(Rheinberg 1881 – 1948 Berlin)

Steger first studied at the School of Applied Arts in Eberfeld and later received private lessons from the sculptor Karl Janssen from Düsseldorf. From 1910 onwards, she lived in Hagen, where she created monumental architectural sculptures. Her work was complemented by independent pieces that often incorporated elements of dance. From 1928 onwards, Steger taught at the teaching institute of the Association of Berlin Women Artists.

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(New York 1883 – 1945 Brandenburg/Havel)

Scheurich came to Berlin as a child and received a brief academic education there. He created his first models for porcelain sculptures around 1910 for the Schwarzburg workshops. With figures in reduced forms, he brought porcelain sculpture into the modern era. His works were produced in the manufactories of Berlin and Meissen. Scheurich was also active as a draftsman and graphic artist.

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(Paris 1879 – 1944 Paris)

Poiret was one of the most famous fashion designers of the Art Deco period. After completing his apprenticeship at several Parisian fashion houses, he set up his own business in 1903 with an exclusive salon. The performances of the Ballets Russes in Paris inspired him to create his own Far Eastern-style designs.

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(Hannover 1867-1929 Berlin)

After studying art at the Munich Academy, Oppler enjoyed early success with works in the style of the Munich School, but soon became a member of the Munich and Berlin Secession. During a stay in London lasting several years, he devoted himself intensively to the technique of etching and, from 1900 onwards, developed an impressionistic style of painting. After moving to Berlin in 1904, he focused intensively on the motif of dance, with his technically sophisticated etchings attracting particular attention.

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(Meschede 1887 – 1914 Champagne)

Macke began studying at the Düsseldorf Art Academy in 1904, accompanied by numerous study trips. He worked temporarily in Lovis Corinth’s studio in Berlin. In 1910, he developed a friendship with Franz Marc, and later with Wassily Kandinsky, Gabriele Münter, and Alexej Jawlensky. Macke joined the “Blauer Reiter” artists’ association in Munich and helped shape Rhenish Expressionism. Macke lost his life in World War I.

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(Wien 1892 – 1950 Wien)

Lorenzl initially worked as a metal caster in a bronze casting workshop and later created dance-like figures in the Art Deco style as a sculptor and ceramist. The sculpture “Gefangener Vogel” (Captive Bird), created for the Viennese manufacturer Goldscheider and based on a dance figure by Niddy Impekoven, became his most famous work.

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(Wien 1886 – 1962 Wien)

Lang attended the Vienna School of Arts and Crafts from 1903 onwards, and by 1906 he was already working as a stage designer in Vienna, later followed by further work for Max Reinhardt in Berlin. Lang was a member of the Hagenbund artists’ group and was known for his woodcuts, some of which featured his first wife, Grete Wiesenthal, as their motif.

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(Waldheim 1877 – 1947 Berlin)

Kolbe initially studied painting in Dresden, Munich, and Paris, before turning to sculpture in Rome around 1900. He moved to Berlin in 1904, where he made his breakthrough in 1912 with his sculpture “Dancer.” Kolbe influenced the “expressive sculpture” of the period before World War I with his restrained, moving nude figures and soon became one of the most successful German sculptors. During the Nazi era, his works were accepted, although he was not one of the regime’s favorites.

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(München 1885 – 1967 Paris)

Kainer initially began studying medicine, but turned to the fine arts during a stay in Paris. Here, in 1909, he also made contact with the Ballets Russes, which led to an artistic collaboration. Kainer created spirited depictions of the ballet troupe with their imaginative costumes. From 1910 onwards, he lived in Berlin and worked as a commercial artist and illustrator. Later, he worked in film and as a costume and stage designer. In 1933, Kainer first emigrated to Switzerland and later moved to Paris.

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(Znaim 1871 – 1940 Berlin)

After training in arts and crafts, Lederer worked in Berlin from 1893 onwards. From 1900 onwards, his beautifully sculpted, Art Nouveau-influenced figures were joined by stylized monumental sculptures, which made him one of the most sought-after commissioned sculptors in the German Empire. He greatly admired the dancer Anna Pavlova and created several depictions of her, the most popular of which was the sculpture with the feeding deer.

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