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| Die Stadt, 1922 |
Wilhelm
Heise (1892-1965) began his work, like many other German artists of
that time, under the sign of Expressionism, to be considered later a
"neo-objectivist". The neo-objectivists advocated an
approach closer to the visible reality than the Expressionists and,
in some cases (Otto Dix, George Grosz), a commitment in the social
fights of the time.
I find very few biographical details about Heise on the Net. It seems clear that he was not affected by the arrival of the Nazis in power, unlike other avant-gardists, probably because his style, as well as the absence of political subjects in his paintings, made him acceptable or at least "not dangerous" in the eyes of the new masters of Germany.
He married Lisa Heise, who had maintained a correspondence with the poet Rainer Maria Rilke, an exchange that she published after the Rilke’s death under the name "Letters to a young girl". Lisa also published a novel of her own production.
About the picture above, Verblühender Frühling, from 1928, see this link:
Radio artists during the Weimar era
I find very few biographical details about Heise on the Net. It seems clear that he was not affected by the arrival of the Nazis in power, unlike other avant-gardists, probably because his style, as well as the absence of political subjects in his paintings, made him acceptable or at least "not dangerous" in the eyes of the new masters of Germany.
He married Lisa Heise, who had maintained a correspondence with the poet Rainer Maria Rilke, an exchange that she published after the Rilke’s death under the name "Letters to a young girl". Lisa also published a novel of her own production.
About the picture above, Verblühender Frühling, from 1928, see this link:
Radio artists during the Weimar era
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