Initially, German artist Julius Bissier (1893-1965) followed the path of New Objectivity (Neue Sachlichkeit), a style that challenged Expressionism by returning to an unsentimental reality and a focus on the objective world. Only a few years later, the New Objectivity artists were condemned by the Nazis as “degenerate,” forced either to flee the country or live as quietly and inconspicuously as possible. During this time, Bissier faced additional challenges. Both of his art studios, along with almost all of his work, were destroyed by fire; teaching opportunities became scarce; and his six-year-old son Uli died.
Bissier reacted to all this by withdrawing into himself and, from then on, he worked secluded at home, on a small table, and mainly at night. Fueled by an interest in Taoism and Zen Buddhism, he turned to abstract ink paintings, attempting to synthesize spirituality and abstraction. Bissier approached art as an act of meditation.
Working primarily through a technique of “wash drawing” in black India ink, he used deceptively simple gestures that were simultaneously controlled and spontaneous, in the manner of Chinese monochrome painting. These works would transition to the small airy constellations of vessels, fruit, biomorphic forms, symbols, and abstract explorations of color that would be present in Bissier's work for the next 35 years.
A beautiful example of Bissier's iconic watercolors, 12.4.61, is currently on view in an installation of OJAC permanent collection works. Measuring only 4 7/8 x 9 1/2 inches, it offers an intimate view of a day in the life of the artist—specifically April 12,1961.
Amy Kelly, Registrar
JULIUS BISSIER, 12.4.61, 1961, watercolor on paper. Collection of the Old Jail Art Center, Gift of Bill Bomar. 1981.012