Bernhard Bleeker

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Bleeker with the model of the bust of Friedrich Ebert , 1927

Josef Bernhard Maria Bleeker (born July 26, 1881 in Münster , † March 11, 1968 in Munich ) was a German sculptor .


Bernhard Bleeker had eight siblings, six brothers (including Hermann Bleeker, who also made a name for himself as a sculptor) and two sisters. His father Bernhard Josef Wilhelm Bleeker (1851–1926) was a clothes maker, his mother Christina Elisabeth b. Froning (1854–1921) was a cleaner.

Bleeker spent his childhood in the so-called "Wandscherer-Haus" in Gruetgasse in Münster, where his father ran a costume rental. After attending primary school in Münster in 1895, he began a four-year apprenticeship as a stone sculptor with the sculptors Fleige and Bernhard Frydag , which he broke off after two and a half years to earn money on construction sites. At that time he lived alternately with different relatives.

In 1899 Bleeker went to Munich, in order to begin studying at the Academy of Fine Arts in Munich with Wilhelm von Rümann after having worked as a stonemason in the meantime and to become his assistant from 1903.

Around 1912 Bleeker married his first wife, Egonie Carbert. He had two children with her: a son, Dagmar Konrad (* 1913), and a daughter, Ruth (* 1916). Bleeker created four portrait busts of his first wife Egonie, which were created between 1908 and 1916. Bleeker lived with her for about 10 years, after the divorce his wife moved to Vienna in 1926.

Bleeker married for the second time on July 27, 1925. His wife Margarethe was the daughter of Eugen Schmid, a general of the artillery a. D., of whom Bleeker created a bronze relief in 1922. Bleeker was married to Margarethe until 1932, but in that year they were already separated.

On August 29, 1933, Bleeker married the law candidate, Ruth Ingeborg Schnaith from Tübingen. It was his third marriage, which lasted until his death in 1968. This marriage had three children: Nele (1934–2002), Jochen (* 1936) and Silke (* 1938).

In the course of his life he cultivated friendly relationships with quite a few artist colleagues, including Josef Oberberger , Toni Roth and his wife Martha, Adolf Schinnerer , Toni Stadler , Richard Knecht , Edwin Scharff , Rudolf Esterer and Paul Schmitthenner , the writers Richard Billinger and Eugen Roth , the art historian Ernst Buchner , the conductor Hans Knappertsbusch , the president of the Allotria Rudolf Ritter von Kramer and his wife Christel, to the aircraft designer Ernst Heinkel , Karl Valentin and Liesl Karlstadt . On October 21, 1934, Valentin opened his "Panoptikum", a horror and laughing cellar, in the Hotel Wagner on Sonnenstrasse in Munich, which Bleeker helped to furnish.

Bernhard Bleeker died on March 11, 1968 at the age of 86 in his home in Munich-Bogenhausen. He found his final resting place in the Perlacher Forst cemetery in Munich.


Bernhard Bleeker was one of the main representatives of the so-called Munich Sculpture School. He was a sculptor, medalist , painter and draftsman for glass painting . Bernhard Bleeker, like many of his sculptor colleagues on the threshold of the 20th century, was influenced by the style heritage of the 19th century. His artistic career began with historicist, neo-baroque styles, followed by an orientation towards the “classical” conception of art by Adolf von Hildebrand, which was overlaid by archaic tendencies until the end of his life. Until 1945 the artist was known nationwide. As a professor at the Munich Art Academy , he was highly regarded and valued in the Third Reich and was involved in major National Socialist projects and competitions. Bleeker's style of design did not contradict the National Socialists' conception of art and was therefore suitable to help build the foundation of the new "statecraft", although his works (and those of many of his contemporaries) rarely contained the character of specifically National Socialist ideology. In the years after 1945 all was quiet around him: Bleeker had fallen out of favor as a denazified figure in public cultural life.

His written estate is in the German Art Archive in the Germanic National Museum .

Academy time

Michaelsbrunnen in Miesbach's town square, 1905

Right at the start of his studies in Munich from 1899, Bleeker made his first contacts with fellow artists and public figures in Schwabing . In 1903 he became a member of the artist society Allotria and often took part in their artist festivals. So it was possible for him to make further connections to representatives of the cultural life of Munich. In addition, he maintained lively contacts in the “Bratwurst-Glöckl” inn, a meeting place for many personalities from theater, music, science, art and the nobility outside Schwabing.

Promoted early, u. a. also through the House of Wittelsbach , Bleeker received his first independent public order during his time at the academy on the recommendation of his teacher Rümann in 1903/4 for the construction of the Michaelsbrunnen as a war memorial in Miesbach (Upper Bavaria), for whose model Bleeker had received a prize medal from the academy . This was followed by Rümann's assistance in 1904/05 on the two lions in front of the Feldherrnhalle and in 1905/06 on his models for the Pettenkofer monument in Munich. After Rümann, who had fallen ill, stayed in Corsica to relax and died there in February 1906, Bleeker was supposed to complete the Pettenkofer memorial. He refused, however, "because the work started on a totally wrong basis." After Rümann's death, Adolf von Hildebrand proposed Bleeker as his successor, but it was decided to go with Erwin Kurz , Hildebrand's oldest private student and employee.

freelance artist

From 1906 Bleeker worked as a freelance artist. On the occasion of the “Munich 1908” exhibition held on the Theresienhöhe for the 750th anniversary of the city's foundation, Bleeker created the “Reichtum” group for the large fountain in front of the main restaurant designed by Emanuel von Seidl , a young man holding a cornucopia and riding a water ram. In the same year (1908) he received a call to the Düsseldorf Art Academy , which he refused.

At the 10th International Art Exhibition in the Glass Palace in 1909, the artist was awarded the second class medal. In the same year Bleeker became a member of the Association of the Munich Secession and traveled to Rome to copy the Moses figure created by Michelangelo around 1516 from the tomb of Pope Julius II in San Pietro in Vincoli. After its completion in 1911 the copy was transported to Finkenwalde near Stettin.

In 1910 and 1911 Bleeker shared a studio with his brother Hermann in his apartment at 11 Keferstraße, which he had moved into in July 1907 and which he lived in until 1911. The draftsman and Simplicissimus caricaturist Olaf Gulbransson lived with his wife Grete in the immediate vicinity, Keferstraße 10 . Bleeker and Gulbransson later became close friends.

In 1913 he created a number of paintings and busts, and through Hildebrand's mediation, he was commissioned to build a fountain in Karlsruhe, which, however, was not completed because the First World War was about to begin .

On November 27, 1913, the Munich New Secession was founded in the restaurant "Zum Wittelsbacher Garten" in Theresienstraße. At this meeting, Albert Weisgerber was elected first and Bernhard Bleeker as second chairman. Bleeker belonged to the "MNS", with the exception of the years 1920, 1921 and 1929, until its involuntary dissolution in 1937, from 1918 as its first chairman. In addition, Bleeker also joined the “Munich Association for Applied Arts” and the German Werkbund that year.

In 1913 or 1914 Bleeker accompanied his friend Crown Prince Rupprecht of Bavaria on a trip to Italy. There they visited Hildebrand in his Florentine studio and a number of busts and coin designs were created.

In 1914 he took part in the competition for a Bismarck monument on the Rhine and received 3rd prize.

Artistic Advisory Board during the First World War

In 1915 Bleeker became a member of the conservative “Society of Friends of Plastic ”, which campaigned for the tasteful design of war memorials .

Already from March 29, 1915 in the war, Bleeker was from February 1, 1917 artistic advisor to the "German War Graves Department of the Austro-Hungarian Military Command Przemyśl " and was given advice on the decoration of all Bavarian heroes' cemeteries in Galicia and the execution of one Transfer of the “Bavaria Memorial” to the fallen Bavarian soldiers in the battles of Przemyśl.

Despite the war and his work as an artistic advisor, Bleeker was able to produce some works, busts and medals and take part in exhibitions during these years. In 1917 Bleeker was a member of the board of directors and the “Sculpture” working committee of the “Munich Association for Artistic Issues”.

During the First World War a lifelong friendship began between Bleeker and the Simplicissimus draftsman Karl Arnold . Bleeker also had friendly contact with the painter Max Unold . As part of his work in Przemysl, Bleeker suggested that Unold be ordered to Galicia, which was also granted.

Professorship and honorary membership

After the First World War, Bleeker became a member of the “Künstlerbund der Bildhauer Bayerns eV” founded on December 6, 1918. V ". In 1921 Bleeker created the sculpture Toter Soldat for the fallen soldiers of the First World War on behalf of the Bavarian Army Museum , which was originally intended as one of his main works for the domed hall of the Army Museum and then became part of the war memorial in the Hofgarten .

In 1918 Bleeker refused an appointment to Berlin, in 1919 he became a teacher at the Academy of Fine Arts in Munich , which appointed him full professor for sculpture on May 1, 1922, and an honorary member that same year. In December 1923 Bleeker received another honor. He was made an honorary citizen of the Ludwig Maximilians University in Munich. Bleeker's teaching activity at the Munich Art Academy lasted until it closed in 1944. During this time the artist had around 120 students, some of whom achieved greater prominence. Including Paul Bronisch with a number of official commissions during the time of National Socialism (between 1933 and 1943), Kurt Schmid-Ehmen , who advanced to become the emblem of the regime. Alexander Fischer and Hans Wimmer created impressive works after 1945. Charlotte Goltz, daughter of the art dealer Hans Goltz , was also one of his students in 1939/40, as well as Eugenie Berner-Lange , Maria Weber , Margarete Schepelmann-Groz and Priska nee. by Martin, the wife of his sculptor colleague Toni Stadler. Ingeborg Steinohrt was Bernhard Bleeker's master class student.

Bleeker was appointed as a substitute for the "Advisory Board for the State Art Collections", which advised the directors of the individual museums in matters of art purchases, and was a member of the "Sculpture Commission". In the course of the harmonization policy of the Third Reich, these advisory boards were abolished in accordance with the new state conception of the National Socialist leadership state , simply by no longer convening the commissions. This must have happened around the turn of the year 1933/1934, because Bleeker still belonged to the "Acquisition Commission for Modern Art (Sculpture)" on April 22, 1933 together with Hermann Hahn .

Around 1924, Bleeker and his colleague Carl Johann Becker-Gundahl took over at the Munich Academy, in addition to his sculpting class, also representing the department of Christian and ecclesiastical art.

In the 1920s and early 1930s, numerous portrait heads were created, for example by Franz von Stuck (1925), Crown Prince Rupprecht of Bavaria (1927), German Bestelmeyer (around 1927), Max Slevogt , Max Liebermann (both 1931), Olaf Gulbransson (1932) , Friedrich Ebert (1927 on the recommendation of Hugo Lederer ), the tomb for Luise Sellier (1926) and Franz von Stuck (1930) in the Munich forest cemetery. Bleeker took part in numerous exhibitions and in 1930 became a member of the Prussian Academy of the Arts in Berlin .

Apparently Bleeker toyed with the idea of ​​moving to Berlin around 1930. German Bestelmeyer wrote to the State Ministry for Education and Culture: “Bleeker recently portrayed Hindenburg and returned enthusiastically from Berlin, which is all the more worrying since, as far as I know, a professorship with a master’s studio is currently available at the Prussian Academy of Arts in Berlin is. I have the impression that Bleeker feels that there are more prospects for him in Berlin and that there are completely different earning opportunities for him, which is undoubtedly correct. An artist can only be tied up by commissions. ”(ABK Munich: Personal files Bleeker: Bestelmeyer to State Ministry for Education and Culture, June 23, 1930 (copy))

In 1930 the artist went on another trip to Italy with his friend Crown Prince Rupprecht of Bavaria and stayed with Baroness Marion Franchetti (1870–1948) in Florence.

In 1932 Bleeker took part in the "Düsseldorf-Munich Art Exhibition" in Düsseldorf , where he also served as a member of the hanging committee.

Entry into the NSDAP, exit (s) from the Catholic. church

On November 1, 1932 Bleeker joined the NSDAP (until 1945) and was thus an "old party member". Bleeker initially fitted in well with the system, supported the artistic and cultural statements of the Academy of Fine Arts with his signatures, and hoped for an upswing and fertilization of cultural and artistic life. Bleeker was one of the signatories of the protest of the Richard Wagner City of Munich against Thomas Mann , which appeared in the Münchner Neuesten Nachrichten on April 16 and 17, 1933, and the declaration of the German Association of Artists of June 1933 that Adolf Hitler received a medal of honor from the Academy To award gold for services to the visual arts.

In 1933 Bleeker resigned from the Catholic Church for the first time ; In 1943 for the second time. He must have re-entered the church within this period, possibly as early as 1934, as he made a glass window for Augsburg Cathedral that year . When Bleeker was commissioned with a crucifixion group for the Afra Chapel in Speyer Cathedral in 1962, the Speyer cathedral chapter withdrew this commission on the grounds that he was not a member of the Catholic Church. In September 1934, Bleeker was granted civil servant status as an academy professor under the Law to Restore the Professional Civil Service of April 7, 1933.

In November 1934 Bleeker gave the funeral speech for his murdered sculptor colleague Fritz Wrampe . In the same year 1934, according to Bleeker's own later statements, his image of National Socialism changed. Bleeker's activities with the aim of reducing the influence of National Socialism on art resulted in him repeatedly falling into serious differences with Nazi art exponents such as u. a. Adolf Ziegler was advised. In 1936 he was searched for alleged political activities. The alleged “open struggle of the party” against him began in Bleeker's criticism of the “Memorial for the fallen of November 9, 1923” at the Feldherrnhalle. In the minutes of the oral hearing Bleeker in front of Spruchkammer X on November 19, 1946, he said: “In a private context, he described the memorial as a“ bad Biedermeier commode ”with a“ clock ”on it and was then reprimanded by Gerdy Troost and Gauleiter Adolf Wagner (State Archives 153: Minutes of the public meeting on November 19, 1946, p. 2). Although Bleeker may have briefly drawn a certain distrust from the superiors, he was not subject to any restrictions, either privately or publicly. On the contrary, prominent commissions and participation in exhibitions were inevitable.

From May to October 1934 Bleeker took part in the XIX. Venice Biennale . In 1935 the "Windspiele-Brunnen" was built in the courtyard of the medical center on Briennerstrasse and Bleeker designed a "resting militant" and a "resting war volunteer" based on his "dead soldier" for the vestibule of the Hindenburg crypt in the "Reichsehrenmal Tannenberg". In addition, he received the order for a Hitler bust, which was cast 25 to 28 times and set up in various party buildings. All of these orders had more or less been given by party or government agencies. In addition, Bleeker was offered to work on a prestige project of the Third Reich: the Reichssportfeld in Berlin, which was planned for the 1936 Olympic Games. Bleeker was asked, along with other artists, by the responsible “Art Committee for the Decoration of the Reich Sports Field” to submit designs for “a solemn and closed goddess of victory”. Goebbels personally assessed the submitted designs. The sculptor Willy Meller took over the execution of this Nike . In 1936 Bleeker was appointed a corresponding member of the Vienna Secession and took part in various exhibitions. Specimens of the plaster model Bleekers for the naked "youth with a spear", exhibited at the Great German Art Exhibition in the newly built House of German Art , was set up in various locations in the following years. In the spring of 1937 Bleeker's figure of a “hand grenade launcher” was erected as the “Memorial of the RIR 67” in Essen's Waldthausenpark and another “hand grenade launcher” in Düsseldorf.

The Munich New Secession , of which Bleeker had been the first chairman since 1918, was forcibly dissolved on December 21, 1937 “in accordance with the presidential decree for the protection of the people and the state of February 28, 1933”.

In 1937 Bleeker moved into a villa built by his friend Bestelmeyer at Haushoferstraße 3 in Munich-Bogenhausen, which became a meeting place for Munich celebrities. It was very spacious, equipped with several outbuildings and a studio, and was surrounded by a spacious garden.

Bleeker was included in the list drawn up by Goebbels (1944) “Artists in action at war”. Since he was already 64 years old at that time, he was obliged to serve, but exempted from military service and from military service. The Academy of Fine Arts was closed at the end of 1944, and Bleeker's studio there was badly damaged by bombs. His villa on Haushoferstrasse was also badly damaged by an air mine in January 1945. All tools, swivel chairs and models were also destroyed, a total of around eight years of work. Bleeker received a briefing in an artists' home in Berchtesgaden , but the family did not settle there, but after a short stay with the family of the aircraft designer Hugo Junkers, who died in 1935 , moved to the Seehaus Castle near Waging am See , after which they relocated Eichham, a district of Teisendorf .

Denazification process and rehabilitation

After the end of the Second World War , the Ministry of Education issued an order on October 29, 1945, according to which Bleeker was dismissed from his position as a full professor at the Academy in Munich with immediate effect and the payment of his remuneration was suspended on the instructions of the military government. In 1946, denazification proceedings were initiated against Bleeker. The original claim was for classification in group II of the offenders, but the court mitigated the sentence: Bleeker was classified in group III of the less offenders. To Bleeker's disadvantage, his membership in the NSDAP from 1932 to 1945, his membership in the Reichslehrerbund , in the Reichskammer der bildenden Künste , in the Reichskolonialbund , in the National Socialist People's Welfare , in the Reichskulturkammer , in the NS-Dozentbund and his work as a lecturer union leader were valued of the Academy of Fine Arts in Munich. Bleeker was considered an activist according to the "Law for the Liberation from National Socialism and Militarism" according to Article 7. I. 3. and 7. II. 1. His "demonstrable support and promotion of racially and politically persecuted people" according to Article 39 was rated in his favor. II. 4. After an objection, Bleeker was placed in group IV of fellow travelers in October 1948. The denazification process had only minor disadvantages for Bleeker, as he regained social status after a short time.

After the GDR was constituted in 1949, the artist was offered the opportunity to move and work as a restorer. However, he stayed in Munich until his death in 1968.

Bleeker took part in several exhibitions - he also took part in the honorary exhibition of the Munich New Secession on the occasion of the 800th anniversary of the city of Munich in the Munich Art Association - and in 1951 became a full member of the Bavarian Academy of Fine Arts and the Academy of appointed fine arts Vienna. Furthermore, as a freelance artist, he became a member of the “Berufsverband Bildender Künstler München e. V. ”and carried out various assignments until the early 1960s.


  • Michaelsbrunnen , Miesbach town square, 1905
  • Wealth , in Bavariapark , Munich, approx. 1907/1908
  • Christophorus , Munich am Isarkai, 1909
  • Competition draft for a Bismarck national monument on the Elisenhöhe near Bingerbrück (1910; together with the architect Otho Orlando Kurz ; not awarded)
  • Seated figure of Prince Regent Luitpold , inaugurated in the Ludwig Maximilians University of Munich , 1911
  • King Ludwig Cross , 1916
  • Memorial to members of the Munich University who died in World War I , four masks of dying warriors with steel helmets, 1920–1922
  • Grave monument Johannes Klein , co-founder of the KSB company , Frankenthal main cemetery (Palatinate) , 1922
  • Pfalzdenkstein on Odeonsplatz next to the entrance to the Hofgartenarkaden, unveiled in 1924. The memorial stone was moved to the ash plant on Ottostraße in 1933
  • Dead soldier , in the war memorial in the Hofgarten in Munich, 1923. (The original sculpture made of red marble was replaced by a bronze cast in 1972.)
  • Horse tamer , in Munich on Arcisstrasse in front of the Technical University , 1931
  • Triumphal cross group above the altar and a baptismal font , Reformation Memorial Church (Nuremberg) , 1935
  • Spearmen , Lietzenseepark in Berlin, 1940
  • Youth with staff in the lower Luisenpark Mannheim , 1950

Exhibitions (selection)

  • 1911: Summer exhibition at the Munich Secession
  • 1912: Large art exhibition in Dresden
  • 1912: Art exhibition at the Munich Secession
  • 1914: Munich original sculpture, Galerie Heinemann , Munich
  • 1915: Munich New Secession , 1st spring exhibition
  • 1924: Munich New Secession , 10th exhibition
  • 1932: Düsseldorf-Munich art exhibition in the Kunstpalast Düsseldorf
  • 1934: Large Munich art exhibition in the Neue Pinakothek
  • 1936: Heroic art in the Städtische Galerie im Lenbachhaus , Munich
  • 1937: Figure and composition in the picture and on the wall. Plastic architecture graphics in the Neue Pinakothek
  • 1937: Munich annual exhibition in the Neue Pinakothek
  • 1937: Large German art exhibition in the House of German Art in Munich
  • 1937: German architecture , CXLIV. Exhibition of the Association of the Vienna Secession under the title German sculpture at the Reichssportfeld Berlin in Vienna
  • 1937: Great German Art Exhibition in the House of German Art in Munich
  • 1938: German sculpture of the present in Warsaw and Krakow
  • 1940: Great German art exhibition in the House of German Art in Munich
  • 1941: Large German art exhibition in the House of German Art in Munich
  • 1942: The German West. Contemporary painting and sculpture in Cologne and
  • 1942: German sculpture of the present in Zagreb
  • 1943: Munich contemporary artist in Cologne
  • 1943: Young art in the German Empire in the Vienna Künstlerhaus
  • 1950: Works of European sculpture in the Haus der Kunst
  • 1961: Exhibition on the development of Munich sculpture, sculpture and drawings at the Munich Art Association



  • Frank Henseleit: The sculptor Bernhard Bleeker (1881–1968). Life and work. (PDF; 4 parts) Dissertation, University of Augsburg, 2006.
  • Claus Pese: More than just art. The archive for fine arts in the Germanisches Nationalmuseum. (= Cultural-historical walks in the Germanisches Nationalmuseum , Volume 2.) Ostfildern-Ruit 1998, pp. 40–43, p. 84.

Web links

Commons : Bernhard Bleeker  - Collection of images, videos and audio files

Individual evidence

  1. The sculptor Fleige (without naming his first name) was in the second half of the 19th Jhs. worked in Münster, where he created a bronze monument to the Minister von Fürstenberg (1875), a mount of olives in the Kreuzkapelle of the Aegidienkirche (1876), a Pietà in the Lambertikirche, a Luidgerus fountain (1889) and together with A. Rüller a monument to Annette von Droste -Hülshoff (1896).
  2. The Michaelsbrunnen on the town square in Miesbach was inaugurated on August 27, 1905 in memory of the fallen in 1705, 1866 and 1870/1871.
  3. According to Jochen Bleeker, the artist's son, the right (western) lion was made by Bleeker according to Rümann's designs when he was relaxing in Corsica.
  4. Bayerisches Hauptstaatsarchiv: MSO 1766 (in the following quoted with: "BHStA ..."): Copy: Attorney Rudolf Dettweiler to the Kassationshof: Request to review the verdict of Spruchkammer X in Munich, July 4, 1947, point 3a.
  5. ^ Marble statue of Moses, copy by Bernhard Bleeker , on Lost Art, accessed June 19, 2015
  6. Münchner Stadtadreßbuch 1911. Rainer Maria Rilke later moved to Keferstraße 11.
  7. Gulbransson's letters to Bleeker. Some letters are printed in Simplicissimus on the occasion of Gulbransson's death in 1958: Simplicissimus, Jg. 1958, No. 40, October 4, 1958, pp. 635–637, 642f.
  8. From 1914 onwards, the magazine “Die Plastik” listed Bleeker as its collaborator ( Die Plastik , IV., 1914).
  9. StAM: Cultural Office 403/2: writing the "Munich Association for artistic questions" to the magistrate Munich, 15 May 1917
  10. By artists and scholars . The Cicerone. XIV., 1922, p. 357
  11. Bayerische Staatszeitung, No. 290, December 14, 1923, p. 5.
  12. Ehrtfried Böhm: new plastic in hannover / sense of art, patronage, urban aesthetics / an example in the mirror of two decades. Steinbock-Verlag, Hannover 1967, p. 83.
  13. ^ Frank Henseleit: The sculptor Bernhard Bleeker (1881–1968). Life and work. (PDF; 2.6 MB.) Dissertation. Augsburg 2005/2007, p. 30.
  14. This memorial, which was located on the east side of the Feldherrnhalle and which Bleek's student Kurt Schmid-Ehmen created based on a sketch by Paul Ludwig Troost, was inaugurated on November 9, 1933. (Müller-Mehlis 1976, p. 122).
  15. ^ Karl-Heinz Meißner: Artist of the 'Neue Künstlervereinigung München' after 1914 at the 'New Munich Secession' . In: Annegret Hoberg, Helmut Friedel (ed.): The Blue Rider and the new picture . Exhibition catalog. Städtische Galerie im Lenbachhaus, Prestel Munich 1999, ISBN 3-7913-2065-3 , p. 331
  16. NL BB: I, B- 4: Spruchkammer X Munich, December 7, 1946.
  17. Law No. 104 on Liberation from National Socialism and Militarism, of March 5, 1946
  18. Max Schmid (ed.): One hundred designs from the competition for the Bismarck National Monument on the Elisenhöhe near Bingerbrück-Bingen. Düsseldorfer Verlagsanstalt, Düsseldorf 1911. (n. Pag.)
  19. ^ Karl Kleiber: The Johannes Klein Monument in Frankenthal , in: Pfälzisches Museum , Heft 11/12, 1922, p. 272 ​​u. 273 of the year, Historischer Verein der Pfalz , Speyer
  20. Horse tamer
  21. By artists and scholars , in: Der Cicerone, XIV. Jg., 1922, p. 357
  22. University Archives Munich, SEN-II-7: Rector's decree of November 26, 1923, dated December 7, 1923, and Rectorate to Bleeker, dated December 10, 1923
  23. ^ ABK Munich: Bleeker personnel file: State Ministry for Education and Culture to the Academy of Fine Arts, January 13, 1942
  24. Artist award in the Künstlerhaus. The city's gold medal of honor presented to Professor Bleeker. In: Münchner Merkur , No. 274, November 16, 1961, p. 13.