Albert Bloch

 Albert Bloch, The Green Dress, 1913

Born in St. Louis, Missouri, of Czechoslovakian and German-Jewish ancestry, Albert Bloch  (1882-1961) spent his formative years in the Midwest. He first studied art at the St. Louis School of Fine Arts. Like many of his contemporaries, Bloch earned a living from commercial art, and between 1905 and 1908 he worked as an illustrator for William Marion Reedy’s literary and political weekly The Mirror. Noticing Bloch’s artistic talent, Reedy provided him with a monthly stipend to study abroad. At the beginning of 1909, Bloch sailed for Europe. 

 Albert Bloch, Harlequinade, 1911

Between 1909 and 1921, Bloch lived and worked mainly in Germany, making brief visits to other countries on the Continent and to America. His decision to settle in Munich, then a thriving art center, rested largely on his language skills - he had learned German from his parents. Although Reedy pressed Bloch to attend classes at the Royal Bavarian Academy in Munich, Bloch never enrolled, preferring instead to take lessons from painters working outside the academy. 

 Albert Bloch, Conversation, 1950

Initially Bloch displayed little interest in the revolutionary aesthetics that had been advanced in European art around the turn of the century, but a catalogue of the second exhibition of the Neue Künstlervereinigung München (the New Arts’ Union of Munich), which included reproductions of works by Pablo Picasso, Georges Braque, Georges Rouault, and Wassily Kandinsky opened his eyes. Bloch felt an immediate kinship with these artists. He soon met Kandinsky and Franz Marc, both of whom invited him to participate in the first exhibition of Der Blaue Reiter (The Blue Rider). With his contribution of six paintings, Bloch was the only American represented in the show, which was held in December 1911 at Munich’s Thannhauser Gallery. 

 Albert Bloch, Portrait of a Man, 1911

Bloch established a successful career in Germany and remained there, exhibiting his work through World War I. In 1912, he showed at the second Blaue Reiter exhibition, and he was included in the 1912 Sonderbund Exhibition in Cologne, the most famous exhibition of modernism in Europe at that time. The only painting by Bloch accepted for this show was The Duel:

 Albert Bloch, Duel, 1912

That same year, Bloch showed at Herwarth Walden’s Der Sturm Gallery in Berlin, participating in a small exhibition that featured paintings rejected from the Sonderbund exhibit. Walden, one of the foremost proponents of modernism in Europe, fashioned this 1912 exhibition as a protest against the Sonderbund show that, he believed, had not adequately represented members of the Blaue Reiter group. Bloch’s acclaim also reached the American art world. At Kandinsky’s recommendation, Arthur Jerome Eddy, the Chicago collector and promoter of modernism, began buying Bloch’s paintings and eventually added more than twenty-five of them to his collection. In 1915, Eddy’s collection of paintings by Bloch comprised a one-man show at the Art Institute of Chicago; the exhibition traveled to the St. Louis Art Museum. 

 Albert Bloch, Souvenir, 1921

In 1921, disheartened at what Germany had become after the war, Bloch returned to the United States, where he lived until his death in 1961. Finding himself in dire financial straits, Bloch decided to become a teacher. His first position began in 1922 at the Chicago Academy of Fine Arts, but lasted only one year. From 1923 until his retirement in 1947, Bloch was Professor and Head of the Department of Drawing and Painting at the University of Kansas, Lawrence. Wishing to remain “invisible” and unwilling to trade on his European connections, Bloch and his work faded from public view. Over time, Bloch’s reticence about discussing his former affiliation with the Blaue Reiter artists obscured his early contributions to an important passage in the history of art. 

 Albert Bloch, March of the Clowns, 1941

Throughout his career, Bloch destroyed any paintings that, from his point of view, were unsuccessful. Regrettably, many more early works in German collections were destroyed in the bombings of World War II, while others were banished to Switzerland by the Nazis as “degenerate art.”