Feininger’s oeuvre is as multifaceted as it is dynamic. His works were constantly evolving as he explored and moved between different media.
The Machine Era was in its infancy during Feininger’s childhood. Developments in public transportation in New York City led to the introduction of elevated trains, which Feininger remembered vividly. Vehicles of various types of propulsion methods became motifs in his work. Beyond the purely mechanical, he experimented with diverse techniques to capture and recreate the ephemeral quality of movement.
_ Model Yachting in New York
Feininger’s lifelong hobby was building and racing model yachts. He first did so as a young boy in New York City. The first races in the city were held in 1875 and attracted thousands of visitors to Conservatory Water, a small pond in Central Park. At this time, one could only propel the yachts by pushing them with a pole. For this reason, the outcome of a race was decided by wind direction and luck. In 1916, the official Central Park Model Yacht Club was founded to organize the participants. The CPMYC is still active and holds races every Saturday on Conservatory Water. The yachts are still propelled by wind, but now they can be steered with remote control rudders
“The earliest impressions I have of machinery were the trains, the locomotives, half terrifying and wholly fascinating . . .”
LYONEL
FEININGER
Four “Skerry Cruisers” glide past an opulent, orange sky. Skerry cruisers are a type of wooden yacht that are commonly sailed on the Baltic Sea, where Feininger spent many holidays. The water level is slightly higher on the right side of the painting, which suggests the generation of lift. The subtle, yet impactful, use of diagonal lines creates a sense of calm, yet swift, movement in what would be an otherwise static scene.
Four “Skerry Cruisers” glide past an opulent, orange sky. Skerry cruisers are a type of wooden yacht that are commonly sailed on the Baltic Sea, where Feininger spent many holidays. The water level is slightly higher on the right side of the painting, which suggests the generation of lift. The subtle, yet impactful, use of diagonal lines creates a sense of calm, yet swift, movement in what would be an otherwise static scene.
“The Cyclists” represent Feininger‘s most literal, painterly depiction of movement. As an avid bicycle enthusiast, he depicted the racers as only a fellow cyclist could. The figures’ bodies are constituted of triangles, which illustrates how the raised seat and low handlebars of racing bicycles give the rider an aerodynamic posture. The prismatic construction of the bicycle frames and bodies shows the complete synthesis of the riders with their metal steeds. These riders also represents another kind of movement for Feininger – his upward, professional mobility. This painting was his entry for the First German Autumn Salon, which was a groundbreaking modern art exhibition held in Berlin in 1913.
“The Cyclists” represent Feininger‘s most literal, painterly depiction of movement. As an avid bicycle enthusiast, he depicted the racers as only a fellow cyclist could. The figures’ bodies are constituted of triangles, which illustrates how the raised seat and low handlebars of racing bicycles give the rider an aerodynamic posture. The prismatic construction of the bicycle frames and bodies shows the complete synthesis of the riders with their metal steeds. These riders also represents another kind of movement for Feininger – his upward, professional mobility. This painting was his entry for the First German Autumn Salon, which was a groundbreaking modern art exhibition held in Berlin in 1913.
In 1919, Feininger began carving small, whimsical figures out of wood for his three sons. In addition to the figures, he created buildings and structures. He called this playful creation the “City at the Edge of the World.” Before working in three dimensions, the artist created a gouache painting of the same title in 1910, which was printed in the magazine “Licht und Schatten”. Even though the figurines were intended to be toys, they contain the same elements of melancholy and escapism that are evident throughout the artist’s works. The “City at the Edge of the World” had a special place in Feininger’s heart. During his exile in New York, he created additional figures and elements for his tiny world.
In 1919, Feininger began carving small, whimsical figures out of wood for his three sons. In addition to the figures, he created buildings and structures. He called this playful creation the “City at the Edge of the World.” Before working in three dimensions, the artist created a gouache painting of the same title in 1910, which was printed in the magazine “Licht und Schatten”. Even though the figurines were intended to be toys, they contain the same elements of melancholy and escapism that are evident throughout the artist’s works. The “City at the Edge of the World” had a special place in Feininger’s heart. During his exile in New York, he created additional figures and elements for his tiny world.
The New York City of Feininger’s childhood is almost unimaginable for people today. Although the first skyscrapers were constructed in the late 19th century, the primary mode of private transportation was still the horse and carriage. The city to which he returned was populated by automobiles. In this “new” New York street, one can see the absence of movement: a traffic jam. In “Colored Trucks” Feininger was not documenting cars, but rather capturing a composition of various colors and forms through an almost abstract, Bauhausian perspective.
The New York City of Feininger’s childhood is almost unimaginable for people today. Although the first skyscrapers were constructed in the late 19th century, the primary mode of private transportation was still the horse and carriage. The city to which he returned was populated by automobiles. In this „new“ New York street, one can see the absence of movement: a traffic jam. In “Colored Trucks” Feininger was not documenting cars, but rather capturing a composition of various colors and forms through a almost abstract, Bauhausian perspective.
Trains are a recurring motif in Lyonel Feininger’s oeuvre. He created works featuring them using various media. On the left, one can see “Three Locomotives and Two Tenders”. They are some of the few surviving models of his patented block trains (Ger.: Block-Eisenbahn) ¬– his exciting, yet short-lived venture in commercial toy production. On the right, a train chugs down the tracks high above people below in “Railroad Viaduct”. The train in this humorous, grotesque woodcut is reminiscent of Feininger’s realistic, toy trains.
_ Feininger’s Wooden Train Set
Feininger’s plans for his block trains would never be fully realized. In 1913, he entered a manufacturing agreement with the Munich toy manufacturer Otto Löwenstein. He spent many months away from his family making manufacturing plans and meticulous schematics in watercolor for his toy trains. To optimize production and reduce the sales price, he developed a “sliding block” (Ger.: Gleitklotz) in lieu of wheels, which were to be painted with stencils. In letters to Julia, he jubilated over the newfound, boyish excitement and personal fulfillment he felt through this project. He wanted to spread joy to young and old by creating an object that was both a toy for children and a nostalgic, decorative item for adults who were still young at heart. Packaging printed with “Lyonel Feininger’s Block Train. International. True to Model. Unbreakable” had already been made. Unfortunately, the outbreak of World War I in 1914 brought production to a screeching halt. His personal disappointment is not comparable to the extreme loss of life and carnage of the War. Nevertheless, there is a unique sadness that hangs over this broken dream.