[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/10\/28\/erna-pinner-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/10\/28\/erna-pinner-wikipedia\/","headline":"Erna Pinner \u2013 Wikipedia","name":"Erna Pinner \u2013 Wikipedia","description":"Erna sticks (actually: Erna Friederike Wilhelmine Pinner ; Born January 27, 1890 in Frankfurt am Main; Died March 5, 1987","datePublished":"2018-10-28","dateModified":"2018-10-28","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/10\/28\/erna-pinner-wikipedia\/","wordCount":2352,"articleBody":"Erna sticks (actually: Erna Friederike Wilhelmine Pinner ; Born January 27, 1890 in Frankfurt am Main; Died March 5, 1987 in Hampstead (London)) was a German draftsman, puppet artist, writer and scientist. Erna Pinner came from Frankfurt’s Jewish bourgeoisie. Her father Oscar, originally from Hungary, was a renowned surgeon and collector of contemporary art. He supported the artistic ambitions of his daughter with the establishment of a studio in the attic of the family house at Bockenheimer Landstra\u00dfe 72. As a seventeen -year -old, she began her artistic training at the St\u00e4del Art Institute in Frankfurt in 1907. In 1908 she studied in Berlin near Lovis Corinth, in 1910 in Paris with F\u00e9lix Vallotton, Maurice Denis and Paul S\u00e9rusier on the Acad\u00e9mie Ranson. Shortly before the outbreak of the First World War, Pinner returned to Germany. Here she met the Darmstadt writer Kasimir Edschmid in 1916; The private partnership also led to artistic cooperation. Erna Pinner illustrated the works of the Expressionist and designed costumes for his pieces. By Edschmid Pinner came to the literary-artistic “Dachstubenkreis” around the Darmstadt publisher Joseph W\u00fcrth, who published some of the couple’s common books. She also made contacts with writers such as Annette Kolb, Theodor D\u00e4ubler and Ren\u00e9 Schickele, which was published by the magazine published by Edschmid Grandstands of art and time (1919 – 1923). From 1919 she belonged to the Darmstadt secession and regularly took part in its exhibitions. [first] U. a. she illustrated Klabunds Flower ship . She taught at a private school in Frankfurt. The painter Helmut Kolle (1899\u20131931) drew with her in 1918; She remained a close girlfriend until his early death. [2] In the mid -1920s, Erna Pinner and Kasimir Edschmid traveled together. At first they mainly led to the south of Europe: to France, Italy, Montenegro, Croatia (1925) and Greece (1927), from Spain but also to Morocco (1926). From these travel experiences, published publications and illustrated by Pinner and their own book were created by Edschmid and illustrated by Pinner A lady in Greece (1927). In 1928 Erna Pinner and Kasimir Edschmid traveled through Egypt, Syria and Palestine, where they visited Jerusalem, Haifa and Bethlehem. In the same year they were traveling in West, South and East Africa and in 1930 they drove to South America for several months. Again they worked on joint publications for which the pinner drew and now also photographed. She also published her own book again: I travel through the world (1931). In 1935 she was excluded from the Reich Chamber of Fine Arts because of her Jewish origin and emigrated to England, whereas Edschmid remained in Germany. The contact with Edschmid, who married the musician Elisabeth von Harnier in 1941, stopped three years later and was only resumed in 1946. Erna Pinner stayed in the UK. Her cousin Oscar Joseph was Chairman of the Jewish Refugee Fund in London and initiated children’s transports to England in 1938\/39. She later supported him with aid campaigns for refugees from Germany and Austria. At the year of her arrival in England, Erna Pinner found a small apartment in a new building in Hampstead, Cleve Road, where she lived until her death in 1987.A stroke of luck was the encounter with Julian Huxley, Secretary General of the Zoological Society of London and Head of London Zoo. In 1936 he visited the Zoos of Paris, Li\u00e8ge, Bremen and Frankfurt. Huxley therefore knew Pinner’s book Animal sketches from the Frankfurt Zoo from 1927. Interested in imaging art, he became a friend and introduced her to the London Zoological Society. In exile, she succeeded in the resumption of her career, this time – after studying biology – as a descriptive scientist (in the field of zoology, paleontology and anthropology) and as an illustrator of popular science works. In the very personal correspondence with Edschmid, who remained a closer to his end of his life, there are always questions about the amendment to the losses suffered by the Nazi rule and the war. The strained procedures dragged on for years. Her mother, Anna Pinner, had tried to take books, paintings and graphics from the family collection when she moved. But she had to leave the collection in her house. The entitlement to compensation for the demolition of professional life was also to be enforced. In 1956, Kasimir Edschmid had to give the regional president in Wiesbaden an affidavit to Erna Pinner’s professional activity and her qualification before the war. A month later, Pinner reported that she receives “a preliminary deposit of seven thousand marks”. In January 1957 she announced Edschmid that she now received “a four hundred nine -nine marks a month”. [3] It was more difficult to recognize the claim to “the content of our house auctioned by the Gestapo”. The matter went well into the 1960s and was never completely clarified. In December 1965, Erna Pinner wrote to Kasimir Edschmid: “casually: the reparation is still not done.” Then she reported on the oil painting of Lovis Corinth from the parental collection, which is now in Spanish private ownership for inexplicable reasons, and that they would now have to take a lawyer in Frankfurt. The painting Paraphrase from 1908, the most important work on the list of Pinner Art Collection, a portrait of Charlotte Behrend-Corinth in the garden, went through the hands of various art dealers and collectors. It has been privately owned again since 1995. It was not until 2013 that the heirs and heirs Erna Pinner were closed with regard to this picture. [4] In the beginning, Erna Pinner, probably inspired by her French teachers, landscapes and portraits in a flat style, painted with emphasized outline lines, some in oil, others in watercolor technology. Already in her youth she had done studies in the Frankfurt Zoo, for which she later also designed posters. It was particularly well known to her Pork book , however, which, however, should have an unexpected effect on her biography: a polioinfection that she probably suffered when sketching in the pigsty, later led to Erna Pinner mainly relocated to draw. There were also still lifes and settings. Unfortunately, only a few of the early works have been preserved, since Erna Pinner did not take them to emigration and their Frankfurt parents’ house was destroyed in 1944 in a bomb attack. The youth work largely fell victim to the bombing of her parents’ house in the Second World War. Of the almost life -size, once known to be widely known The stick pip , [5] Which she made from 1914 and inspired the dancers like Niddy Impekoven, no original has been preserved. In addition to these grotesque human figures, the animals were in the foreground of their interest and work, a passion that they shared with artists such as Ren\u00e9e Sintenis, Franz Marc, Heinrich Campendonk and Kay H. Nebel. Her work was estimated in such a way that the publisher of the Hebrew it illustrated by it Reading fibel (1929) It was convinced that “the book […] by the pictures of an artist from the range of Erna Pinners […] gain a lasting value”. [6] 32 books with Erna Pinner’s illustrations have been published since her emigration. In addition, after the war she published again in daily and weekly newspapers in Germany and Switzerland, wrote manuscripts for radio. Pig book. From birth to the sausage. 1921. Animal sketches from the Frankfurt Zoo. 1927. Kasimir Edschmid: luxury dogs. With ten original etchings by Erna Pinner. Darmst\u00e4dter Verlag, 1927. A lady in Greece. With 30 drawings by the author. Darmst\u00e4dter Verlag, 1927. I’m going through the world. With 104 spring drawings of the author. Reiss Verlag, 1931. Felix Salten: Bambi’s Children. Translation Barthold Fles. Illustrations Erna Pinner. Grosset & Dunlap, New York 1939. Curious Creatures. 1951.dt. Miracle of reality. Paul Zsolnay, 1955; Curious creatures: strange creatures of the wildlife , With 152 illustrations by the author and an afterword by Barbara Weidle, Bonn: Weible Verlag, 2022, ISBN 978-3-949441-05-9 Born Alive. (dt.: Panorama of life. ) 1959. Incredible and yet true. 1964 Kasimir Edschmid: Animal drawings by Erna Pinner . In: Monthly booklets for book lovers and graphic collectors . Klinkhardt & Biermann, Leipzig. 1st year 1925, H. 3, pp. 144\u2013150. Lutz Becker: From art to science. The amazing life of Erna Pinner. In: Barbara Weidle (ed.): I’m going through the world. The draftsman and publicist Erna Pinner. Exhibition catalog. Weidle-Verlag Bonn 1997 Ulrike Edschmid: “We don’t want to talk about it anymore.” Erna Pinner and Kasimir Edschmid – a story in letters. Munich 1999, ISBN 3-630-87027-9. [7] Eva-Maria Magel: Art, a pork life: the work of Erna Pinner. In: Frankfurter Allgemeine Zeitung. 26. November 2004 ( faz.net ). Eva D. Becker: Erna Pinner’s half life in exile. In: Exile. Research. Findings. Results. Issue 2, 2004, page 61ff, Edita Koch Exilverlag Frankfurt am Main, ISSN\u00a0 0721-6742 . Paul Ferdinand Schmidt: Erna Pinner and the animals. In: German art and decoration: illustrated monthly booklets for modern painting, plastic, architecture, housing art and artistic women’s work, 63, 1928\u20131929, s. 205\u2013207 ( Uni-heidelberg.de ). Annette Bu\u00dfmann: “Life is a metamorphosis”: Erna Pinner as a mediator between cultures in British exile . In: Journal of Museum and Education . No.  86\u201387\/2019 . Lit, 2019, ISBN 978-3-643-99740-1, S.  76\u201390 ( limited preview in the Google book search [accessed on November 1, 2020]).  Astrid butterfly: Erna Pinner. In Frankfurt and in the world . In: Eva Sabrina Atlan, Mirjam Wenzel (Hrsg.): Back into the light. Four artists – their works. Their paths . Kerber Verlag Bielefeld \/ Berlin 2022, ISBN 978-3-7356-0856-7, pp. 115\u2013119. Barbara Weidle: Erna Pinner. Zoology as art . In: EVA Sabrina Atlan, Mirjam Wenzel (Hrsg.): Back into the light. Four artists – their works. Your way. Kerber Verlag Bielefeld \/ Berlin 2022, ISBN 978-3-7356-0856-7, pp. 120\u2013125. Works Erna Pinner. In: Eva Sabrina Atlan, Mirjam Wenzel (Hrsg.): Back into the light. Four artists – their works. Their paths . Kerber Verlag Bielefeld \/ Berlin 2022, ISBN 978-3-7356-0856-7, pp. 126\u2013145. \u2191  Astrid butterfly: Erna Pinner. In Frankfurt and in the world . In: Eva Sabrina Atlan, Mirjam Wenzel (ed.): Back into the light. Four artists – their works. Your way. Kerber Verlag, Bielefeld\/Berlin 2022, pp. 115\u2013119.  \u2191  Wilhelm Uhde, The painter Helmut Kolle: the portrait of an early fulfillment , in: Hartwig Garnerus, Who paints Helmut Kolle . With a foreword by Helmut Friedel, Munich, Lenbachhaus 1994, pp. 178\u2013180, ISBN 3-88645-122-4.  \u2191  Barbara Weidle: Zoology as art. In London, Erna Pinner reinvents himself again . In: Eva Sabrina Atlan, Mirjam Wenzel (ed.): Back into the light. Four artists – their works. Your way. Kerber Verlag, Bielefeld\/Berlin 2022, pp. 120\u2013122.  \u2191  Barbara Weidle: Zoology as art. In London, Erna Pinner reinvents himself again . In: Eva Sabrina Atlan, Mirjam Wenzel (ed.): Back into the light. Four artists – their works. Your way. Kerber Verlag, Bielefeld\/Berlin 2022, p. 125.  \u2191  Kasimir Edschmid: Grotesk dolls from Erna Pinner. In: German art and decoration: illustrated monthly booklets for modern painting, plastic, architecture, housing art and artistic women’s work, 39, 1916-\u20131917. S. 356\u2013357 ( Uni-heidelberg.de ).  \u2191  Astrid butterfly: Erna Pinner. In Frankfurt and in the world. In: Eva Sabrina Atlan, Mirjam Wenzel (ed.): Back into the light. Four artists – their works. Your way. Kerber Verlag, Bielefeld\/Berlin 2022, p. 177.  \u2191  We don’t want to talk about it anymore – Erna Pinner and Kasimir Edschmid – a story in letters. Deutschlandfunk, April 10, 1999, accessed January 5, 2018.  "},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki10\/2018\/10\/28\/erna-pinner-wikipedia\/#breadcrumbitem","name":"Erna Pinner \u2013 Wikipedia"}}]}]