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Milly Steger

1881
1948
Milly Steger at Alexander Binder, 1922, ©ullstein picture — Studio Binder
Milly Steger at Alexander Binder, 1922, ©ullstein picture — Studio Binder

Milly Steger was supported early on by art patron Karl Ernst Osthaus. Her exceptional talent secured her a position as a city sculptor in Hagen, where she has left her artistic mark on the cityscape to this day. While she showed commitment to the left-wing political spectrum in her early time in Berlin, she lacked such a political stance in 1933—45. The fact that Steger is often classified as a victim of the NS regime must therefore be viewed critically.

1881

Milly Steger was born in Rheinberg on June 15 and grew up in Wuppertal-Elberfeld.

1899—1906

She attended the class for plasterers and stonemasons at the Elberfeld School of Applied Arts and continued her training as a sculptor in Karl Jansen's studio in Düsseldorf. On several study trips, she became acquainted with Georg Kolbe and the works of Auguste Rodin and Aristide Maillol.

1908 — 1912

Milly Steger lived in Berlin and took part in exhibitions at Berlin Secession. Through the mediation of Karl Ernst Osthaus, her sculptures were presented at the Sonderbund Show in Düsseldorf in 1910 and in Cologne in 1912.

Theater Hagen with statues of women by Milly Steger, 1911, © Photographer: Klaus Ehlers

1911—1916

At the invitation of Karl Ernst Osthaus, the artist moved to Hagen/Westphalia in the Hohenhagen Artists' Colony. Architectural sculptures were created for the city of Hagen, such as the statues of women on the portal of the theatre.

1917—1926

Returning to Berlin. Milly Steger was a successful sculptor who took part in major art exhibitions of the time, such as exhibitions of the Prussian Academy of Arts, the Berlin Secession and the International art exhibition in Dresden (1926). In 1922, Galerie Fritz Gurlitt presented her in a solo exhibition.

1929

Participation in the Fourth Great Art Exhibition in Kassel.

Milly Steger (1881-1948), tomb for two sisters, 1921, plaster, private collection
Milly Steger (1881-1948), dancer, 1918, plaster, private collection

1929 — 1942

Milly Steger lead the sculpture class at the school of the Association of Women Artists in Berlin.

1930—1932

She became a member of the Berlin Secession and took over Georg Kolbe's studio in 1932.

From 1933

Her exhibition activities continued under the Nazi regime. She continued to be part of the spring and autumn exhibitions of Prussian Academy of Arts.

Letter from Milly Stegers to Hans Hinkel, State Commissioner, March 27, 1924, signature: R 9361 /V/106216, © Federal Archives Berlin

1934

The Lyceum Club Berlin commissioned Milly Steger to create a bust of Adolf Hitler. She asked State Commissioner and Nazi perpetrator Hans Hinkel for assistance in being able to meet Adolf Hitler in person. There was no meeting.

1936

The sculptor won the fourth prize in the Olympic art competition . She participated in the Nazi exhibition Westfront 1936 – Free Art in the New State in Essen..

1937

As part of the Degenerate Art campaign, three sculptures, three drawings and four prints were confiscated from the Crown Prince Palace in Berlin, the Erfurt Museum of Art and Local History, the Göttingen University Art Collection, the Städel Art Institute in Frankfurt am Main, the Hagen City Museum and the Mannheim Municipal Art Gallery.

Milly Steger's works were not shown at the Degenerate Art exhibition, neither in Munich nor in other cities. However, she was represented at the National Socialist Art Exhibition of 1937.

In the magazine The German Girl  of the Bund Deutscher Mädel in the Hitler Youth an article about Milly Steger says:
... I am proud that most of my work has been purchased by the German State. But the best thing is the new tasks that artists are now facing.... And it has always been architecture and sculpture that have gone ahead in times of a new awakening of cultural will.

The German Girl, The magazine of Bund Deutscher Mädel in the HJ, year 1937, July issue, national edition

1938

Awarding of Villa Romana Prize of the German Artists' Union.

1940

Re-entry and award at Olympic art competition.

1941 and 1944

Illustrations of her works in issues of the magazine Art in the German Reich, published by the Führer's Commissioner for Supervision of the entire intellectual and ideological training and education of the NSDAP.

Milly Steger, kneeling, bronze, 1940, illustrations in the magazine: Art in the German Reich, edited by the Führer's Commissioner for Supervision of the Complete Intellectual and Ideological Training and Education of the NSDAP, 1944

Weiterschauen

Portrait photo of Joachim Ringelnatz, © private property
Joachim Ringelnatz
1883
1934

Joachim Ringelnatz was a German writer, cabaret artist and painter who is known in particular for humorous poems about the artistic figure Kuttel Daddeldu. He was known during the Weimar Republic and counted actors such as Asta Nielsen and Paul Wegener among his close friends and companions. His work, some of which is bizarre, expressionist, funny and witty, is still known today.

Felix Nussbaum, passport photo 1942, © Felix-Nussbaum-Haus/Kulturgeschichtliches Museum Osnabrück
Felix Nussbaum
1904
1944

The life of the Jewish artist Felix Nussbaum was marked by persecution and flight. In 1933, Nussbaum and his partner Felka Platek were already abroad when he was awarded the prestigious Villa Massimo scholarship for a period of study in Rome. From there, they fled via France to Belgium. There, between 1939 and 1944, he secretly created a powerful late body of work.

Milly Steger at Alexander Binder, 1922, ©ullstein picture — Studio Binder
Milly Steger
1881
1948

Milly Steger was supported early on by art patron Karl Ernst Osthaus. Her exceptional talent secured her a position as a city sculptor in Hagen, where she has left her artistic mark on the cityscape to this day. While she showed commitment to the left-wing political spectrum in her early time in Berlin, she lacked such a political stance in 1933—45. The fact that Steger is often classified as a victim of the NS regime must therefore be viewed critically.