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Georg Lebrecht, Begegnung

Georg Lebrecht, Begegnung Georg Lebrecht, Begegnung Georg Lebrecht, Begegnung

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Georg Lebrecht, 'Begegnung' ('Encounter')

In 1945, when the Russian army was approaching Berlin, Lebrecht and his wife committed suicide (on the premises of the Chamber of Art).

This is an early work of Georg Lebrecht, made before WWI, probably from around 1910. It is very similar in style as the painting 'Am Parktor', 1914 (below). Unlike Lebrechts later work, this has quite innocent scenery, without horsemen or war scenes.

- condition : II                    
- size : 80 x 72 cm, 59 x 49 cm
- signed : right, under
- type : oil on board                                       
- misc. : professional cleaned; framed restored


Left: Georg Lebrecht, 'Bomben über England' ('Bombs over England'). GDK 1941, room 1
Right: Georg Lebrecht, ‘Stukas greifen an‘ (‘Attack of Stuka’s‘). Displayed in 1940 at the Große Berliner Kunst-Ausstellung in the Haus der Kunst in Berlin.
   


Georg Lebrecht, ‘Ums Morgenrot‘ (‘At Daybreak’). GDK 1938, room 17. Bought for 5.000 RM by minister Otto Meissner.
 


Georg Lebrecht, 'Übergang über den Oberrhein' ('Crossing the Upper Rhein'). GDK 1941, room 14. Bought by Hitler for 8,000 RM.
This painting was confiscated in 1945 by the Americans, but in 1986 on order of Ronald Reagan, 5850 confiscated German paintings   including Übergang über den Oberrhein were sent back to Germany. About 450 other paintings, mainly depicting Nazi leaders and war scenes, were kept and are still in the U.S. Army Center of Military History in Washington, D.C.
Nowadays 'Übergang über den Oberrhein' is in the possession of the Deutsche Historisches Museum in Berlin.


Left: Georg Lebrecht, postcard. 'Der Tiger' (‘Tiger’ was a German heavy tank developed in 1942. The official German designation was ‘Panzerkampfwagen VI Tiger Ausf.E’.). Displayed in the exhibition ‘Deutsche Künstler und die SS’ in 1944 in Breslau.
Right: Georg Lebrecht, ‘Eingekesselt’ (‘Surrounded’). GDK 1942, room 27.
 


Left: Georg Lebrecht, ‘Strassenbau’ (‘Road construction’). GDK 1937, room 12, depicted in Westermann Monatshefte, 1935. Also displayed at the 'Grosse Berliner Kunstausstellung', 1934.
Right: Georg Lebrecht, 'Strassenbau'. Opening of the Grosse Deutsche Kunstausstellung, July 18, 1937. Hitler in conversation with Adolf Ziegler. Left: Hermann Göring.
  


Georg Lebrecht, painting, ‘Deutschland Erwacht, Erinnerung an den 4. März 1933‘ (‘Germany waking up, remembering 4. March 1933’). Displayed at the 'Grosse Berliner Kunstausstellung', 1933. Depicted in 'Velhagen & Klasings', Monatshefte', 1933/34.
In the evening of 4. March 1933 several torchlight-parades were held in Berlin and Munich. The next day the last democratic German elections took place (‘Reichstagwahl’).



Left: Georg Lebrecht, ‘Winterschlacht’ (‘Battle in winter’). Depicted in ‘Das Bild’, 1939.
Right: Georg Lebrecht, ‘Deutschlandsender im Sturm’ (‘German radio-station in storm’). Depicted in ‘Das Bild’, 1939.
  


‘Seguendo i Cani’
Left: Georg Lebrecht, ‘Hinter den Hunden’ (‘Behind the Dogs’ or 'Seguendi i Cani'). Displayed at the Grosse Berliner Kunstausstellung 1927, the GDK 1937, room 23, and displayed at the XIX Venice Biennale, 1934.
Right: Georg Lebrecht, postcard, ‘Am Parktor’ (‘At the gate of the Park’), 1914.
  


Georg Lebrecht, ‘Deutscher Angriff mit Gasbomben bei Steenstraate Flandern‘ (‘Gas assault by German troops in the Steentrate section, Flemish region‘). Signed April 1915. Drawing depicted in the ‘Illustrirte Zeitung‘, 1915.
On April 22, 1915, German forces shock Allied soldiers along the western front by firing more than 150 tons of lethal chlorine gas against two French colonial divisions at Ypres, Belgium. This was the first major gas attack by the Germans, and it devastated the Allied line. The British expressed outrage at Germany's use of poison gas at Ypres but responded by developing their own gas warfare capability. The first use of gas by the British was at the Battle of Loos, 25 September 1915.


Left: Georg Lebrecht, 'Komitatschi' (Serbian guerilla soldiers from WWI; later in WWII they were called Tschetniks). Displayed at the 'Grosse Berliner Kunstausstellung', 1928. Depicted in the official exhibition catalogue. Likely ths work was again displayed in 1939 room 3 at the GDK.
Right: Georg Lebrecht, ‘Turkey at war: Watch on the Bosporus’, created in 1915. The text below the photo reads: ‘Die Turkei im Weltkriege: Wacht am Bosporus. Nach einer Zeichnung des auf den türkischen Kriegsschauplatz entstanden Sonderzeichners der Leipziger Illustrirten Zeitung Georg Lebrecht‘ (‘Turkey at war: Watch on the Bosporus.  After a drawing created on the battlefield in Turkey, by Georg Lebrecht, draughtsman of the leipziger Illustrirten Zeitung’).
  


Georg Lebrecht, 'Nach Ostland woll'n wir reiten' ('We will ride to the East'). GDK 1939 room 24. Bought by Hitler for 5.000 Reichsmark. Size 200 x 100 cm. In the possession of the Deutsches Historisches Museum.




Left: Georg Lebrecht, ‘Der Rundfunk – Die Stimme des Staates’ (‘The Radio  -The Voice of the Nation’), drawing created in 1933.
Right: Georg Lebrecht, ‘In der Tucheler Heide’ (‘At the Tuchola Heather’). GDK 1940 room 13. Bought by Hitler for 5.000 Reichsmark.
In 1939, during the Invasion of Poland at the very beginning of World War II, the major Battle of Tuchola Forest was fought in this area.
  


Georg Lebrecht, 'Von der schweren Niederlage der Engländer und der Französen in den Tagen vom 22. April bis Monatsende: Die Bergung einer eroberten schweren englischen Haubitze' ('British and French armies suffering heavy losses in the last week of April: the salvage of a seized British heavy howitzer'). Signed and published in 1915.


Georg Lebrecht, ‘Erstürmung des Friedhofs von Kum Kaleh durch die türkischen Truppen in der Schlacht vom 25 und 26 April 1915‘ (‘Storming of the Graveyard of Kum Kaleh -at the entrance of the Dardanelles- by Turkisch Troops during the Battle of 25 and 26 April 1915‘. Published in the ‘Illustrirte Zeitung‘ of Leipzig, 1915.



Left: Georg Lebrecht, ‘Vom Schwarzwald zu den Vogezen‘ (‘From the Black Forest to the Fosges‘), 1939/40, size 90 x 68 cm. Displayed at the GDK 1940 room 5. Again displayed at the exhibition ‘100 Jahre Verein Berliner Künstler‘, Berlin, May/June 1941. Depicted in the exhibition catalogue.
Right: ‘Biwak’, watercolor. Displayed at the same exhibition, also depicted in the exhibition catalogue.
  

Left: Georg Lebrecht, ‘Rindvieh aus Hortobagy’ (’Catlle in Hortobagy’). Depicted in ‘Die Kunstwelt, deutsche Zeitschrift für die bildende Kunst ‚ Februari - May , 1913. Hortobágy is an 800 km2 national park in eastern Hungary. The park was designated as a national park in 1973 and elected among the World Heritage sites in 1999. The Hortobágy is Hungary's largest protected area, and the largest semi-natural grassland in Europe.
Right: Georg Lebrecht, ‘Bauernfuhrwerk in der pussta’ (‘Farmers cart in the Puszta’). Depicted in ‘Die Kunstwelt, deutsche Zeitschrift für die bildende Kunst ‚ Februari - May , 1913. The Puszta is a grassland biome on the Great Hungarian Plain in the eastern part of Hungary as well as on the western part of Hungary and in the Austrian Burgenland. The Hungarian puszta is an exclave of the Eurasian Steppe.
 


Georg Lebrecht, 'Hochalm in der Schneeschmelze' ('Alpine grassland with melting snow'). Displayed at the 'Grosse Berliner Kunst Ausstellung', im Schloss Bellevue, 1931. Depicted in the exhibition catalogue.
  




Georg Lebrecht



 

Georg Lebrecht
Georg Lebrecht (18751945) born is Silesia, was the son of a family of farmers and craftsmen. He attended school in Schwiednitz, South Germany (now Poland) only until he was fifteen. Later he went to the Art Academy of Stuttgart with Professors Ludwig von Herterich and Robert Haugg. He went into military service in WWI and fought in East Prussia, France, Galicia, South-Russia, Gallipoli and Macedonia. In 1919 he became a member of a Freikorps, a German volunteer military or anti-communist paramilitary unit. In this role he took part in the suppression in 1919 of the left-extremist rebellion. He was an early member of the NSDAP.
Lebrecht’s painting style was that of landscapes (especially Bavaria and Selesia), hunting scenes and later military-war/propaganda painting. He lived and worked in Berlin and in South Germany. Lebrechst works were displayed at several 'Grosse Berliner Kunstausstellungen (i.a. 1926, 1927, 1928, 1930), and at exhibitions organised by the Verein Berliner Künstler ('Herbstausstellung', 1938, and ‘100 Jahre Verein Berliner Künstler‘, Berlin, May/June 1941).
Later he led the department of Fine Arts of the Reichskammer. He also had other cultural-political functions, including some with the Berlin Art Association. In 1937 he was a member of the selection-jury of the GDK; in 1938 he was granted the title of Professor by Adolf Hitler.
At the Great German Art Exhibitions Lebrecht was represented with 22 works, many of them with (military) horsemen and war scenes. His most famous paintings were ‘Bomben über England’ and ‘Übergang über den Oberrhein’. Hitler bought three of Lebrecht's works, including 'Übergang über den Oberrhein'. The Deutsches Historisches Museum in Berlin is currently in the possession of the following works: ‘Grüne Huzaren’ (GDK 1937), ‘Nach Ostland woll’n wir reiten’ (GDK 1939) and ‘Übergang über den Oberrhein’ (GDK 1941).
Georg Lebrecht displayed several works at the Venice Biennale; at the XXI Venice Biennale 1938: ‘Seguendo i Cani’ (‘Hinter den Hunden’, GDK 1937); three works at the XXII Venice Biennale 1940 and one work at the XXIII Venice Biennale 1942. In 1945, when the Russian army was approaching Berlin, Lebrecht and his wife committed suicide (on the premises of the Chamber of Art).