DOI Heft:
No. 229 (May 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0352
Studio-Talk
FIGURE GROUPS FOR NEW LAW COURTS AT HANOVER
BY OTTO RICHTER
ductions in the meantime have been so numerous
that it is worth while to say something about
them, or at least about his more recent work.
Richter has designed all the models for the
Civil Law Courts in Berlin—the Landgericht and
the Amtsgericht—and also for the Amtsgericht at
Schoneberg near Berlin. Among the latter the
beautifully decorative pediment representing St.
George in combat with the dragon, here symbolical
of Good in conflict with Evil, is deserving
of special attention. For the Ministry of Public
Education he executed the great figures of Medicine
and Science ; for the entrance to the Royal Museum
of Applied Art two fine figures of a potter and
embroideress; for the new Criminal Court in
Berlin he modelled large-sized figures representing
Hatred and Friendship, Falsehood and Truth. The
Bismarck Bridge at Charlottenburg bears on its
pillars four eagles by Richter. The one here illus-
trated, a replica, was exhibited in the Great Berlin
Art Exhibition of 1910 and was purchased for the
private gallery of a Russian prince. Another fine
piece of work is the eagle fighting a serpent, at the
Government buildings at Frankfort-on-the-Oder.
In the original of this the span of the outstretched
wings measures nearly twenty feet (six metres),
and numerous replicas in bronze on a reduced
scale have passed into private collections. Among
our illustrations is another eagle from Richter’s
atelier—it is one that crowns the monument to
Bodecker at the Imperial Insurance Offices in
Berlin, recently unveiled. Among other recent
works are a monumental fountain at the Mannheim
Exchange and numerous models for the Law
Courts at Hanover, especially noteworthy being
the portal figures The Power of the State and
Wisdom. The relief here illustrated is one of
several which adorn the Southern Music Pavilion
at Wiesbaden. Very expressive are these graceful
female figures with their bounteous offerings of
fruit.
Richter has on several occasions been the
recipient of prizes and kindred recognitions. Two
symbolical reliefs executed by him for the offices
of the Magdeburg Life Insurance Company were
awarded prizes, and his design for the Emperor
Frederick Monument at Charlottenburg (190T)
received the first prize, but unfortunately this
work was never carried out. In the same year
he completed the life-sized male figure of Misery
in marble, for which he was awarded a diploma
of honour at the Great Berlin Art Exhibition.
This figure has appeared at various exhibitions on
the Continent, where, as at the Paris Salon of
1910, it has attracted much notice. The marble
group of a mother and two little ones, At the Close
of Day, reflects the romantic strain which is so
pronounced in the temperament of this artist.
Richter scored a great success, too, with his
statuette The Two-Edged Sword, first exhibited
at the Leipzig Museum two years ago, where it
329
FIGURE GROUPS FOR NEW LAW COURTS AT HANOVER
BY OTTO RICHTER
ductions in the meantime have been so numerous
that it is worth while to say something about
them, or at least about his more recent work.
Richter has designed all the models for the
Civil Law Courts in Berlin—the Landgericht and
the Amtsgericht—and also for the Amtsgericht at
Schoneberg near Berlin. Among the latter the
beautifully decorative pediment representing St.
George in combat with the dragon, here symbolical
of Good in conflict with Evil, is deserving
of special attention. For the Ministry of Public
Education he executed the great figures of Medicine
and Science ; for the entrance to the Royal Museum
of Applied Art two fine figures of a potter and
embroideress; for the new Criminal Court in
Berlin he modelled large-sized figures representing
Hatred and Friendship, Falsehood and Truth. The
Bismarck Bridge at Charlottenburg bears on its
pillars four eagles by Richter. The one here illus-
trated, a replica, was exhibited in the Great Berlin
Art Exhibition of 1910 and was purchased for the
private gallery of a Russian prince. Another fine
piece of work is the eagle fighting a serpent, at the
Government buildings at Frankfort-on-the-Oder.
In the original of this the span of the outstretched
wings measures nearly twenty feet (six metres),
and numerous replicas in bronze on a reduced
scale have passed into private collections. Among
our illustrations is another eagle from Richter’s
atelier—it is one that crowns the monument to
Bodecker at the Imperial Insurance Offices in
Berlin, recently unveiled. Among other recent
works are a monumental fountain at the Mannheim
Exchange and numerous models for the Law
Courts at Hanover, especially noteworthy being
the portal figures The Power of the State and
Wisdom. The relief here illustrated is one of
several which adorn the Southern Music Pavilion
at Wiesbaden. Very expressive are these graceful
female figures with their bounteous offerings of
fruit.
Richter has on several occasions been the
recipient of prizes and kindred recognitions. Two
symbolical reliefs executed by him for the offices
of the Magdeburg Life Insurance Company were
awarded prizes, and his design for the Emperor
Frederick Monument at Charlottenburg (190T)
received the first prize, but unfortunately this
work was never carried out. In the same year
he completed the life-sized male figure of Misery
in marble, for which he was awarded a diploma
of honour at the Great Berlin Art Exhibition.
This figure has appeared at various exhibitions on
the Continent, where, as at the Paris Salon of
1910, it has attracted much notice. The marble
group of a mother and two little ones, At the Close
of Day, reflects the romantic strain which is so
pronounced in the temperament of this artist.
Richter scored a great success, too, with his
statuette The Two-Edged Sword, first exhibited
at the Leipzig Museum two years ago, where it
329