Alice Bloch was much more technical yet more muscular in her approach to feminist Nacktkultur than either Hagemann or Menzler. Before the war she had studied with Mensendieck and, in Berlin, with Hedwig Kallmeyer, but her method also borrowed from Nils Bukh's "Swedish gymnastics" theories, which were highly popular in Germany before and after the war. Like Mensendieck, Bloch was a physician, specializing in orthopedics. After the war she founded the Alice Bloch Institute for Gymnastics, and in 1926 she published Harmonische Schulung des Frauenkörpers . Like Mensendieck, Bloch favored a medical-analytical approach to physical education, in which different exercises strengthened individual parts of the body. One chapter described in great detail the effects of gymnastic exercise on specific organs, physiological functions, and inner structures of the body. The descriptions of the more than one hundred exercises were likewise detailed in terms of performance and physiological effect. Bloch did not describe the emotional, pleasurable, or aesthetic experiences of the performer, nor did she discuss the impact of her method upon the image of the female body, but these matters were nevertheless relevant to a reading of her book. Whereas Hagemann made the whole-body swing the controlling principle of her method, Bloch grounded her program in a push-pull-thrust-twist principle of bodily strengthening. And whereas Mensendieck's "principle of reserved strength" required that each exercise strengthen a single part of the body, Bloch devised unusually complex exercises that strengthened different parts simultaneously. Her series of crawling exercises, for example, strengthened the back, the shoulders, the neck, the thighs, and the chest; the performer must not bend her back, must sometimes advance herself on her elbows instead of her hands, must sometimes advance herself with her hands perpendicular to her chest instead of in front of her, and must sometimes keep her head up and forward no matter how deep she bows on her elbows.
Complex as they were, none of Bloch's exercises was difficult to perform. She displayed a fertile imagination for bending exercises, and, unlike Mensendieck, Hagemann, Menzler, Surén, or Koch, she cultivated a large image of relations between bodily movement and space, constructing clever running, leaping, jumping, marching, climbing, throwing, and skipping exercises. Bloch also employed gymnastic wall bars, which were quite effective in revealing the muscled look of her students. Even more significant, some of her exercises worked only when performed in pairs or trios, supporting the idea that the strengthening of a body depends upon another body. But it is difficult to look at the numerous photographs (all taken by Willy Balluff), some of which show as many as six nude girls closely intertwined, without supposing that such gymnastics awakened in the performers an erotic affinity for each other, or at least an erotic excitement derived from not being afraid of this implication. Most of the nudity occurred outdoors, in a woodsy, parklike milieu; the interior poses took place in relation to the wall bars or before an uncontextualized white background. Despite her reluctance to explicate the emotional-aesthetic impact of her method, Bloch definitely pursued a dancelike vision of feminine movement. Though not as abstract or perhaps even as ecstatic as Hagemann's, her vision nevertheless manifested a greater diversity and strength of elasticity in the female body than that of any other theorist of Nacktkultur .