Dolf Rieser was born into a German-Jewish family in King William's Town, South Africa, in 1898. A scientist turned artist, he earned a doctorate in biology before studying engraving in Paris with Joseph Hecht and Stanley William Hayter. He fled to England from Paris following the occupation of France in 1940, becoming a pioneer of colour intaglio.
Painter and printmaker, Dolf Rieser was born in King William's Town, South Africa, in 1898, to German-Jewish parents who had settled there. A gifted scholar and athlete, he pursued an impressive academic career before fully immersing himself in the world of art. He earned a diploma in agricultural engineering at École Polytechnique, Zürich, in 1917, followed by a doctorate in biological science at the University of Lausanne in 1922, specialising in plant genetics. These scientific studies deeply influenced his later artistic work, particularly in his thematic focus on natural forms and biological imagery.
Rieser’s artistic journey began in Munich, where he combined his scientific research with art studies under Hans Hoffmann. His interest in printmaking led him to Paris in 1930, where he trained under Polish engraver Joseph Hecht, a pioneer of modern engraving. Hecht's influence on Rieser’s work was profound, particularly in his mastery of line engraving and his commitment to technical experimentation. Rieser also became closely associated with Stanley William Hayter's innovative printmaking workshop, Atelier 17, where he collaborated with prominent international artists such as Picasso, Joan Miró, Max Ernst, and Yves Tanguy, embracing Surrealism and the cooperative ethos that defined the Atelier’s creative environment. Ancient Bushman rock paintings of his native South Africa also served as enduring inspirations. As a reviewer noted, ‘To be born on the edge of the richest area of Bushman rock paintings is a bit of luck not granted to many artists today. Dolf Rieser took full advantage of it and in his 58 years has not yet lost their beneficent influence’ (Jewish Chronicle 1956). These varied influences merged in his engravings, which often depicted themes from nature, imbued with lyrical and surreal qualities. His biological training provided a unique lens through which he interpreted organic forms, combining scientific precision with artistic intuition. Rieser’s commitment to social causes was also evident during his time in Paris. He participated in projects including the portfolio Solidarité (1938), which included contributions from artists such as Picasso, to raise funds for victims of the Spanish Civil War. He also contributed to Fraternité, an album aimed at aiding children orphaned by the conflict, featuring etchings by Kandinsky, Hayter, and others.
In 1940, Rieser fled Nazi-occupied Paris on the last boat out of Boulogne, making his way to England. During the Second World War, he offered his linguistic skills to the British Intelligence Service’s Special Operations branch, aiding the war effort with his knowledge of French and German. After the war, Rieser settled in London and began a new chapter in his artistic career. He became a member of the Royal Society of Painter-Etchers and introduced colour intaglio techniques to postwar Britain. His pioneering experiments included printing on translucent fiberglass panels and laminates, pushing the boundaries of traditional engraving. A review in The Times highlighted the fascination of his textured works, noting, ‘His experiments with intaglio etching, by which two or more colours are printed simultaneously off one plate, produce some fascinating textures’ (The Times 1956). As a teacher, Rieser lectured in biology, liberal studies, and art, while offering private lessons in printmaking. His ability to bridge science and art was evident in works such as the series Res Naturae and Evolution. A 1968 review praised his technical expertise, stating, ‘His plates have often been concerned with biological forms, and as he has a faultless line and a fine sense of rhythm, they have always been exceptionally alive and satisfying’ (Jewish Chronicle, 1968).
Rieser’s exhibitions reflected his international stature as an artist. He participated in group shows across Europe and America, including displays at Peggy Guggenheim’s London gallery, Guggenheim Jeune, in 1939 and Atelier 17 in New York and San Francisco in 1954. In 1957 his work featured in Black and White, a group exhibition presented by the left-leaning organisation, the AIA (Artists International Association). )He also exhibited in group shows at the Ben Uri Gallery in London in 1949, 1950, and 1959. Solo exhibitions included Galerie Bonjean in Paris, and the Zwemmer Gallery, ICA, Christoper Drake and Lumley Cazalet in London. The latter retrospective showcased his ability to blend biological themes with surrealist aesthetics, often drawing on his scientific background. Dolf Rieser died in London, England in 1983. In the UK public domain, his work is represented in the collections of the Victoria and Albert Museum, Imperial War Museum, Arts Council and British Museum.
Consult items in the Ben Uri archive related to [Dolf Rieser]
Publications related to [Dolf Rieser] in the Ben Uri Library