HEINE, Thomas Theodor - b. 1867 Leipzig, d. 1948 Stockholm - WGA

HEINE, Thomas Theodor

(b. 1867 Leipzig, d. 1948 Stockholm)

German painter, printmaker and illustrator. He studied at the Academy in Düsseldorf under Peter Janssen (1885-88). He moved to Munich, and in the nearby artists’ colony of Dachau, produced around 30 impressionist landscape paintings, for example, The Angler (1892; Lenbachhaus, Munich). In 1892 he worked on the bourgeois family magazine Fliegende Blätter. He began to work with the publisher Albert Langen in 1895, designing covers for brochures and books. Drawings by Heine appeared in the art magazine Pan, and he rose to sudden fame in 1896 with the first issue of the magazine Simplicissimus, produced with Albert Langen.

Unlike other artists working for the magazine, Heine provided the captions for his own pictures. He also had a large variety of styles at his command and used these to different ends. He was particularly influenced by the graphic work of Henri de Toulouse-Lautrec and Aubrey Beardsley and by Japanese woodcuts. In images where contrasting areas of colour are connected by the curving lines of Jugendstil, Heine parodied the German petit-bourgeoisie, the double standards of the Wilhelmine period and the sheep-like subservience to authority. He also made ink drawings, which avoid ornamental and decorative elements; these deal critically with unsatisfactory social conditions. Heine’s favourite targets were the law, the military and the nobility. In 1898 he was sentenced to six months in prison on an accusation of insulting the monarchy. Even in 1914, when Simplizissimus entered a nationalist and chauvinistic phase, Heine remained true to his principles.

Heine also made important contributions to book illustration, for example, in Hebbel’s Judith (1908), Thomas Mann’s Wälsungenblut (1921) and to poster art (for the new Simplizissimus, 1896; and the Red Bulldog for the third exhibition of the Berlin Secession, 1902). The Devil, a recurrent theme, was also produced as a bronze sculpture in 1902 (Lenbachhaus, Munich).

After leaving Germany in 1933, Heine lived successively in Prague (until 1938), Oslo (until 1942) and Stockholm. He gained great popularity, especially in Sweden. In 1945, he published an autobiographical novel.

Poster for Simplicissimus
Poster for Simplicissimus by

Poster for Simplicissimus

This poster by the artist Thomas Theodor Heine from 1896 advertises the illustrated weekly published by Albert Langen’s Verlag, Munich. Heine was a consummate master of the art reducing images to their essentials and then rendering them in what appears to be one single flowing line. This economy never implied a loss of elegance, however.

Simplicissimus was a weekly publication from Germany, founded by Albert Langen and ran from April 1896 to 1967, with a hiatus in 1944-1954. Langen’s inspiration for the magazine was the satirical publications that he saw during the late 1800s, such as Punch, Le Rire, and L’Assiette au Beurre.

Throughout its history, Simplicissimus published works of notable artists such as Eduard Thony, Henrich Kley, Jules Pascin, Bruno Paul, Ragnavald Blix, Karl Arnold, George Grosz, Rudolf Wilke, Thomas Theodor Heine, Käthe Kollwitz, Olaf Gulbransson, Wilhelm Schulz, and many others.

Simplicissimus
Simplicissimus by

Simplicissimus

Thomas Theodor Heine, one of the most outstanding German poster artists, invented this aggressive red bulldog as a caricature for the Munich magazine “Simplicissimus”. The animal became the trademark of the satirical magazine and adorned one of the first modern posters in Germany as a motif. Heine cleverly adopted the means of representation of the caricature for his advertising graphics and thus made a decisive contribution to the further development of the modern poster.

The Angler
The Angler by

The Angler

In the artists’ colony of Dachau, Heine produced around 30 impressionist landscape paintings, among them The Angler (1892).

The Devil
The Devil by

The Devil

Heine’s small sculptures also have a graphic quality and are masterpieces of succinctly soft modulation, as here in his Devil - one of his favourite subjects.

The Freedom of Science
The Freedom of Science by

The Freedom of Science

In images where contrasting areas of colour are connected by the curving lines of Jugendstil, Heine parodied the German petit-bourgeoisie, the double standards of the Wilhelmine period and the sheep-like subservience to authority.

The solution to the social question
The solution to the social question by

The solution to the social question

This image was published in Simplicissimus III/27, 1898.

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