Others like Freud, Tirr and Weinberger served
in the army, particularly the Pioneer Corps. Others
still, such as Julius Rosenbaum (because of his age)
and Hans Schleger (naturalised in 1939), because of
his important role in propagandist war work for the
Ministry of Information, were excused active service
but, like many, served as fire-watchers. In addition to
the (non-émigré) Artists’ International Association
(AIA), many joined émigré network organisations,
which provided national solidarity and supported
their creative endeavours. These included the Artists’
Refugee Committee (ARC), the Free German League
of Culture (FGLC) and the Austrian Centre (AC),
which all played important roles.
After the war, fates diverged: many artists also
became teachers – some setting up their own small
schools, such as husband and wife Adèle Reifenberg
and Julius Rosenbaum – or like Auerbach, Bloch,
Baer, Feiler, Freud, Koppel, Tirr and Weinberger
teaching at noted art schools.
Designers Dodo and Schleger both went on to
work for prestigious British firms including John
Lewis. Schleger’s poster Hands at Your Service, which
pays tribute to the London Transport workers, also
signalled that for him uniforms in England implied
service, not oppression; he also became celebrated
as the designer of the iconic British bus-stop sign.
Much design work was also influenced by personal
exile narratives: for example, Lom and Meyer show
contrasting images of incarceration and freedom.
Following release from internment, many
resumed their careers: the irrepressible Bilbo turned
gallerist, founded the Modern Art Gallery (1941–48),
a haven for refugee artists including Kurt Schwitters.
There were few commissions, but artists painted,
drew and sculpted, often taking their subjects
from their own émigré communities. A few made
further journeys postwar beyond Britain – including
Joe Rose (Australia), Lehman and Mach (Israel),
Heimann (who spent the war in Shanghai, going on
to the USA). Ludwig Meidner and Bilbo returned to
Germany, the former renewing his reputation (while
his wife Else remained behind); the latter opening a
bar. Goldschmidt returned to Austria. Ever adaptable
as refugees, some found it expedient to embrace new
or alternative artistic practices.
Most of the featured artworks were created in
England, illustrating the artists’ interaction with the
new culture of their adopted homeland, particularly
via portraiture. Although many found it difficult
to recapture former reputations, often exhibiting
primarily within their own émigré circles, they
also continued to exhibit with Ben Uri, whose
exhibition programme and collection, like the wider
British cultural landscape, was greatly enriched
by their valuable and significant contribution,
which is perhaps only today being fully recognised
and acknowledged.
Sarah MacDougall and Rachel Dickson,
co‑curators
Finchleystraße 11