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Sun Rays In Maja's Arm - Statue By German Sculptor Gerhard Marcks - Kykuit Rockefeller Estate | Sleepy Hollow, New York

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© Sophie W. Smith

Joined October 2012

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Sizing Information

Small 8.0" x 12.0"
Medium 12.0" x 18.0"
Large 16.0" x 24.0"
X large 20.0" x 30.0"

Features

  • Superior quality silver halide prints
  • Archival quality Kodak Endura paper
  • Lustre: Professional photo paper with a fine grain pebble texture
  • Metallic: Glossy finish and metallic appearance to create images with exceptional visual interest and depth

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Artist's Description

Gerhard Marcks (February 18, 1889 – November 13, 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 age 18, he worked as an apprentice to German sculptor Richard Scheibe. 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.

With architect Walter Gropius (who would later be the founder of the Bauhaus school in Weimar), Lyonel Feininger, Scheibe and others, Marcks was a member of two art-related political groups, the Novembergruppe (November Group) and the Arbeitsrat für Kunst (Workers Council for Art). He was also affiliated with the Deutscher Werkbund, of which Gropius was a founding member.

In 1919, when Gropius founded the Bauhaus, 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.

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. 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 his dismissal in 1933. 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.

Despite such persecution, Marcks continued to live in Germany (in 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. 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 bombed during an air raid, and many of his works destroyed. Read more

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