Author Topic: The New Chaos  (Read 4542 times)

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  • The New Chaos

    (DAS NEUE CHAOS)

    1917, Cast iron uniface, 141.6mm, 141.0g, UNC, Ernsting WVZ 163a.  Henry Scott Goodman Collection

    Wide and flat edge-line frame with slightly raised field. The images are plastically raised and overflow the edges of relief on the sides. Script is incised

    This medal exhibits a comprehensive description of a disrupted world view unique among other medals of the war period. In common with other artists of the Munich School, Gies adopted the medieval images of the Dance of Death , and in another medal of 1917 he depicts a weary group of German soldiers being led into battle by a skeleton. Here ‘The New Chaos’ surpasses these pieces in many respects.

    The scene is a landscape formed out of the folds of the robe of a giant figure. Fate, as a Norn, spins the thin and fragile thread of life, whose essence is derived from the masses at the bottom right. Death, having propped his scythe against the distaff, stretches out his arms over the crowd of victims-to-be. The giant figure bows her head, radiating light, to look upon the factory buildings and machinery in her lap, symbols of the armaments industry whose lethal products – guns and tanks – are being poured onto the battlefields in the foreground. The groups of crosses to the left and to the right sides evoke the graves of the countless victims, the mass graves of extinguished hopes of happiness and fulfillment. At the bottom we are shown the consequences of war: A ruined church, with an all but overthrown crucifix; a huge pile of corpses; and an angry mob toppling the throne and the old Order with it.

    A world-view is disrupted; illusions and plans for the future are destroyed. An entire generation has had its awareness of life profoundly changed by the horrors of the Great War. Fate, personified in the overpowering figure of the Norn, is enigmatic and implacable. Gies with his sensitive nature was conscious of this crisis, so it is not mere chance that his talent for story telling was able to unfold so richly here in particular. In addition, the staging of a war and its effects within the confines of a medal, moreover whose planes are defined by the folds in the garment of a single figure, is at the apex of Gies’ art.

    "Ludwig Gies: The Munich Years", Bernard Ernsting

    This iron example was only rumored to exist as it was first mentioned in a J. Schulman catalog in 1918. This is the first time the piece has been seen in public display since its discovery several years ago. It is unique in iron among known examples.

    Rarity: R-7

    Known Examples: 4 (3 bronze, 1 iron)

    Number in Museum Collections: 3 (3 bronze) located at H, M, and V2.

    Number in Private Collections: 1 (iron)
The New Chaos
« on: April 28, 2013, 01:11:07 PM »

The New Chaos

(DAS NEUE CHAOS)

1917, Cast iron uniface, 141.6mm, 141.0g, UNC, Ernsting WVZ 163a.  Henry Scott Goodman Collection

Wide and flat edge-line frame with slightly raised field. The images are plastically raised and overflow the edges of relief on the sides. Script is incised

This medal exhibits a comprehensive description of a disrupted world view unique among other medals of the war period. In common with other artists of the Munich School, Gies adopted the medieval images of the Dance of Death , and in another medal of 1917 he depicts a weary group of German soldiers being led into battle by a skeleton. Here ‘The New Chaos’ surpasses these pieces in many respects.

The scene is a landscape formed out of the folds of the robe of a giant figure. Fate, as a Norn, spins the thin and fragile thread of life, whose essence is derived from the masses at the bottom right. Death, having propped his scythe against the distaff, stretches out his arms over the crowd of victims-to-be. The giant figure bows her head, radiating light, to look upon the factory buildings and machinery in her lap, symbols of the armaments industry whose lethal products – guns and tanks – are being poured onto the battlefields in the foreground. The groups of crosses to the left and to the right sides evoke the graves of the countless victims, the mass graves of extinguished hopes of happiness and fulfillment. At the bottom we are shown the consequences of war: A ruined church, with an all but overthrown crucifix; a huge pile of corpses; and an angry mob toppling the throne and the old Order with it.

A world-view is disrupted; illusions and plans for the future are destroyed. An entire generation has had its awareness of life profoundly changed by the horrors of the Great War. Fate, personified in the overpowering figure of the Norn, is enigmatic and implacable. Gies with his sensitive nature was conscious of this crisis, so it is not mere chance that his talent for story telling was able to unfold so richly here in particular. In addition, the staging of a war and its effects within the confines of a medal, moreover whose planes are defined by the folds in the garment of a single figure, is at the apex of Gies’ art.

"Ludwig Gies: The Munich Years", Bernard Ernsting

This iron example was only rumored to exist as it was first mentioned in a J. Schulman catalog in 1918. This is the first time the piece has been seen in public display since its discovery several years ago. It is unique in iron among known examples.

Rarity: R-7

Known Examples: 4 (3 bronze, 1 iron)

Number in Museum Collections: 3 (3 bronze) located at H, M, and V2.

Number in Private Collections: 1 (iron)
« Last Edit: February 23, 2020, 02:41:12 PM by Haarmann »
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  • I saw this medal when he displayed it in Portland a few years ago. An exceptional piece and well worth viewing in person if you ever have the chance.
Re: The New Chaos
« Reply #1 on: May 04, 2013, 01:58:59 PM »
I saw this medal when he displayed it in Portland a few years ago. An exceptional piece and well worth viewing in person if you ever have the chance.
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  • Well, I'm hoping it shows up at the 1915 ANA show in an exhibit. I'm tentatively planning on attending and would love to see it... G
Re: The New Chaos
« Reply #2 on: May 10, 2013, 06:58:51 PM »
Well, I'm hoping it shows up at the 1915 ANA show in an exhibit. I'm tentatively planning on attending and would love to see it... G