Another artist whose works are in the Hunterian collections is Jankel Adler (Jankiel Jakub Adler). He was born in 1895 as the seventh of ten children in a Jewish family in Tuszyn  near Łódź,  a city often seen as a Polish equivalent of Glasgow due to its industrial and cultural history. He studied etching in Belgrade and Barmen, lived and worked in Łódź, Berlin and Dusseldorf.

His was influenced by Picasso and Léger as well as by Chagall whom he met in Berlin and Paul Klee with whom he shared a studio in Dusseldorf. After Hitler’s rose to power Adler, being Jew and modern artist was prosecuted. He moved to Paris and subsequently enrolled into the Polish army formed in France.  When he was discharged in 1941 he settled in Kirkcudbright in Scotland, but a couple of years later moved to England where he died in 1949. He is described as an artist who ‘stands midway between Picasso and Klee’. [7] The works in the Hunterian are an example of relatively early pre-war period and his very late work.

GLAHA:21310, Head of a Girl, Adler, Jankel, 1923 – 1927, print, ink on paper

The ‘Head of the Girl’ is a drypoint on zinc dated between 1923 and 27 which falls onto the time of his travels in Germany, Mallorca and Spain finished in 1925 and his first years in Dusseldorf before he met Paul Klee. His journey to Mallorka and Spain intensified his move towards abstraction, syntetic cubism, very bold outline and rich texture [8] as well as references to Picasso’s work.

GLAHA:50628, Landscape, Adler, Jankel, 1948, colour lithograph, print, black

‘Landscape’, on the other hand,  is a colour lithograph representing much later period of his work. It was created in 1948, a year before the artist’s unexpected death at the age of 53 during the time when he lived in a ‘Whitley Cottage’ in Aldbourne, a picturesque village north-east of Marlborough, Wiltshire, England.

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