Føreren har befalet, Samlern, 1993, Sofie Lene Bak , (Jødeaktionen October 1934, Museum Tusculanums, 2001, and most recently also by Bo Lidegaard, in his forthcoming book, Countrymen, Knopf, 2013 ).
They correctly note the name of Stig Höök (Blix’s Swedish pseudonym) as the cartoonist and suggest, with varying degrees of conviction, that this might have been the spark for the legend, but they seem to fail to appreciate the genuine significance of Ragnvald Blix himself (1882-1958) in getting the story off the ground, never wondering who he was and what his unique role in giving the cartoon its credibility and spread.
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RAGNVALD BLIX
Graduating in 1903, he continued his studies for another year at the Kr. Zartmann’s Free Art Studios in the company of three other students who were later to become major recognized artists, Harald Giersing, Sigurd Swane and Karl Isakson, with whom he formed a close tie.
Along with another group of six artists, the ten of them took the initiative to create, in 1915, what was to become the epoch-making Danish Arts-League, Grønningen. In opposition to Den Frie Arts League, which had for years been the traditional and rather staid outlet for artistic recognition, Grønningen opened its doors to artistic experimentation; it gave modernism its initial foothold in Denmark and is to this day still regarded major arts institution.
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Ernst Ludvig Goldschmidt Courtesy Jeanne Goldschmidt Kempinski
RAGNVALD BLIX
Ernst Ludvig Goldschmidt's father was financially quite well off as the president of a large tile and brick company.
Though he would have wished his son Ernst to follow also follow a business career, which in fact he did for a few years, but in 1899, Ernst decided to enter the Arts Academy instead.