Joseph Enseling
Joseph Enseling was a pupil of great teachers and the teacher of great disciples.
The sculptor studied at the Kunstgewerbeschule Duesseldorf. No less important are his disciples, like Joseph Beuys, in turn, stands out as a newcomer to the arts.
Enseling's education and his more than forty years of teaching at the Folkwangschule Essen and the Duesseldorf Art Academy made him a great mediator between modern and contemporary art, bringing him to the fore in the plastic art of the 20th century. The artist, who died in 1957 created a significant amount of his own works. Mostly he did it o for private clients, in the (industrial) architectural context or for a monument.
His human figures are particularly expressive. They make an impression as belonging to the present day because they should not present the academic study, but to show the modern man as active, dealing with his world-facing show. Many of his works were installed in industrial areas along the Rhine and Ruhr. Enseling's insistence on contemporary reality is also clearly evident in his "Madonna" from 1920.
The sculptor studied at the Kunstgewerbeschule Duesseldorf. No less important are his disciples, like Joseph Beuys, in turn, stands out as a newcomer to the arts.
Enseling's education and his more than forty years of teaching at the Folkwangschule Essen and the Duesseldorf Art Academy made him a great mediator between modern and contemporary art, bringing him to the fore in the plastic art of the 20th century. The artist, who died in 1957 created a significant amount of his own works. Mostly he did it o for private clients, in the (industrial) architectural context or for a monument.
His human figures are particularly expressive. They make an impression as belonging to the present day because they should not present the academic study, but to show the modern man as active, dealing with his world-facing show. Many of his works were installed in industrial areas along the Rhine and Ruhr. Enseling's insistence on contemporary reality is also clearly evident in his "Madonna" from 1920.
