Eugen Spiro (Germany 1874 - 1972)

Eugen Spiro was born in Breslau and died in New York City, and was more known for his paintings in his later life.  He studied art in Breslau under Albrecht Bräuer and later became a master student of Franz von Stuck in Munich. His early portraits of women appeared frequently in, as well as on the covers of, the Jugendstil magazine, Der Jugend. After a brief marriage to the actress Tilla Durieux (1904-1906), Spiro relocated to Paris where he studied the French masters and impressionists and became a Professor at the Académie Moderne, co-founded the Salon d’Automne, and belonged to the circle of artists and writers of the Parisian Café du Dôme.  He later became Chairman of the Berliner Sezession and remained in Berlin until the rise of the Nazis.  Due to his Jewish heritage he moved to Paris and stayed in relative safety and being widely exhibited.  By 1940, France was no longer safe from the fascists and in 1941 he arrived in the USA. 

 He had been a famous artist in Europe, but was unknown in the USA.  This was not the case for long and his portraits, and landscapes made him a sought out artist.  His painted works hang in museums, but perhaps he is lesser recognized and remembered for his drypoint etchings and illustrations. 

Although he is largely remembered today as a portrait artist, he shared many characteristics as an inheritance of his region and the Breslau heritage of art and printmaking.  The passion and verve of his drypoints were admired greatly at the time.  One has but to note the detail in his studies of Northern Africa and Spanish streets and buildings to realize with how scrupulous a conscience he followed the curved line of an Alhambra archway or the structural line of a Tangiers market. Each line seems speedily done and yet plays a role in each of his compositions. 

Perhaps the finest aspect of Spiro's printworks is that they are free from superficiality and decorative line which many Germanic printmakers were content with at the time.  The keynote of his workmanship is respect for the scene, material and for the accuracy of statement without embellishment.  However, any observer thougtfully considering these careful achievements, so filled with conscience and devotion, will feel the technical merit, and be able to see beautifully rendered works that capture the moment perfectly.  I have become used to the German love of the decorative over the years and many times, it just works.  However this sparseness in the works of Spiro is interesting because it shows a wonderful combination of perception and skill, without any superfluous decoration.  The works are more reminiscent of French printmaking than German, and that makes sense.

Spiro's works are a very personal style but I do identify something with the Breslau artists of the 1900's.  Their works are often identifiable because of the collective use of bold freedom from linear compositions combined with a kind of speedy serenity in the treatment of the masses, and large landscapes.  Spiro's works manifest these attributes, and it is time for a little balance to be given to his artistic legacy.