Ernst Barlach, 'The Avenger', 1914

 

On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror and terror of warfare. 

Like many works by German Expressionists, the blocky sense of the sculpture harks back to preliminary creations in woodcut. Indeed, Barlach is known primarily as sculpture, believing that the most expression could be drawn out of the plastic arts. Working on a small scale, the piece reminds the viewer of medieval works also in wood, such as the panelling or misericords of churches. Woodcutting for Barlach produced the 'unmistakable revelation of one's real and ultimate meaning'. Ironically here however, he was blinded by patriotism and the revelation was yet to come. 

The figure is shrouded in a billowing cloak that twists around the body like a fan. The sense of the arabesque pose underneath however is still clear and reinforced by the long sword-like weapon that runs horizontally down the figure's back. The bare foot that is revealed implies the suddenness of the decision by the figure, an instant realisation of the necessity for heroism. Interestingly the body seems to convey more emotion than the face itself. Knowing the biographical information of Barlach, it is easy to think that the face display some confusion, a hint of doubt at the quest in hand. However, the features are strong, the brow and mouth set, again echoing that same horizontal movement that binds the sculpture together. Ultimately, like his fellow Expressionist artists Barlach's works would be considered 'degenerate'. It is recorded Hitler looked angrily away from this piece at its lack of conservatism. Barlach was right to distance himself from the war - he died in 1938 after being persecuted and defamed by the Nazi party.