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Art in a Time of Adversity in the Internment Camps

Many artists and creatives were amongst those interned in the “Enemy Alien” Camps in the UK with the Hutchinson Camp on the Isle of Man being the major hub of artistic endeavour.

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The Hutchinson Camp (Adapted from Christie’s website):

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In July 1940, 33 houses around Hutchinson Square in Douglas on the Isle of Man became home to 415 internees: almost all were German and Austrian Jewish and political refugees. Hutchinson Camp was renowned for its thriving artistic life, not least because of its wealth of highly significant and renowned artists, draughtsmen, writers and musicians.

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Known as ‘The Artist’s Camp’, the population at Hutchinson rose rapidly to 1,205 the same month it opened, before beginning to dwindle almost as quickly as internees who posed no threat to Britain were released.

Nevertheless, the strong artistic community that came to define the camp rapidly began to thrive, with an art exhibition held within the opening month and pieces sold between the internees, many of whom continued to pursue their passions within the constraints of camp life. The camp newsletter included artworks, illustrations, cartoons and articles on camp life and the world outside.

Hutchinson Camp Almanac made by hand by

[The Camp Almanac 1940-1941, no. 13-14], Hutchinson Internment Camp, Douglas, Isle of Man: [December 1940].

 

A special presentation copy of the December 1940 newsletter was produced by the internees at Hutchinson Internment Camp, with most pages hand-finished and signed by contributors including the artists Kurt Schwitters and Fred Uhlman as a gift to their fellow internee, Siegfried Oppenheimer.

Source: iwm.org.uk

Siegfried Oppenheimer contibution in Alm
Paul Hamann letter to wife from internme

    Mission of Art by Siegfried Oppenheimer.

Source: christies.com

Letter from Paul Hamaan to his wife.

Source: Warth Mills Project

Paul Hamaan

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Paul Hamaan, the German sculptor (who had studied with Rodin in Paris and ended up living in St John’s Wood after internment), begs his wife in a letter to send tools and plasticine “otherwise I go mad”.

Paul%20Hamaan%201941_edited.jpg

Paul Hamaan in the "Studio" at the Camp.

Source: Tate

It was Siegfried Oppenheimer, an art dealer, who convinced the camp authorities to provide the painters and sculptors in the camp with artistic materials as paper and newspapers were banned. The camp commander, Major H.O. Daniel, had an understanding attitude and obtained supplies of materials for the internees as well as allocating some studio space to individuals such as Kurt Schwitters and Paul Hamaan. 

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There are very few photographs of the period, as cameras were banned for the internees. However, the Tate Archive has 150+ photos from 1940/41 of life in the camp and the artists taken by Major Daniel.

https://www.tate.org.uk/search?aid=19372&type=archive

Peter Midgley

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It was in the studio spaces that the artists were able to take on students who benefited greatly from the close and intense contact they had with such leading artists. One of these was Peter Midgley (Fleischmann), a keen young painter from Berlin. He had come to England on the Kindertransport and was deemed an enemy alien so sent initially to the primitive Warth Mills Camp in Bury near Manchester. There he observed the Norwegian sculptor, Ernst Blensdorf so desperate to sculpt, he fashioned knives from the metal slats of his bed and used the wood from the bed and shards salvaged from a hacked up piano to create carvings and wooden reliefs.

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https://www.warthmillsproject.com/internees/peter-midgley/

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Later Peter Midgley was relocated to the Hutchinson Camp where he was encouraged to pursue his artistic talents and studied with Schwitters and Hamaan. After leaving the Camp he went on to study at Beckenham School of Art, later exhibiting at the V & A and Royal College of Art. 

Peter Midgley with Paul Hamann at Hutchi

Peter Midgley with Paul Hamaan in the Hutchinson Camp Source: Tate

The art created within the camp ranged across a wide variety of media and genres: figurative sculpturesnew objectivity paintinggraphic artExpressionismDadaismNaïve art and engraving. Klaus Hinrichsen, an art historian who occupied the position of head of the Cultural Department within the camp, was later to comment that the camp represented nearly all of the styles that were being suppressed within the Third Reich at the time. Cultural programmes happened weekly from week one, with plays, performances and a debating society, study groups in science, architecture, languages, philosophy, accountancy and art. In summer, lectures took place on the lawn outside. There was even an Artist’s Café in the laundry room with a Viennese baker providing cakes to be sold there!

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Following the success of the first art exhibition, a second exhibition took place in November 1940, in which artists such as Kurt Schwitters displayed their work, including portraits of the internees, often in the hope of them being sold for a relatively modest fee. This suggests the pace of artistic production by internees, with people such as Fred Uhlman, a self-taught naive artist, creating almost one piece of art a day. 

Necessity is the Mother of Invention

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There was a drastic shortage of art supplies, especially in the early days. This led to much resourcefulness, such as: mixing brick dust with the oil from sardine cans in order to make paint, digging up clay when out on walks for sculpture, and ripping up the lino floors to make cuttings which they then pressed through the clothes mangle to create linocut prints.

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In addition to this, artists used materials such as brown paper from parcels, government issue toilet paper, wall paper torn from the walls, with the resultant blank spaces on the walls now ready for murals. Paint brushes were made from Klaus Hinrichsen’s infamous eyebrows!

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Balls from the bed steads were made into boules to be played on the green at the centre of the camp!

Hellmuth Weissenborn

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The engraver, Hellmuth Weissenborn, started a craze within the Hutchinson Camp by engraving images in the dark blue paint on the windows, which had been put in place to act as air-raid blackouts in the absence of other materials at that stage of the war. The images created by Weissenborn and then others included landscapes, flowers and erotic depictions of women.

Hellmuth Weissenborn working at Hutchins

Hellmuth Weissenborn working on a print at Hutchinson Camp.

Source: Tate

Kurt Schwitters

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The Dadaist and portrait painter, Kurt Schwitters was interned in Hutchinson Camp from 17th July 1940 to 21st November 1941. Perhaps the most significant artist in the camp, he produced over 200 works during his 16 months of internment, including more portraits than at any other time in his career.

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He had already established an assemblage technique in Germany: “I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings. They suited the purpose just as well as factory-made paints”. This use of “found” objects was ideally suited to life at the Camp where resources were scarce.

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He extended the resourcefulness of the other internees by making sculptures out of porridge:

“The room stank. A musty, sour, indescribable stink which came from three Dada sculptures which he had created from porridge, no plaster of Paris being available. The porridge had developed mildew and the statues were covered with greenish hair and bluish excrements of an unknown type of bacteria.” Fred Uhlman in his meomoirs.

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“For the outside world he always tried to put up a good show, but in the quietness of the room I shared with him, his painful disillusion was clearly revealed to me. Kurt Schwitters worked with more concentration than ever during internment to stave off bitterness and hopelessness.”  His son, Ernst Schwitters in a letter published in the Art and News Review 1958. 

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In a more hopeful vein; "I am now the last artist here – all the others are free. But all things are equal. If I stay here, then I have plenty to occupy myself. If I am released, then I will enjoy freedom. If I manage to leave for the U.S., then I will be over there. You carry your own joy with you wherever you go."

Letter to Helma Schwitters, April 1941

Fred Uhlman The Artist Uses His Suitcase

“The Artist Uses His Suitcase as a Work Surface”  Fred Uhlman.

Source: iwm.org.uk

Second%20Art%20Exhibition%20at%20Hutchin

The second art exhibition at Hutchinson Camp.

Source: Tate 

Hugo Dachinger

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Graphic designer, Hugo Dachinger, was interned in Mooragh Camp on the Isle of Man and following his release in January 1941, staged exhibitions of his work entitled ‘Art Behind Barbed Wire’.  His internment art includes informal domestic views of camp life, portraits of fellow internees and satirical cartoons. Many of the works were painted on sheets of newspaper using children’s palette paints. When supplies were short, Dachinger painted with toothpaste (see portrait below) and even gravy browning which can be seen in the hair of Portrait of a Man. To produce charcoal, twigs from trees were burnt to ashes.

 

(After internment he moved to London and was a successful commercial artist and designer. He continued to produce vast quantities of sketches of scenes around Hampstead. He was a familiar sight in local cafes where he would be seen, often wearing his traditional Austrian jacket, sketching people at the next table!)

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The Women and Children's Camp  in Rushen

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The Port Erin and Port St Mary Womens’ and Children Camp in Rushen (Europe’s only all-female Camp) in the south of the island was set up by the Quaker,  Dame Joanna Cruickshank with the support of local landladies (not the military) and as a result seemed to have a more relaxed atmosphere. 3,500 women and children, deemed to be a threat to Britain, arrived all on the same day in May 29th 1940, with 300 of the women pregnant! By that same evening, all were safely housed. It was the very same day that 17 soldiers from the Isle of Man died at Dunkirk. How the locals, grieving for the loss of their men must have felt about accommodating "Enemy Aliens" in their homes can only be imagined.

 

There were classes in sculpting and painting, weaving, spinning, glove making, dress making, creative writing, philosophy, music and typing.

 

Dworja Dymant (Dora Diamant) Kafka’s lover, organised theatre and poetry readings at the Camp attended by internees and locals. PS. After her release from the Camp she moved to Broadhurst Gardens in West Hampstead with her daughter!

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There were three well-known, established German artists/sculptors at the Camp. Margarete Klopfleisch who created the powerful figure "Despair". Pamina Liebert Mahrenholz who had made sculptures from bread whilst in Holloway prison and Erna Nonnenmacher

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Despite the hardships, hunger, loneliness, cold, anxiety and uncertainty, the artists from the Camps were enriched by their contact with each other and the fertile atmosphere of creativity and mental stimulation. Many went on to develop their artistic careers after internment, becoming celebrated artists, lecturers and influencers. One hears of artists having to create and express themselves in order to stay sane. Facing and overcoming seemingly insurmountable obstacles may have added to the drive that fuelled their creativity.  The inspirational outpouring that we see from their time in the Camps is a testimony to this creative process.

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Significant Internees

  • Bruno Ahrends, architect from Berlin

  • Ernst Blensdorf, sculptor

  • Dora Diamant, campaigner

  • Andre Deutsch, publisher

  • Carl Ludwig Franck, architect from Berlin

  • Hans G. Furth, psychology professor from Vienna

  • Paul Hamaan, Sculptor from Hamburg

  • John Heartfield, artist specialising in photomontage

  • Klaus Hinrichsen, artist from Lübeck

  • Eric Hobsbaum, historian

  • Erich Kahn, graphic artist and expressionist from Stuttgart

  • Arthur Koestler, writer from Budapest

  • Karl Konig, founder of the Camphill Movement

  • Walter Landauer, pianist from Vienna

  • Peter Midgley, artist from Berlin

  • Rudolf Olden, journalist from Stettin/Szczecin

  • Nicholas Pevsner, historian

  • Karl Popper, philosopher

  • Marjan Rawicz, pianist from Poland

  • Kurt Schwitters, artist (Dadaist) from Hanover

  • Fred Uhlman, writer and painter from Stuttgart

  • George Weidenfeld, publisher

  • Hellmuth Weissenborn, engraver

  • Egon Wellesz, composer and musicologist from Austria

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RS 2020

Hugo Dachinger Portrait of a Man.jpg

Hugo Dachinger's portrait of fellow internee Wilhelm Hollitscher painted on a copy of The Times with toothpaste used for depiction of hair. Source: Ben Uri Gallery & Museum

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Angel%20Flies%20Over%20Hutchinson%20Camp

Angel Flying Over Hutchinson Camp by Hellmuth Weissenborn.

Source: © The Estate of Hellmuth Weissenborn and © The Estate of Hubert Daniel

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