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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The Barlach city of Gstrow intends to renovate and expand the Thomas Mntzer School Gstrow.
De acordo com Barlach (2014), baseado na teoria de McClelland (1972) o individuo motivado para a realizacao apresenta tambem os seguintes elementos: querer fazer bem um trabalho ou realizar algo importante; responsabilidade pessoal para achar solucoes para problemas; gosto por feedback rapido sobre a sua performance; evitar o que e muito facil ou muito dificil; nao gostar do sucesso como produto do acaso; e a preferencia por desafios que nao estejam acima de suas capacidades.
Therefore, a widely ignored aspect is that this favors a growth motivated mainly by the accumulation of new items on the substantive domain, in detriment of advances in the methodological domain and, more important and more serious, in detriment of the conceptual domain (Brinberg, 1982; Brinberg & McGrath, 1989; Barlach, 2011).
Shiftan and Barlach [28] found that built environment at the workplace has significant effects on the commute mode choice.
In 1934 Berlin hosted an exhibition of Italian Futurist "aeropittura" at the behest of Goebbels (Berghaus 249), the most prominent protagonist of an antiRosenberg faction that insisted Expressionists such as Barlach and Nolde infused their works with the Nordic soul (Petropoulos).
Os estudos de Tavares (2002), Luthans, Luthans e Luthans (2004), Luthans, Avolio, Avey e Norman (2007) e Barlach, Limongi-Franca e Malvezzi (2008) mostram que a tematica resiliencia vem recebendo atencao no ambiente das organizacoes de trabalho.
In a scenario characterized by rapid technological change and economic equation that requires mobilization of changes, there is a quest for flexibility and adjustment of the structure to the new economic, social, cultural, technological and political contingencies (Barlach, Limongi-France & Malvezzi, 2008).
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." She ends by contrasting the supernatural effect in artists like Magritte and Breton with the "more satisfying"--supernatural--effects of Rembrandt, Cezanne, and Giotto (PIW 98).
A su vez tambien mostraremos como hubo influencias del Expresionismo Aleman, especificamente de Ernst Barlach. Seguidamente hablaremos de una serie de elementos que Amighetti introdujo en sus trabajos, entre ellos la oscuridad, la violencia y la soledad, relacionados con la muerte.
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.