Manuel Gasser RICHARD FUNCTTY LINDNER'S [Deutscher Text: Seite 502] [Texte frangais: page 502] o E c tS -Q O 0 Richard Lindner was born in Hamburg in 1901, but his childhood was spent in Nuremberg. After studying in Munich and working as an art director there, he fled from Nazi Germany to Paris in 1933. In 1941 he moved to New York, where he worked as an illustrator for Fortune, Harper's Bazaar and Vogue (see Graphis 25). In 1952 he took up a teaching post in the Pratt Institute. His first one-man exhibition followed in 1954. Since 1936 he has devoted himself exclusively to his art. This article marks the appearance of a portfolio of his work, Fun City, in which he comments on the American scene (see note on page 502.) Editor Richard Lindner, 1901 in Hamburg als Sohn eines Deutschen und einer Ameri- kanerin geboren, wuchs in NUrnberg auf, studierte an der Münchner Akademie und wurde 1929 Chef-Graphiker eines grossen Verlags. 1933 floh er nach Paris, wurde 1939 interniert und gelangte 1941 nach New York. Dort arbeitete er als Illustrator für Buch- verlage und Zeitschriften. Dieser Tatigkeit gait ein 1949 in Graphis erschienener Beitrag. 1932 übernahm er ein Lehramt am Pratt Institute, Brooklyn; seit 1956 widmet er sich ganz der Malerei. Anlass dieser zweiten GRAPHis-Veröffentlichung ist das Er- scheinen seines Mappenwerkes Fun City. (Siehe Anmerkung Seite 302.) Redaktion Richard Lindner est né a Hambourg en 1901, mais il a passé son enfance a Nurem berg. Après ses études a Munich, il y a fait de la publicité. II a fui a Paris en 1933 et huit ans plus tard a New-York, oü il a travaillé comme illustrateur pour Fortune, Harper's Bazaar et Vogue (voir Graphis 25). II a accepté un poste de professeur au Pratt Institute en 1932. II a eu sa première exposition individuelle en 1934. II se con- sacre exclusivement a son ceuvre depuis 1936. Cet article marque la publication d'un portefeuille de son travail intitulé Fun City, oü il commente ce qui se passe aux Etats- Unis. (Voir aussi page 502.) La redaction 496 The successful graphic designer Richard Lindner was over fifty when he decided to give up his profession and turn painter. He had hardly presented his first pictures to the public when he was annexed by what was at that time the youngest of all movementsby pop art. And this happened regardless of the fact that his art has no more to do with pop than, say, Dadaism or one of the phases of Surrealism. The fact that Lindner became a sort of father figure for young pop painters, however, played only a very minor part in his spectacular rise to fame. An aspect of his art which has, by contrast, had a very decisive influence on his success is his German heritage, which mingles in his work in the most fascinating manner with the expression of the modern Ameri can spirit. The contents of his compositions were dominated in the fifties almost exclusively by the impressions of his youth: memories of people and fashions in the years before and after the First World War, of toys from Nuremberg, of the 'fairy-story' king Ludwig II, of figures from the dramas of Franz Wedekind. These are things that have a strong appeal for all Americans, holding as they do a sort of exotic charm for the old-estab lished stratum of the population; while they remind immigrants from Europe of their own childhood and youth. Later on Lindner turned his attention to specifically American themes, but the dual appeal remained unchangedthose born in the country were surprised to see familiar subjects from a new angle, and newcomers were confronted by an engrossing confirmation of their own experience of life in New York. The artist recently decided to condense the sketches he had made of people and situations in the streets of Manhattan into a series of water- colours. He entitled the sequence Fun City. The idea was to have the paintings 'translated' into lithographs by experts. The sizes were to re main unaltered and even the finest of detail was to be retained. This method of presenting compositions actually executed by third parties, so to speak, as original lithographs might at [Continued on page 5ot]

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