[5] Here she met a great community of fellow artists including “Käthe Kollwitz, Erich Heckel, Karl Schmidt-Rotluff, and sculptor Herbert Garbe” who she soon married in 1920.

[1] This group of artists put their artwork up to serve the socialist society however this goal quickly became short lived when the focus became more about the promotion of member's exhibitions and less about political activism.

Roeder's work moved back into a state of invoking political change as she strayed from Expressionism and began to take on a new realism also known as Die neue Sachlichkeit (The New Objectivity).

Two important exhibitions at this time that she participated in were “Die schaffende Frau in der bildende Kunst” (The Creative Woman in the Visual Arts) and “Frauen in Not” (Women in Need).

[4] Receiving this award allowed her to work and study as she owned a studio in the Villa Romana, a German art institute located in Florence that was privately funded.

Despite being away from Germany and the great turmoil there, the impact was still felt as the Nazis came to power and began a battle against all forms of Modern art including Expressionism.

[2][1] This led to the public denouncement of Roeder's work in 1937 as her sculpture Pregnant Woman was confiscated by the Nazis and included in the famous exhibition “Entartete Kunst” (Degenerate Art) located in Munich, Germany.

[3][5] Including her participation in the first documenta exhibition in Kassel in 1955[5] After years of imprisonment and neglect she was finally able to revitalize her creativity one last time before her death on February 7, 1971.