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Arthur Kampf, Good Friday

Arthur Kampf, Good Friday Arthur Kampf, Good Friday Arthur Kampf, Good Friday

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Price:€ 300.00

Description

'Karfreitag in einer französischen Kirche' ('Good Friday in a French Church')

Offered here is a lithography. The original painting, created in 1915, hung in the Great German Art Exhibition of 1939, Saal 03. Nowadays it is in the possession of the Staatliche Museen zu Berlin, Preusischer Kulturbesitz, Nationalgalerie. The lithography is produced by the 'Photographische Gesellschaft Berlin -Charlottenburg 9', a company founded in 1864 with subsidiaries established later in London, New York and Paris. The lithography is signed with the watermark of the Photographische Gesellschaft.

- condition : II                    
- size : 43 x 35 cm, 38 x 30 cm
- signed : watermark behind passé partout 
- type : lithography, nr 7685                                         
- misc. : professionally reframed; museumglass; acid free cardboard on the back

 


Left: Arthur Kampf, 'Der 30. Januar 1933' ('The 30th of January 1933'). GDK 1949, room 3.
Right: Arthur Kampf, ‘Die Aufbahrung Kaiser Wilhelm I‘ (‘The body of Kaiser Wilhelm I lying in state‘). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1922. In the possession of the Bayerische Staatsgemäldesammlungen, Munich 

 


Left: Arthur Kampf, huge painting of Adolf Hitler in the City Hall of Berlin (in the 'Köningstrasse', renamed after 1951).
Right: Arthur Kampf, ‘Fichtes Rede An die deutsche Nation‘, 1915 (‘The speech of Fichte to the German nation‘). Located in the auditorium of the Friedrich-Wilhelms-Universität, Berlin. Photo: 1933 (photos: Bundesarchive).
   


Left: Arthur Kampf, 'Jungfrau von Hemmingstedt' (the flag carrying Maiden of Hemmingstedt, in the Battle of Hemmingstedt, 17 February 1500). GDK 1939, room 3. Bought by Hitler for 12.000 Reichsmark. In the possession of the Deutsches Historisches Museum. D
isplayed at the exhibition ‘Kunst im 3. Reich, Dokumente der Unterwerfung’; the exhibition, instigated by the Frankfurter Kunstverein, was held from 1974 to 1975 in Frankfurt, Hamburg, Stuttgart, Ludwigshafen and Wuppertal. Also displayed on loan at the Exhibition ‘Art in Battle’, KODE-Bergen Art Museum, Norway (September 2015 - January 2016). Size: 237 x 160 cm.
Right: Arthur Kampf, 'Wir treten zum Beten vor Gott den Gerechten' ('We gather together to ask the Lord's blessing'), also named 'Karfreitag in einer französischen Kirche' ('Good Friday in a French Church'). GDK 1939, room 3. Painting in possession of the Staatliche Museen zu Berlin, Preusischer Kulturbesitz, Nationalgalerie. Also displayed ath the XXIII Biennale Venedig under the name 'Venerdi Santo nella chiesa de Pinon-1915'.
   



Wir treten zum Beten vor Gott den Gerechten
'Wir treten zum Beten' is an old prayer song with Dutch origins going back to the Battle of Turnhout in 1597, where the Dutch defeated the Spaniards.The song was very popular during the time of the German Kaiserreich. Later, the National Socialists used the song often in their propaganda. It would emphasise the blessing of God on the Third Reich as successor of the German Kaiserreich.



Left: Arthur Kampf, 'Venus und Adonis', created in 1924. GDK 1939, room 21. Bought by Hitler for 10.800 Reichsmark. In the possession of the German Historical Museum. Size 206 x 182 cm.
Right: 'Venus und Adonis' displayed at the exhibition ‘Artige Kunst, Kunst und Politik im Nationalsozialismus‘ (‘Compliant Art, Art and Politics in the National Socialist era’) held at Museum Situation Kunst, Bochum (November 2016 – April 2017), Kunsthalle Rostock, Rostock (April – June 2017) and at Kunstforum Ostdeutsche Galerie, Regensburg (July – October 2017). Depicted in the exhibition catalogue.
  



Arthur Kampf, ‘Der Choral von Leuthen’ (‘The Hymn of Leuthen’), created in 1887. The Battle of Leuthen, 5 December 1757. Frederick the Great and his troops singing hymns to thank God for their victory over the Austrians during the Seven Years War. The song was composed in the 17th century by Johannes Crüger and inspired Johann Sebastian Bach. In 1939 the Reichsgau Köln-Aachen gave the painting to Hermann Göring for his 46th birthday. Nowadays in the possession of the Bayerische Staatsgemäldesammlungen, Munich.


Hermann Göring Collection
Hermann Görings entire art collection comprised some 4,263 paintings, sculptures and tapestries. He planned to display them in the ‘Norddeutsche Galerie’, an art gallery which should be created after the war. The Norddeutsche Gallery was to be erected as an annex to Karinhall in the big forest of the Schorfheide, near Berlin. According to the website of the German Historical Museum, the work ‘Der Choral von Leuthen’ (‘The Hymn of Leuthen’) was part of the collection. In 1939 the Reichsgau Köln-Aachen gave the painting to Hermann Göring for his 46th birthday.


'Il Figlioul Prodigo‘

Left: Arthur Kampf, ‘Rückkehr des Sohnes’ (‘Return of the Sun’), 1929. Displayed at the GDK 1939, room 3. Size: 164 x 126 cm. Bought by Hitler for 9.000 RM. In the possession of the German Historical Museum. Also displayed at the XXIII Venice Biennale, 1942 under the name 'Il Figlioul Prodigo'.
Right: Goebbels visting the Biennale di Venezia in 1942. At the back ‘Rückkehr des Sohnes’ by Arthur Kampf.
     


Left: Arthur Kampf, ‘Kriegsbegeisterung’ (‘War enthusiasm’), 1914.
Right: 'Kriegsbegeisterung', displayed at the German Historical Museum, Berlin. Size 59 x 45 cm.
  

Arthur Kampf, 'Der Schnitter' ('Grim Reaper'). Displayed at the 'Ausstellung Berliner Kunst', 1935, Neue Pinakothek, Munich. Depicted in 'Das Bild', May 1935, and in 'Das bauerliche Jahr, Ein Buch vom Bauerntum in Bildern deutscher Maler'.



Left: Arthur Kampf, ‘Die Wehrmacht schützt den Frieden des Landes‘ (‘The Wehrmacht protects the Piece‘). Design, created in 1940, tempera, 74 x 104 cm. Depicted in ‘Arthur Kampf, 1944‘. Sold in a private sales transaction, 2013.
Right: Arthur Kampf, ‘Verteidigung der Heimat‘ (‘Defence of the Homeland‘). Design, created in 1941, tempera, 73 x 96 cm. Depicted in ‘Arthur Kampf, 1944‘. Sold in a private sales transaction, 2013.
  


Otto des Grossen Beziehungen zu Magdeburg
Arthur Kampf, ‘Otto des Grossen Beziehungen zu Magdeburg‘: ‘German King Otto the Great (912-973) and his relation to the city of Magdeburg‘. Monumental wall-painting consisting of three parts, displayed at the opening in 1906 of the Kaiser-Friedrich-Museum, city of Magdeburg (nowadays Kulturhistorische Museum Magdeburg). Depicted in the magazine ‘Die Woche‘, 1906.


The photos below are depicted in 'Velhagen & Klasings Monatshefte', 1922/23. 
Left: left part of the wall-painting: 'Otto I und Edith betreiben die Befestigung von Magdeburg' ('Otto I and Edith running the Fortification Magdeburg').
Right: mid part of the wall-painting: 'Otto I zieht als Sieger über die Slawen und Wenden in Magdeburg ein' ('Otto I, conqueror of the Slavs and the Wenden -German speaking Slavs-, enters the city of Magdeburg').     
Below: right part of the wall-painting: 'Otto I and Adelheid nehmen Abschied vom Grabe Ediths, seiner ersten Gattin' ('Otto I and Adelheid at the grave of Edith, his first wife'). 
  



Arthur Kampf, 'Abschied' ('Farewell'). Design for a huge mosaic for a building of the the Red Cross ('the 'Mütter und Säulingsfürsorge des Roten Kreuzes'). Depicted in 'Velhagen & Klasings Monatshefte', 1915/16.



Arthur Kampf, ‘Sämann’ (‘Sower’). Displayed at the ‘Herbst Ausstellung Preussische Akademie der Künste zu Berlin’, 1935; depicted in the exhibition catalogue (left). Also displayed at the GDK  1939 room 3. Bought by Reichserziehungsminister Bernhard Rust for 3.500 Reichsmark.
  


Arthur Kampf, ’Erntesegen’ (‘Rich Harvest’). GDK 1939 room 3. Bought by minister Von Ribbentrop for 3.500 Reichsmark.



Arthur Kampf, ‘Friedrich der grosse als Fahnentrager auf dem Schlachtfeld’ (‘Frederick the Great as standard-bearer at the battlefield’). Created around 1900. Size 135 x 95 cm. In the possession of German Historical Museum, Berlin.



Kreishaus Aachen
‘Professor Arthur Kampf bei der Arbeit an seinem Gemälde für das Kreishaus in Aachen’: Professor Arthur Kampf working on the design of one of his frescos for the meeting room of the ‘Kreishaus Aachen’ (the District House of Aachen). Depicted in the German magazin ‘Die Woche’, 1900. The frescos were completed in 1902.


Left: 'Walzwerk'. Detail of the fresco, depicted in 'Velhagen & Klasings Monatshefte', 1922.
Right: The large carton for the Kreishaus Aachen, displayed at Grosse Berliner Kunst-Austellung 1902.
  

The ‘Kreishaus-frescos’ were destructed by bomb attacks in 1944. Below two saved pieces of the frescos (depicting scenes from the Eschweiler hüttenwerk) which are currently in the possession of the city of Aachen.
  

Arthur Kampf, another wall-painting in the meeting room of the Kreishaus Aachen. Depicted in 'Velhagen & Klasings Monatshefte', 1922.




'Works of Contemporary Artists of the Empire’, New York, Boston, Chicago, 1909
Arthur Kampf, ‘Emperor Wilhelm II’. Portrayed in the uniform of the White Cuirassiers. Described in the Chicago Daily Tribune, 7 April 1909. Displayed at the exhibition ‘Works of Contemporary Artist of the Empire’ in the ‘Chicago Art Institute’, 7 April 1909. An ‘exhibition in America representing the best expression of the contemporaneous art movement in Germany’. The works were that year earlier displayed at exhibitions held in the Metropolitan Museum of Art, New York, and Boston.
Left: depicted in the Chicago Daily Tribune, 7 April 1909.
Right: depicted in the American magazine 'The Craftsman', March 1909, with the accompanying text: 'Just as the portrait of the Emperor seems to dominate the exhibition, so his restless, turbulant and agressive personality seems to draw to a focus the national feeling that is there represented. He aims at supremacy along all lines. He plays at painting, sculpture, music, oratory, poetry and architecture as he plays with the dream of being War-Lord of the world, and the nation, or part of it, follows his lead; the part that does not follow eats out its heart in smouldering bitterness or open dsicontent, and all this conflict of warring elements in the nation, all this grasping after false ideals, shows on the walls of the seven galleries at the Metropolitan.'     
  


‘L‘offerta del Popolo‘
Arthur Kampf, ‘Volksopfer 1813, Gold gab ich für Eisen‘ (‘People’s Offering 1813, I gave gold for iron’). Created in 1894. At that time in the possession of the Städtisches Museum der Bildende Künste, Leipzig.
In an attempt to fund the costs of the war against Napoleon, the German Government appealed to its citizens to give up gold rings and other jewellery. In exchange, often the donor was given a medal or iron ring with the inscription 'Gold gab ich fur Eisen'. The slogan was used again in Germany in WWI fundraisings campaings.
Left: ‘Volksopfer 1813, Gold gab ich für Eisen‘, or, L’offerta del Popolo, displayed at La Biennale di Venezia, 1942. Depicted in the official exhibition catalogue.
Right: ‘Volksopfer, Gold gab ich für Eisen‘, postcard issued in Breslau, 1914.
  


‘Benedizione die Volontari‘
Arthur Kampf, ‘Einsegnung von Freiwilligen, 1813‘ (‘Blessing of war Volonteers, 1813‘).  
Left: ‘Benedizione die Volontari‘, a second version, was displayed at La Biennale di Venezia, 1942. Depicted in the official exhibition catalogue.
Right: the origional version of ‘Einsegnung von Freiwilligen, 1813‘, created in 1890, was displayed at the GDK 1939 room 3. Depicted in ‘Arthur Kampf, 1944‘ and on numerous postcards.
  


Arthur Kampf, 'Friedrich der Grosse nach der Rückkehr aus dem siebenjährigen Kriege' ('Frederic the Great returned after the Seven Year War'). Displayed at the Grosse Berliner Kunst-Ausstellun 1902.



Left: Arthur Kampf, detail of 'Das Wandgemälde Nutrimentum spiritus in der Neuen Bibliothek zu Berlin' ('the wall-painting Nutrimentum spiritus in the new University Libarary of Berlin).
Right: the text 'Nutrimentum spiritus', meaning ‘food for the soul’, is still inscribed on the facade of the Humboldt University, Faculty of Law, Berlin (formerly the Royal Library).
  


Above: Arthur Kampf, 'Die Wissenschaft bringt der Menschheit Erleuchtung und Erlösung' ('Science brings humanity Insight and Liberation'). First design for a wall-painting for the auditorium of the University of Berlin.
Below: Arthur Kampf, 'Erziehung der Jugend' ('Education of Youth'). Second design for a wall-painting for the auditorium of the University of Berlin.
Both photos depicted in 'Velhagen & Klasings Monatshefte', 1922.





Left: Arthur Kampf, 'Selfportrait', painted after a hot summer in 1911’. Depicted in the book ‘Arthur Kampf, von Hans Rosenhagen,‘ 1922, page 77.  
Right: bust of Arthur Kampf by Arno Breker, created in 1935. Bronze, height 38 cm. Displayed in 2016 by the ‘Museum de Fundatie', The Netherlands (likely given on loan by the heirs of Arno Breker). The same -or a similar- cast of Arthur Kampf by Breker, was displayed at the GDK 1937 room 2.
   







Arthur Kampf
The most important history painter of the Third Reich.
Arthur Kampf, 1864 - 1950, brother of painter Eugen Kampf and father of painter Herbert Kampf, studied at the Düsseldorf Art Academy. In 1886 he created the work 'The Final Statement', which brought him rapid fame. After his training, he was an assistant teacher at the Düsseldorf Art Academy from 1891 to 1893. Beginning in 1887, Kampf laid the foundation for his subsequent reputation as the last German history painter of calibre, with the pictorial composition of historical themes for the most part reflecting events from the wars of independence. Themes that were devised by him such as 'The Leuthen Choral' (1887, destroyed), 'Consecration of the Volunteers' (1891),'Professor Steffens Speaks in 1813 in Favour of the Popular Uprising' (1891, missing),'The People's Sacrifice 1813' (1894, Leipzig Museum of Fine Arts), as well as 'He Defeated Them with Man and Steed and Wagon' (1896, 'Mit Mann und Roß und Wagen hat der Herr sie geschlagen'; lost), were illustrated into German schoolbooks, sold in large editions as postcards and wall posters.
By the end of the nineteenth century, Kampf had acquired an international reputation and was recepient of numerous distinctions: honorary member of the Academies of Dresden, Vienna and Antwerp, member of the Prussian Academy of Art, Silver Medal in Paris in 1900, Grand Cross of the Legion of Honour, etc.
At 7 April 1909 the exhibition ‘Works of Contemporary Artist of the Empire’ took place in the ‘Chicago Art Institute’: an ‘exhibition in America representing the best expression of the contemporaneous art movement in Germany’. Arthur Kampf displayed his work: ‘Emperor Wilhelm II’, portrayed in the uniform of the White Cuirassiers. Earlier that year, the work was displayed at exhibitions held in the Metropolitan Museum of Art, New York, and Boston.
From 1907 to 1912 he was President of the Royal Academy of Art in Berlin; in 1915 he became Director of the Berlin Art Academy.
In 1933, Arthur Kampf became a member of the NSDAP. Celebrated by virtue of his themes concerning German history and stylistic continuity, only sporadically interrupted by elements of art nouveau and Impressionism, he was awarded the Goethe Medal (1934), the Eagle shield of the German Empire and granted inscription in the so-called 'List of Immortals'. Kampf was one of the four painters in 1944 on the 'Sonderliste der Unersetzlichen Künstler', or the Gottbegnadeten list.
Arthur Kampf was a history painter, and his pictures of historical themes and war scenes were used as propaganda in both World Wars. The NS-Regime in particular celebrated him as a 'Blood and Soil' artist. 
Kampf was represented in the Great German Art Exhibitions with 18 paintings. Hitler bought 4 of his works, other buyers at the GDK were Joseph Goebbels, foreigh minister Joachim von Ribbentrop and minister Wilhelm Rust. In 1939, on the instructions of Hitler, the GDK mounted a special display of paintings by Arthur Kampf: the Sonderschau. The Sonderschau was a special exhibition that garthered works of a highly valued single artist (one per year) in one room. 
Fifteen works of Arthur Kampf were displayed at the XXIII Venice Biennale, 1942, including: ‘Frederico il Grande parla ai suol gerarchi’ (‘Ansprache Friedrichs des grossen an seine Generäle bei Koeben‘, GDK 1939), ‘Benedizione del volontari‘ (‘Einsegnung Freiwilliger im Jahr 1813‘), 'Il Venerdi Santo nella chiesa de Pinon-1915' ('Good Friday in a French Church', GDK 1939), ‘L‘offerta del Popolo‘ (‘Volksopfer 1813, Gold gab ich für Eisen‘) and ‘Il Figlioul Prodigo‘ (‘Rückkehr des Sohnes‘, GDK 1939).
The work ‘Der Choral von Leuthen’ (‘The Hymn of Leuthen’) was part of the art collection of Hermann Göring and destinated for the 'Norddeutsche Gallery'.
At the end of the war most of his mural paintings were destroyed. Kampf fled from the advance of the Red Army to Berchtesgaden. After the war he sank into oblivion. 
Arthur Kampf died in 1950, in Castrop-Rauxel.
‘Die Aufbahrung Kaiser Wilhelm I‘ (‘The body of Kaiser Wilhelm I lying in state‘) and ‘Der Choral von Leuthen’ (‘The Hymn of Leuthen’), are in the possession of the Bayerische Staatsgemäldesammlungen. The work 'Wir treten zum Beten vor Gott den Gerechten' ('We gather together to ask the Lord's blessing') is in the possession of the Staatliche Museen zu Berlin, Preusischer Kulturbesitz, Nationalgalerie. In the possession of the Deutsches Historisches Museum are the following works: ‘Jungfrau von Hemmingstedt' (the flag carrying Maiden of Hemmingstedt, 'Venus und Adonis', ‘Rückkehr des Sohnes’ (‘Return of the Sun’), ‘Kriegsbegeisterung’ (‘War enthusiasm’), ‘Friedrich der grosse als Fahnentrager auf dem Schlachtfeld’ (‘Frederick the Great as standard-bearer at the battlefield’). 'Jungfrau von Hemmingstedt' was displayed at the exhibition ‘Kunst im 3. Reich, Dokumente der Unterwerfung’; the exhibition, instigated by the Frankfurter Kunstverein, was held from 1974 to 1975 in Frankfurt, Hamburg, Stuttgart, Ludwigshafen and Wuppertal. Also displayed on loan at the Exhibition ‘Art in Battle’, KODE-Bergen Art Museum, Norway (September 2015 - January 2016). ‘Kriegsbegeisterung’ (‘War enthusiasm’) is currently displayed at the German Historical Museum, Berlin. 'Venus und Adonis' (GDK 1939 room 21) was displayed at the exhibition ‘Artige Kunst, Kunst und Politik im Nationalsozialismus‘ (‘Compliant Art, Art and Politics in the National Socialist era’) held at Museum Situation Kunst, Bochum (November 2016 – April 2017), Kunsthalle Rostock, Rostock (April – June 2017) and at Kunstforum Ostdeutsche Galerie, Regensburg (July – October 2017).