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David Schneuer was an artist born in Przemyśl, Poland in and grew up in Berlin, Germany. After graduating from the Munchner Kunstgewerbeschule, he moved to Paris, where he collaborated with many leading artists. Between and he lived and worked in Munich as a poster painter for the Kammerspiele in Schauspiellaus. In he began to design stage sets for the theater. He worked with one of the most renowned German set designers, Otto Reigbert through whom his artistic sensibility matured. While most artists for the theatre painted in either a constructivist typography or a more flowerly Art-Deco inspired manner, Schneuer’s posters formally reveal a unique balance between spontaneous design and more geometric lettering. He was later arrested in and interned at Dachau. Upon his release, Schneuer departed for Prague and then to Israel.
Arriving in Tel Aviv, Schneuer worked as a graphic designer in various advertising agencies. He began to collaborate with the architect Aba Pinchel in , designing structures such as the "Piltz Cafe&qu
David Schneuer
( - )
Born in in Galicia, Poland, David Schneuer grew up in Munich. Upon graduation from school, he moved to Paris, where he associated with many artists whose works helped to define the Expressionist movement. Eventually, he returned to Munich and joined the staff of the Munchener Schauspiellerhaus, collaborating with such influential theatrical figures as Brecht in producing numerous stage designs and posters. The motifs of his theater work, exuberant and sensuous characters drawn with virtuosity and refined in subtle colors, are the foundation of his paintings.
In , he was arrested and imprisoned in Dachau as a cultural revolutionary. After his release, he immigrated to Palestine and settled in Tel Aviv, where he became immersed in painting. His stylized figures inhabiting the bars and cafes in his paintings were reminiscent of Munich and Paris in the 's, preserving German Expressionism at its best, alongside George Grosz and Beckman, and Kirchner.
Schneuer's works can be found in permanent collections around the world including the Munchener Stadt Museum, Spertus Museum, Chicago, Boston Fine Art Museum, Vancouver Museum of Art, Rijksmuseum, Amsterdam, Tel
SCHNEUER David
David Schneuer wurde in Galicia, Polen geboren. In früher Kindheit zog seine Familie nach München. In dieser goldenen Periode Deutscher Kunst von Ludwig Kirchner und Max Beckmann sowie Georg Grosz arbeitete Schneuer und entwickelte seinen eigenen Stil.
Ende der er Jahre lebte er kurze Zeit in Paris; seine späteren Werke zeigen den Einfluss aus dieser Periode.
Danach arbeitete der Künstler am Münchener Schauspielhaus unter Direktion von Otto Falkenberg. Er schuf Bühnenbilder, Kostüme und Plakate für Berthold Brecht und andere. Seine Werke fanden viel Beachtung – der Erfolg stellte sich ein.
Schneuer wurde in Dachau inhaftiert, jedoch freigelassen und emigrierte sofort nach Palästina. Er beeinflusste dort den Stil der Grafik und Werbung, gestaltete zahlreiche Wandgemälde auf vielen öffentlichen Plätzen und Ozean-Schiffen in Israel und im Ausland.
David Schneuer hatte viele Ausstellungen in Israel, USA, Canada und Europa. Er verstarb
Schneuers Werke sind heute ein Zeugnis dessen, was uns die Welt vor einem halben Jahrhundert hinterließ.
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Introduction from the Schneuer book, text by Yona Ficher.
David Schneuer, a resident of Tel Aviv for the past 50 years, is immersed simultaneously in all the circumstances that make up his biography. His painting, however, is located somewhere outside the chronological sequence of art history. His enigmatic personality stands in stark contrast to his flowing imagination, to the pictorial diary unfolding before us in hundreds of pages, as an endless variation on a single, obsessive image. Schneuer peeps at the world, at his past and at the present only to return to his private world, conscious of, but uninvolved in times, places and situations. His feelings towards them have dissolved, they continue to exist through his imagination, out of a need to connect a restricted living-space with the outside world, reluctantly establishing minimal mutual relations. The images, however profuse and voluptuous, are alienated from external reality, as if rendered immune from it. and only its echoes penetrate the cloak of hermeticity in which he is wrapped.
It should not be assumed from the above, however, tha
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