EXTRACTS: Illustrators issue 28 © 2019 The Book Palace (96 PAGES in Full edition)

92 he slowly overcame all his problems thanks to the industrial contracts he received, drawing and painting huge machinery, high and low construction sites, bridge constructions, etc. Kley found new energy and courage when, in 1928, hemet andmarried his second wife Emily (1878-1970), a faithful, intelligent, energetic companion who preserved his memory long after his death. Nevertheless, the advent of the National Socialist era put an end to much of Kley’s published work. Prior to the National Socialists taking power, Simplicissimus had published a caricature of Kley’s, albeit harmless, directed unmistakably against them. In order to avoid reprisals and not have to submit his work to the new demands of the increasingly censored press, Kley stopped working altogether for all the magazines. Furthermore, artists had to be approved and become members of the Reich Chamber of Fine Arts in order to practice their craft. Kley’s satirical and grotesque drawings were considered extremely suspect, although they approved his industrial-motivated paintings and drawings. However, in 1939 the Reichsschrifttumskammer (Reich Literature Chamber) considered Kley’s 1923 ‘Scrapbook’ harmful and offensive literature, and demanded to have all copies destroyed along with the publishing house Albert Langen Verlag. In order to avoid getting further into the maelstrom of investigations, and assert his position and reputation as a first-class painter of industrial motifs, Kley spent his last years painting just that. In a letter addressed to a friend he reported: “I paint from half-past five in the morning to seven in the evening, immortal oil paintings to reap the required laurels just before reaching the final gate.” Heinrich Kley died in February 8, 1945, just before the end of the Second World War, at the Nyphenburg hospital in Munich. l ABOVE: Caught , pen and ink and watercolour on paper, 1910. From Sketchbook 2 , 1910. BELOW: The Apple , pen and ink and watercolour on paper, ca. 1910.