Thomas Theodor Heine

Germany in the late 1800’s was going through a great number of changes in its governmental and social structures, giving rise to new art and cultural opportunities as well. These upheavals would, of course, lead into the world wars many years later, but preceding those tumultuous times would be the time that Thomas Theodor Heine practiced and developed as an artist in his youth. Thomas Theodor Heine was born in February 28th, 1867 and eventually died after living a long life developing his art in January 26th, 1948 dying just a month shy of his 81st birthday (“Thomas Theodor Heine”). This long period of producing art, from his youth all the way into his final years, gave rise to an incredible number of pieces Heine made for other publications, the publication he cofounded, or as personal projects. Despite how stable his life might seem from this description, the turmoil from World War II would uproot Thomas Theodor Heine and push him outside of Germany late in life. While he was born in Leipzig, Germany far prior to these events, moving to other cities for studies and work during much of his life, Heine eventually died in Stockholm, Sweden after a difficult journey out of Germany late in his life (“Thomas Theodor Heine Biography – Infos – Art Market”). While this would disrupt his quality of life greatly, eventually leading to his natural death in the city, the biography of his life titled “Thomas Theodor Heine Biography – Infos – Art Market” writes that, “he continued to work productively and successfully until his death in 1948.” This tenacity and strength is a value which can be seen throughout Thomas Theodor Heine’s life and work, in which he held on to his work, style, and values despite some of the most tremendous social pressure anyone could imagine.

Thomas Theodor Heine’s life was filled with many kinds of transitions, one of these being his move away from Germany during the second World War, and some of which gave rise to differences in the art he was creating. The aforementioned short biography titled “Thomas Theodor Heine Biography – Infos – Art Market” writes about some of his successes and transitions around these points in his life:

In 1922 Thomas Theodor Heine was appointed a regular member of the Prussian Academy of Art in Berlin. He subsequently showed drawings at major exhibitions (Internationale Kunstausstellung, Dresden 1926, Mánes Exhibition, Prague 1934). In later years Heine again devoted himself more intensively to painting but much of this work was destroyed in bombing raids so that it is difficult nowadays to assess his qualities as a painter.

While his later creations were destroyed in the bombings occurring in Europe, especially in Germany during the end points of the second World War, enough have remained to show an evolution in style and medium throughout his many years. One major point of contention for Heine’s move out of Germany was likely due to his Jewish heritage, although he later forsook it for Protestant Christianity (“Thomas Theodor Heine”). If this heritage was discovered while he was still doing his work in Germany, and prior to his escape, it is likely that even less of his work would have survived the duration of the war. Furthermore, to add on to his already precarious position in Germany during the second World War, Thomas Theodor Heine is written as wanting to “continue and criticize the national-socialists” as he had been doing, but in the magazine he was working on during the time “the other editors saw him as a risk” (“Thomas Theodor Heine”). The combination of these factors is what caused Heine to move outside the city, and eventually outside of Germany to Sweden, despite his longstanding hard work in the area. The other editors aren’t entirely to blame, however, as the office was raided by Nazi stormtroopers somewhat early in Hitler’s rise to power, prior to the war, and essentially forced the editorial’s hand (“Thomas Theodor Heine”). This was, understandably, a huge blow to Thomas Theodor Heine’s ability to produce art, but nonetheless he would continue with his work at each city he moved to, whether inside or outside Germany. Further to his credit, Heine’s work maintained its quality while he was on the run, whereby was even writing stories and accompanying them with his recognizable imagery (Lerner, 1). These stories, while represented by newspaper comic-like cartoons, had meanings and representations which referenced the social turmoil occurring nearby which would lead to Germany’s place in the second World War. Whether from one artistic medium to another or from one country to another, Thomas Theodor Heine persevered through all kinds of troubles, developing himself religiously and artistically.

Returning to his earlier years, Thomas Theodor Heine’s early studies and work in art were done during the 1880’s and early 1890’s as written in the internet article of the same name, “Thomas Theodor Heine,” which highlights his progression through different editorials:

He studied at the Düsseldorf Art Academy from 1884 to 1889, then settled in Munich, where he took on painting and did contributions to the magazines Fliegende Blätter and Die Jugend. He was also involved in design and typography, and has designed several posters for the Berliner Sezession around the turn of the century.

This would give Heine a chance to develop his style in a professional setting, which would carry on into his later works, although then he would also introduce the darker themes and imagery which pervaded many of his works. This would be possible since he would be the cofounder of a new magazine known as “Simplicissimus” in 1896, alongside another man named Albert Langen (“Thomas Theodor Heine”). Heine’s works in Simplicissimus were highly satirical, criticizing many institutions he was familiar with, such as the aforementioned criticisms on the national-socialist party. This combination of satire and comic-style art in Simplicissimus would become Heine’s claim to fame as time progressed.

In total, Thomas Theodor Heine was a strong artist not only in his consistent style and message, but also in his will to continue his pursuit of art. Whether in Munich, where he spent much of his time, or in Sweden, where he waited out his days, Heine marched on in a continual use of art as a medium for spreading new ideology to Germany, and eventually Europe as a whole.

 

 

Bibliography

“Thomas Theodor Heine.” Lambiek.net, 1 Jan. 1970, www.lambiek.net/artists/h/heine_thomas-theodor.htm.

“Thomas Theodor Heine Biography – Infos – Art Market.” Thomas Theodor Heine Biography – Infos – Art Market, www.thomas-theodor-heine.com/.

Lerner, Paul. The Consuming Temple: Jews, Department Stores, and the Consumer Revolution in Germany, 1880-1940. Cornell University Press, 2015.