Ernst Barlach

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Barlach, Ernst


Born Jan. 2, 1870, in Wedel, Schleswig-Holstein; died Oct. 24,1938, in Rostock. German sculptor, graphic artist, and writer.

Barlach studied at the arts and industrial school in Hamburg (1888–91), at the Academy of Arts in Dresden (from 1891), and in Paris (1895–96). In 1906 he visited Russia. After 1910 he worked in Güstrow. In Barlach’s creative work the plastic language of German Gothic art was reinterpreted in the spirit of expressionism. In his sculpture the strong internal movement, which permeates the stocky, generalized forms of the human body, is sharply contrasted with the reserved nature of the static composition, thereby creating great emotional tension by purely plastic means. Barlach worked primarily in wood. Humanistic and marked by a passionate rejection of militarism, Barlach’s art was persecuted in fascist Germany. Barlach was forbidden to work, and his works were confiscated or destroyed.

Barlach’s works include war memorials in cathedrals in Güstrow (today in the Antoniterkirche in Cologne; bronze, 1927) and in Magdeburg (wood, 1929); illustrations to his own drama The Poor Cousin (lithograph, 1919); and illustrations to Goethe’s Faust (woodcuts, 1923).


Das dichterische Werk; vols. 1–3. Munich, 1956–59.


Shmidt, Iu. “Ernst Barlakh.” Tvorchestvo, 1968, no. 7.
Carls, K. D. Ernst Barlach, 6th ed. Berlin, [1954].
Fechter, P. Ernst Barlach. Gütersloh, 1957.
Fühmann, F. Ernst Barlach. . . . Rostock, 1964.
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Greenhead College has been exchanging with Ernst Barlach Gymnasium since 1993.
In 1968, she quotes Ernst Barlach and Jean Helion (PIW 48-50), and in her 1970 essay "Great Possessions" (PIW 89-106), she argues for a "supernatural poetry," criticizing "mechanical surrealism" and "inauthentic surrealism.
Michaela Barlach, medici - Medical Communication Services, barlach@medici-communication.
They were brutally seized almost overnight from respectable civic art galleries, museums and private collections and hung like hostages on public display where the German populace was encouraged to sneer and revile masterworks by, among many others, Matisse, Egon Schiele, Emil Nolde, or Ernst Barlach.
The contrast in this room is provided by a small cabinet with drawings and watercolours by Ernst Barlach and Emil Nolde, both of whom also had National Socialist devotees.
In Phantom Lady, Jack Marlow/Franchot Tone is a prototypical insane modern artist, who sculpts artworks reminiscent of European expressionists such as Kathe Kollwitz and Ernst Barlach.
This text presents a beautiful collection of drawings and other art by Ernst Barlach that draw on the Nibelungen, the royal family of the Burgundians who settled in Worms, Germany in the 5th century.
Finally, in 1923, Ernst Barlach does an expressionistic woodcarving entitled Faust and Mephistopheles (online).
Drawing upon unpublished materials at the Ernst Barlach Stiftung in Gustrow, Germany, this work serves both as a fitting tribute to Barlach, the man and the artist, and as a welcome complement to Paret's previous publications on German attitudes toward modernism in art, which began with his path-breaking monograph,The Berlin Secession (London, 1980), and continued with a collection of essays, German Encounters with Modernism, 1840-1945 (New York, 2001).
Unmistakably "Beckmanns," as monumental and impassioned as the canvases, albeit in entirely different ways, they also suggest a wrestling match between Matisse and Ernst Barlach.
She evinces catholic taste in art, professing admiration for artists as diverse as Barlach, Maillol, Rodin, Lehmbruck, Mataree, Marini, Kollwitz, Kiefer, Calder and Laurens.
A good introduction to Durrenmatt are his two mysteries featuring Inspector Barlach, The Judge and his Hangman and Suspicion, both of which take place in the canton of Bern.