In the years after the Second World War, which were completely dominated by the triumph of abstract art, Wilhelm Loth did not allow himself to be diverted from his path of dealing with the image of man. He is singled out by art history as a singular stylist between figurative and abstract sculpture. While the beginning of his early oeuvre is still characterized by a classical attitude in the broadest sense, in the course of the 1950s cubist abstract forms gain in importance. Loth dealt anew with the theme of the figure and, at the same time as Horst Antes, made a decisive contribution to New Figuration, which took on a special development in Karlsruhe. The autonomy of the plastic-spatial ties itself to the corporeality of the female body. Loth radically pushes towards fragmenting and increasingly tames the dynamic body landscape of his torsos with geometric outlines.