Theodor Däubler: Zum 50. Todestag des Dichters (German Edition)

Neither the feet nor hands are sculpted in detail and the elongated neck emphasizes the difference between the turn of the. Loving IVoman Sohn, as well as the woodcut Flowing Hair of Ihe same year Sohn, reveal the artist's preoccupation with hair as a dominant decorative motif. The similarity with the engraving entitled Beloi'ed Wife cat. Her head is tilted to the right and slightly downward.

The facial structure is simplified but natural enough to be interpreted easily as a thoughtful, meditative expression. The distance between chin and breasts is unnaturally extended and accentuated by concerns. Freundlich denied the in-. Yet the animated surface and undulating contours. Here the head illustrated by the Nazis. Impressionistic manner, but by the building up of bits of clay, giving the sculpture the quality of masonry. The prewar years had provided him with new sources for the development. Arp's circle, the tapestries he designed for the two Van Rees, and his study of Medihis ideas.

Freundlich himself cited the techniques of stained glass and mosaic as examples of the free organization of two-dimensional areas. During the period of , a time of new beginnings and ideas of. This work was a collaboration with two Novembergruppe colleagues: Work in this medium directed Freundlich's attention increasingly toward problems of light in painting, where his contrasts of light and dark communicate a polarity of is. At the beginning of , Freundlich, who was Jewish, was interned. He was released the following year as the result of Picasso's intervention.

Soon after, he succeeded in fleeing to the eastern Pyrenees, where he went into hiding unfil In December of that year, he was arrested at St. Martin-de-Fenouillet and ultimately deported to Poland. He either died en route or in the concentration camp of Majdanek near Lublin. I had to eliminate the egocentric.

Such insights had consequences for Freundlich's sculptural modeling.

Brownshirt Princess

With regard to its degree of. As in the case of the earlier heads, the composition. These two sculptures display an ambiguous verticality; they are not modeled out of one mass but are built up from individual, independent forms - a process of accumulation comparable to the construction of prehistoric dolmens. With respect to the contrast of movement involved in a.

Of course, these comparisons can only go so Garbe's dancelike groups appear. Garbe's most important encounter in this circle was with the sculptor Emy Boeder, whom he married in His fashioning of the surface similarly serves as an expression of life processes. The cubic strengthening and limiting of the plastic form in. Garbe's and Boeder's choice of wood as a preferred material allowed their plastic. There were, of course, significant differences in work as well: The themes of these works are those of Expressionism - eroticism, conflict, ecstasy.

Garbe and Boeder collaborated closely into the late twenties, but the differences between their sculptural ideas. At the beginthirties, such a style was in complete agreement with then-prevalent neoclassicism and brought Garbe numerous public commissions for nudes, reli-. At the same time, Garbe created genrelike studies of motion such stone ,. Schwarze Korps located some of his early Expressionist work, and he was declared a "cultural Bolshevik. Between and , the collector and theoretician of Cubism Vincenc Kramaf acquired important works by Picasso, Braque, and Derain.

The latter term applies in the sense that the animated masses of these works function as a. This popularization of Cubism was advanced by the appli-. Gutfreund replaced the analytical French approach to sculpture, as seen, for. In comparison, the figure's gesture - the arms crossed direct the viewer's eye.

Sidow, Max 1897-

A certain proximity to the French sculptor's emotional stance may be seen in the firm, simplified form of one of Gutfreund's first independent works - a portrait of art critic and historian Paris. Antonin Matejcek , bronze , a close friend of the artist during his stay in Paris and his traveling. The organic flexibility of the figures and literary subject matter were given up in favor of complex structures. The sculptures gained new spatial qualities; they were now dramatized from the inside out.

In the Violoncellist , bronze , a. Gulfreund's portrait llki cat. The individual forms of the. Contours appear as lines of power, illustrative of the energies emanating from the center. Deep breaks in the mass and protrusions of form reveal an alternating play with space. Viewing Picasso's Head of a IVoman face. The unity of organism and object must be preserved. In line with the neoclassicist tendencies of the.

Recently Meckel has produced beautiful raw wood sculptures, and he made me happy by placing two of Brilcke,. This count excludes clay reliefs and handicrafts, several of which are known. Aside from the terracotta of , identified. Of the two figures impulsively drawn on the image one can also be recognized in a still life of Vogt, Like several other Heckel sculptures, it fell victim to the Second World War.

Heckel indicated that he had sent her three of his wood sculptures as well as a pewter cast by Rirchner it,. Unfortunately it is impossible to ascertain exactly which figures she was referring to. Paul Vogt, who compiled a work index for Heckel during the artist's lifetime, identified the earliest works as a terracotta figure of a gnomelike old woman executed in Vogt, 1 and two heads of Vogt, 2 and 3 , carved from alder The natural, mythical qualities of the head of a bearded man suggest associations with the heads of moimtain giants, which Nolde drew in and published as printed postcards.

Those fortunate enough to have met Heckel know what this meant and can easily understand why Nolde felt so close to Heckel's wooden figures and why he was inspired by Heckel and other Briicke artists to create woodcuts. Interestingly, Nolde had not previously used this graphic technique, which may be thought of as the negative form of carving. He researched and experimented with a variety of possibilities and freely shared his results.

Any kind of purism, as far as materials were concerned, was as foreign to him as formal. Nolde acknowledged his debt to the Briicke; his affiliation with this group was important not only for his.

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In Meckel's paintings, sculptures appear freriddled with cracks. Thus he acknowledged the religious element in Meckel's art, which achieved particularly strong expression in his sculpture. In the same year, Meckel created the life-size figure of a naked praying man with arms uplifted fig. The latter work seems to have its models in Gothic sculptures of Mary under the Cross. Perhaps these works by Meckel also suggest that foreboding of the First World War with which the speak, in.

The sculpture derives from a time when many of the nudes in Meckel's paintings, most of which he created at Osterholz on the Baltic Sea, looked like animated wood figures which had found their way out of the studio and back into na-. Other paintings and drawings circa also depict sculptures; old studio photographs figs. It has been privately owned by the family of Max Sauerlandt since Meckel served as a medic in Flanders during the First World War, which determined a more significant iiiiiiiinMiiiniiniiiiiiiiiiiiiiiiniiiiiiiiiiiMiiniiiiiiiiiiiiiiMiiiiii 9.

Dube, C Erich Heckel Estate Meckel was fond of including depictions of his sculptures in his paint-. In , he moved to Paris, exchanging his studio with WUhelm Lehmbruck. On April 11, , these artists formed a group, calling themselves Artistes. In , prompted by his friend the architect Erich Mendelsohn, Henning returned to Berlin, where he. He executed large terracotta reliefs for the facade of the Mossehaus,.

Mendelsohn's wife, Louise, the arfist Max Pechstein cat. Its three nearly abstract terracotta forms are evocative of Bara's highly stylized performances and often hieratic cos-. In the newspapers of the time, her dances were compared to "age-old priestly rituals," and Bara herself was likened to sculptures from the cathedrals of Naumburg and Strasbourg or figures in the paintings of Domenlco Ghirlandalo or even Mathis. How does such a young child gain such depth and soulfulness?

This is genius pure and simple, this is maturity born without the need for experience. Herzog was an established Berlin artist by the time he became associated with the famous Sturm circle led by publisher and gallery owner Herwarth Walden, who sponsored an exhibition of the artist's work at the Galerie Der Sturm in In a publication of the pre-. Walden had artist who was enlivening the European sculptural tradition much in the same manner as Archipenko. By , as seen in Kneeling IVoman cat. Reimann in his preface to Oswald Herzog: Sinfonie des Lebens 1 ,'' and accordingly Herzog's works were often entitled using musical terms such as Adagio, Furioso, and Harmony.

In later Novembergruppe exhibitions, he served as a jury member 1 , and in the Ausstellung Jahre Novembergruppe , he was on the exhibition committee as director of the. Works such as Ecstasy fig. Strength, Joy, Sorrow , and. Scherzo represented the transformation of architectural elements into sculptural entities convey-. His contribution to abstract Expressionist sculpture was recognized by art critic Alfred Kuhn in his article "Die absolute Plastik Oswald Herzogs. It also emphasizes the significant distincHoetger made between "sculpture," which is antitransitory, bound to the large, blocklike form, and.

Hoetger's works of this period also display his assimilation of ethnographic art and of Paul Gauguin's painting and sculpture. Thus, as early as , Hoetger anticipated both Picasso's turn toward the "primitive" cf. Lee Haken, he executed two important sculptures: Portrait of Lee Hoetger, rigidly chiseled from marble. Smile, Flight of Thoughts, and Darmstadt Torso , bronze; commissioned by.

As Lehmbruck was to do later, Hoetger studied at the Kunstakademie in Diisseldorf. In , he visited. Germany, where he began to concentrate primarily on crafts and furniture. He also built the Worpswede. Unlike that of Lehmbruck, Hoetger's sculpture was not decisively influenced by the outbreak of the War. His art reached a highpoint in the Egyptian-style bust of the dancer Sent M'Ahesa , gilded bronze. The works of this period, along with those of other leading Expressionists, deformed the human figure without. Hoetger dedicated his Pieta lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 1.

An Expressionist monument like few otlimourning mother with her dead son, a young worker As in Lehnibruck's drawings, the Christian motif of the Pieta was adapted to an expression of Cemeterj'. Almost cruel in this respect is the symbol of the old woman who, exhausted from the burden of labor, is barely able to stand on her feet any longer.

Worpswede - the Peace Memorial: Lower Saxony Monument fig. In the following Georg Biermann published an open letter to the artist, in which he described these works:. Claude Keisch, "Ein Bildhauertraimi um die Jahrhundertwende: By spirit man is able to produce and to. In , the original figures were destroyed by the National Socialists; Hoetger was declared "degenerate" and in was harshly attacked in the SS pub-. Worpswede Archive, Haus in Schluh. I would like to thank Mr Hans II.

Rief, Worpswede, for his kind assistance. On May 10, Hoetger described the monument in a letter as follows: Berlin Inscribed Hoetger and A. Bischojf Dtisseldorf on pedestal. See discussion under cat. The mannerism apparent in this sculpture, like. The refinement of the modeling reveals a distinct, final stage of Expression-. Kunstakademie in Berlin, along with Garbe and Belling. During this period, he had already developed an interest in literary characters as sculptural sub-.

Melancholy, a bronze male head created in , translates the expressive emotion into the classic formal. At this time, Karsch spiritually close to Lehmbruck and to the contem-. Massimo had been confiscated by the Italian government at the end of World War I. They tore their clothes in grief: Grossgandern near Frankfurt an der Oder, he committed suicide together with his wife. Jr'-'i'-Mi ocjiclfion in "iicrlin: These writings complement Erika Billeter's portrait. Aside from the theoretical statements already mentioned and his references to his sculptural works in correspondence, Kirchner began to depict his sculptures in paintings and graphics in , and in , he began to photograph them.

Oeuvre catalogues for the drawings, pastels, and watercolors, as well as for the sculptures, must still be published. This exhibition brings us closer to a serious consideration of the sculpture; the fact that. Beginning in about himself,. Karlheinz Gabler has made a special effort to produce a scholarly commentary on the drawings, sculptures, and photographs, and Hans Bolliger's secondary bibliography.

A brief survey of his entire oeuvre and the state of research on it is necessary, however, prior to Kirchner was a draftsman, graphic. This development sometimes resulted postdating as well. In I wanted to create a dancer, and in Fehmarn accidentally found a piece of wood suitable for hen I just drew the form of the trunk and composed and probably. This is clearly demonstrated in the sculptures of 1 fig. European sources, which initially influenced his painting.

Beginning in March when he encountered Patau and Cameroon sculpture, his plastic art was greatly affected as well. As Donald Gordon has observed, Kirchner's art attained liberation and independence by adopting the sweUing physicality and mature plasticity of the figural frescoes of Ajanta, India, which he observed from photographs in the Dresden library.

By avoiding any polishing, the power of the material was reinforced; the roughly. Head of a Woman. Head of 44 may now be dated with certainty to the summer of , on the basis of a postcard fig. The harsher and more extended forms typical. They give, freedom of drawing, the cogent rhythm of the form enclosed in the block. And these two elements provide the composition of the I've. On November 2, , he wrote about it to Nele van de Velde: These pines grow high up, close to the snow line.

After his move to Berlin, Kirchner kept a large African sculpture in his studio, and most likely used imitations. In Nationalgalerie, Berlin, , Grisebach describes drawing no. Several sculptures with farm life as their subject were done, among them Cow fig. These plans, along with all larger commissions, remained unrealized. Even the pillowcases and tablecloths were embroidered by Erna and other. Helene Spengler reported Eberhard Grisebach: Essen one analyzes the manner of working and thinking of the persons responsible for the commissioning of these Only within the context of this larger environment can Kirchner's sculptures of be judged fairly In.

The timeless Dance Between the Women and the continually recurring March to the Meadows were depicted framing each side of the studio door: Yet only a few sculptures per se origireliefs. Their collaboration had already begun in August of the previous year,. As Kirchner expressly remarked in a letter to Schiefier of December 10, , he and Scherer plans.

During the years , Scherer created - often together with Kirchner at Wildboden - his own limited but intense sculptural oeuvre. Kirchner summarized the results of his collaboration with Scherer in a pho fig. Scherer's Mother Nursing Child cat. During this same period, Miiller also created sculptures in this "early Wildboden style" that Kirchner photographed in front of the house or under.

Of course, the jealousy that made Kirchner disclaim contemporary models would have been inappropriate to those more removed in time and space. Extra-European art was experienced first and. Together with his appreciation of earlier Ger-. Lake , Briicke-Museum, Berlin; Gordon, which reveals the first and most definitive formal influence of the Ajanta figures - were still painted in the white-pink incarnate that Kirchner had used customarily for nudes in his paintings.

In , Kirchner's sculpture, which had previously been only partially painted with black outlining the contours, began to show the use of overall yellow-ocher or yellow-brown incarnate as in the Moritzburg bathers. From on we find this. The plastic art of Cameroon and the frescoes of. In this context, the valences of Kirchner's individual expressive techniques must be reevaluated.

Our knowledge of Kirchner's art will be expanded and transformed by the monograph with earlier influences did not extend. Not only are the yellow incarnate and form of this painting's two swimmers surprising; their motion is definitely "wooden. Of interest here also are the prices which Kirchner asked for his sculptures at exhibition, which were equal to those for his most expensive paintings and even higher than those of his paintings during the.

Kirchner's amazingly open admission of the extraEuropean influences on his oeuvre is e. Cf etching Dube, II. In recent correspondence, Annemarie Dube for the sculpture in the. Female Dancer with Necklace cat. Kirchner's clay reliefs Nationalgalerie, Berlin, 62 , originally intended for a tiled stove. Hardwood, oiled and painted h: Munich Runslgewerbeschule and Runstakademie.

He became famiUar with architectural sculpture at an early date; in , he worked on the monumental sculptures Karl. In , he received the Rome Prize, which enabled him to study the sculptures of Michelangelo. From to , he created numerous works - crafts as well as artworks - in collaboration with various architects; he. Great Harvest, , wood, Staatsgalerie Stuttgart, and Tree of Stone, , created for a housing development in.

The figures are rhythmic in their repetition; concave and convex. Jl'oman Playing the I'iolin, with Deer and Bee, , brick, location unknown. This form, which suggests the cinematic motion of the Futurists,. One of the most original works executed in this somewhat Cubist technique is Knappe's portrait of the well-known Berlin painter Max Liebermann cat. This work is illustrative of Knappe's special attention to positive. Xaver Messerschmidt and of Honore Daumien The artist was particularly concerned with implying contrasts in the character of the.

His studio with works was destroyed in , but after the rebuilding of West Germany brought him numerous commissions for windows, mosaics, and sculptures. Committed to an aesthetic that studied, assimiand synthesized the art of the past, Kolbe wrote: Assumplion of the Blessed I'irgin , bronze. The frontality, extreme stylization, and monumcntality of. Rome, Kolbe stopped painting and, under the tutelage of Louis Tuaillon and August Gaul, learned the fundamentals of sculpture.

By he had established permanent residency in Berlin, but that city was to serve him only as a home base.

During the next two. Kolbe visited Rodin's Paris studio, and a great deal of critical attention has since been devoted to determining the degree and nature of Kolbe's ties to In ,. A lifelong association with Karl Schmidt-Rottluff began in , when the two artists met at Lehmbruck's funeral.

At this juncture, an important shift took place in Kolbe's art, which during the next few years was allied with German Expressionism. His passive monumentality gave way to the expression of emotion through gesture, as seen most vividly here in. He altered anatomical proportions to conform to a surge of emotion represented not in the facial expression, but in the gesture that arcs and ricochets through the entire body. The limbs and the drapery covering them were reduced to a severe angularity.

The vaguely sensual, passive, monumental woman stands above all as an expression of grace and architectonic clarity. Barr emphasized and perceived the artist as a whose work did not carry the emotional impact of that produced by some of his Kolbe's classical bronzes. His early work was almost exclusively modeled in clay and then cast in either plaster or bronze. There is no bronze version of Anger In contrast to the Briicke commitment to carving directly in wood, however, Kolbe made a small plaster model of his sculpture and then commissioned another artist, Gobes, to produce the large version in wood from this maquette.

Formal simplification became increasingly important to Kolbe, and he. Based on two drawings also in the exhibition,. By the s he was portraying grandiose, idealized visions of the Nordic race in heroic poses. His ambivalence, however, can be felt in his remarks on the Nazi destruction of Lehmbruck's Kneeling One: Georg Rolbe Museum, Berlin Based on the existence of this drawing and cat. Dance Study Tanzstudie , Pen, pencil, and sepia on paper Rodin's sculpture greatly impressed her; the. Seeing Barlach's woodcuts greatly affected her graphic and sculptural style.

For both artists, the block form was the basis from which sculptural figures emerged. Protruding limbs were rare; in fact, much of the figure was often concealed by folds of heavy drapery. One side of the sculpture was usually treated as the main view, with emphasis being placed on frontality.

Figures often coalesced until they were indistinguishable from one another This style demanded careful attention on the part of the viewer in order to determine the meaning of the figure's placement. Instead, young and serious, exhibiting an awkward, slightly restrained sensuality. Her impressively individual treatment was well received by the. Most other pieces were modeled in clay or plaster - only a few were cast in bronze. Some, such as the monumental Memorial: The Parents ; stone copies.

Kollwitz first conceived of this sculpture-in-the-round. The state does that for them. It is no longer grief, but meditation. Kollwitz called it a "face mask," a literal image of herself. The facial expression is calm, wearv', and somber, very much like the selfportrait. September ; the German version of the diary and the Kolhvitz family's personal copy, however,. Bronze 38 X Gary and Brenda Ruttenberg Inscribed Kollwitz at.

Noach Berlin on lower b. A small number of casts were made before Folkwang Museum in Hagen, demonstrating the kinship between the two artists. The significant Muderne Kunst exhibition at the same museum in June-. Iuly included Lehmbruck's watercolors and oil studies as well as sculptures, indiOsthaus.

Within these works were hints of the new modes of creativity that. Lehmbruck's contemporaries and critics, such as Theodor Daubler, Paul Westheim, and Carl Einstein, soon came to recognize, his works as early as dis-. Lehmbruck exhibited two important works: He also sent works to the Sonderbund. Thus the years before World War saw Lehmbruck new sculpture. This art was in no sense given over to mere formal experimentation with concave and convex surfaces, but rather used the 1.

European plastic art around which must be recognized as that of the human figure versus abstraction - "inner sound" Kandinsky and Marc versus objectivity and the depiction of man Beckmann, Lehmbruck, Schiele. At this point, he abruptly turned away from Rodin and broke with his previous style. He became a medic; deeply horrified by the slaughtering of nations, he was able to move to Zurich at the end of sculpture, the First World. Undoubtedly Von Unruh had this work in mind when he wrote in a letter to the writer Kasimir Edschmid:.

Lehmbruck joined the latter, making the acquaintance of the painters Waldeniar Rosier and Beckmann. The three served together on the executive committee and jui-y of the Freie Sezession. Thus Beckmann's and Lehmbruck's acquaintance was firmly established; the latter's large Freie Sezession,.

Most of the work on The was done in Berlin in , and it was. Daphne von Wilhelm Museen Heilbronn, , pp. After the dissolution of the Berlin Secession in and the establishment of the. Lehmbruck's first sculptural reaction to the Wan would be more aptly called Man Struck. Whereas Fallen Man of primarily symbolizes the fate of European youth in World War 1, Seated Youth expresses universal mourning for those. March of Lehmbruck committed suicide. His works of the period prior to his death include portraits of such cultural figures as.

A few sculptures which reduced the human figure but did not formally abandon it also were developed: Head of a Thinker with Hand cat. The latter work reflects Lehmbruck's love for Viennese actress Frank. Marcks spent a compulsory year in the army in and the First World War saw him in uniform once again. Following the War, in , Gropius asked Marcks to join the faculty of the newly founded Bauhaus in Weimar. Marcks taught there until , developing a close friendship with painter and graphic artist Lyonel Feininger On one occasion, Feininger wrote to Marcks: Bauhaus, Marcks used the material at hand to create Small Head cat.

These works are Expressionist in their decreased emphasis on individual features in favor of more "universal" representation. Marcks created a large number of drawings and small models of this. Bauhaus moved to Dessau in , adopt". Marcks in Berlin to his brother Herbert, daled. Today the eight figures stand in their niches like different tones.

Prometheus, from Olympus to man, sits in bitter defeat and grief. His fettered hands rest on one knee, his head on the other. His spirit has ent understanding of the. Marcks executed a monument to the people who had died during the Second World War, and in the same year he received the GoetheMedaille Goethe Medal from the city of Frankfurt in recognition of his achievements. In , he moved permanently to Cologne, where he completed a commissioned monument dedicated to the civilians who had died in the bombing raids on Hamburg. Commissions for the cities of Frankfurt, Aachen, Bremen, and others followed, frequently competing for time with works which Marcks wished to do for himself.

Woodcuts, lithographs, and in the later years landscape pastels became more frequent in his oeuvre, along with a number of animal sculptures. In an interview given in , Marcks said: For this, later life is the best time. Then one can think: It was George Minne's special gift to combine Symbolist and Art Nouveau elements with forms and concepts which are clearly. The Fountain of Kneeling Youths fig. This latter work was commissioned by Karl Ernst Osthaus,.

His early paintings and sculpture show an Academic orientation in their use of standard historical subjects and classical forms. An important breakthrough for Minne came in , when Maeterlinck and Le Roy returned from a trip to Paris, where they had met the French Symbolists and estab-. At the Belgians' request, Minne produced a number of drawings and woodcuts as illustra-. Heni7 van de Velde designed the new Folkwang Museum building, he suggested that a work by Minne should stand.

Problems addressed by the Realists and Impressionists were those of the visible,. In , Minne settled permanently in Laethem-Saint-Martin, a small town near Ghent which gradually developed into an artists'. This expressiveness conUnued to increase unUl , when Minne turned to more reahstic forms.

He taught drawing at the Academy in Ghent from to and spent the adolescent figures from this play even. After the War, he took up sculpture again, concentrating on maternal figures which conform closely to the. Honors came late to Minne. He had not received any formal training as a sculptor, but had already generated a modest oeuvre of paintings on glass in addifrom. Like Kirchner and the members of the Briicke, the Rot-Blau artists were committed among.

Immediately after this visit, Miiller sculpture, Standing Figure cat. Scherer was also encouraging. The artist seems to have been primarily interested in carving out his form as opposed to refinMiiller painted his sculptures, but in a manner was quite different from that of Scherer, whose plastic works are almost entirely covered with striking. This coloration gives the sculptures a. Several of Miiller's carvings.

Both artists created Miiller's. Kirchner," written under his. He and Scherer were represented by Kirchner in his life-size sculptural portrait The Tivo Friends, c. Finally his fatherrealized that his son was of no use for work on the farm and sent him to apprentice at the Sauermann carving school and furniture factoi-y in Flensburg.

At the age of twenty Nolde was certified as a journeyman sculptor. One of his final projects in this capacity was a group of four melancholy owls for the desk of Theodor Storm, the country's most famous.

This was, however, something of an obstacle to his development as an artist. Thus, almost two decades passed before Nolde was able - in an act of spiritual and artistic liberation - to. Munich, Paris, Copenhagen, and Berlin, finally settling in a remote fisherman's house on the island of Alsen.

About , Nolde hesitantly emerged in public an independent and original painter. When the young artists of the Briicke group saw some of his paintings in a Dresden exhibit, they were excited by his "storms of color" and in wrote him a letter as. The traces of workmanship were not erased or smoothed over, but remain visible and expressive. But while Heckel, like Kirchner and Schmidt-RottluIT, used tools appropriate for working with tree trunks - hatchets, planes, and chisels content of his sculpture.

The posture and gesture oi Prophet cat. Nolde was aware that his Briicke friends Rirchner and Heckel were sculpting in wood, as Heckel had sent him a photograph of his own sculp-. Nolde loved collaborations with nature. He enjoyed seeing colors blossom "as if by chance," taking form by themselves. He was pleased when rain and sand. The wood was very hard, but it was wonderful to come up.

For a comprehensive overview, see Wolfgang R. Kai Buchholz et al. Berghahn Books, , pp. The classic study of George L. Mosse, The Crisis of German Ideology: Intellectual Origins of the Third Reich , has lost none of its relevance.

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Campus-Verlag, , pp. Deutschland , p. Westdeutscher Verlag, ], pp. University Press of New England, , pp. The poet Friedrich Lienhard later defined the union of the thrusting vertical and the recumbent horizontal as the fundamental, divine movement of Life, symbolized in many cultures by the figure of the Cross: Greiner und Pfeiffer, ], vol. Kultur-Verlag , consisting of testimonies about their attitudes to Jews and anti-Semitism from a wide range of public figures on the Left and the Right, including himself. Most of the testimonies, not least his own, were sharply critical of anti-Semitism.

Bruns, Rolf Parr Stuttgart and Weimar: Metzler, , p. Verlag Renaissance - Otto Lehmann, , pp. It included a few Jews the politican Bernstein and the painter Liebermann and at least two particularly virulent anti-Semites: Adolf Bartels, a supporter of the German Christian movement, a leading champion of Heimatkunst [art, architecture, literature, and music rooted in native soil and popular tradition], the author of Geschichte der deutschen Literatur [], Heinrich Heine: Julius Posener zum Ananabas Verlag, ], Werkbund Archiv Jahrbuch 4, pp.

Mythos statt Geschichte [The Worldview of the Edda: Myth instead of History], both published in , it is defined as follows: Howard Fertig, remains invaluable. See also on the Ordo Novi Templi: Friedrich-Wilhelm Haack, Wotans Wiederkehr: Blut-, Boden- und Rasse-Religion Munich: Claudius Verlag, , pp. Friedrich-Wilhelm Haack, Wotans Wiederkehr , pp. In the s ever more such societies continued to be founded see sample lists in Haack, Wotans Wiederkehr , pp.

The Princess was probably one of its many readers; the Edda figures explicitly in her later fictional writing as just such a source book of wisdom and ethical example. The Aquarian Press, , pp. Suhrkamp, , pp. Eugen Diederichs Verlag, ; 1 st edn. Maasddorff, Die Religion und die Philosophie der Zukunft , 2 nd edn. The titles of some other works by this author see the entry on him by Matthias Wolfes in Biographisches-Bibliographisches Kirchenlexikon are indicative of the direction of his thought: Die Quelle unserer Entartung [Jahwe or Jesus?

The Origin of our Degeneration] Leipzig ; 2 nd edn. Monatschrift zur Vollendung der Reformation durch Wiederherstellung der reinen Heilandslehre , , 5: Vivian Bird Torrance, CA: Noontide Press, ; orig. German, , pp. Spiritual Science Library, , p. Oldenbourg, , pp. Okkultismus, New Age und Nationalsozialismus Vienna: Picus-Verlag, , pp. Christianity purged of all Judaic and Roman influences — was for Aryans only. Full document in Peter Matheson, ed. Das Mysterium der Reinheit Stade: Zwei Welten Verlag, , p. In the same vein, Artur Dinter: Wolfverlag, ], Afterword to 1 st , 2 nd and 3 rd eds.

Traditionen und Traditionssuche des deutschen Faschismus , ed. John Lees, 2 vols. London and New York: John Lane, ; 1 st edn. German , vol. Berlin-Schlachtensee; Volkserzieher-Verlag, , vol. Wilhelm Hauer, Deutsche Gottschau: Kutbrod Verlag, ; 1 st edn. In the period after World War II some Germanic religious groups denied that the importance they had attached to race had had anything to do with the destructive racism of the National Socialists. Though a champion of a Nordic-Germanic religion, an advocate of Aufnordung restoring the Nordic racial component in the German people , and an early supporter of the National Socialists, Wachler had a Jewish grandparent.

It is admitted that a provision was subsequently introduced requiring proof of pure German ancestry as a condition of membership in the GGG. I also swear to keep my blood pure through an appropriate marriage and to raise my children in this spirit. It is claimed, however, that this provision was never dogmatically enforced and that Fahrenkrog stuck by Wachler even as anti-Jewish measures grew in intensity.

Fahrenkrog is quoted as maintaining through the s that the GGG was neither anti-Semitic nor anti-Christian, that it was non-political and that it sought only toleration of all creeds and all religious groups. Thus, for instance, Fahrenkrog: But who are we? We are the spirit and the religious aspiration of our ancestors and forefathers by way of Eckehart and Goethe down to the present day. Die Germanische Glaubensgemeinschaft , pp. Vivian Bird [Torrance, CA: The Noontide Press, ], p. Stationen eines Motivs Berlin and New York: Nearly half the archive consists of translations of early New Mexico documents, translated from the Spanish by Prince.

Much of this work may have been done for research on his books about the history of New Mexico, or as part of his tenure at the Historical Society. Additionally, there are a dozen pages of notes on the Spanish occupation of New Mexico, likely translated, and a sixteen-page narrative of the expedition into New Mexico by Antonio Espejo in the s, including the account of Father Beltran.

The archive also includes works on the local Indian tribes, such as a description of "The Annual Festival at Isleta," a harvest dance performed at that pueblo, and several other descriptions of native dances and ceremonies. The printed text has been cut into segments and pasted to sheets, with manuscript notes and revisions surrounding each section. The remainder of the papers are primarily concerned with New Mexico history.

A remarkable trove of New Mexican history documents, written and translated by an important early historian. William Reese Company - Americana ]. Some contemporaries and later writers described him as world champion since , when he won a match against Adolf Anderssen. Steinitz lost his title to Emanuel Lasker in and also lost a re-match in Statistical rating systems give Steinitz a rather low ranking among world champions, mainly because he took several long breaks from competitive play. However, an analysis based on one of these rating systems shows that he was one of the most dominant players in the history of the game.

Although Steinitz became "world number one" by winning in the all-out attacking style that was common in the s, he unveiled in a new positional style of play and demonstrated that it was superior to the old style. His new style was controversial and some even branded it as "cowardly", but many of Steinitz's games showed that it could also provide a platform for attacks as ferocious as those of the old school. Steinitz was also a prolific writer on chess, and defended his new ideas vigorously. The debate was so bitter and sometimes abusive that it became known as the "Ink War".

By the early s, Steinitz' approach was widely accepted and the next generation of top players acknowledged their debt to him, most notably his successor as world champion, Emanuel Lasker. As a result of the "Ink War", traditional accounts of Steinitz' character depict him as ill-tempered and aggressive; but more recent research shows that he had long and friendly relationships with some players and chess organizations. Most notably from to he co-operated with the American Chess Congress in a project to define rules for the future conduct of contests for the world championship title that he held.

Steinitz was unskilled at managing money and lived in poverty all his life. Rebound in beige cloth with new end papers and original paste-board cover laid on front cover. Volume 3, , with Studenterforeningens Skakklub stamped on title verso, some pencil markings to titles else a very good set of an extremely difficult first edition biography to obtain.

The Book Collector ]. Illustrated in coloured lithography throughout. Original pictorial cloth-backed card covers. To operate the 'magic' element of the book, the pages must be flicked from a certain position so that the viewer believes the book can magically change its contents. On the Determination of the Tension of a recently formed Water-Surface. Harrison and Sons], Presentation offprint, inscribed in Bohr's hand to the chemist Einar Biilmann, of the 'Second Royal Society Paper' - what Bohr "learned by working in this field may have been a help to him when, more than a quarter of a century later, he showed that some of the properties of atomic nuclei can be understood by comparing them to liquid drops [i.

In February the Royal Danish Academy of Sciences and Letters announced a prize concerning Lord Rayleigh's theory that the surface tension of liquids could be determined from the surface vibrations of liquid jets.

Part I. Seeking a New Religion: Gott in Mir

The problem proposed by the Academy was to perform quantitative experiments to implement Rayleigh's method. Bohr faced formidable difficulties, not least the fact that, since the university had no physics laboratory, Bohr had to perform the experiments at night to avoid perturbations due to passing traffic in his father's physiology laboratory. Bohr's paper was submitted on the deadline of 30 October , and on 23 February the Academy notified Bohr that he had won its gold medal.

At the same time he was occupied with the considerable task of preparing his work for publication. This paper is not a simple translation of the prize essay but deviates from the latter at a number of points Lenard, in which he claimed that a recently formed water surface has a high surface tension which rapidly decreases. Lenard stated that this was in agreement with Bohr's results. This led Bohr to re-examine the matter and, in particular, to test by new calculations the claim made by Lenard that a variation of the velocity over the different concentric parts of a jet will prolong the periods of vibration and increase the wavelengths of surface waves on the jet.

He made a direct calculation of the wavelength when the velocity in the jet varies with the distance from the axis and concluded that his experiments do not support the claims made by Lenard. This was Bohr's last work on surface tension. The results of this paper, and the merit of the experimental method described, have apparently been appreciated by most later workers in the field. Adam writes in his book The physics and chemistry of surfaces Rud Nielsen, Collected Works, pp.

Einar Biilmann was a Danish chemist and early friend of Bohr, number in blue pencil to upper right corner of front wrapper probably a library numbering from Biilmann. Leipzig, Leipziger Schulbuchverlag von F. Wachsmuth ohne Jahresangabe um - Farbig lithographiertes Blatt, Format ca. Decorative view of the Adelsberger Grotte in Slovenia The caves of Postojna , one of the largest caves opened for tourists in the world.

The edges verso reinforced with publisher's fabric tape, isolated somewhat browned, library stamp on the back, otherwise very well received. Ansicht des Eismeeres um die drei bekannten Gipfel in den Dolomiten. Gemalt von Hermann Ludwig Heubner - Dramatic view of the Dolomites, after a painting of the german painter Hermann Ludwig Heubner The edges reinforced with publisher's fabric tape, somewhat browned,library stamp on the back, otherwise very well preserved.

Vases, Recipients, Tripods, etc. Arms, Weapons, Armours, Standards, etc. Plants and Trees, Fruits, Flowers, etc. Altars, Attributes of Deities, Sacrifice, etc. Buildings, Edifices, Monuments, Temples, etc. Galley and parts of, Shells, Trident, etc. Publisher's original binding is tight, pages clean, edges are age toned. Some page top corners have fold lines and some have slight indents. Zane grey signed autograph card mounted on FEP.

Some self wear at the edges and corners. Overall a very good copy.

1. The Title

Antiquariat im Baldreit ]. Transportation Map of Korea. Neat paper reinforcement to fold intersections on verso, very good condition. An extraordinarily detailed map of Korea at the time of the Japanese annexation. The inset maps show various cities, including Pyongyang Heijo - top left ; Seoul Keijo - middle left ; Taegu Taikyu - middle right. The full title reads: Mainichi Shinbunsha Shinsen Teihan [? A collection of 13 essays written between and , published in The lead essay, "Revolution", outlines how and why London renounced capitalism as a failed social system and declared himself an active participant in the "socialist revolution", the last essay is an autobiographical piece, and the essays in between are on diverse subjects.