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Ernst Barlach.
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The German sculptor Ernst Barlach (1870-1938), working predominately in wood, created important figurative carvings in that medium.Ernst Barlach was born in Wedel, a small town near Hamburg, the son o...
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When plays of the expressionist Ernst Barlach were first performed in the 1920s in major cities of the Weimar Republic, no less a critic than Thomas Mann compared Barlach favorably to the young playwr...
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One of the best-known German sculptors during the Weimar Republic, Ernst Barlach also achieved recognition as a playwright after World War I. Although audiences never responded with great enthusiasm t...
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In the following essay, McFarlane discusses Barlach's ability to move easily between verbal and visual communication in his writing and sculpture.
As a young man of nineteen, Ernst Barlach had ...
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In the following essay, Chick analyzes the ways in which Der arme Vetter is the pivotal play in Barlach's oeuvre, dealing as it does with failure and disappointment.
Der arme Vetter appeared in...
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In the following essay, Anderson attempts to reassess Barlach's depiction of the grotesque in his plays.
The term "grotesque" appears but rarely in the writings of the sculptor-pl...
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In the following review of The Letters of Ernst Barlach, Werner calls the letters invaluable because of the informal, honest picture they present of Barlach.
At one point in the last century, when the...
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In the following essay, Meech examines the place of music in Barlach's plays and sculpture in order to assess "the expressive potential of the different media at his disposal. "
T...
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In the following essay, Hatfield examines Barlach's use of the mythic "battle of the sexes" in Der tote Tag.
Barlach's Der tote Tag (1912) has been discussed rather often; ...
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In the following essay, Chick examines the use Barlach makes of linguistic patterns and plays on words in Sündflut.
In 1924 Barlach won the Kleistpreis for his drama Die Sündflut. Yet to the...
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In the following essay, Chick discusses Barlach's preoccupation with grotesque humor.
Wolfgang Kay ser's Das Groteske: Seine Gestaltung in Malerei und Dichtung,1 to which this article is...
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In the following essay, Werner presents an overview of Barlach s reputation as an artist and writer.
The veneration of the sculptor and printmaker Ernst Barlach (1870-1938) in Central Europe has, so f...
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In the following essay, Chick outines Barlach's difficulties in the German theater.
A more accurate title to this study might have been "Barlach versus the Theater" or better �...
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In the following essay, Werner assesses Barlach's sculptures and reputation as an artist.
In the year 1888, when young Ernst Barlach entered the School of Applied Arts in Hamburg, beginning wha...
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In the following essay, Keith-Smith surveys Barlach's life and works.
Anyone thinking of writing an essay on Ernst Barlach soon realises that there are a number of special problems to be faced ...
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In the following essay, Page offers an overview of Barlach's career and provides brief analyses of his major plays.
Ernst Barlach's fame as a sculptor of the first rank is well establish...
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In the following essay, Chick assesses Barlach's literary stature and value.
The accepted image of Ernst Barlach as an eccentric, probably profound, but heavy and obscure playwright needs corre...
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Ernst Barlach
Ernst Barlach
Critical Essay by J. W. McFarlane
