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.