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The Life and Training of Otto Gleichmann

Otto Gleichmann was born on 20 August 1887 in Mainz, Germany. His early years led him toward formal study at several academies, including those in Dusseldorf, Wroclaw, and Weimar. These years of training shaped his approach to various mediums. He worked with oil paints and watercolors, but his hand was equally active in sketches, lithographs, and mixed media compositions.

His presence in the German art scene was marked by a focus on the internal and the expressive. As a key figure in German expressionism, his work moved away from mere surface detail. He was an acquaintance of Klee and Kandinsky, moving through the same intellectual spaces that defined the era's shift in visual language. His practice was not limited to a single method, as he moved between the precision of a print and the layered texture of mixed media.

Artistic Circles and Professional Activity

His professional life was shaped by the classrooms and the quiet exchanges of the German art scene. He spent time teaching in Erfurt and later in Hanover, sharing his technical knowledge with students. These roles allowed him to remain deeply embedded in the academic and practical structures of the time, even as his own creative impulses moved toward more experimental territories.

From 1918, he was a member of the Hannoversche Sezession. This period brought him into contact with a specific group of peers who were redefining the boundaries of visual expression. During these years, he met Kurt Schwitters and developed a friendship with Theodor Däubler. These connections were not merely social; they were part of a shared environment where new ideas about form and medium were constantly being tested through sketches, lithographs, and oils.

His work during these years reflected the shifting social landscape, often moving between the precision of pencil on paper and the weight of mixed media. He was an acquaintance of Klee and Kandinsky, figures who occupied the same intellectual space as he did while navigating the complexities of the early twentieth century. His presence in these circles helped anchor his place within the broader movements of the era.

Key Works and Artistic Production

His output moved through many forms, from oil on canvas to lithographs and sketches. In 1913, he produced a pencil on paper work titled Selbstbildnis. By 1915, his focus shifted to Sturm Herrschaften, rendered in pencil on paper. The years following the war saw a variety of media being used to capture his vision, such as the 1918 pencil on paper piece Irrenparadies II. In 1920, he worked with oil on canvas for Strahlen - Stuerzen (Lines/Rays) and Vor dunkler Landschaft (Against the darker landscape). That same year, he used pen and watercolour on paper for Unfassbar, unfasslich sind ihm die Dinge (inconceivable are things for him).

The mid-to-late 1920s saw him experimenting with mixed media. He produced Leichenschmaus in 1925 and Kopf einer Greisin in 1927. His practice was not limited to these specific formats, as he also worked in watercolor and various printmaking techniques. The physical weight of his materials changed depending on the subject, moving from the light touch of a pencil to the layered texture of mixed media.

• Selbstbildnis (1913)
• Sturm Herrschaften (1915)
• Irrenparadies II (1918)
• Strahlen - Stuerzen (Lines/Rays) (1920)
• Vor dunkler Landschaft (Against the darker landscape) (1920)
• Unfassbar, unfasslich sind ihm die Dinge (inconceivable are things for him) (1920)

Political Challenges and Later Years

The shifting political landscape in Germany brought direct friction to his practice. His exhibitions were banned, a restriction that limited the reach of his visual language. By 1938, he was officially named a degenerate artist. This designation placed him in direct opposition to the prevailing authorities of the time.

His later years were spent in Hannover, the city where he eventually passed away on 2 November 1963. He moved through these decades having seen the impact of the First World War and the subsequent rise of National Socialism, experiences that left their mark on his perspective. His life began in Mainz and concluded in Hannover, spanning much of the twentieth century's most turbulent shifts.

Where to See His Works Today

His presence remains felt in several German museums, where his pieces are kept within permanent collections. In Hannover, the Sprengel Museum holds his works, preserving the traces of his visual language within the city where he spent much of his later life.

Beyond Germany, his reach extends to major international institutions. The Museum of Modern Art in New York contains his works, while the Moderna Museet also holds pieces from his output. These collections ensure that his sketches, lithographs, and paintings remain available for study and viewing far from his original surroundings.