DOI Page / Citation link:
https://doi.org/10.11588/diglit.48744#0009
to their creator and the transfiguration of even inorganic
nature in a higher sphere.
Among the sculptors in the modern German movement,
Georg Kolbe has had a recognized position for years. He is
also known in foreign countries, his art being represented in
almost all neighboring countries of Germany, including Italy
and Scandinavia. Works of his can be found in some collec-
tions in this country, including Philadelphia and Detroit. A
continuous evolution has brought him from a more pictorial,
impressionistic conception to the intense conventionalization
and the higher spiritualization of his present style. The
“Assunta” can be called one of the most perfect examples of
German art after the war, with its sublime and harmonious
emotion, with its clarity and simplicity of lines. Richard
Scheibe is a sensitive, introspective character whose works are
filled with sombre, tragic emotion. As a contrast to him, Edwin
Scharff of Munich with his broad, energetic forms, and the
powerful, clearly articulated construction of his works, incar-
nates the best spirit of Bavarian art.
Women artists have taken a decisive part in the new move-
ment of sculpture and painting. Martel Schwichtenberg stands
out as the strongest personality among the women artists of
northern Germany, while Mrs. Caspar-Filser, in her colorful
landscapes and still lifes, represents the more pleasing South-
ern German style which remained closer to tradition. Among
the women sculptors, Renee Sintenis excels through her charm-
ing animal bronzes. The clearly conventionalized works of
Milly Steger and of Emy Roeder, incarnate in passionate lan-
guage the struggle of the soul of the times.
It is not possible to give a just account of all manifestations.
But the variety of expression ought to be pointed out, in order
to eliminate the thought that this modern movement is a closed
school. Where, if ever, there is real life in art, there is no
school or clique, but only a group of individualities around
whom the imitators group themselves.
How far the strong personalities here represented, express
in their art only themselves or their period, how far they ex-
press something generally human and eternal, only the cautious,
kindly and thoughtful spectator can answer.
W. R. Valentiner
9
nature in a higher sphere.
Among the sculptors in the modern German movement,
Georg Kolbe has had a recognized position for years. He is
also known in foreign countries, his art being represented in
almost all neighboring countries of Germany, including Italy
and Scandinavia. Works of his can be found in some collec-
tions in this country, including Philadelphia and Detroit. A
continuous evolution has brought him from a more pictorial,
impressionistic conception to the intense conventionalization
and the higher spiritualization of his present style. The
“Assunta” can be called one of the most perfect examples of
German art after the war, with its sublime and harmonious
emotion, with its clarity and simplicity of lines. Richard
Scheibe is a sensitive, introspective character whose works are
filled with sombre, tragic emotion. As a contrast to him, Edwin
Scharff of Munich with his broad, energetic forms, and the
powerful, clearly articulated construction of his works, incar-
nates the best spirit of Bavarian art.
Women artists have taken a decisive part in the new move-
ment of sculpture and painting. Martel Schwichtenberg stands
out as the strongest personality among the women artists of
northern Germany, while Mrs. Caspar-Filser, in her colorful
landscapes and still lifes, represents the more pleasing South-
ern German style which remained closer to tradition. Among
the women sculptors, Renee Sintenis excels through her charm-
ing animal bronzes. The clearly conventionalized works of
Milly Steger and of Emy Roeder, incarnate in passionate lan-
guage the struggle of the soul of the times.
It is not possible to give a just account of all manifestations.
But the variety of expression ought to be pointed out, in order
to eliminate the thought that this modern movement is a closed
school. Where, if ever, there is real life in art, there is no
school or clique, but only a group of individualities around
whom the imitators group themselves.
How far the strong personalities here represented, express
in their art only themselves or their period, how far they ex-
press something generally human and eternal, only the cautious,
kindly and thoughtful spectator can answer.
W. R. Valentiner
9
