Pagels, Hermann Joachim

Hermann Joachim Heinrich Pagels, born on September 11, 1876, in Lübeck, Germany, and deceased on July 1, 1959, in Berlin, was a prominent German sculptor and ceramic designer. His early life was marked by an education in a commercial household; he was the son of Heinrich Pagels, a merchant and senior chief of a porcelain and household goods firm in Lübeck. Pagels shared his schooling with notable figures like Thomas Mann at the Katharineum zu Lübeck. His artistic journey began at the Hochschule für Bildende Künste in Berlin (1894-1900), where he studied under renowned sculptors Otto Brausewetter, Peter Breuer, and Ernst Herter.

Pagels' early career saw him working in the ateliers of his professors from 1901 to 1904, followed by opening his own studio in Berlin in 1905. He achieved early recognition, winning the first prize at the Akademie for a drawing in 1896 and for a statue composition in 1900. His works were featured in various significant exhibitions, including the Internationale Kunstausstellung in Düsseldorf and the World Exhibition in St. Louis, where he received a bronze medal in 1904.

A significant period of his career was during World War I, where he served as Vizefeldwebel and later as Leutnant, earning the Eisernes Kreuz and the Lübeckisches Hanseatenkreuz. His experiences during the war influenced his later works, notably in his memorial sculptures.

In the 1920s, Pagels' works included significant public sculptures like the Mausoleum for Emil Possehl (1921) and the sculpture groups for the Volkspark Jungfernheide (1925). His style, which resonated with realism, gained particular favor during the Nazi regime. Pagels became known for his busts of top Nazi leaders, including Adolf Hitler, and was featured prominently at the Great German Art Exhibitions. His works from this era were often politically charged, reflecting the ideologies of the time.

Pagels' legacy is complex, marked by his artistic contributions and his involvement with the Nazi regime. His works are part of important collections and have been subjects of study in the context of art and politics of his time. His death in Berlin in 1959 marked the end of a significant yet controversial career in German sculpture and art history.