Come out from under that snow! ;o)
OK, so instead of following a long-dead master they follow Kimura.
Not at all. The European flirtation with Mr Kimura was somewhat shorter than that in the USA. Let us not forget that he was first introduced to the western bonsai community in the long running series in Bill Valavanis's International Bonsai
You mention Farrand Bloch and Wolf Schudde as being the only non-classical bonsaiists in Europe. You've been reading those old magazines again. ;o) I think you mean avant garde. Non-classical means anything that is not one of the five classical styles (formal upright, informal upright, slanting, semi-cascade and cascade) OK, we can add broom in as well if you like.
There is no classical precedent for, say driftwood style. Indeed, how can there be since every piece of yamadori (the prime source of driftwood bonsai) is entirely unique and cannot be hammered into a pre-concieved form. Neither is there classical precedent for windswept, root over rock, etc. Most of the bonsai produced in Europe (and here, for that matter) are reactive rather than proactive - meaning they are designed in response to what the plant has to offer and not to a classical blueprint. It's just that the Europeans currently do it better.
If you recall, the best in show at Cincinnati was a classical imported tree (white pine) professionally refined and maintained by Boon. In fact most of the awards went to imported trees. Sure, in Germany the club exhibition includes many imported trees, but that is only the club exhibition; and as you astutely point out, it is only Germany.
In Europe clubs play only a minor role in the higher levels of bonsai achievement. The real action takes place with individual artists and teachers with a dedicated folowing of students (sometimes, often, students will be dedicated to more than one teacher). These artists seldom exhibit in club shows, and some hardly ever exhibit at all. It is simply not accurate to use a club sponsored show as an example of the quality of European bonsai.
American bonsai artists like Marty Schmalenberg, Suthin S., Ernie Kuo, Boon M., David DeGroot, Bill Valavanis and a few I forgot ... they are more than a match for anything Europe has to offer.
You mention six, one of whom (like me) is a fairly recent immigrant. You could have also mentioned Nick Lenz, Guy Guidry and three or four others. Even if you had named a dozen, it would still not equal the number of artists of as high or higher ability in Italy alone.
And "more than a match"? Why not ask Bill, Marty, et al what they think of that statement?
I'll issue a challenge to you, Reiner: join the trip to see the Ginkgo Awards exhibition in Belgium next September and, if that doesn't change your mind, I'll give you my next tax refund. Although the USA is larger than Europe, and has a longer history of bonsai, you couldn't stage an exhibition displaying so many excellent home-produced bonsai in America - well, excluding California anyway.