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Otto Neumann (artist)
Otto Neumann (March 14, 1895 – January 2, 1975) was a German Expressionist painter and printmaker. His work evolved from strongly colored and thickly brushed paintings and sharp and angular black and white prints, to late abstract prints in a variety of colors. Although his style and preferred mediums both changed through a long career, the human figure remained his most enduring and constant subject.
==Early life==
Otto Neumann was born in Heidelberg, the third child of Fritz Neumann, a professor of Romance Philology at the University of Heidelberg. Neumann grew up exposed to his father’s circle of intellectual friends. Among them were prominent professors of art, literature, and medicine including Ernst Troeltsch and Max Weber. Books were a major part of his family life, and he was to use mythology, Dante's Inferno, and more modern works as the sources for his art.
After graduating from the local Humanistic Gymnasium, the young man began to study art at the art academy in Karlsruhe. World War I interrupted his training, and he spent six months in the Rastatt Artillery before receiving a medical discharge. He briefly returned to Karlsruhe, then took private lessons from the landscape painter, Wilhelm Oertel in Mannheim before completing his training at the Academie der Bildenden Kunste in Munch in 1919. After returning to Heidelberg, he began to paint oil portraits, primarily of such major university figures as Max Weber and medical faculty members like Hans Prinzhorn. The latter was perhaps the father of art therapy, and recruited the young artist as part of a control group studying the effect of psychedelic drugs on patients.
Neumann's early years as an artist were fertile, and he produced linoleum prints of scenes from the Passion of Christ, produced both watercolor and oil still-life paintings, and made pencil and charcoal drawings after the historical artists he most admired. He also completed a series of highly detailed graphite drawings that were based on each canto of Dante’s Inferno and several of Purgatory. And though he never utilized these drawings in a published edition of the Dante epic, they became known, and admired by scholars. He also made prints of many of the Dante subjects, though almost always one of a kind, and set up his unusual lifelong practice of sometimes signing the prints but never utilizing edition numbers.
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