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Gerhard Marcks Gerhard Marcks Bonifazius 1960, Bronze Sakrale Skulpturen 10

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Gerhard Marcks Gerhard Marcks Bonifazius 1960, Bronze Sakrale Skulpturen 10 Gerhard Marcks GERHARD MARCKS Bonifazius 1960, Bronze Sakrale Skulpturen 10. Juni – 16. Dezember 2018 SchlOss CAppEnbERG STIFTSKIRCHE SCHLOSS CAPPENBERG STIFTskirche 10.6.–16.12.2018 Schlossberg 59379 Selm­Cappenberg Öffnungszeiten Di – Fr 13.30 – 17 Uhr Sa – So 10.00 – 17 Uhr (außerhalb der Gottesdienste) GERHARD Der Eintritt ist frei Öffentliche Führungen MARCKS So 11.30 Uhr und 14.30 Uhr Sakrale Skulpturen Anmeldungen von Sonderführungen Politisch unbelastet erfährt er als Altmeister der Fon 02303 27­1441 figürlichen Plastik Anerkennung und erhält zahlrei­ che mit dem Aufbau von Kirchen und Innenstädten zusammenhängende Aufträge. In seinen Bildwerken Kreis Unna ­ Der Landrat für katholische wie auch protestantische Kirchen Kultur brachte er sakrale Inhalte in eine neue Form. Wie Hansastraße 4 auch in seinen freien Arbeiten nutzte er den über­ 59425 Unna lieferten christlichen Bildfundus um diese auf unter­ schiedlichen Ebenen zu thematisieren. www.kreis­unna.de Die Ausstellung in der Stiftskirche St. Johannes Evangelist auf Schloss Cappenberg präsentiert 14 sakrale Bronze­Plastiken aus der Zeit vor dem Krieg bis in die 1970er Jahre. Leihgeber ist die Gerhard­ Marcks-­Stiftung in Bremen, Partner der Ausstellung das dazugehörige Museum, das Gerhard­Marcks­ Haus, mit der größten Einkünstlersammlung welt­ Abb. Titel: Gerhard Marcks, Kleiner Sankt Georg, 1958 weit. Alle Leihgaben: Gerhard-Marcks-Stiftung, Bremen Fotos: Rüdiger Lubricht, Worpswede Layout: denkbetrieb Arne Reimann, Kurator © VG Bild-Kunst, Bonn 2018 für die Kunst der Naturvölker und frühen Hochkul­ GERHARD turen, besonders der griechischen Antike. Von 1925 bis 1933 lehrt er Bildhauerei an der Kunstge­ MARCKS werbeschule Burg Giebichenstein in Halle an der Sakrale Skulpturen Saale, seit 1927 auch als Direktor in Stellvertre­ tung. Von den nationalsozialistischen Machthabern wird Marcks wegen seines Eintretens für seine jüdischen Kolleginnen aus seinem Amt entlassen Der christlich protestantischen Tradition, aus der und seine Kunst als »entartet« verfemt. Gefolgt Gerhard Marcks (1889­1981) stammte, blieb der von einem drohenden Arbeitsverbot zieht er sich autodidaktische Bildhauer verpflichtet. Durch seine mit seiner Familie nach Niehagen, nahe Worps wede, von der Berliner Sezession beeinflussten Haltung, in eine »innerer Emigration« zurück. 1943 fällt der lehnt er die Ausbildung an der Akademie ab. Statt­ älteste Sohn und durch einen Bombentreffer wird dessen drängte es ihn mit dem ausgebildeten Maler das Berliner Atelier vollständig zerstört. Richard Scheibe zur Bildhauerei. In seinen frühen Nach dem Krieg wählt der Künstler aus verschiede­ Bronzen zeigt sich der Tierplastiker August Gaul als nen Angeboten die Landeskunstschule Hamburg. Vorbild. Unter der Anleitung seines künstlerischen Berliner Umfelds und besonders von Georg Kolbe, entwickelte er seine moderne, figürliche Formen­ sprache. Die Verlagerung vom Inhalt in die plasti­ sche Form, macht ihn zu einem der bedeutendsten Gerhard Marcks deutschen Bildhauer Anfang des vergangenen Jahr­ Jeremias, 1958 Bronze hunderts. Gerhard Marcks wird 1919 als einer der ersten Meister an das Staatliche Bauhaus in Weimar be rufen. Walter Gropius ernennt ihn zum künstlerischen Leiter der Keramikwerkstatt in Dornburg. Dort setzt er sich mit den zeitgenössischen Kunstströmungen ausein­ ander: dem Expressionismus, Kubismus und der Abstraktion. Außerdem entdeckt er sein Interesse Abb. rechts: Gerhard Marcks Eva mit Schlange, 1959, Bronze Gerhard Marcks Abb. aussen: Kniender Prophet Gerhard Marcks 1936, Bronze Madonna, 1952, Bronze.
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