Otto Baum
, 1930
34 × 16,5 × 22 cm   →

Otto Baum
, 1946
41 × 14 × 17 cm   →

Otto Baum
, 1948/49
46,5 × 27 × 20,5 cm   →

Otto Baum
, 1950/53
16,5 × 14,5 × 8 cm   →

Otto Baum
, 1950/53
16,5 × 14,5 × 8 cm   →

Otto Baum
, 1950/55
12,5 × 10,5 × 9,5 cm   →

Otto Baum

61 × 32 × 22 cm   →

Otto Baum
Invocation - Fugitive, Great Lament, model for a large sculpture, 1952-57
59,5 × 31,4 × 20,5 cm   →

Otto Baum
, 1953/54
50,5 × 25 × 5,5 cm   →

Otto Baum
, 1954/58
16,5 × 49 × 15 cm   →

Otto Baum
, 1955
23 × 4,7 × 11,5 cm   →

Otto Baum
Rays, um 1955
63,8 × 47,5 × 24,5 cm   →

Otto Baum
Notches of experience, 1957

Otto Baum
Free forms (three parts), 1958/59

Otto Baum
Steps, 1960

Otto Baum
Unfolding, 1961

Otto Baum
Flower I - Free Form, 1961
41 × 89,5 × 11 cm   →

Otto Baum
Flower II, 1962
41 × 90 × 3 cm   →

Otto Baum
Flower II, 1962
41 × 90 × 3 cm   →

Otto Baum
Owl trunk, 1962
97 × 36 × 23 cm   →

Otto Baum
Split wood, 1962
111,5 × 38 × 20 cm   →

Otto Baum
Pair, 1963
220 × 33,5 cm   →

Otto Baum
Pair, 1965
272 × 34 cm   →

Otto Baum
Fish, um 1960/65
25,5 × 131 × 18 cm   →

Otto Baum
Snake, 1968
203,5 × 9,5 × 9,5 cm   →

From the archetype to sculptural form

The pictorial and formal language of Otto Baum is one of the most radical positions of modern sculpture in Germany - not in the sense of an extroverted or constructivist expression, but in its introverted, consistently reduced character. Here one finds the closest references to the sculptural idea of Constantin Brancusi, whose work Baum had become acquainted with in Paris. With his bronze and stone works, he did not found a school, but at least influenced an entire generation of sculptors whose work continues to have an impact today. To be rediscovered are his wooden sculptures, which in the magic of their presence are reminiscent of archaic art and at the same time in their timeless dignity seem as current and fresh today as they did half a century ago.