British Museum blog

Barlach’s hovering angel travels to London

Clarissa von Spee, curator, British Museum

‘Everything is packed and we are on our way now!’ said a breathless voice on the phone, and it took me several seconds to realize that it was the chairman of the Ernst Barlach Stiftung Güstrow (Barlach Foundation).

Güstrow Cathedral. Photo: Wikimedia Commons, User:Schiwago. This file is licensed under the Creative Commons Attribution 2.5 Generic license.

Güstrow Cathedral. Photo: Wikimedia Commons, User:Schiwago. This file is licensed under the Creative Commons Attribution 2.5 Generic license.

Ernst Barlach, Der Schwebende (Güstrow Cathedral) © Archiv Ernst Barlach Stiftung Güstrow (Foto: Uwe Seemann)

Ernst Barlach, Der Schwebende (Güstrow Cathedral) © Archiv Ernst Barlach Stiftung Güstrow (Foto: Uwe Seemann)

Barlach's Angel prior to removal for loan to the British Museum exhibition

Barlach’s Angel prior to removal for loan to the British Museum exhibition

On Monday 29 October the parish of Güstrow, in the north German state of Mecklenburg-Vorpommern, removed their famous Angel, a 150kg bronze sculpture suspended in a chapel of their cathedral, and sent it by train and ferry to London to be shown in the exhibition Germany: memories of a nation. The Angel arrived two days later in London. Too large to fit into a lift, the bronze was carried by no less than 8 well-muscled Heavy Object Handlers to the exhibition space.

Güstrow, also known as Barlachstadt (Barlach city), was the hometown of Ernst Barlach, a German expressionist sculptor, whose most important work is his floating, or hovering bronze figure (Der Schwebende) made in 1926 to commemorate the victims of the First World War. Barlach himself fought in this war and returned a pacifist.

Der Schwebende ('The Hovering'), by Ernst Barlach, Güstrow Cathedral.

Der Schwebende (The Hovering), by Ernst Barlach, Güstrow Cathedral.

Barlach’s memorial is unusual and unique. Detached from earth and time, with folded arms and closed eyes, the hovering figure expresses an internalized vision of the grief and sufferings of war. When the Nazis came to power in the 1930s, Barlach’s works were among the first to be declared Entartete Kunst (‘degenerate art’) and confiscated and removed from public display. Sadly, Barlach died in 1938, knowing that his masterwork had been taken down to be melted and probably made into war munitions.

However, some courageous friends had managed to hide a second cast, which was then hung in the Antoniter Church in Cologne after the end of the Second World War. This time, the sculpture commemorated two World Wars. During the time of the Cold War in the 1950s, the parish of Cologne made another cast of the Angel and presented it in a gesture of friendship to the parish of Güstrow cathedral. For the next few months this cast is displayed in the British Museum’s exhibition.

In 1981 Helmut Schmidt, the Chancellor of West Germany, met Erich Honecker in East Germany, and they visited Barlach’s Angel in Güstrow cathedral. On this occasion, Schmidt said to the bishop in Güstrow: ‘I would like to thank you very much for your kind words of welcome. As you said, Barlach is indeed part of our common memory of the past. May I add, that Barlach could also stand as a representative of our shared and common future.’ Schmidt was right. Eight years later, in peaceful demonstrations, East Germans brought the wall between East and West down.

The sculpture also holds an additional message for us. The British sculptor Antony Gormley said in a recent talk at the British Museum: ‘If you want to know how it feels to exist beyond space and time, just close your eyes and look inwards.’ Try it, it works! In the exhibition, Barlach’s hovering bronze figure faces us directly, but its eyes are closed with arms folded over its chest. A perfect way to come to peace with the world.

The exhibition Germany: memories of a nation is at the British Museum from 16 October 2014 to 25 January 2015. Sponsored by Betsy and Jack Ryan, with support from Salomon Oppenheimer Philanthropic Foundation.

Accompanying the exhibition is a 30-part BBC Radio 4 series written and presented by Neil MacGregor.

In the episode Barlach’s Angel, Neil MacGregor focuses on Ernst Barlach’s sculpture Hovering Angel, a unique war memorial, commissioned in 1926 to hang in the cathedral in Güstrow.

Filed under: Germany: memories of a nation, Uncategorized, , , , , , , ,

One Response - Comments are closed.

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,342 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This is an exquisitely decorated purse lid from the Anglo-Saxon burial at #SuttonHoo, which was discovered #onthisday in 1939. In this object the quality of craftsmanship can really be appreciated. The lid is only 19cm in length but it must have been incredibly valuable. The outstanding nature of the finds at Sutton Hoo points to this being the burial of a leading figure in East Anglia, possibly a king. The landowner Mrs Edith Petty donated the discovery to the British Museum in 1939.
#SuttonHoo #Gold #Archaeology #AngloSaxon Today we’re celebrating the unearthing of the beautiful Anglo-Saxon objects from #SuttonHoo, which were found #onthisday in 1939. Arguably the most iconic of all the objects, this helmet was an astonishingly rare find. Meticulous reconstruction has allowed us to see its full shape and some of the complexity of the fine detailing after it was damaged in the burial chamber. The gold areas of the helmet reveal a dragon or bird-like figure – the moustache forms the tail, the nose forms the body and the eyebrows form the wings, with a head just above. Another animal head can be seen facing down towards this.
#SuttonHoo #AngloSaxon #Gold #Helmet #Archaeology #onthisday in 1939, just before the outbreak of the Second World War, archaeologists discovered the treasures of #SuttonHoo. It was one of the most important historical discoveries of the 20th century, and contained a wealth of Anglo-Saxon objects which greatly enhanced the understanding of the early medieval period. One of the most significant things to be found was an undisturbed ship-burial, the excavation of which can be seen in this photo. The 27-metre-long impression the ship left in the earth is highly detailed and was painstakingly recorded. The centre of the ship contained a burial chamber housing some spectacular objects – we’ll be sharing some highlights today.
#SuttonHoo #AngloSaxon  #archaeology #archive #blackandwhite This photograph shows a mountainside in #Angola featuring large engravings which may be thousands of years old. This rock art is found at Tchitundu-Hulu Mulume, one of a group of four rock art sites located in the south-west corner of Angola, by the edge of the Namib desert. The area is a semi-arid plain characterised by the presence of several inselbergs (isolated hills rising from the plain). Of the four sites, Tchitundu-Hulu Mulume is the largest, located at the top of an inselberg, 726 metres in height. There are large engravings on the slopes of the outcrop, most of them consisting of simple or concentric circles and solar-like images.

Our #AfricanRockArt image project team have now completed cataloguing 19,000 rock art images from Northern, Eastern and Southern Africa, and will be completing work on sites from Southern African countries in the final phase of the project. Follow the link in our bio to find out more about our African #rockart image project and the incredible images being catalogued.
Photograph © TARA/David Coulson. Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson.
Follow

Get every new post delivered to your Inbox.

Join 16,342 other followers

%d bloggers like this: