Tears seem to well up in the marble. This is the Heldenklage. It stands as a poignant war memorial for the victims of World War I. Benno Elkan created this sculpture. He finished it in 1913 and 1914. But it was not erected until 1920.
The city of Frankfurt chose Elkan’s representation in 1919. They wanted a monument to honor the soldiers who fell in the Great War. Elkan added a base with the inscription “Den Opfern” or “To the Victims.”
However, the Heldenklage drew criticism from all sides. Some critics disliked the artistry. They felt the expression of pain was unconvincing. Others were disturbed by the nudity and sensuality of the figure.
The memorial broke with tradition. It focused on the “victims” rather than glorifying war. It even included the enemy’s dead in its commemoration. This inclusive approach was unusual for war memorials.
National conservatives were offended. They saw the mourning woman as a broken Germania. This challenged their sense of national pride. The National Socialists also disapproved. They felt the Heldenklage lacked heroism. It didn’t have the pathos of dying for an ideal. They wanted a monument that glorified sacrifice. They erected their own war memorial nearby in 1938. It embodied the heroic ideals they felt were missing here.
Adding to the controversy, Benno Elkan was Jewish. He was banned from working and forced to leave for London in 1935. The authorities planned to destroy his sculpture. But the Heldenklage was saved for unknown reasons. It was stored in the depot of the municipal street cleaning department.
After the war, the memorial was re-erected. On April 18, 1946, it was returned to its original location. Today, the Heldenklage stands as a reminder. It honors all victims of war. It stands as a testament to peace and reconciliation. It encourages us to reflect on the human cost of conflict. The Heldenklage embodies Frankfurt’s commitment. It serves as a warning against the dangers of nationalism and hatred. It is a powerful symbol of remembrance.