At the beginning of the last century, Arno Breker was one of the great hopes of young German sculpture, esteemed by the painter Max Liebermann.
Between 1936 and 1945, Breker worked almost exclusively for the architect Albert Speer and his plans to re-design Berlin as the ‘World Capital Germania’. Where was the point when the figures lost all proportions and began to grow monstrous? When does talent become dependent on power and ideology? And where is the fine, invisible line between power opportunism and the autonomy of art?