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Arnold Daghani
1909-1985

Arnold Daghani 1909-1985

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Open a larger version of the following image in a popup: Arnold Daghani, Caricature of Hitler, 1978

Arnold Daghani 1909-1985

Caricature of Hitler, 1978
collage (pen and ink and paper on newspaper)
54 x 38 cm
signed (upper left): Daghani
1988-14viii
@Arnold Daghani estate
Photo: Bridgeman images

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  • (View a larger image of thumbnail 1 ) Arnold Daghani, Caricature of Hitler, 1978
  • Caricature of Hitler
Daghani's collaged caricature of Hitler, made long after the Second World War in October 1978, references his experience as a survivor of the Mikhailowka labour camp in the Ukraine, from...
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Daghani's collaged caricature of Hitler, made long after the Second World War in October 1978, references his experience as a survivor of the Mikhailowka labour camp in the Ukraine, from which he and his wife, Anisoara, escaped to Budapest in 1943. Aged almost seventy, and in poor health, he revisited the subject of the Holocaust in a series of late works, in which representations of Hitler recur. This powerful satirical portrait comprises collaged elements cut from newspapers: subversively transforming a woman's naked torso into the face of Adolf Hitler, with the breasts in place of eyes, a nose added, and a cartoon-like moustache, eyebrows and a tuft of hair inked in. Beneath the caricature a text equates Hitler's distinctive hairstyle and moustache ('the rise of the tuft') with the rise of Nazism, symbolising the atrocities with which he is associated. The ferocious caricature is among Daghani's most powerful works and places him among a number of notable refugee caricaturists and political satirists, including George Grosz, Victor 'Vicky' Weiss and John Heartfield.
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Provenance

presented by Carola Grindea 1986

Literature

Rachel Dickson and Sarah MacDougall, eds., 'Out of Chaos: Ben Uri; 100 Years in London' (London: Ben Uri Gallery, 2015) pp. 122-123.; Walter Schwabe and Julia Weiner, eds., Jewish Artists: the Ben Uri Collection - Paintings, Drawings, Prints and Sculpture (London: Ben Uri Art Society in association with Lund Humphries Publishers Ltd, 1994), p. 119.
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