{"id":847,"date":"2020-11-24T19:03:34","date_gmt":"2020-11-24T19:03:34","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=847"},"modified":"2020-11-25T15:35:18","modified_gmt":"2020-11-25T15:35:18","slug":"richard-lindners-funhouse-new-york","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/11\/24\/richard-lindners-funhouse-new-york\/","title":{"rendered":"Richard Lindner\u2019s Funhouse New York"},"content":{"rendered":"\n<p>A few weeks ago, I wrote about the painter Wolf Kahn\u2019s <a href=\"http:\/\/blogs.rollins.edu\/cfam\/2020\/10\/28\/pausing-to-appreciate-wolf-kahn\/\">dramatic escape from Germany<\/a> on the eve of World War II. This week, I came across a similar story, this one from Kahn\u2019s slightly older colleague Richard Lindner. Lindner, who was born to a German-Jewish father and an American mother in Hamburg in 1901, grew up in Nuremberg, eventually becoming a successful commercial artist in Munich and then Berlin. He especially loved Berlin, which during the Weimar years was a center for a freewheeling caf\u00e9 culture that Lindner described as fantastic, scandalous, decadent, and even sinister. The rise of Adolf Hitler and the Nazi Party in 1933 caused Lindner to leave Germany almost at once. Lindner lived in Paris from 1933 to the German invasion of France in 1940, when he was interned by the French government alongside other German nationals. He escaped the internment camp by enlisting in the French Army. Soon accused of being a German spy, narrowly escaping execution before fleeing on foot across the French border with Spain, he eventually ended up in Lisbon, where he got a ticket to the United States based on his American ancestry. He arrived in New York on March 17, 1941.<sup>1<\/sup> Lindner immediately took to New York, treasuring it and other American fantasylands like Disneyland and Las Vegas.<sup>2<\/sup> Once he was in New York, Lindner continued to work as a commercial illustrator before finally achieving his desire to become a painter in middle age.<sup>3<\/sup> As he did so, the city became his primary subject matter, and he represented it as a colorful, madcap, funhouse version of itself.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"805\" height=\"1024\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-805x1024.jpg\" alt=\"\" data-id=\"850\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/?attachment_id=850\" class=\"wp-image-850\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-805x1024.jpg 805w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-236x300.jpg 236w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-768x977.jpg 768w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-100x127.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-150x191.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-200x254.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-300x382.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-450x573.jpg 450w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-600x763.jpg 600w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1-900x1145.jpg 900w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.05.PR_resize-1.jpg 1072w\" sizes=\"auto, (max-width: 805px) 100vw, 805px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"796\" height=\"1024\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-796x1024.jpg\" alt=\"\" data-id=\"851\" data-full-url=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize.jpg\" data-link=\"http:\/\/blogs.rollins.edu\/cfam\/?attachment_id=851\" class=\"wp-image-851\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-796x1024.jpg 796w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-233x300.jpg 233w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-768x988.jpg 768w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-1193x1536.jpg 1193w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-100x129.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-150x193.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-200x257.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-300x386.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-450x579.jpg 450w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-600x772.jpg 600w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize-900x1158.jpg 900w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/Linder-1983.32.07.PR_resize.jpg 1247w\" sizes=\"auto, (max-width: 796px) 100vw, 796px\" \/><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\">Richard Lindner, (American, b. Germany, 1901-1978) Left<em>\/St. Mark\u2019s Place<\/em>, 1971, Lithograph, 25 1\/8 in. x 19 \u00be, Gift of Mr. and Mrs. Robert L. Gardner, 1983.32.5   Right \/ <em>Uptown<\/em>, 1971, Lithograph, 25 \u00bd in. x 20 in., Gift of Mr. and Mrs. Robert L. Gardner, 1983.32.7  Both \/ \u00a9 2020 Richard Lindner \/ Artists Rights Society (ARS), New York<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>CFAM is home to a number of lithographs Lindner made after his transition to painting, part of a broader turn by American postwar artists to the medium, which lent itself well to the painterly line and intense color favored in those decades.<sup>4<\/sup> In particular, his <em>Fun City<\/em> portfolio of 14 lithographs shows his vision of the city, which was shaped by his memories of the German <em>neue Sachlichkeit<\/em> (New Objectivity), which used acid sarcasm to deflate the preening pretensions of the cultural and financial grandees of Weimar Germany. Lindner remarked that &#8220;My work is really a reflection of Germany of the &#8217;20s. It was the only time the Germans were any good. On the other hand, my creative nourishment comes from New York and from pictures I see in American magazines and on television. America is really a fantastic place.&#8221;<sup>5<\/sup> In <em>St. Mark\u2019s Place<\/em>, Lindner represents the famed East Village street with one of its famously eccentric denizens, in this case a wildly dressed man who walks a rooster on a leash. <em>Uptown<\/em> recreates the tiled signage inside of the subway, accompanied by a bizarre female figure whose abstracted breasts brazenly confront the viewer, acting as surrogates for the eyes which are obscured by her huge novelty sunglasses. Lindner particularly enjoyed these female figures, which he named <em>Lulu<\/em> after a character in works by the German playwright Frank Wedekind.<sup>6<\/sup> He was fascinated by modern American women, whom he admired for their strength, once commenting that \u201cThe woman is the stronger, she is geared towards giving the man his lumps of sugar, as long as she gets something for them. But now, at the end of the 20th century, she wants to keep the sugar for herself.&#8221;<sup>7<\/sup><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"634\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights.jpg\" alt=\"\" class=\"wp-image-854\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights.jpg 900w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-300x211.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-768x541.jpg 768w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-426x300.jpg 426w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-100x70.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-150x106.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-200x141.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-450x317.jpg 450w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/grosz-george-city-lights-600x423.jpg 600w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\" \/><figcaption>George Grosz, (American, b. Germany, 1893 &#8211; 1959), <em>City Lights<\/em>, ca. 1940 &#8211; 1945, Watercolor on paper laid down on canvas, 16 1\/2 x 23 1\/2 in., Museum Purchase from the Wally Findlay Acquisition Fund, 1990.20<\/figcaption><\/figure>\n\n\n\n<p>These works invite comparison with <em>City Lights<\/em> by\nGeorg Grosz, one of the luminaries of the <em>neue Sachlichkeit<\/em> that was\nsuch an influence on Lindner. If the younger artist embraced New York and\nAmerica, Grosz\u2014<a href=\"http:\/\/blogs.rollins.edu\/cfam\/2020\/07\/10\/romare-bearden-activism-and-art\/\">who\nlike Lindner had fled the Nazis, ending up as a teacher in New York<\/a>\u2014was not\nso sure about his adopted home. In the slightly earlier <em>City Lights<\/em> he paints\nHouston Street, just a few blocks from St. Marks Place. In this work the\nyounger painter\u2019s wild celebration is nowhere to be seen. Instead, Grosz\nrepresents the bright downtown lights as sinister and oppressive, washing out\nthe forms of the buildings. Instead of bright, cheerful lunacy, Grosz\u2019s New\nYork is grim and melancholy, populated by dark, faceless figures and\noverflowing garbage bins. It is not clear whether the two artists\u2014so similar in\nmuch of their biographies\u2014were associates in New York, though Grosz died just\nas Lindner\u2019s fame as a painter was really starting to take off. What is clear\nis that, despite their confluences of biography, the two men had very different\nreactions to the bustling metropolis.<\/p>\n\n\n\n<p>While it is yet to be formally announced, look for an\nexhibition of Lindner\u2019s <em>Fun City<\/em> portfolio on the walls of the museum in\nSummer 2021!<br><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><sup>1<\/sup> Thomas Levy et al., eds., <em>Richard Lindner: Gro\u00dfstadtzirkus | Big-City Circus | Le cirque de la grande ville\u202f; [anl\u00e4sslich der Ausstellung Richard Lindner &#8211; Gro\u00dfstadtzirkus|Big-City Circus|Le Cirque de la Grande Ville, 06.02.2015 &#8211; 19.04.2015, Stiftung Ahlers Pro Arte\/Kestner Pro Arte, Hannover<\/em> (Ausstellung Richard Lindner &#8211; Gro\u00dfstadtzirkus|Big-City Circus|Le Cirque de la Grande Ville, Bielefeld: Kerber, 2015), 90\u201393. Lindner was something of a fabulist who enjoyed telling exaggerated or misleading tales about his life, but the basic outlines of his story have been corroborated by historians. <\/p>\n\n\n\n<p><sup>2<\/sup> P. Selz, \u201cThe\nWork of European-American Artist Richard Lindner,\u201d <em>Art &amp; Antiques.<\/em>\n32, no. 5 (2009): 60.<\/p>\n\n\n\n<p><sup>3<\/sup> Robert Storr, The Museum of Modern Art, and Modern Art Despite Modernism, eds., <em>Modern Art despite Modernism: Museum of Modern Art, New York (March 16 &#8211; July 26, 2000)<\/em>, MoMa2000 (Exhibition Making Choices: Modern art despite modernism, New York: Museum of Modern Art, 2000), 86.<\/p>\n\n\n\n<p><sup>4<\/sup> Jennifer Quick, Jennifer L. Roberts, and Harvard Art Museums, eds., <em>Jasper Johns\/in Press: The Crosshatch Works and the Logic of Print<\/em> (Cambridge, Massachusetts: Harvard Art Museums, 2012), 17.<\/p>\n\n\n\n<p><sup>5<\/sup>\nLindner quoted in Selz, \u201cThe\nWork of European-American Artist Richard Lindner,\u201d 60.<\/p>\n\n\n\n<p><sup>6<\/sup> Selz, 58.<\/p>\n\n\n\n<p><sup>7<\/sup>\nLindner quoted in Richard\nLindner and Belinda Grace Gardner, <em>Richard Lindner: Zeichnungen: {Drawings}<\/em>,\ned. Thomas Levy, 1. Auflage, Kerber Art (Ausstellung Richard Lindner &#8211;\nZeichnungen \/ Drawings, Bielefeld Berlin: Kerber Verlag, 2016), 7.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A few weeks ago, I wrote about the painter Wolf Kahn\u2019s dramatic escape from Germany on the eve of World [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":850,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[90,89],"class_list":["post-847","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-george-grosz","tag-richard-lindner"],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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