1-2 of 2 results  for:

  • 1800–1900 x
  • Twentieth-Century Art x
  • Nineteenth-Century Art x
  • Social Realism x
  • Sculpture and Carving x
Clear all

Article

Josephine Gabler

(b Königsberg, Germany [now Kaliningrad, Russia], July 8, 1867; d Moritzburg, nr Dresden, April 22, 1945).

German printmaker and sculptor. She received her first art tuition from Rudolph Mauer (1845–1905) in Königsberg in 1881. She continued her training in 1885 in Berlin under Karl Stauffer-Bern and in 1888 under Ludwig Herterich (1856–1932) in Munich. Influenced by the prints of Max Klinger, which had been brought to her attention by Stauffer-Bern, she devoted herself to this form and gave up painting after 1890. She first produced etchings (see Woman with Dead Child, 1903) and lithographs but later also woodcuts. From 1891 she lived in Berlin where she had her first success: the portfolio of three lithographs and three etchings, A Weavers’ Revolt (1895–8; Washington, DC, N.G.A.), inspired by Gerhard Hauptmann’s play Die Weber, was shown at the Grosse Berliner Kunstausstellung. Kollwitz joined the Secession in Berlin and was appointed to a special teaching post at the Künstlerinnenschule.

Kollwitz was indebted stylistically to naturalism, but her preferred subject-matter was linked to the emerging workers’ movement. Her prints on themes of social comment were carried out predominantly in black and white. However, her training as a painter had initially exerted considerable influence on her style. This changed around the turn of the century. Abandoning natural surroundings, she concentrated on different ways of representing the human body. It was then that a sculptural sensibility became decisive for her graphic forms. The first expression of this changing style was the etching ...

Article

Valerio Terraroli

(b Ligornetto, Ticino, May 3, 1820; d Mendrisio, Ticino, Oct 3, 1891).

Swiss sculptor. He worked first in Besazio and Viggiù as an apprentice doing rough carving, then in Milan at the cathedral workshops as a stone-dresser. While in Milan he attended the Accademia di Brera and also worked in the studio of Benedetto Cacciatori (1794–1871). Like many of his generation of sculptors, Vela was early on in his career profoundly impressed by the works of Lorenzo Bartolini, especially the Trust in God (marble, 1836; Milan, Mus. Poldi Pezzoli). The influence of this statue of a kneeling, nude girl is evident in Vela’s Morning Prayer (Milan, priv. col.). This work, commissioned in 1846 by Conte Giulio Litta, is a clear tribute to the purist tendency of Milanese sculpture during the 1840s.

In 1847 Vela went to Rome, where he associated with Adamo Tadolini, Pietro Tenerani and Giovanni Dupré. The naturalism prevalent in this circle induced him to address new themes with a new plastic vigour, as in his statue of ...