ART GROUP
discussion about Sammy ’ s collaboration with Paula Hammer , which was an oversized table with beautiful fruit that he ’ d made using a very complicated and technical method . I definitely wanted to take a bite out of that forbidden fruit . Did you ever hear the story about the dog eating the homework ? Well , gossip quickly spread that Maximilian Seegert and Robert Bergmann ’ s post-art sugar work was destroyed by a hungry dog . A dog who loves sugar ?
Work by Rosa Luder . ( Photo by Susan S . -W .)
Sammy then took us to one of his favorite pieces , stating that its beauty made him wish that he ’ d made it . We all gazed on Rosa Lüder ’ s large metal tree with brilliant fruits and petals that shimmered in the room . We instantly understood Sammy ’ s sentiments . One of the final pieces was the freshly finished master ’ s building . A true highlight was Prateek Vijan ’ s wooden conveyor belt rigged to a sensor that would create tones depending on which piece of wood was going through the sensor . It was a piece that others actually could interact with . Sammy ’ s genuine honesty , combined with his sensitive insights , made this both an outstanding and pleasurable tour . ( Shelly S .)
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Holland and Belgium , where his style made a radical departure from earlier works . His colors are much brighter , and he becomes known for his paintings of people behind masks . Nolde ’ s message was not satire but an expression of the unfolding drama within himself . Many of his works attested to his continuing religious crisis .
Free Spirit ( 1906 ), part of the Bucerius exhibition , featured Nolde ’ s view of himself as an unappreciated genius , saint , philosopher , and maybe even a Christ figure . He called this his first religious painting . This canvas depicts a fullfrontal figure with crossed hands surrounded by disciples foreshadowing the crucifixion .
Nolde ’ s beliefs were referred to in Holly ’ s lecture . The subject of Nolde and his relationship to the north is useful to examine for its relevance to the artist ’ s enthusiasm for Nazi ideology . At the end of the war , Nolde ’ s Nazi past was covered up . Art historians and Nolde himself replaced it with the myth that the artist was a tragic victim of the Nazis . This myth was popularized in Sigried Lenz ’ s novel Deutschstunde .
Before he died , Nolde created a foundation to manage his estate , archive his papers , and run his home in Seebüll on the North Sea as a kind of memorial museum . He stipulated that the foundation keep his correspondences and journals out of the public eye .
The trustees of the foundation went even further and made access to Nolde ’ s papers pretty much impossible for outside scholars . It wasn ’ t until 2014 that the new director of the foundation opened the archives to visiting scholars and initiated a course of studies and exhibitions working through the material in Seebüll . The exhibition we visited at the Bucerius Art Forum was a part of that cooperation . ( Marilyn R .)