“Verrenkt” is how one critic described a similar sculpture by Georg Kolbe. Here before us stands the Badende Relief. It’s a work that invites contemplation.
The Badende Relief, a creation of Georg Kolbe, captures a figure partly veiled by cloth. Kolbe often used the term “Badende” for such figures. One early sculpture of a female figure is in the Nationalgalerie Berlin. Another sculpture from 1919 is in the Berlinische Galerie.
Kolbe meticulously planned the complex pose of his sculptures with sketches. One bronze Badende features a red patina. Kolbe favored this style around 1920. It debuted in 1921 at Galerie Cassirer.
A reviewer from the Neue Preussische Zeitung commented. He felt Kolbe sometimes went too far with artificial poses. He found the kneeling Badende with garment unnatural.
Another study shows a similar pose to “Klagende”. A related drawing sketch exists. The bronze was likely first shown at the Venice Biennale in 1926.
The Georg Kolbe Museum now stands where Kolbe had his home and studio built. It was built in 1928 and 1929. The location is on the edge of Berlin’s Grunewald forest. The museum is an example of the “Neues Bauen” architectural movement in Berlin. The “Fountain of Dancers” from 1922 is a highlight.
The Georg Kolbe Museum focuses on Kolbe’s sculptures and drawings. It features about 200 mostly bronze sculptures. The collection includes works by other sculptors. These artists were active in the first half of the 20th century.
Changing exhibitions explore Kolbe’s work. They also examine his contemporaries. These exhibitions interpret artworks in their historical context. Contemporary sculpture is another focus. Thematic exhibitions explore contemporary sculpture. International artists are invited.
The Badende Relief invites us to consider movement and form. It encourages us to appreciate the artist’s skill. It allows us to engage with art history.