1905 | born in Dresden |
1925-27 | studies at the State Academy of Applied Arts and the Technical University of Dresden |
1927-32 | Studied 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 |
1929 | first exhibition in the Graphisches Kabinett of the Leipzig Museum of Fine Arts |
1931 | exhibition at the Leipzig Art Association |
1946 | appointment to the Academy of Visual Arts in Leipzig |
from 1946 | Work on the etching cycle "Dresden Visions |
1947 | appointment as professor |
1949 | New creative phase with numerous landscapes and cityscapes, characterized by intense color contrasts in his impulsive, sketchy style |
1953 | first post-war exhibition in the Municipal Art Collections Görlitz |
1956 | art 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 1958 | adaptations of old art of various genres become a central theme of his late work |
1962 | Participation in the exhibition "German Portraits, 1800-1960" National Museums in Berlin, National Gallery |
1968 | Publication of the "Dresden Picture Book |
until 1970 | annual participation in the "Great Munich Art Exhibition |
1974 | died 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.