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The conflict between Ernst Barlach, the most important German tor of the time, and the Third Reich is a remarkable episode in war against modern art. Rather than accept repression passively, denounced the confiscation and destruction of his work as ideologi-cally inspired and continued on his independent course.
Ernst Barlach is a canonical modern German artist and writer of the early twentieth century who was wary of mass movements, radical political parties, and strident ideological certainty, with the exception of the patriotic fervor that gripped him—like so many—after the outbreak of war in August 1914.
By Kristine Nielsen. See Full PDF. Download PDF. “What Ever Happened to Ernst Barlach? East German Political Monuments and the Art of Resistance,” in Totalitarian Art and Modernity, edited by Mikkel Bolt Rasmussen and Jacob Wamberg. Aarhus: Aarhus University Press, 2010. Pp. 147-169.
- Kristine Nielsen
Barlach was a prolific artistic polymath, equally influential as a sculptor, printmaker and dramatist. He lived and worked from 1910 in the small provincial town of Güstrow, in the flat landscape of Mecklenburg, between Berlin and the Baltic coast to the North. It was a region to which he was profoundly attached.
about Barlach's Parisian drawings whose swiftness and freedom link them to the best in late 19th century French art rather than to the hard and precise draftsmanship that prevailed in Bismarckian Germany. The draftsman Barlach found himself more quickly than the sculptor Barlach. It is significant that the expert on Barlach, Wlolf
An Artist Against the Third Reich Peter Paret,2003-03-24 The conflict between National Socialism and Ernst Barlach, one of the important sculptors of the twentieth century, is an unusual episode in the history of Hitler's efforts to rid Germany of 'international modernism'. Barlach did not passively accept the destruction of his sculptures.
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ERNST BARLACH THE VENERATION OF THE SCULPTOR AND PRINT MAKER ERNST Barlach (187o-1938) in Central Europe has, so far, not spread much beyond the German-speaking nations. Britain's Art Council brought a large number of his works in I96I from Germany (primarily Hamburg) to London, where they were viewed with respect rather than admiration.
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