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Gerhard Marcks
Gerhard Marcks (18 February 1889 – 13 November 1981) was a German artist, known primarily as a sculptor, but who is also known for his drawings, woodcuts, lithographs and ceramics.
Marcks was born in Berlin, where, at the age of 18, he worked as an apprentice to sculptor Richard Scheibe.[citation needed] In 1914, he married Maria Schmidtlein, with whom he would raise six children. During World War I, he served in the German army, which resulted in long-term health problems.[citation needed]
With architect Walter Gropius, German-American painter Lyonel Feininger, Scheibe and others, Marcks was a member of two art-related political groups, the Novembergruppe (November Group) and the Arbeitsrat für Kunst (Working Council for Art).[citation needed] He was also affiliated with the Deutscher Werkbund, of which Gropius was a founding member.[citation needed]
In 1919, when Gropius founded the Bauhaus, in Weimar, Marcks was one of the first three faculty members to be hired, along with Feininger and Johannes Itten. Specifically, Marcks was appointed the Formmeister (Form Master) of the school's Pottery Workshop, which was located not in Weimar but in an annex to the school in nearby Dornburg. The other teacher in that workshop, its Lehrmeister (Crafts Master) was Master Potter Max Krehan, the last of a long line of potters, whose workshop was in Dornburg. Krehan taught the students to throw pots on the wheel, to trim and glaze them, and to fire the kiln. Marcks, in addition to duties in Weimar, taught the history of the practice, encouraged experimentation, and sometimes decorated pots.[citation needed]
Earlier, Marcks had made the models for a series of animal sculptures, which were reproduced in China by a porcelain factory. His interest in animal forms is reflected in the work he made for his first Bauhaus portfolio (Neue Europaeische Graphik I), such as Die Katzen ("The Cats") and Die Eule ("The Owl"), both woodcuts.[citation needed] In time, his focus shifted to the human figure, and it was this subject that continued to hold his attention for the rest of his life.
In September 1925, the Bauhaus was relocated to Dessau, and its pottery workshop was discontinued. Marcks moved instead to the Kunstgewerbeschule (School of Applied Arts) in Burg Giebichenstein near Halle. After the death of its director, Paul Thiersch, Marcks was named his replacement, a position he continued in until 1933.[citation needed] He was fired because his work was deemed unsuitable by the Nazis, with the result that several works were in the infamous exhibition of "degenerate art" in Munich in 1937, along with that of other Bauhaus artists, among them Herbert Bayer, Lyonel Feininger, Johannes Itten, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Oskar Schlemmer and Lothar Schreyer.[citation needed]
Despite such persecution, Marcks continued to live in the German city of Mecklenburg throughout World War II. In 1937, when twenty-four of his works were confiscated and destroyed by the Nazis, he was prohibited from exhibiting and threatened with being forbidden to work.[citation needed] During this period, he made several trips to Italy, where he worked in the Villa Romana in Florence and the Villa Massimo in Rome. In 1943, his studio in Berlin was hit during an air raid, and many of his works destroyed.[citation needed]
After World War II, Marcks became Professor of Sculpture at the Landeskunstschule (Regional Art School) in Hamburg, where he taught for four years, before retiring to Cologne. He also designed memorials for soldiers and civilians who had died in the war, and his work was part of the art competitions at three Olympic Games.
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Gerhard Marcks
Gerhard Marcks (18 February 1889 – 13 November 1981) was a German artist, known primarily as a sculptor, but who is also known for his drawings, woodcuts, lithographs and ceramics.
Marcks was born in Berlin, where, at the age of 18, he worked as an apprentice to sculptor Richard Scheibe.[citation needed] In 1914, he married Maria Schmidtlein, with whom he would raise six children. During World War I, he served in the German army, which resulted in long-term health problems.[citation needed]
With architect Walter Gropius, German-American painter Lyonel Feininger, Scheibe and others, Marcks was a member of two art-related political groups, the Novembergruppe (November Group) and the Arbeitsrat für Kunst (Working Council for Art).[citation needed] He was also affiliated with the Deutscher Werkbund, of which Gropius was a founding member.[citation needed]
In 1919, when Gropius founded the Bauhaus, in Weimar, Marcks was one of the first three faculty members to be hired, along with Feininger and Johannes Itten. Specifically, Marcks was appointed the Formmeister (Form Master) of the school's Pottery Workshop, which was located not in Weimar but in an annex to the school in nearby Dornburg. The other teacher in that workshop, its Lehrmeister (Crafts Master) was Master Potter Max Krehan, the last of a long line of potters, whose workshop was in Dornburg. Krehan taught the students to throw pots on the wheel, to trim and glaze them, and to fire the kiln. Marcks, in addition to duties in Weimar, taught the history of the practice, encouraged experimentation, and sometimes decorated pots.[citation needed]
Earlier, Marcks had made the models for a series of animal sculptures, which were reproduced in China by a porcelain factory. His interest in animal forms is reflected in the work he made for his first Bauhaus portfolio (Neue Europaeische Graphik I), such as Die Katzen ("The Cats") and Die Eule ("The Owl"), both woodcuts.[citation needed] In time, his focus shifted to the human figure, and it was this subject that continued to hold his attention for the rest of his life.
In September 1925, the Bauhaus was relocated to Dessau, and its pottery workshop was discontinued. Marcks moved instead to the Kunstgewerbeschule (School of Applied Arts) in Burg Giebichenstein near Halle. After the death of its director, Paul Thiersch, Marcks was named his replacement, a position he continued in until 1933.[citation needed] He was fired because his work was deemed unsuitable by the Nazis, with the result that several works were in the infamous exhibition of "degenerate art" in Munich in 1937, along with that of other Bauhaus artists, among them Herbert Bayer, Lyonel Feininger, Johannes Itten, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Oskar Schlemmer and Lothar Schreyer.[citation needed]
Despite such persecution, Marcks continued to live in the German city of Mecklenburg throughout World War II. In 1937, when twenty-four of his works were confiscated and destroyed by the Nazis, he was prohibited from exhibiting and threatened with being forbidden to work.[citation needed] During this period, he made several trips to Italy, where he worked in the Villa Romana in Florence and the Villa Massimo in Rome. In 1943, his studio in Berlin was hit during an air raid, and many of his works destroyed.[citation needed]
After World War II, Marcks became Professor of Sculpture at the Landeskunstschule (Regional Art School) in Hamburg, where he taught for four years, before retiring to Cologne. He also designed memorials for soldiers and civilians who had died in the war, and his work was part of the art competitions at three Olympic Games.
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