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...etchings "The War," (Der Krieg), transcends his subject's initial impact and there-by penetrates it. War's waste, fatigue and death become something mystical, even poetic. The starkness of his black-and-white tones produce an awareness far more effective than Kathe Kollwitz's unbounded sentimentality or Ernst Barlach's heavy-handed portrayal of heavy-handed destruction. And the transcendence involved is not emotional but aesthetic...

Author: By Lorenz Poppagianeris, | Title: War and the Arts | 3/9/1957 | See Source »

...that the schism between poetry and Strum and Drang lies in intensity of emotion or dramatic nature of the subject. Actually Goya's "Disasters of War," certainly more graphic than anything here, or Picasso's "Guernica," more symbolic and abstract than anything here, answer an emphatic no. For if Barlach, Kollwitz, Grosz, et al, utter an emotional cry from the blackness of chaos and confusion, it is Picasso and Goya who offer, with emotion disciplined. "right" and "inevitable," an answer which cannot help being true...

Author: By Lorenz Poppagianeris, | Title: War and the Arts | 3/9/1957 | See Source »

...realism and criticized much of her early work as too "anecdotal." Yet her development was towards an extremely expressive monumental style that was bold, simple, and marked by heavy lines and broad rhythms. With great humility and a life's devotion to her art she joined her spiritual master Barlach as one of the masters of German Expressionism...

Author: By Lowell J. Rubin, | Title: Kaethe Kollwitz | 11/3/1956 | See Source »

Pictures by Barlach and Lehmbruck carry on the feeling of loneliness and pain that characterize this period...

Author: By Lowell J. Rubin, | Title: German Mid-Century Review | 10/16/1956 | See Source »

Hitler's bitter dislike of Barlach led to a rapid banning of Barlach's work. What broke Barlach's heart was the removal in 1937 of his bronze Angel from the cathedral at Giistrow, where he had lived and worked for 27 years. He died the next year, at 68. Today the Angel is suspended once again in its old place within Giistrow Cathedral, a symbol that Sculptor Barlach has returned with a message of enduring faith...

Author: /time Magazine | Title: Art: Modern Gothic | 4/2/1956 | See Source »

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