Porges attended the Städtische Kunstschule (The City Art School) of Berlin, which was at the time under the leadership of Max Liebermann. Later, she traveled to Italy and Vienna, where she met her future husband, the Viennese violinist Friedrich Walter Porges. The couple circulated in the society of renowned art groups and around 1910, they founded the Atelier Hollerhaus in Irschenhausen, a favorite meeting spot for the Munich artworld.
“Our attention drawn to the Engadine while reading the letters of Friedrich Nietzsche and his Zarathustra, we sought out Sils-Maria in June of 1911. This was a crucial moment in our lives; there I found my most essential field of work and felt profoundly connected to the landscape,” wrote Porges around 1938. In this intellectually and spiritually inspiring environment, Porges cultivated a language of her own, distinguished by an unusual combination of Symbolism and mountainscape. Sharp, dark contours outline the rock formations, giving them a mighty, almost sacred appearance. Following the tenets of late impressionism, she largely dispensed with the color black to achieve through colorist painting an undiminished radiant light in her mountain views. In one work Porges painted the mountains as a nearly flaming landscape (Sonnenuntergang am Silsersee in Richtung Maloja / Sunset at Lake Sils, Looking Toward Maloja, undated), in another one as a crystalline formation jutting up out of the landscape (Umgebung von Soglio mit Sciora Gruppe / Area Around Soglio, with the Sciora Group, 1914).
In her attempt to depict the mountains symbolistically, Porges dared to anthropomorphize the landscape entirely, a good example of which can be seen in her work Nymphen (Nymphs, undated). The two feminine bodies, arranged in a triangular formation, blend into the alpine landscape surrounding them, while at the same time they themselves form a mountain. They become an allegorical translation of nature and thus a symbol of sublimity.
Despite the restrictive conditions under which female artists worked at the time, Clara Porges developed innovative approaches to reinterpreting nature. In the late 1930s she reached the apex of her career and completed the monumental painting Die apokalyptischen Reiter (The Apocalyptic Riders, before 1938), which she herself described as a major artwork. The confrontation with death and suffering, influenced by the loss of her husband in 1932 and the aggravating situation in her home country, found ecstatic culmination in this work. The dynamism of the approaching riders, the tense triangular composition, and the dramatic lighting result in a powerful translation of the biblical scene.
From the early years of her career, Clara Porges’ work was represented in exhibitions at institutions such as the Kunsthaus Zurich (1920, 1922), the Kunstmuseum St. Gallen (1922), the Kunsthalle Bern (1928), and the Musée des Beaux Arts Lausanne (1946). Her works can be found in the Collection of the Canton of Bern and the Stiftung Capauliana Chur.