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Fritz Ascher
Fritz Ascher (17 October 1893 in Berlin, Germany – 26 March 1970 in Berlin, Germany) was a German Expressionist, whose artwork is characterized by bold brushstrokes and expressionist colors combined with a strong commitment to authenticity.
== Early life and work ==
Fritz Ascher was born on 17 October 1893 as the son of the dental surgeon and businessman Dr. Hugo Ascher (born Neugard 27 July 1859 - died 18 August 1922 Berlin) and Minna Luise Ascher (born Schneider; Berlin 17 January 1867 - died 17 October 1938 Berlin) in Berlin. On 8 October 1894 his sister Charlotte Hedwig was born, and on 11 June 1897 his sister Margarete Lilly (Grete). From 1908 the family lived in a villa in Niklasstraße 21-23 in Zehlendorf, which at that time did not formally belong to Berlin yet, with main house, worker’s and garden house and garage, built by the prominent architect Professor Paul Schultze-Naumburg.
Fritz Ascher’s talent showed early. At the age of 16 he studied with Max Liebermann, who gave him the "Künstlereinjährige," an art diploma, and recommended him to the art academy Königsberg. There the artist befriended among others Eduard Bischoff, who painted a portrait of him in 1912.
Around 1913 Ascher was back in Berlin, where he found his artistic language, surrounded by artists like Ludwig Meidner, Jakob Steinhardt and Emil Nolde. He studied in the painting schools of Lovis Corinth, Adolf Meyer and Kurt Agthe and befriended Franz Domscheit (Pranas Domšaitis), with whom he probably traveled right before World War I to Norway and met Edvard Munch in Oslo. During a longer stay in Bavaria and Munich in 1919 Domscheit (Pranas Domšaitis) draws into Aschers sketchbook and Ascher draws a portrait of his friend. Ascher met the artists of the Blue Rider and befriended the artists of the satirical German weekly magazine Simplicissimus, among others Gustav Meyrink, Alfred Kubin, George Grosz and Käthe Kollwitz. Like those of the artists and writers surrounding him, many of his works from these years have an emphatic-expressive religiosity. In this atmosphere his interest in old sages and myths was kindled. "The Loner (Der Vereinsamte)" or "Golem" (1916)〔in the collection of the Jewish Museum Berlin〕 show Ascher’s powerful expressionistic pictorial language and interest in the human condition.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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