Milly Steger

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.

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.


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.

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.”

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.

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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.

