Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg
When Fritz Eichenberg emigrated from Germany to the United States in 1933, he was young and green. The Depression was raging, and he had little going for him but an art school education and a deeply ingrained longing to be an artist.

Fifty years later, Eichenberg's wood engravings and lithographs had received international acclaim and had, in one sense, brought music into the lives of numberless people. Art critics admired his sense of drama, his power, his passion for his craft. And thousands of ordinary people loved Fritz Eichenberg because he so obviously loved them and could portray their hopes and troubles in a way that needed no critic's interpretation. He was probably one of the few artists whose works were found in museums and art galleries as well as in tenements and soup kitchens.

I've thought especially about Eichenberg's guardian angel and wondered what forms it might have taken. As we think together about Fritz Eichenberg's spiritual pilgrimage, I would like us to focus on five of these special influences that, I believe, guided him along on his journey.
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Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg
When Fritz Eichenberg emigrated from Germany to the United States in 1933, he was young and green. The Depression was raging, and he had little going for him but an art school education and a deeply ingrained longing to be an artist.

Fifty years later, Eichenberg's wood engravings and lithographs had received international acclaim and had, in one sense, brought music into the lives of numberless people. Art critics admired his sense of drama, his power, his passion for his craft. And thousands of ordinary people loved Fritz Eichenberg because he so obviously loved them and could portray their hopes and troubles in a way that needed no critic's interpretation. He was probably one of the few artists whose works were found in museums and art galleries as well as in tenements and soup kitchens.

I've thought especially about Eichenberg's guardian angel and wondered what forms it might have taken. As we think together about Fritz Eichenberg's spiritual pilgrimage, I would like us to focus on five of these special influences that, I believe, guided him along on his journey.
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Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg

Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg

by Philip Harnden
Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg

Letting That Go, Keeping This: The Spiritual Pilgrimage of Fritz Eichenberg

by Philip Harnden

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Overview

When Fritz Eichenberg emigrated from Germany to the United States in 1933, he was young and green. The Depression was raging, and he had little going for him but an art school education and a deeply ingrained longing to be an artist.

Fifty years later, Eichenberg's wood engravings and lithographs had received international acclaim and had, in one sense, brought music into the lives of numberless people. Art critics admired his sense of drama, his power, his passion for his craft. And thousands of ordinary people loved Fritz Eichenberg because he so obviously loved them and could portray their hopes and troubles in a way that needed no critic's interpretation. He was probably one of the few artists whose works were found in museums and art galleries as well as in tenements and soup kitchens.

I've thought especially about Eichenberg's guardian angel and wondered what forms it might have taken. As we think together about Fritz Eichenberg's spiritual pilgrimage, I would like us to focus on five of these special influences that, I believe, guided him along on his journey.

Product Details

BN ID: 2940162101284
Publisher: Pendle Hill Publications
Publication date: 01/13/2017
Series: Pendle Hill Pamphlets , #353
Sold by: Barnes & Noble
Format: eBook
File size: 429 KB

About the Author

Philip Harnden is a member of Syracuse Friends Meeting and serves on the program committee of the Upper New York State Area Office of the American Friends Service Committee. This pamphlet grew out of a recent lecture he delivered at Guilford College to open a retrospective exhibition of the work of artist Fritz Eichenberg. The lecture drew on an article published in 1985 in The Other Side, a magazine for social concerns for which the author was publisher at the time. Long an admirer of this distinguished Quaker artist, Philip Harnden has expanded and updated that original piece and the Guilford lecture for this pamphlet essay.
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