Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!

Administrative building of Zünder-Apparatebau-GmbH, which initially produced warheads and later switched to motorcycles, 1915/16, figurative decoration by Max Heilmaier Lit.: Günther P. Fehring and Anton Kress, Die Stadt Nürnberg (Kurzzinventar), 2nd edition, edited by Wilhelm Schwemmer, p. 475. For a contemporary's assessment of the figures, see Friedrich Haack: Neue Werke von Max Heilmaier, in: Kunst und Handwerk 70 (1920), pp. 76-94, here p. 94: “Finally, […] the artist reveals himself to us once again, perhaps at his most fortunate, certainly at his most endearing, in the 1.20 m high keystones made of shell limestone for the Nuremberg explosives factory. Here he demonstrates that he is not only capable of handling ecclesiastical and religious tasks, but that he can also meet other substantive requirements, to translate them completely into form and surface decoration, which he understands how to allegorize and symbolize in an eminently artistic way. What magnificent children's bodies these are! — How healthy, how pure, how strong! — How deeply felt, how happily moved, how astonishingly skillfully adapted to the space, how charming in clothing and nudity, in stillness and movement, contrasted in pairs! — How eloquently the elements are characterized! — It all seems so simple, so natural, and yet so apt, so striking. In contrast to abstract "art for art's sake," this joyful storytelling, but not a trace of intellectual pallor, rather everything in a warm, natural form. And for all this pressing abundance of life, what a taut, restrained will to style! — Truly, these figures are exquisite. One can and must look at them again and again, and each new observation is always even more pleasing than the others, and one would be perplexed as to which one to award the palm to!