Edward Hagedorn (artist)

For the politician, see Edward Hagedorn.
Edward Hagedorn
Born (1902-01-26)26 January 1902
Oakland, California, U.S.
Died 14 December 1982(1982-12-14) (aged 80)
Berkeley, California, U.S.
Nationality American
Known for Painting

Edward Hagedorn (1902–1982) was an American artist, living most of his life in California. He painted and made prints, and was influenced by German Expressionism as well as Surrealism.[1]

Biography

Hagedorn was born on 26 January 1902 in Oakland, California, the son of Henry and Edna (née Kafka) Hagedorn.[2] His mother died in childbirth, and he was raised by his maternal grandmother and by his aunt, Grace Kafka.[2] At the age of 16, he enrolled in the San Francisco Art Association,[2] and from 1923 to 1926 attended the California School of Fine Arts.[2][3] Around 1930 he may have moved to New York for a brief period.[2] He participated in numerous exhibitions from the late 1920s through the 1930s, and won honors from the Pennsylvania Academy and the Brooklyn Museum.[3] Despite these successes, he did not take advantage of offers from museum curators and art dealers that may have increased his fame.[3] After receiving a substantial inheritance in the late 1930s, he stopped exhibiting his work publicly.[3] In the catalog to an 1996 exhibition at the University of California, Berkeley, museum curator James Stewart wrote: "The spirit went out of much of his work from about 1940, and although Hagedorn continued to make art throughout most of his life, it often devolved into trivializing depictions of the female nude."[3]

He died on 14 December 1982 in Berkeley, California.[4]

Illustration

Hagedorn illustrated The Fourteen Poems of O.V. De L. Milosz, translated by Kenneth Rexroth and published in 1952.[5]

Selected solo exhibitions

Public collections (partial list)

One of Hagedorn's etchings was included in the 2011 exhibition “Francisco Goya: Los Caprichos,” at the Nassau County Museum of Art, New York. Martha Schwendener, an art critic for the New York Times, described the work, saying it took "Goya’s image of one goblin, representing a corrupt person, cutting another’s toenails, and redrew it to resonate with the Wall Street crash of 1929."[7]

References

  1. 1 2 Danforth Museum 2016
  2. 1 2 3 4 5 6 7 8 Dailey 2009
  3. 1 2 3 4 5 6 Steward 1996
  4. ↑ AskArt 2016
  5. ↑ Milosz 2016
  6. ↑ Kandel 1994
  7. ↑ Schwendener 2011

Further reading

External links

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