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Arthur Kampf, Portrait of Soldier

Arthur Kampf, Portrait of Soldier Arthur Kampf, Portrait of Soldier Arthur Kampf, Portrait of Soldier

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Price:€ 9500.00

Description

'Portrait of a Solder'
Preliminary sketch for 'Mit Mann und Ross und Wagen, so hat sie Gott geschlagen' (lost).

This painting is a preliminary sketch for the famous painting 'Mit Mann und Ross und Wagen, so hat sie Gott geschlagen', which Arthur Kampf created in 1896. It depicts the defeated French soldiers coming back (to Germany) from Russia in 1812. The soldiers are exhausted, dirty, hungry and diseased as can be seen quite well on the face of 'Portrait of a Soldier'.
The French troops were completely crushed in Russia in 1812. Six years earlier, Napoleon, the Emperor of France since 1804, defeated the German army at Jena and Auerstedt. After the defeat in Russia in 1812, it took another year before Germany was liberated from the French. In the Battle of Leipzig, October 1813, the foundation was created for the German Empire of 1871.

'Mit Mann und Ross und Wagen' has been in the possession of the ‘Schlesisches Museum für bildende Künste' in Breslau (Wroclaw, Poland), but is missing since 1922. Arthur Kampf created similar preliminary sketches for other historical works, like: 'Volksopfer' (1894), 'Ansprache Friedrichs des Grossen an seine Generale in Köbne' (1893), 'Der Choral von Leuthen' (1887) and 'Aachener Bürger bitten general Jourdan um Schonung der Stadt' (1905). Some of these sketches are depicted in the book 'Arthur Kampf', Veldhagen & Klasing 1944.

Left: Arthur Kampf, 'Mit Mann und Ross und Wagen, so hat sie Gott geschlagen', 1896. Depicted is an original litho/print (kunstdrück). 
Left and below: detail of 'Mit Mann und Ross und Wagen, so hat sie Gott geschlagen'.
  




'Mit Mann und Ross und wagen, so hat sie Gott geschlagen' are also the first words of a German folksong from 1813. 


The slogan 'Mit Mann und Roß und Wagen hat sie der Herr geschlagen' was later used by the Nazis when they invaded Poland. Invasion of Poland, 1939: 'Mit Mann und Ross und Wagen, so hat sie Gott geschlagen!'





- condition : II                    
- size : 56 x 46 cm, unframed 40 x 30 cm
- signed : left under
- type : oil on canvas. created 1895                                             
- misc. I : on backside: 'Goldfield Galleries, Los Angeles'
- misc. II : professional cleaned and reframed

 


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: 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.




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, ‘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.'     
  



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‘, GDK 1939), 'Il Venerdi Santo nella chiesa de Pinon-1915' ('Good Friday in a French Church') 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.