ARTISTS / Modern art
Ernst Hassebrauk

Available works
1905born in Dresden
1925-27studies at the State Academy of Applied Arts and the Technical University of Dresden
1927-32Studied at the Academy of Graphic Arts and Book Trade in Leipzig (master student of Willi Geiger) and at the University of Leipzig in the subjects of art history and philosophy
1929first exhibition in the Graphisches Kabinett of the Leipzig Museum of Fine Arts
1931exhibition at the Leipzig Art Association
1946appointment to the Academy of Visual Arts in Leipzig
from 1946Work on the etching cycle "Dresden Visions
1947appointment as professor
1949New creative phase with numerous landscapes and cityscapes, characterized by intense color contrasts in his impulsive, sketchy style
1953first post-war exhibition in the Municipal Art Collections Görlitz
1956art exhibitions at the Albertinum "750 Years of Dresden" and Deutsche Akademie der Künste Berlin "The Graphic Cycle. From Max Klinger to the present, 1880-1955''
from 1958adaptations of old art of various genres become a central theme of his late work
1962Participation in the exhibition "German Portraits, 1800-1960" National Museums in Berlin, National Gallery
1968Publication of the "Dresden Picture Book
until 1970annual participation in the "Great Munich Art Exhibition
1974died in Dresden
In the course of his life, Ernst Hassebrauk, who was educated in Dresden and Leipzig, worked both impressively and expressively - close to the Impressionism of the French, but also to that of Lovis Corinth, especially in the inner emigration of the 1930s. He develops the new expressionism especially after the liberation from the art dictatorship after 1945.
The intense colorfulness and painterly coolness of the "Kitchen Still Life" show affinities to Carl Schuch. However, Hassebrauk's representational inheres a conception of freedom, not least in the ductus of the "painterly" order, which gives itself in the matter of color pastose. Contrary to the external circumstances, Hassebrauk's still lifes possess intimacy and cheerfulness. They radiate painting with relish as an expression of a festively heightened pleasure for the eyes. A further contribution is made by the arrangements, which are often "objects of another art, the high art of eating and drinking, of fine taste and enjoyment," as Werner Schmidt puts it. 
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