Word: barlach
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Freedom Is Crime. The hero, Hans Barlach, is a retired Swiss police commissioner, convalescing from an operation for cancer. He comes to suspect that a notorious doctor who performed experimental operations without anesthetic in Nazi concentration camps may be the same surgeon who is running a swank sanitarium near Zurich. Barlach commits himself to the sanitarium in the hope of exposing the evil M.D., but finds himself trapped and helpless in Dr. Emmenberger's grisly suite of torture chambers...
...Sade, with some Sartrean existentialist glosses provided by the doctor's morphine-addicted mistress ("The world is foul, Commissioner, rotting like a badly stored fruit") and a trained nurse who has written a pamphlet titled: Death, Goal and Purpose of Our Life, A Practical Guide. In the end, Barlach sweats out the ticking last hours, minutes, seconds before the time set for the operation he knows will end in his own death under the doctor's sadistic knife. Pat to the final instant comes Salvation, in the mysterious appearance of a wandering Jew called Gulliver who has somehow...
...movement in history. Why, then, have scholars begun again to take it seriously? In the new view, it is seen as a genuinely liberating upheaval that gave some of the modern masters their first taste of bold experiment. Some of art's biggest names-Rodin and Ernst Barlach, Bonnard, Edvard Munch, Gauguin and Picasso-were at one time caught up in it. There is another reason for Art Nouveau's comeback. Its dipsy-doodling fancies may sometimes be gaudy, even ludicrous, but they recall a period that did have a kind of uninhibited elegance...
...familiar plight of painters and writers in seeking recognition is traditionally surpassed only by poets and sculptors, those artists who perpetually face the problem of addressing an extremely limited audience. And so, Aristide Maillol, Ernst Barlach and Gerhard Marcks, all noted for their sculpture, have translated their sculptural conception of form and line into two dimensions via the highly communicable medium of graphic...
...Barlach, for instance, represented both by woodcuts and lithos, proves far more convincing in the former category. The woodcut, rarely a delicate medium, is one challenging to subtlety; Barlach capitalizes upon its bold, vigorous hardness, converting a linear element to sculptural, determined shape, substituting candid and forceful areas for greater refinement of expression. In dealing directly with problems of drawing, via lithography, Barlach's result becomes highly tenuous, unsure, and often completely confused. The same attempt at vitality employed to convey vignettes brutal in subject falters and emerges much weaker in its substitution of the crayon for the chisel...