Benser, Ursula Flüchtlingsgruppe. 1944. Kohlezeichnung auf Velin. Verso mit Sichtfenster, dort signiert, datiert und betitelt. 585 x 47 cm (Sichtmaß). Unter Passepartout montiert und unter Glas gerahm…

Classical art Benser, Ursula Group of refugees. 1944. Charcoal drawing on wove paper. Verso with window, signed, dated and titled there. 585 x 47 cm (visible dimensions). Mounted under passepartout and framed under glass (unopened). - Partially with creases and creases. Occasional small marginal tears and tears. Apparently in good condition. Powerfully elaborated charcoal drawing. The German painter Ursula Benser's family history already includes well-known art-historical figures such as Alfred Rethel, her maternal grandfather, and Karl Ferdinand Sohn, her paternal grandfather. Benser herself was introduced to art by her father, followed by her studies at the Düsseldorf Art Academy from 1931, which she completed in 1935 at a time when the National Socialist spirit had already found its way into the academy. As a result, Benser was no longer allowed to take part in the annual exhibition with her graduation works, as her style and her embodiment as a painter were not in line with the Nazi understanding. Benser spent the few years leading up to the war with her family, then spent the war separated from her husband at Bollschweil Castle with her three children. The poet Marie Luise Kaschnitz, with whom she became friends, was also at the castle. She bridged the period of occupation by making portraits for French officers. After the war, Benser accompanied her husband on numerous lecture tours to non-European countries. She received a lot of attention for her paintings abroad, but she always rejected an artistic career in favor of her family - partly out of fear of being measured against her famous grandfathers. Benser lived a secluded life, but was always active as an artist, preferring to create pastels, gouaches and watercolors on paper. In terms of motifs, she primarily dealt with the depiction of women in various situations in life. Our work shows three women grouped together, marked by war and its horrors. Benser conveys the scene directly, so that her own experiences of war are conveyed expressively. Charcoal drawing on wove paper. On the verso with window, signed, dated and titled there. Mounted under mat and framed under glass (unopened). - Partially with creases and creases. Isolated small marginal tears and tears. Apparently in good condition. Powerfully elaborated charcoal drawing. - In her family history, the German painter already looks back on well-known art historical figures such as Alfred Rethel, her maternal grandfather, and Karl Ferdinand Sohn, her paternal grandfather. Benser herself was introduced to art by her father, followed by her studies at the Düsseldorf Art Academy from 1931 which she completed in 1935 at a time when the National Socialist spirit had already found its way into the academy. As a result, Benser was no longer allowed to take part in the annual exhibition with her graduation works as her style and her embodiment as a painter were not in line with the Nazi understanding. She spent the few years leading up to the war with her family and then the war separated from her husband at Bollschweil Castle with her three children. The poet Marie Luise Kaschnitz, with whom Benser became friends, was also at the castle. During the occupation she made portraits of French officers. After the war, Benser accompanied her husband on numerous lecture tours to non-European countries. She received a lot of attention for her paintings abroad, though she always rejected an artistic career in favor of her family - also out of fear of being measured against her famous grandfathers. Benser lived a secluded life but was always active as an artist preferring to create pastels, gouaches and watercolors on paper. She focused on the depiction of women in various situations in life. Our work shows a group of three women marked by the horrors of war. Benser depicts the scene in an immediate manner so that her own experiences of war are conveyed expressively.