Grotta dell'Arsenale, 80076 Capri NA
Zum Kater Hiddigeigei, Via Vittorio Emanuele, 80076 Capri NA
Hanse Paule (Vienna, 1879 - Capri, 1951) was an Austrian painter. In Capri he lived with Gilbert Clavel.
The myth has always surrounded the life of this eclectic painter, who was also defined pictor spaeleus ("cave painter") by Edwin Cerio, because he is said to have lived for a long time in a cave, Grotta dell'Arsenale, feeding on the fruits of the sea and drinking rainwater filtered from the rocks. Later he had taken a room at Palazzo a Mare, near the Bagni di Tiberio. After being sent to a concentration camp in Sardinia during World War I, he returned to his room at Palazzo a Mare, from where he explored every inch of the island and recorded it in a series of brilliant and highly-prized woodcuts. Surely an eccentric character, he frequented worldly and intellectual characters of all sorts, such as, for example, Count Fersen at the famous Villa Lysis (built near the Villa Jovis, formerly the imperial residence that hosted the Emperor Tiberius for about 11 years), Alberto Moravia, Curzio Malaparte, Norman Douglas, Axel Munthe, Ettore Settanni and many others. He promoted his art in Capri in the Piazzetta and among the tables of the famous inn "Zum Kater Hidigeigei". He frequented numerous Capri families and in particular stayed with the violinist Paolo Falco with whom he shared good music and good wine, of which it seems he did not use sparingly. He was able to frequent, among other artists on the island, Raffaele Castello, Otto Sohn-Rethel, Walter Depas, Carlo Perindani, Valentino White. He died in 1951 with, so the myth wants, a loud laugh in the square of Capri.
He arrived in Capri in the early 1900s perhaps in the wake of another painter, Karl Wilhelm Diefenbach, probably known in his homeland when he attended the Academy of Fine Arts. In 1915 he was confined to Sardinia, in Tonara, a town in Barbagia, where he was a guest of the mayor Giovanni Tore. He is the author, in this period, mainly of woodcuts with Sardinian subjects, in particular women and shepherds, Capri landscapes, temples of Paestum, roofs of Positano, which demonstrates that he did not disdain the Amalfi and Cilento coast. In 1924 he returned to Capri and here he again began a conspicuous artistic production which includes: oil paintings, in particular self-portraits; pencil, pastel and sanguine drawings; woodcuts, often on thin paper and if this was missing on the same wooden boards used to carve the molds, in which he portrayed Sardinian figures, glimpses of houses, landscapes, rowers.
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