Jankel Adler

1895 Łódź/Poland – 1949 Aldbourne/Great Britain

Jankel Adler was a renowned painter and printmaker of Polish-Jewish origins. Compiling religious thematics and Eastern motifs with the modernist aesthetics, Adler became one of the most important figures of Polish interwar avant-garde, as well as an influential artist in other places he lived, including Belgrade, Wuppertal, Berlin, Paris, and London. Adler obtained a traineeship in engraving and studies in painting and drawing, subsequently in Serbia and Germany. Later on, the artist came back to Poland, where he joined the Jung Jidysz, an artistic group founded in 1919 by Moishe Broderzon. Finding a wide acclaim of curators and critics, Adler continued to migrate, and shortly after he joined the Junges Rheinland (1922), a Düsseldorf-based artistic group. Consequently, he exhibited his art with a great success, both individually and collaboratively, with his works included in the 1933’s College Art Association’s exhibition in New York, then holding the first retrospective at the Art Salon in Warsaw (1935). At the same time, the work of Jankel Adler was banned by the Third Reich regime and defined as „degenerate art“ already in 1933. Therefore, he was removed from public collections and four years later displayed at the exhibition „Entartete Kunst“ in Munich (1937). Throughout the decades, his work still remains a subject of interest of art historians and curators, just to note the landmark shows „Degenerate Art – The Fate of the Avant-Garde in Nazi Germany“ displayed in Los Angeles and Chicago (1991),  „Europa, Europa“ curated by Pontus Hultén for the Kunsthalle Bonn (1994); and public collections of the San Francisco Museum of Art, Tate Britain, Museum of Art in Łódź, the Israel Museum in Jerusalem, and many others.