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Eberhard Encke
Female Javelin Thrower / - Dynamic beauty -
1932

$2,151.40List Price

About the Item

Eberhard Encke (1881 Berlin - 1936 Bad Nauheim), Female Javelin Thrower, 1932. Brown patinated bronze on a cast rectangular base. 30 cm (total height) x 32 cm (length with javelin) x 8 cm (depth), weight 2.7 kg. Signed “ENCKE” under the base and dated “1932”, with the foundry mark “Lauchhammer Bildguss” on the plinth below. - Minimally rubbed, overall in excellent condition for its age - Dynamic beauty - The athlete has increased her run-up to sprint and will throw the javelin skywards in the next moment. Her left arm indicates the direction of flight, while her outstretched right arm safely guides the javelin. The waving hair, the mouth open from heavy breathing and the slight torsional movement of the upper body indicate that the throw is imminent. While, following ancient sculpture, beauty was an expression of the body at rest, standing in contrapposto, which was still decisive for the Berlin school of sculpture into the Wilhelmine period, the popular sports movement and the reopening of the Olympic Games in 1896 led to the rediscovery of the beauty of the moving body. The powerful gracefulness of the javelin thrower is revealed precisely in her will-driven, purposeful and extremely concentrated physical peak performance. Every part of her body, imbued with the impulse to move, proclaims her beauty, while the skin-tight jersey reveals more than it conceals, lending the beauty an erotic element. Looking at her posture, the outstretched arms form a parallel line to the spear, which is repeated by the back leg and echoed in the flowing hair. Together with the upper body, the bent leg forms a zigzag shape that complements the parallels, creating a highly dynamized physical Art Deco 'ornament' that lends the moment of movement a timeless form. Encke thus creates here an outstanding work of new body aesthetics. About the artist Eberhard Encke was the son of the Berlin sculptor Erdmann Encke (1843-1896), a member of the Rauch School, whose marble monument to Queen Luise, unveiled in the Tiergarten in 1880, still delights visitors to the park today. His son Eberhard studied at the Munich Art Academy from 1901, first under Ludwig von Herterich and then with Wilhelm von Rümann. After the latter's death, Encke continued his studies at the Academy of Arts in his hometown of Berlin as a master student of Gerhard Janensch. In 1906, he made his debut at the Great Berlin Art Exhibition with the bronze statue “Hermes” and in the same year was awarded the Academy's Rome Prize for his life-size plaster figure “The Youth”, which enabled him to study in Rome. Back in Berlin, he became a master student of Louis Tuaillon, whose “Amazon on Horseback” still stands guard today in front of the New National Gallery and in the Tiergarten. Encke created his “Faustkämpfer” in Tuaillon's studio, for which he was awarded the “Golden Prussian State Medal for Art”. A bronze cast melted down during the Second World War once stood in the Prussian Park in Berlin-Wilmersdorf, and another can still be seen today on the Rathausplatz in Hamburg-Harburg. Before the turn of the century, his father had built the Erdmannshof in Neubabelsberg, which his son leased to Peter Behrens in 1907. In collaboration with Ludwig Mies van der Rohe, Walter Gropius, and Le Corbusier, Behrens built the Mannesmann Building in Düsseldorf in 1911 and the Continental House in Hanover in 1912, for which Eberhard Encke created the architectural sculpture. The largest project in which Behrens and Encke worked together was the German Embassy in St. Petersburg, completed in 1913, for which Encke created a monumental parapet group, which was demolished shortly after the outbreak of World War I. From 1911 Encke had his own studio in Berlin-Friedenau until he moved to Erdmannshof in 1928, where he devoted himself increasingly to monumental sculpture. For the 1936 Summer Olympics, he was commissioned to create a temporary monumental sculpture on Pariser Platz, from which the groups "Striving for the Olympic Victory Prize," later cast in bronze, each depicting two men and two women, emerged. In the same year, the artist died during a stay at a spa in Bad Nauheim. Eberhard Encke's oeuvre is varied and includes salon sculptures, busts, tomb sculptures, monuments, medals and plaques. With his work, he was able to open the Rauch school, which was still represented by his father during the Wilhelmine period, to modern sculpture. GERMAN VERSION Eberhard Encke (1881 Berlin - 1936 Bad Nauheim), Speerwerferin, 1932. Braun patinierte Bronze auf gegossenem rechteckigem Sockel. 30 cm (Gesamthöhe) x 32 cm (Länge mit Speer) x 8 cm (Tiefe), Gewicht 2,7 kg. Unter der Fußsohle mit „ENCKE“ signiert und auf „1932“ datiert, auf der Plinthe darunter mit der Gießereimarke „Lauchhammer Bildguss“ versehen. - minimal berieben, insgesamt in einem altersgemäß ausgezeichneten Zustand - Dynamische Schönheit - Die Sportlerin hat den Anlauf zum Sprint gesteigert und wird im nächsten Moment den Speer himmelwärts werfen. Ihr linker Arm gibt die Flugrichtung vor, während der ausholende rechte Arm sicher den Speer führt. Die von der erreichten Geschwindigkeit zeugenden wehenden Haare, der vom schweren Atem geöffnete Mund und die leichte Torsionsbewegung des Oberkörpers künden den unmittelbar bevorstehenden Wurf an. War die Schönheit im Anschluss an die antike Skulptur Ausdruck des in sich ruhenden, im Kontrapost dastehenden Körpers, was für die Berliner Bildhauerschule noch bis weit in die wilhelminische Zeit hinein maßgeblich war, so führte die Volkssportbewegung und die Wiedereröffnung der Olympischen Spiele 1896 zur Neuentdeckung der Schönheit des bewegten Körpers. Gerade in der vom Willen getragenen, zielgerichteten und äußerst konzentriert durchgeführten körperlichen Höchstleistung offenbart sich die kraftvolle Grazilität der Speerwerferin. Jeder Teil ihres vom Bewegungsimpuls durchdrungenen Körpers kündet von ihrer Schönheit, während das hauteng anliegende Trikot mehr enthüllt als verdeckt, was der Schönheit ein erotisches Moment verleiht. Nehmen wir ihre Haltung in den Blick, bilden die weit ausgestreckten Arme eine Parallellinie zum Speer, die vom hinteren Bein wiederholt wird und sich in den wehenden Haaren wiederfindet. Das angewinkelte Bein formt zusammen mit dem Oberkörper eine die Parallelen ergänzende Zick-Zack-Form, so dass ein hochdynamisiertes körperliches Art Deco ‚Ornament‘ entsteht, welchen dem Bewegungsmoment eine überzeitliche Form verleiht. Damit schafft Encke ein herausragendes Werk der neuen Körperästhetik. zum Künstler Eberhard Encke war der Sohn des zur Rauchschule gehörenden Berliner Bildhauers Erdmann Encke (1843-1896), dessen 1880 im Tiergarten enthülltes Marmordenkmal der Königin Luise noch heute die Parkbesucher erfreut. Sein Sohn Eberhard studierte ab 1901 an der Münchner Kunstakademie zunächst bei Ludwig von Herterich und anschließend bei Wilhelm von Rümann. Nach dessen Tod setzte Encke das Studium an der Kunstakademie seiner Heimatstadt Berlin als Meisterschüler von Gerhard Janensch fort. 1906 debütierte er mit der Bronzestatute „Hermes“ auf der Großen Berliner Kunstausstellung und wurde im selben Jahr für seine lebensgroße Gipsfigur „Der Jüngling“ mit dem Rompreis der Akademie ausgezeichnet, was ihm einem Studienaufenthalt in Rom ermöglichte. Zurück in Berlin wurde er Meisterschüler von Louis Tuaillon, dessen „Amazone zu Pferde“ noch heute vor der Neuen Nationalgalerie und im Tiergarten wacht. In Tuaillons Atelier schuf Encke seine „Faustkämpfer“, für die er mit der „Goldenen Preußischen Staatsmedaille für Kunst“ ausgezeichnet wurde. Ein im zweiten Weltkrieg eingeschmolzener Bronzeabguss stand einst im Preußenpark in Berlin-Wilmersdorf, ein weiterer ist noch heute auf dem Rathausplatz in Hamburg-Harburg zu sehen. Sein Vater hatte vor der Jahrhundertwende in Neubabelsberg den Erdmannshof erbauen lassen, den der Sohn ab 1907 an Peter Behrens verpachtete. Unter der Mitarbeit von Ludwig Mies van der Rohe, Walter Gropius und Le Corbusier realisierte Behrens 1911 das Mannesmanngebäude in Düsseldorf und 1912 das Continentalhaus in Hannover, für die Eberhard Encke die Bauplastik anfertigte. Das größte Projekt, bei dem Behrens und Encke zusammenarbeiteten, war die 1913 fertiggestellte Deutsche Botschaft in Petersburg, für die Encke eine monumentale Attikagruppe der Rosselenker schuf, die allerdings bereits kurz nach Beginn des Ersten Weltkrieges gestürzt wurde. Ab 1911 betrieb Encke ein eigenes Atelier in Berlin-Friedenau bis er 1928 selbst in den Erdmannshof übersiedelte, wo er sich zunehmend der Schöpfung monumentaler Plastik widmete. Für die Olympischen Sommerspiele 1936 wurde er mit der temporären Monumentalskulptur auf dem Pariser Platz beauftragt, woraus die später in Bronze gegossenen, je zwei Männer und zwei Frauen darstellenden Gruppen „Streben nach olympischem Siegespreis“ entstanden. Noch im selben Jahr verstarb der Künstler bei einem Kuraufenthalt in Bad Nauheim. Eberhard Enckes Oeuvre ist äußerst vielseitig und umfasst Salonskulpturen, Büsten, Grabplastiken, Denkmäler, Medaillen und Plaketten. Mit seinem Werk vermochte er es, die noch von seinem Vater zu wilhelminischer Zeit vertretende Rauchschule auf die moderne Skulptur hin zu öffnen.

Creator:
Eberhard Encke (1881 - 1936, German)
Creation Year:
1932
Dimensions:
Height: 30 in (76.2 cm)Width: 32 in (81.28 cm)Depth: 8 in (20.32 cm)
Medium:
Bronze
Movement Style:
Art Deco
Period:
1930-1939
Condition:
Gallery Location:
Berlin, DE
Reference Number:
1stDibs: LU2438215276862

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