Oppenheimer, an Austrian painter and printmaker, trained at Vienna's Akademie der Bildenden and the Academy of Fine Arts in Prague.
Along with Oskar Kokoschka and Egon Schiele, he helped to form the Austrian Expressionist movement in painting, with the three artists striving above all else to capture their subjects' psychological and mental characteristics. Existential needs and fears, as well as Christian dogma were dominant theme for Oppenheimer. His provocative work maintained a close affinity to the literature of the period, calling upon shocking subject-matter as a weapon in the fight against a reality that had become unbearable.
Moving to Berlin in 1912, Oppenheimer executed illustrations for Die Aktion and dabbled with etchings. But it was in 1915, after relocating to Zurich that the artist developed his most powerful form of expression: representations of music using Futurist stylistic devices. Though he had been signing his work "Mopp" since 1910, it wasn't until 1919 that he officially changed his name to Mopp. He is most widely lauded for his depictions of the modern city, using a mixture of Futurism and Neue Sachlichkeit. The explosive concerto seen here promotes a Viennese exhibition of his work, a turbulent, provocative design that explores the passionate, sometimes messy exuberance situated at the heart of the creative process.
How was it that MOPP was painting chess champ Lasker in Berlin? Some clue may come from Lasker's kith and kin. His older brother Berthold was married from 1894 and 1899 to Else Lasker-Schülers, a poet who a year or so later married the founder of Der Sturm, the Haus magazine of German Expressionism. Unsurprisingly her work graced its columns at length. Even without assuming some cordiality among ex-in-laws (a big ask) Lasker must have been moving in the same circles as the leading lights of the Mittel-European intelligentsia, for whom MOPP was court painter doing a nice line in "psychological portraiture", having had his own done by Egon Schiele (see first picture), no less.
Drawings describing the content of a chapter:
Drawings for the capitals at each section of the book: