GENESIS AND USE OF AN IMAGE: OSKAR KOKOSCHKA, BERLIN, AUGUST THE 13TH 1966

Abstract

Oskar Kokoschka’s painting Berlin, august the 13th 1966 is somewhat surprising and brings up a series of questions (for example: how to recognize Berlin in it; why August the 13th; why does the atmosphere of the picture differ from other panoramic views of the same artist; etc). Trough the analysis of historical sources (maps, films, photographs, documents) and published works on the Berlin wall, it becomes clear that this image, painted at the 5th anniversary of the Wall, is a strong protest against a new phase in its development: after the initial closure and division of streets, East Germany organized demolition of some buildings in the city center, in order to create a clear space on the east side of the Wall. This painting is a unique look over the Wall, that inhabitants of west-Berlin took a number of times, but with one exception: this is not a private glance at friends or relatives that remained on the other side, this is a long gaze at the entire east part of the city (its landmarks could be scarcely recognized beyond the Wall) and a part of the nation that has been cut off. The key person in the genesis of this painting was Kokoschka’s client, Axel Springer (1912-1985), German newspaper magnate. It is clear that without him there would be no painting Berlin, august the 13th 1966. Springer is the one who made that creative moment possible, in which the old painter got his inspiration for the image of the divided city. Springer had the idea, he selected and engaged the artist and organized his stay in Berlin; he suggested him the point of view (top of his skyscraper); he provided technical and other conditions for work, eventually he bought the painting and he documented and published it along with adequate comments. Thus he used the painting, as well as famous painter’s personality and background to promote and illustrate his ideology and his own political program, embedded in all of his editions.