Harald Rudyard Engman: Difference between revisions
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==Biography== |
==Biography== |
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Little has been published about Engman's life. It is known that he traveled as a working seaman and spent some time living in New York City's Chinatown around 1920. He began to show paintings in [[Copenhagen]] in the mid 1920s. He became part of a group of self-styled "Underground Painters". His shows always inspired controversy as he utilized caricature and satire to mercilessly criticize social ills and those in power especially the growing power of the Nazi Party in Germany. These shows culminated in 1940 with the "Black Banners" show in Copenhagen aimed directly at the Nazi leadership. Refusing to remain silent about Hitler, Engman "depicted Der Fuhrer, not as a genius of satanic majesty, as many Danish Anti-Nazis saw him, but as a psychopathic misfit, a frightened and conceited fool, sort of a ludicrous master clown of the world's arena."<ref name=Petersen>{{cite web|url=https://books.google.com/books?id=q9xHYgEACAAJ|title=Billeder fra besaettelsestiden|publisher=H. Petersen|accessdate=2 February 2015 |language=Danish}}</ref> Following this show Engman was forced into exile in the North [[Zealand]] and eventually fled occupied Denmark for [[Sweden]] where he remained through the war. From Sweden he continued to fight the Nazis with his art painting and contributing drawings to the journal "The Dane" as well as some Swedish publications.<ref name="Petersen"/> |
Little has been published about Engman's life. It is known that he traveled as a working seaman and spent some time living in New York City's Chinatown around 1920. He began to show paintings in [[Copenhagen]] in the mid 1920s. He became part of a group of self-styled "Underground Painters". His shows always inspired controversy as he utilized caricature and satire to mercilessly criticize social ills and those in power especially the growing power of the Nazi Party in Germany. These shows culminated in 1940 with the "Black Banners" show in Copenhagen aimed directly at the Nazi leadership. Refusing to remain silent about Hitler, Engman "depicted Der Fuhrer, not as a genius of satanic majesty, as many Danish Anti-Nazis saw him, but as a psychopathic misfit, a frightened and conceited fool, sort of a ludicrous master clown of the world's arena."<ref name=Petersen>{{cite web|url=https://books.google.com/books?id=q9xHYgEACAAJ|title=Billeder fra besaettelsestiden|publisher=H. Petersen|accessdate=2 February 2015 |language=Danish}}</ref> Following this show Engman was forced into exile in the North [[Zealand]] and eventually fled occupied Denmark for [[Sweden]] where he remained through the war. From Sweden he continued to fight the Nazis with his art painting and contributing drawings to the journal "The Dane" as well as some Swedish publications.<ref name="Petersen"/> The Danish linguist and controversial IQ researcher Emil Kirkegaard is descended from Engman, being his great grandson. Kirkegaard states that Engman was forced to flee to Sweden for making fun of Hitler's regime and that Engman's wife was of partial Jewish descent.<ref>https://emilkirkegaard.dk/en/2019/04/on-nazism-and-jews/</ref> |
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==Artistic style and works== |
==Artistic style and works== |
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Revision as of 06:20, 5 May 2021
Harald Rudyard Engman (1903-1968)[1] was a Danish artist, painter. Above all, he is remembered for his fierce use of satire in criticizing and resisting the German occupation of Denmark during World War II. [2]
Biography
Little has been published about Engman's life. It is known that he traveled as a working seaman and spent some time living in New York City's Chinatown around 1920. He began to show paintings in Copenhagen in the mid 1920s. He became part of a group of self-styled "Underground Painters". His shows always inspired controversy as he utilized caricature and satire to mercilessly criticize social ills and those in power especially the growing power of the Nazi Party in Germany. These shows culminated in 1940 with the "Black Banners" show in Copenhagen aimed directly at the Nazi leadership. Refusing to remain silent about Hitler, Engman "depicted Der Fuhrer, not as a genius of satanic majesty, as many Danish Anti-Nazis saw him, but as a psychopathic misfit, a frightened and conceited fool, sort of a ludicrous master clown of the world's arena."[3] Following this show Engman was forced into exile in the North Zealand and eventually fled occupied Denmark for Sweden where he remained through the war. From Sweden he continued to fight the Nazis with his art painting and contributing drawings to the journal "The Dane" as well as some Swedish publications.[3] The Danish linguist and controversial IQ researcher Emil Kirkegaard is descended from Engman, being his great grandson. Kirkegaard states that Engman was forced to flee to Sweden for making fun of Hitler's regime and that Engman's wife was of partial Jewish descent.[4]
Artistic style and works
Engman's artistic style was fiercely independent and self-taught. He did not move in the modern directions of surreal or abstract art, nor was he following the traditional Danish folk painters. His style combines a keen sense of caricature occasionally verging on the comic with a real mastery of the use of light and color to evoke emotion.[3][5]
References
- ^ "Allgemeines Kunstlerlexikon" (in German). K G Saur Verlag. Retrieved 2 February 2015.
- ^ "Dansk kunst i det 20. århundrede" (in Danish). Gyldendal. Retrieved 2 February 2015.>
- ^ a b c "Billeder fra besaettelsestiden" (in Danish). H. Petersen. Retrieved 2 February 2015.
- ^ https://emilkirkegaard.dk/en/2019/04/on-nazism-and-jews/
- ^ "Harald Engman's Menneske Pyramide [Human Pyramid]: A Courageous Artistic Complaint Against Invasion and Occupation". Power of Design 2014. Archived from the original on 3 February 2015. Retrieved 2 February 2015.
Literature
- Petersen, Josef (1945). Billeder fra besaettelsestiden [Pictures from the Occupation] (in Danish). H. Petersen.
- Petersen, Josef (1945). Billeder fra besaettelsestiden [Pictures from the Occupation] (PDF). H. Petersen.
- Lauridsen, John (2002). Cooperation and resistance (in Danish). Det Kongelige Bibliotek, Museum Tusculanums Forlag.
- Wivel, Mikael (2008). Dansk kunst i det 20. århundrede (in Danish). Gyldendal.
- Loar, Peggy A. (1990). "Pondering the Products of Propaganda: Art and Thought on the Periphery". The Journal of Decorative and Propaganda Arts. 16: 40–53. JSTOR 1504065.
External links
- Examples of Engman's paintings
- High-Resolution zoomable annotated version of the Human Pyramid painting
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