Rudolf Belling

Early ventures into abstraction and a keen vision distinguish Rudolf Belling as a plastic artist.

About Rudolf Belling's Art

Rudolf Belling's early ventures into the abstract and his keen vision distinguish him as a plastic artist. The wide range of his work can be divided into three parts: his years in Berlin until the 30's, nearly 3 decades in Istanbul and his last years of life in Munich. He drew during this time as well.

In view of nearly forgotten status of this artist's works, it would be instructive to review the development of sculpture in Germany. German sculpture had long taken on a certain heaviness in comparison to the sculpture of surrounding countries. The forms remained more closely tied to materials and objects than in France, Russia or Italy. Jugendstil had not broken with the figurative. Although ornamentation and constructivist-subdivided, functional painterly expression had become a topic, it needed further impetus to gain clarity. With the architectural and arts and crafts movements shortly before WW1 in the background as the German 'Werkbund' (and later Walter Gropius and his circle) understood it, but also keeping in mind the Expressionist understanding (Kirchner, Lehmbruck, Barlach), Belling's keen vision of a new art under construction can be perceived within the context of his time.

Belling was one of the first, if not the first, sculptor in Germany to go beyond the object and reach full abstraction in his sculpture 'Dreiklang' (Triad) as early as 1918-19. He undertook this breakthrough to a new form of expression in close contact with architects. He had been inspired while talking with the architects Bruno and Max Taut and with Hans Poelzig. A world view of immediate functional and constructive form and the freedom of artistic creation had emerged.

Belling acquired familiarity with the free form as Cubism became established in France and Futurism in Italy. The interrelation between void and physical substance became part of the artistic language. The non-figurative became further elaborated. Belling renounced all figurative reference for a time.

Belling had begun in 1915 as a sculptor with expressive, figurative motifs. At the large Berlin art exhibit of 1921, his 'Geste Freiheit' (Gesture of Freedom) caused a so-to-speak 'sensation'. In 1918 'die Novembergruppe' was formed in Berlin, a progressive group of artists including Rudolf Belling, Mies van der Rohe, Max Pechstein and César Klein. In collaboration with the architects Luckhard and Würzbach, Belling created a sculpted room and fountain in 1918-9, a montage made of brass pipes and geometrically shaped cement forms. It was a sort of multidisciplinary work of art. A similar work was the terrace garden he designed with the architects Korn and Neutra, with a fountain from 1923 in which his sculpture becomes a mobile. Industry demanded new forms. The border between art and crafts begins to disappear. Belling created, among other things, automobile radiator mascots (Horch), advertising sculptures (Mercedes) and window display mannequins as well as theater sets (Max Reinhardt).

In the 20's Belling, inspired by the forms of Constructivism and Futurism, turned towards the portrait sculpture and a highly defined geometrical 'New Objectivity'. He created public pieces for industrial constructions in Amsterdam and Berlin in the early 30's in collaboration with Bruno Taut, but then the spiritual breakthrough and elation of the period were repressed by the Nazis, as mentioned in the biography section. Because of his emigration and new work conditions, Belling had to put off continuing to create his visions. While in Germany his works were removed from collections and his bronzes were melted down, he was invited by the Turkish government in 1937 to reorganize and direct the sculpture department of the Istanbul art academy. Bruno Taut also emigrated to Istanbul in 1936 with another invitation. Though the artistic activity on the Bosporus was not very stimulating for experimental artists, Belling only returned to Germany in 1966 at the age of 80. He settled in Krailling near Munich, where he remained artistically active until recently. He began receiving commissions for sculptures, exhibits and honors in Germany even before he returned. His late prints reaffirm his consciously intensive later work. ek