In the heart of Friedrichshagen’s Müggelpark, a bronze narrative unfolds. The Vater mit Kind Sculpture, slightly larger than life, stands as a testament to familial love. Ingeborg Hunzinger breathed life into this artwork, capturing a tender moment between father and child. The sculpture rests on a concrete plinth, gazing towards the serene Müggel Lake. A small, paved area frames the sculpture within the park’s green expanse.
The Vater mit Kind Sculpture depicts a slender man holding a child on his shoulders. His pose is relaxed, one leg slightly bent. He supports the child’s feet with both hands, his gaze directed upwards towards his son. The child looks back, creating a closed loop of affection. The emotional resonance of this gesture softens the inherent grandeur of the piece.
Ingeborg Hunzinger’s journey with Vater mit Kind began in 1957. She submitted a smaller plaster version to a competition organized by the Kulturbund in Köpenick. Her talent shone through, earning her first prize. This recognition paved the way for the creation of the bronze sculpture we see today. It was installed in Müggelpark in 1960.
The sculpture’s location holds historical significance. It was placed on the same pedestal that once held Käthe Kollwitz’s “Schwimmerin.” This earlier work was tragically removed by the Nazi regime in 1944. In 1998, during restoration, the Vater mit Kind Sculpture was moved closer to the lake’s shore and given a new, flat concrete base.
Müggelpark itself boasts a rich history. It was transformed from a private garden into a public park in the 1920s. The construction of the Spreetunnel in 1927 and the establishment of a steamboat landing further enhanced the park’s development. The park underwent restoration in the 1950s, retaining its original pathways. Two sculptures grace the park: Vater mit Kind, and Theo Balden’s “Geschwister,” installed in 1965.
Vater mit Kind reflects the artistic landscape of East Germany during this period. Such sculptures, placed in residential areas and public spaces, often portrayed seemingly apolitical themes. However, they subtly reinforced the socialist ideals of the time. These works aimed to project harmony, joy, and a sense of community, embodying the supposed positive spirit of a socialist society. The Vater mit Kind Sculpture, with its touching portrayal of a father’s love, became a symbol of this new socialist human ideal. The sculpture stands as a poignant reminder of the complex interplay between art, politics, and public life in post-war Germany.