Georg Kolbe (1877-1947) is considered one of the most important sculptors of the first half of the 20th century. His figurative works symbolise an ideal combination of movement and harmony. His nude sculptures in particular illustrate his intensive study of modern man, whose physical dynamics and expression Kolbe sought to harmonise. As a member of various secessionist artist associations, he maintained close contacts with artists such as Karl Schmidt-Rottluff, Renée Sintenis and Ernst Barlach.
Originally trained as a painter and draughtsman, Kolbe discovered his passion for sculpture during an extended stay in Rome around 1900. His artistic endeavours have always been directed towards creating a form that harmoniously unites body and spirit. He summarised this aim under the term 'expressive sculpture'. In the 1920s, Kolbe found his characteristic style, which is still widely recognised today. The four sculptures on display are from this period: two 'Crouching', one 'Sitting' and one 'Squatting'. The 'Crouching' is a stucco from 1927 and a bronze cast from 1960.
In recent years, new research has examined and critically examined Kolbe's position and role during the Nazi era. An important source for this is the publication 'Georg Kolbe im Nationalsozialismus: Kontinuitäten und Brüche in Leben, Werk und Rezeption', which was published in 2023 and is available in the 'Knowledge' section of this exhibition. The book brings together the results of recent research that analyses Kolbe's activities on the art market, his relationships with patrons, his participation in exhibitions and his political contacts, as well as his strategies of self-promotion between 1933 and 1945. These studies are based on previously unknown documents that came into the possession of the Georg Kolbe Museum in 2020. These new sources provide a deeper insight into Kolbe's work during the Nazi era.
Although Kolbe was never a member of the Nazi party, today's perspective shows that he accepted recognition, commissions and honours from the Nazi leadership in order to secure his professional success. He did not publicly distance himself from the regime, and his works from this period, particularly the sculptures of the 1930s and 1940s inspired by the cult of Nietzschean heroes, could easily have been used for Nazi propaganda.
Kolbe's works from the 1920s, including many nudes such as 'The Sitting Woman', enjoyed great popularity during the Nazi era and were traded on the art market. Characterised by a modern understanding of form and an aesthetic emphasis on harmony and movement, these works were in keeping with the propagated ideal of the healthy body. On the other hand, their modern style was criticised by those in power. However, Kolbe avoided open conflict with Nazi art policy and, through skilful tactics, was able to remain in prominent circles.
Two works from the Nazi era shed particular light on Kolbe's position: a bust of the Spanish dictator Francisco Franco and his plans for a bust of Adolf Hitler. In March 1934, Kolbe offered the Reich Chancellery to create a bust of the dictator based on portrait sessions, but this was rejected. Recent research has shed light on how Kolbe sought to consolidate his status as a leading sculptor during this period. In particular, Aya Soika's contribution shows that Kolbe may have actively sought contact with Hitler's circle in order to position himself artistically and professionally. The Franco bust, created in the context of diplomatic relations between Germany and Spain, also illustrates Kolbe's efforts to secure his status and financial security through strategic commissions.
These works paint a multifaceted picture of Kolbe's role in the tension between conformity, opportunism and artistic ambivalence. Whether his decisions were motivated by personal conviction, tactical self-promotion or economic calculation remains the subject of academic research.
