| 1870 |
Ernst Barlach is born as the first son of Johanna Luise Barlach and Dr. Georg Barlach in Wedel an der Niederelbe on January 2nd.
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| 1871 |
Birth of brother Hans.
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| 1872 |
The Barlach family moves from Wedel to Schönberg in Mecklenburg. Birth of twin brothers Nikolaus and Joseph.
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| 1877 |
The Barlach family moves to Ratzeburg.
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| 1884 |
After the demise of Barlach's father, the family returns to Schönberg. Ernst Barlach attends the secondary school in Schönberg.
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| 1888 |
Barlach becomes a student at the general trade school in Hamburg.
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| 1889 |
He attends the trade school in Hamburg. Hornung, Woldemar and the sculptor Thiele are his teachers.
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| 1891 |
Barlach shifts from Hamburg to Dresden and attends the lower and intermediate-level classes at the Royal Academy of Fine Arts.
1892 Barlach becomes master-class pupil of Robert Diez.
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| 1895 |
Final examination at the Art Academy of Dresden with the sculpture "Krautpflückerin" (Herb-Picker-woman) created during the previous year. Barlach's first study trip to Paris at the Académie Julian and publication of the book "Figürliches Zeichnen" (Figure drawing).
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| 1897 |
Barlach's second study trip to Paris. Thereafter, he works as an artist in Hamburg and Altona.
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| 1898 |
Barlach participates in the "Great Berlin Art Exhibition" with his "Krautpflückerin" (Herb-Picker-woman) and with a tomb relief, and four of his drawings appear in the magazine "Jugend" (Youth). He works with the sculptor and friend Karl Gabers in a studio partnership. Together they create the gable relief of the Altona town hall. Early literary expressions reflect upon the time in Paris and go back to the years in Hamburg, Berlin and Wedel.
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| 1899 |
Barlach's first stay in Berlin. Meeting with Reinhard Piper and Karl Scheffler.
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| 1901 |
Barlach leaves Berlin and settles in his native town Wedel. First attempts at writing dramas. Establishes ties of friendship with Karl Gabers and Julius Wohlers. Here he mainly creates small pottery items for the potters' studio Mutz in Altona.
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| 1904 |
Barlach takes up a teaching post at the Vocational School for Pottery in Höhr-Grenzhausen/Westerwald. First exhibition of his pottery works at the art gallery Richard Mutz in Berlin. Barlach's friend Reinhard Piper establishes the Piper-Verlag in Munich.
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| 1905 |
Barlach relinquishes the teaching post in Höhr-Grenzhausen and relocates for the second time to Berlin.
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| 1906 |
Prompted by a severe identity crisis and personal struggle, Barlach travels to Russia. Together with his brother Nikolaus, he travels via Warsaw to Kiev, Kharkov, Konstantinovka, Karamatorovke, Belgorod and Bachmut. He creates a vast number of sketches and writes the "Russische Tagebuch" (Russian Diary), which is published in 1912 under the title "Eine Steppenfahrt" (A Steppe Journey), and illustrated with 13 lithographs. The outcome of this Russia tour is a fundamental artistic new beginning for Barlach. A son, Nikolaus, is born in Berlin-Moabit, from the relationship between Ernst Barlach and Rosa Schwab. After litigation, Barlach is granted custody.
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| 1907 |
At the 13th exhibition of the Berlin Secession, two of Richard Mutz's fired terracottas created by Barlach (Blind Russian Beggar; Russian Beggar Woman with Bowl ) are exhibited with success. Barlach views the artistic outcome of the Russia trip as positively affirmed. He starts to use the contents of the sketch-books completed in Russia by incorporating them in sculptural and literary works. Six of his sociocritical drawings appear in "Simplicissimus". The begin of Paul Cassirer's and August Gaul's patronage of Barlach.
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| 1908 |
Barlach is represented by 7 sculptures and 20 drawings at the winter exhibition of the Berlin Secession. The first sculptural art works in wood: Liegender Bauer (Reclining Farmer), Steppenhirt (Steppe Shepherd), Sitzendes Weib (Sitting Woman), Schäfer im Sturm (Shepherd in the Storm), and Wanderer im Wind (Wanderer in the Wind), which is the first work of Barlach acquired by the Bremen Art Gallery. Contract with Paul Cassirer, who is entrusted by Barlach with the sale and marketing of his work, against a regular fee.
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| 1909 |
Barlach goes to Florence for 10 months on a Villa Romana scholarship, where he meets the poet and cosmopolitan Theodor Däubler. Appointment as jury member of the Berlin Secession.
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| 1911 |
Barlach uses a converted stable in Güstrow as a studio. Work on the drama "Die Osterleute" (The Easter People), later "Der Arme Vetter" (The Poor Cousin).
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| 1912 |
First publication of the drama "Der Tote Tag" (The Dead Day) with 27 lithographs. Meeting with Theodor Däubler. Work on Diario Däubler and the preliminary stages of the novel "Seespeck". Participation in the "2nd Sonderbund Exhibition" in Cologne. Albert Kollmann visits Barlach in Güstrow.
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| 1914 |
2nd of August: outbreak of the Great War. Barlach is elected into the management of the Free Secession. At its first exhibition, Barlach is represented with his works "Die Verlassenen" (The Abandoned) and "Wanderndes Paar" (Wandering Couple). Work on the "Güstrower Tagebuch" (Güstrow Diary). Beginning of the friendship with Friedrich Schult.
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| 1915 |
Barlach volunteers for military service and becomes a soldier of the reserve forces in Sonderburg.
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| 1917 |
First retrospective of Barlach's complete works in Salon Paul Cassirer with an introduction by Theodor Däubler. Friedrich Kayßler reads from the drama "Der Tote Tag".
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| 1919 |
Barlach is elected as a member of the Prussian Academy of Arts. He declines teaching posts and honorary doctorates. First performance of the dramas "Der arme Vetter" in Hamburg and "Der tote Tag" in Leipzig.
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| 1920 |
Death of his mother. Publication of the drama "Die echten Sedemunds" (The genuine Sedemunds).
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| 1922 |
Inauguration of Barlach's first monument: the panel "Die Schmerzensmutter" (The Matre Dolorose) in the Nikolai Church in Kiel. The drama "Der Findling" (The Foundling) is published with 20 woodcuts. Graphical sequel to "Die Ausgestoßenen" (The Outcasts) is published.
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| 1924 |
Barlach receives the Kleist Prize. Participation in the "First General German Art Exhibition" in Moscow, Saratov, and Leningrad. Book edition of "Sündflut" (Flood) and its premiere in Stuttgart.
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| 1925 |
Beginning of the acquaintance with Bernhard and his wife Mrs. Marga Böhmer, who later becomes Barlach's life companion. Work on drama "Baal", later "Der blaue Boll" (The Blue Boll). Barlach becomes honorary member of the Academy of Fine Arts in Munich.
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| 1926 |
Barlach has successful exhibitions in Berlin at Cassirer's and in Dresden. Suicide of friend Paul Cassirer and closer relationship with Bernhard Böhmer.
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| 1927 |
Barlach's first monumental sculpture, the "Güstrower Ehrenmal" (Güstrow memorial) is given to the public in the Güstrow Cathedral.
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| 1928 |
Publication of the autobiography "Ein selbsterzähltes Leben" (A self-narrated life) and the premiere of "Findling" (Foundling) in Königsberg. First graphic self-portraits.
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| 1929 |
After installation of the Magdeburg memorial, the beginning of a smear campaign against Barlach by reactionary circles. Barlach withdraws the designs for a monument in Malchin.
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| 1930 |
On the occasion of his 60th birthday, major exhibitions of Barlach's work in the Akademie der Künste in Berlin, and in Essen, Kiel and Lübeck. Negative public response to the provisional exhibition of the large sculpture "Bettler auf Krücken" (Beggar on Crutches) in Lübeck. Construction of a new studio house in Güstrow. Contract with A. Flechtheim for the bronze casting of several older plaster models and an exhibition of 20 bronze sculptures in the gallery Flechtheim in Berlin and Düsseldorf.
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| 1931 |
Inauguration of the "Hamburger Ehrenmal" (Hamburg cenotaph - Mother with Child). The move into the atelier house. Barlach stays with Marga Böhmer in the house next to the Böhmer house, while Bernhard Böhmer and his new wife Hella move into the new residence of the atelier house. Barlach is represented by five sculptures at an exhibition of German Art in the Museum of Modern Art in New York.
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| 1932 |
The attacks against Barlach from ethnic and national-socialist circles become increasingly bolder. He withdraws a design for the memorial in Stralsund. Special "Ernst Barlach" show at the autumn exhibition of the Prussian Academy of Arts, with three facade statues for Lübeck, among other things.
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| 1933 |
Barlach gives a radio lecture "Artists about the present", seven days before Hitler's assumption of power. He protests against the forced expulsion of Käthe Kollwitz and Heinrich Mann from the Prussian Academy of Arts. Decision of the Magdeburg cathedral parish council on the removal of the Magdeburg memorial. Exhibition in the Bern Art Gallery.
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| 1934 |
The design for a tombstone for his friend Theodor Däubler is rejected by the Chamber of Literature of the Reich. The "Magdeburg cenotaph" is warehoused in Berlin. Hermann F. Reemtsma commissions Barlach to complete the "Fries der Lauschenden" (Frieze of eavesdroppers).
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| 1935 |
Barlach completes the "Fries der Lauschenden". In Altona, the Nazi's enforce the removal of the drama "Die echten Sedemunds" (The genuine Sedemunds).
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| 1936 |
Removal of the works of Barlach, Kollwitz, and Lehmbruck from the anniversary exhibition of the Prussian Academy of Arts. The Gestapo confiscates the book "Ernst Barlach - Zeichnungen" (Ernst Barlach - drawings).
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| 1937 |
"The terrible year". Removal of the "Güstrower Ehrenmal" (Güstrow memorial) and the "Geistkämpfer" (Ghost fighter) from the public in Kiel. Removal of all works of Barlach from German museums. "Das Wiedersehen" (The reunion) and the book "Ernst Barlach - Zeichnungen" are displayed within the context of the exhibition "Degenerate Art" in Munich. Forced resignation from the Prussian Academy of Arts. Exhibition in the Westermann gallery in New York.
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| 1938 |
The Hamburg senate decides to remove the "Hamburger Ehrenmals" (Hamburg cenotaph). Ernst Barlach dies on October 24th. Memorial exhibition in the Buchholz gallery in New York. The London exhibition "20th Century German Art", a protest manifestation against the German exhibition "Degenerate Art", displays nine works of Ernst Barlach.
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