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Georg Ehmig, Kranzljungfer

Georg Ehmig, Kranzljungfer Georg Ehmig, Kranzljungfer Georg Ehmig, Kranzljungfer

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Price:€ 16000.00

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'Kranzljungfer’ ('Girl with bridal wreath’): displayed at the GDK 1942, room 37

'Love for the Fatherland and purity of the heart is mirrored in the face of the young ‘Kranzljungfers’ by the painter Georg Ehmig, one of the works that is shown this year at the exhibition in the Haus der Deutschen Kunst in Munich.'

With this painting Georg Ehmig might be inspired by the German opera ‘Der Freischütz’ (‘The Freeshooter’), created in 1821 by Carl Maria von Weber. This opera, based on the German folk legend of the Freischütz and inspired by German folk music, is considered the first important German Romantic opera, especially in terms of its national identity. In particular, the song of the bridesmaids in Act III became very famous: ‘Wir winden dir den Jungfern-Kranz’ (‘We wind the bridal wreath around you’).

‘Wir winden Dir den Jungfernkranz
Mit veilchenblauer Seide;
Wir führen dich zu Spiel und Tanz,
zu Lust und Hochzeitsfreude,

Schöner, schöner, schöner grüner Jungfernkranz,
mit veilchenblauer Seide, mit veilchenblauer Seide!’


Left: Georg Ehmig, 'Kranzljungfer' printed on a postcard.
Right: 'Kranzljungfer' on the cover of the ‘Koralle’, 19 July 1942 (a German weekly magazine).  
   

Text at the bottom of the image on the right: ‘Liebe zur Heimat und Einfachheit des Herzens speigeln sich wider im Antlitz der Jungen ‘Kranzljungfer’ des Malers Georg Ehmig, einer der Werke, die man auf der diesjährigen Ausstellung im Haus der Deutschen Kunst in München sehen wird.’
(‘Love for the Fatherland and purity of the heart is mirrored in the face of the young ‘Kranzljungfers’ by the painter Georg Ehmig, one of the works shown this year at the exhibition in the Haus der Deutschen Kunst in Munich.’)


- condition : II                    
- size : 107 x 78 cm, unframed 94 x 67 cm
- signed : right under: 'G. Ehmig 41'
- type : oil on canvas                                           
- misc. I : gift of the artist in 1941
- misc. II : professional cleaned; framed restaurated


 

Left: Georg Ehmig, ‘Abtrieb von der Alm’ (‘Returning from the Alpine Meadows’). GDK 1941, room 33. Also displayed at the 'Herbstausstellung der Preussischen Akademie der Künst', 1940, and at the 'Grosse Berliner Kunstausstellung', 1942, Nationagalerie. Depicted in 'Die Kunst im Deutschen Reich', 1940. 
Right: Georg Ehmig, 'In der Ramsau' ('in Ramsau'), postcard. Displayed with the alternative name ‘Bergwald’ at the GDK 1938, room 11.
   
   

Left: 'Weinbergsarbeiterin' ('Female vineyard-worker'), displayed at the exhibition 'Ausstellung Berliner Kunst', 1935, Haus der Kunst, Berlin; an exhibition under the patronage of the 'Präsident der Reichskulturkammer Dr. Göbbels'. Depicted in 'Das Bild', August 1935.  
Right: Georg Ehmig, ‘Weinbergsarbeiterin’. Likely a second version. In possession of the Museum Kulturspeicher, Würzberg. Displayed at the exhibition 'Tradition & Propaganda', 2013, Würzburg. Size 87 x 44 cm.
     


Georg Ehmig, ‘Weinlese in Franken’ (‘Wine harvest in Franken'). GDK 1939, room 15.  
 


Georg Ehmig, 'Bei der Toilette' ('Making Up'). Depicted in 'Velhagen & Klasings', Monatshefte, 1932.



Left: Georg Ehmig, 'Weinlese' ('Wine harvest'). GDK 1937, room 37. Also displayed at the 'Akademy -Ausstelllung', 1929, Berlin. Depicted in 'Die Kunst im Dritten Reich', 1937, and in 'Velhagen & Klasings', Monatshefte, 1929/30.
Right: Georg Ehmig, 'Ruhende Diana' ('Resting Diana'). GDK 1944, room 21. Sold for 12.000 RM.
        


Left: Georg Ehmig, ‘Pflügende Bergbauern’ (‘Ploughing mountain-famers’). Displayed in Berlin at the January exhibition of the ‘Verein Berliner Künstler’ from 20 January to 20 February 1942 (Photo: Collectie SOMA Brussel). 
Right: 'Pflügende Bergbauern', displayed in the Grosse Berliner Kunstausstellung, Haus der Kunst, Hardenbergstrasse, Berlin, 1940. 
  


Left: Georg Ehmig, ‘Reitende Bauer' (‘Riding Farmer‘). GDK 1939, room 11. Bought by Reichsminster Joachim Freiherr von Ribbentrop for 2.500 RM.
Right: Georg Ehmig, 'Das Urteil des Paris', depicted in 'Velhagen & Klasing', Monatshefte, 1937. A later version was displayed at the GDK 1942 room 22 and bought by Robert Ley for 12.000 Reichsmark. 
  


The 1938 Rosenberg Competition: The Pure German Family
Georg Ehmig, left part of the painting ‘Familie’ (‘Family’). GDK  1938 room 33 (photo is incomplete). In a review of the Great German Art Exhibition 1938, the Kölnischen Zeitung from 17 Juli 1938 writes that the work 'familienbild' by Georg Ehmig depicts four children: '...und das ‘Familienbild‘ des Malers Georg Ehmig genannt sein mögen. Auf Ehmigs Bild sind die dargestellten Eltern zusammen mit den vier Kindern der Größe nach geordnet.'
With this work, Ehmig participated in the ‘Rosenberg Competition Das Familienbild’ of 14th may, 1938. Earlier, the ‘Aussenpolitische Amt der NSDAP’ had complained that too many paintings depicted German families with only one or two children, ‘and it is known that a Two-Children-System will lead to the downfall of the German Race’. After this announcement in the Mitteilungsblatt of January 1937, the ‘Reichskammer der Bildende Künste’ published the guideline 'Die Kunst hilft der Bevölkerungspolitik', in which artists were required to show at least four children when a family was depicted. The exhibition ‘Das Familienbild’ was planned and executed by the Reichsleitung NSDAP, the highest political level of the Nazi party. Alfred Rosenberg, the Chief Nazi Party ideologist, was ultimately responsible for the organization. He was the head of 'Amt Rosenberg', founded in 1934. This was an official body for cultural policy and surveillance within the Nazi party (other names for the ‘Amt Rosenberg’ were ‘Amt des Beauftragter des Führers für die gesamte geistige und weltanschauliche Erziehung der NSDAP’, or ‘Dienststelle Rosenberg’ or the ‘Reichsüberwachungsamt’). Co-organizers were the culture department of 'Kraft durch Freude' (KdF), the ‘Reichsbund der kinderreichen Deutschlands e.V.’, and the culture section of the Deutschen Arbeitsfront (DAF). The instructions given to the selected group of prominent artists, were to create an outstanding work which would be an allegory of a pure German family with healthy children and a happy mother. At least three or four children should be depicted and the painting should measure at least three square meters. Participants in the competition included: Thomas Baumgartner, Theodor Bohnenberger, Bernhard Dörres, Constantin Gerhardinger, Fritz Mackensen, Wilhelm Petersen, Georg Siebert, Karl Storch, Hermann Tiebert, Wolfgang Willrich, Adolf Wissel and Hans Schmitz-Wiedenbrück. As the jury was not completely satisfied with the results of the competition, the first prize was not awarded. However, eight of the submitted works were later displayed at the GDK in 1938 and 1939. Hans Schmitz Wiedenbrück was awarded the second prize, and three painters were given a shared third prize: Thomas Baumgartner, Bernhard Dörres and Constantin Gerhardinger. Georg Siebert and Adolf Wissel were awarded a recognition prize.



Left: Georg Ehmig, ‘König Friedrich Wilhelm I bei seiner Garde in Potsdam‘ (‘King Friedrich Wilhelm I and his Guard at Potsdam‘). Depicted in 'Velhagen & Klasings, Monatshefte, December 1936.
Right: Georg Ehmig, 'Reiter mit Pickelhaube', drawing, date of creation inknown.  


Georg Ehmig, 'Kirchweihtanz' ('Kirchweih-dance'). Depicted in 'Velhagen & Klasing', Monatshefte, 1933/34.
'Kirchweih' is literally the dedication of a church in German. More generally it also names the celebration of the anniversary of a dedication both at church and in local customs. The festivity is often on the day celebrating a church's patron saint or the day of laying the foundation stone. Mostly it is celebrated during three days, the day before, in the holyday and during the day afterwards.


Left: Georg Ehmig, 'Georg Ehmig, ‘Mainansicht in Würzburg’ (‘View at the river Main in Würzberg’). Displayed at the NS-exhibition ‘Deutsche Stadtebilder’, Berlin, 1936. Depicted in 'Westermanns Monatshefte', 1937.
Right: Georg Ehmig, ‘Liebelei’ (‘The flirt’). Displayed at the 'Akademie-Ausstellung', Berlin, 1928. Depicted in 'Velhagen & Klasings', Monatshefte, 1928, part I.
     


Left: Georg Ehmig, 'Spielende Kinder am Brunnen' ('Children playing in Fountain'). Depicted in 'Velhagen & Klasings', Monatshefte, 1932.
Right: Georg Ehmig, 'Ausfahrt' ('Going for a Ride'). Depicted in 'Velhagen & Klasings', Monatshefte, 1932.
  



Left: Georg Ehmig, postcard. ‘Auf Hiddensee’ (‘Lake Hiddensee’), 1942. The painting is In the possession of the ‘Bayerische Staatgemäldesammlungen‘. Displayed at the 'Frühjahrsausstellung der Preussischen Akademie', 1934.
Right: Georg Ehmig, ‘Weinlese‘ (‘Wine Harvest‘), around 1925.
  

Left: Georg Ehmig, ‘Stosstrupp’ (“Stormtroopers’).  GDK 1941, room 27.
Right: Georg Ehmig, 'design-draft of Stosstrupp'.
   


Left: Georg Ehmig, 'Kartoffelernte' ('Potato Harvest'). Depicted in 'Velhagen & Klasings', Monatshefte, 1935/36, volume 50.
Right: 'Georg Ehmig', 'Obsternte' ('Fruit Harvest'). Depicted in 'Velhagen & Klasings', Monatshefte, 1930/31.
  



Left: Georg Ehmig, ‘Raub der Europa’  (‘Raping of Europe’). Size 3 x 2 meters, GDK 1941, room 24. Bought for 6,000 RM by Franz Xaver Schwarz, Reichsschatzmeister (National Treasurer) of the Nazi Party. The theme ‘Europe’ was rather popular in the Great German Art Exhibitions; the press commented on this work of Ehmig in 1941 with the statement ‘A picture of the Eternal Europe, in which we believe...’ The painting was confiscated by the Americans in 1946, but later given back to the ‘Bayerische Staatsgemäldesaammlungen’. Depicted in Berlin-Rom-Tokio, Folder 10, 1941.
Right: Georg Ehmig, 'Apfelernte' ('Apple harvest'), etching.
  


Left: Georg Ehmig, 'Geschwister' ('Brother and Sister'). Displayed at the 'Kunstaustelling in Berlin, Preussische Akademie der Künste', 1941.
Right: Georg Ehmig, ‘Weinlese bei Würzburg‘ (‘Wine harvest near Würburg‘). Size 100 x 75 cm.
  


Georg Ehmig, 'Singende Mädchen' ('Singing Girls'). Depicted in 'Velhagen & Klasings', Monatshefte, 1932.



Left: Georg Ehmig, ‘Kalser Bauer’, displayed at the ‘Januar-Ausstellung’ of the ‘Verein Berliner Künstler’(‘Berlin Artist Association’), 20 January 1942. Also displayed at the GDK 1942, room 37, under the name ’Tiroler Bauer’.
Right: Georg Ehmig, 'Der Architekt'. GDK 1938, room 11. Depicted in
'Nationalsozialistische Monatshefte, Zentrale politische und kulturelle Zeitschrift der NSDAP’, 1939.
  


Left: Georg Ehmig, 'Wasserträgerin' ('Water Carrier'). Depicted in 'Die Kunstkammer', 1935.
Right: Georg Ehmig, ‘Bildnis der Gattin des Künstlers, Martha Genkel‘ (‘Portrait of Martha Genkel, wife of Georg Ehmig who died in 1945’). Created in 1927, the year of their marriage. Size: 100 x 65 cm. In the possession of the Knauf Museum, Iphofen. Displayed in 2016 in the Museum Kulturspeicher, Würzburg.
  


Georg Ehmíg, 'Weinbergarbeiter im Maintal' ('Vineyard-workers in the Main-valey'). Depicted in 'Westermanns Montashefte', 1939.



Left: Georg Ehmig, 'Dengler' ('Knife-sharpener'). GDK 1937, room 3. Depicted in 'Westermanss Monatshefte', 1938.
Right: Georg Ehmig, 'Holzknechte in den bayerischen Bergen' ('Woodworkers in the Bavarina mountains'). Depicted in 'Westermanss Monatshefte', 1938.
  


Left: Georg Ehmig, ‘Abstieg’ ('The descent’). Depicted in Velhagen & Klasings Monatshefte, 1929, part II.
Right: Georg Ehmig, ‘Die Auffindung des Mosis’ (‘The finding of Moses’). Depicted in Velhagen & Klasings Monatshefte, 1927, part II.
  


Left: Georg Ehmig, ‘Badende’ (‘Bathing)’. Displayed at the Grosse Berliner Kunstausstellung 1925.
Right: Georg Ehmig, 'Almweg' ('Alpine path'). Displayed at the Grosse Berliner Kunstausstellung, Berlin, 1940-1941.  
  


Georg Ehmig, ‘Rast im Walde’ (‘Rest in the Forest’) also named ('Picknick im Freien'). Displayed at the Grosse Berliner Kunstausstellung 1933, in Schloss Bellevue, Berlin.
Left: 'Picknick im Freien', depicted in 'Velhagen & Klasings', Monatshefte', 1932. 
Right: 'Rast im Walde', dipected in the exhibition catalogue of the Grosse Berliner Kunstausstellung 1933.
  




 

Georg Ehmig
Georg Ehmig (1892 – 1969), born in Altona (Hamburg), was the son of Graficker. Shortly after his birth his family fled back to Schweinfurt in Mainfranken where his father came from, to avoid cholera. After his school education he became a technical drawer at Fichtel und Sachs AG in Schweinfurt (Sachs). In WWI he served in the Waffendienst with the German Alpenkorps. After the war he attended the Berlin School of Art were he learnt drawing from the Mainfränkische Ferdinand Spiegel and Paul Plontke taught him painting. Later he became Meisterschüler from Arthur Kampf. In 1927 he married his colleague from Hannover, Martha Genkel. Because his mother lived there Ehmig was frequently in Würzburg, where he often displayed his works as a member of the Vuvuk, the Vereinigung unterfränkischer Künstler und Kunsthandwerker  (artist association of Unterfranken). Ehmig was represented at various exhibitions in Berlin: at the Grosse Berliner Kunstausstellungen and at the exhibitions of the Preussische Akademie der Künst. He belonged to the German Romantic painters who particularly depicted simple country life on their canvases. They represented the National Socialist ideal of ‘blood and soil’. They pictured the peaceful country life of uncomplicated, decent people; clean and earthy. In Juni/July 1938 Ehmig displayed 6 works at the exhibition 'NS.-Gemeinschaft KRAFT DURCH FREUDE', Kunsthalle Hamburg, organized in co-operation with Amt Rosenberg.
Georg Ehmig was represented with 24 paintings at the Great German Art Exhibitions. Several of his works were bought -for prices of up to 12.000 Reichsmark- by high-ranking Nazi officers like: Joachim von Ribbentrop (2), Robert Ley and Reichsschatzminister Franz Xaver Schwarz. Museums in Berlin and Würzberg possessed some of his works such as: ‘Burkardus mit Festung’, ‘Blick auf Würzburg’, ‘Die Befreiung des Weibes’ and ‘Parsival’. As a result of a bomb attack in Berlin, Ehmig lost his house and all of his works. In addition, other works temporarily stored at locations in Posen, Rathenow and Würzburg were heavily damaged. In around 1944 he moved to East Tirol, Austria, where he had also previously worked during the summer. Ehmig was deported as a ‘Reichsdeutscher’ to Germany in the summer of 1947.
Nowadays his works hang in museums in Berlin and Würzburg. ‘Raub der Europa‘, ‘Hiddensee‘, and ‘Blumen in der Vase‘ are in the possession of the ‘Bayerische Staatgemäldesammlungen‘.