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Werner Peiner, Eifel Landscape

Werner Peiner, Eifel Landscape Werner Peiner, Eifel Landscape Werner Peiner, Eifel Landscape

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Price:€ 5000.00

Description

'Eifel Landscape' ('Eifel Landschaft')
 
This painting by Werner Peiner depicts the farmland of the Eifel, which was also the subject of the famous paintings 'Deutsche Erde' and 'Grosse Herbstlandschaft'. Like his ancestors, Peiner lived his whole life in the Eifel. The grim, grey clouds are typical for the Eifel area. 
This finely-detailed painting has been carried out using tempera pigments. Peiner has protected the pigments using a self-created surface film that offered a gloss meeting his personal taste. His brushwork may appear to the untrained eye as a poster or print but, on closer inspection, the truth reveals his uncanny abilities and artistic skill. Date of creation: 1962/63.

-condition : II        
- size : 97 x 78 cm, unframed 79 x 59 cm
- signed : left, under
- type : tempera on board                          
- misc. I : professional cleaned; frame restored
- misc. II : bought from the heirs of Werner Peiner












Left: Werner Peiner, postcard*, ‘Deutsche Erde’ ('German Soil' or 'Terra tedesca'), 1933. GDK 1938, room 3. The painting was also displayed at the XIX Venice Biennale, 1934, and at the '1938 Berliner Ausstellung in der Preussischen Akademie der Künste'.
On the horizon we can still see the Cologne Cathedral (Kölner Dom). This strong propaganda work depicts a farmer who believes in the future of Germany -and its uprising- and who, in spite of the threatening thunder, keeps on ploughing (it is said that this was the explanation from the artist himself). In 1933 ‘Deutsche Erde’ was given to the Honorary Citizen Adolf Hitler by the City of Mechernich. Hitler, who was very enthusiastic about this painting by Peiner, ordered that it be hung in the New Chancellery. The painting has been lost.
Right: Werner Peiner, postcard, ‘Frühling’ (‘Spring’), created in 1933. GDK 1938, room 3.  
  


Left: Werner Peiner, postcard, ‘Grosse Herbstlandschaft' (‘Large autumn Landscape’). Created 1931. GDK 1939, room 3.
Right: Werner Peiner, postcard, ‘Steppenmorgen’ (‘Morning in the african savannah’). Created in 1935. GDK 1938, room 3. Bought by Hermann Göring.
  


Werner Peiner. 'Die Schacht im Teutoburger Walde'**, GDK 1942, room 2.



Werner Peiner, artprint, ‘Sommer’. Depicted in Westermann Monatshefte, 1935.



Left: Hitler and Göring looking at ‘Grosse Winterlandschaft’ at the exhibition ‘Werner Peiner und Paraskewe Bereskine’, Academy of Art in Berlin, Marc 4 ,1938 (‘Ausstellung in der Preussische Akademie der Künste in Berlin’). Photo: Library of Congress, Prints and Photographs Division.
Right: Werner Peiner, ‘Grosse Winterlandschaft’, created 1931. GDK 1937, room 18.
  


Blood and Soil
Blood and Soil (‘Blut und Boden’) emphasised the relationship between true Aryans and a rural life. Hitler believed that true Germans 'came from the soil', that they had a family background based on farming and life in the countryside. He wanted all Germans to identify themselves with the glorious history of their descendants who worked the land. The blood and soil ideology honoured strong peasant farmers and other rural workers above people who worked in cities. There was an element of romanticism associated with this ideology as it failed to take into account the importance of industry in the rise of Imperial Germany in the late 19th and early 20th century. However, Hitler associated industry with socialism, communism and trade unions – even if he was to court the support (and money) of the industrialists in later years. Blood and soil ideology often went hand in hand with extreme nationalism and racism. Nazis advocated the idea of a ‘master race’ to free people from illness and make them full of virtue and good thoughts. The decline of rural communities was blamed on the Jews; schools taught that the countryside had been bought up by Jewish families who turned rural families off the land, forcing them to go to the cities to find work. Blut und Boden was also used to rationalise ‘lebensraum’ as the Nazi leaders believed that those who lived in Eastern Europe and western USSR had no idea on how to work the land properly and only true Aryans would know how to do this and make the area a 'bread basket'. Blood and Soil painters depicted peaceful country life and uncomplicated, decent people who were clean and earthy. Left out was any sign of the increased mechanisation of agriculture. The famer was mostly depicted in a primitive, earthbound state, sowing, ploughing and mowing the grass with a scythe.  

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 founded 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 German Historical Museum, 8 paintings and 12 huge gobelins by Werner Peiner were part of the collection. Werner Peiner gave six paintings as a present to Hermann Göring, the last one in 1944. Below the Peiner works in the Goring Collection:
- ‘Mädchen mit Pfau’, GDK 1938, room 3. Given as a present by Peiner in 1938;
- ‘Winterlandschaft’. Given as a present by Peiner in 1939;
- ‘Ostafrikansiche Steppe’, GDK 1938, room 3. Given as a present by Peiner in 1939;
- ‘Köln im Schnee’. Given as a present by the banker baron Eduard Freiherr von der Heydt in 1939;
- ‘Europa und den Stier’, oil on wood, 151 x 170 cm. Bought from the artist in 1937;
- ‘Thor’, oil on wood, 170 x 83 cm. Given as a present by Peiner 1943;
- ‘Freya’, oil on wood, 170 x 83 cm. Given as a present by Peiner in 1943;
- ‘Sommerlandschaft in der Eifel’. Given as a present by Peiner in 1943;
- ‘Falkenjagd’: 4 gobelins depicting Heinrich I, Friedrich II and Arabic hunting-sceneries. Each 466 x 275 cm;
- ‘Weibliche Tugenden’: 4 gobelins depicting ‘Rasse’, ‘Grazie’, ‘Frohsinn’ and ’Stolz’. Each 362 x 259 cm;
- ‘Weibliche Tugenden’: 4 gobelins depicting ‘Wurde’, ‘Güte’, ‘Sanftmut’ and ‘Klugheit’. Each 362 x 259 cm.

‘Freya’, left part of ‘Judgement of Paris’. Size: 170 x 83 cm. Given by Peiner at 12 January 1943 as a present to Göring. Part of the Hermann Goring Collection.



Werner Peiner, ‘Eifeldorf im Schnee’ (‘Village in the Eifel in snow’ or ‘Villagio dell’Eifel sotto la neve’), 1933. Displayed at the Venice Biennale 1934. Depicted in the official exhibition catalogue of the Venice Biennale (photo right).
  


Werner Peiner, ‘Europa und der Stier’ (‘Europe and the Bull’), created 1937. Oil on wood, size 151 x 170 cm. Bought by Hermann Göring who hung it at the head of his bed in Carinnhall. Part of the Hermann Göring collection. In the possession of the Bayerische Staatsgemäldesammlung.
Right: ‘Europa und der Stier’ displayed in 1977 at the Exhibition ‘Deutschland 1930-1939: Verbot, Anpassung, Exil’ in Kunsthaus Zürich, Switzerland. Left at the photo: Ivo Saliger, ‘Urteil des Paris' ('Judgement of Paris'), GDK 1939, room 8.
  






Werner Peiner
One of the most important artists during the Third Reich
Werner Peiner (1897–1984) was a German painter who was very successful during  the National Socialists’ regime. At the start of World War I Peiner voluntarily joined the army. He was promoted to Lieutenant and served at the Western front. After World War I he studied painting at the Düsseldorfer Kunstakademie. In the 1920s he painted mostly in the style of the Neue Sachlichkeit/ Magic Realisme (Magisch Realismus). In 1933 he became Professor Monumentmalerie at the Düsseldorfer Akademie. His art was especially appreciated by Hermann Göring: a nude by Peiner (‘Europa und der Stier’ or ‘Europe and the Bull’, created in 1937), hung at the head of Görings bed. From 1931 to 1934 Peiner created his well known Blut und Boden paintings, works depicting farmers ploughing German soil surrounded by hilly-landscapes and horses and cows. During that time he created the famous 'Deutsche Erde' (GDK 1938 room 3) which was in 1933 given to the ‘Honorary Citizen Adolf Hitler’ by the City of Mechernich. Hitler, who was very enthusiastic about this painting by Peiner, ordered that it be hung in the New Chancellery. The painting has been lost.
In 1935/1936 Peiner made a study trip to Tanganjika, Kenya, Uganda and the Congo. Several of his paintings from this time hung later in the Great German Art Exhibitions. Besides lions, elephants and rhinoceros he also painted the Massai, a tribe that was depicted – according to the German racial ideas – as a strong people, the African variant of the Übermensch. Famous works of that time include 'Sonnenaufgang über dem ostafrikanischen Graben' (GDK 1938 room 3), 'Löwen an der Tränke' and the tryptich 'Das Schwarze Paradies' (GDK 1938 room 3).
From 1936 until the end of World War II Werner Peiner was the head of the Hermann-Göring-Meisterschule für Malerei in Kronenburg. Peiner became a member of the NSDAP in 1937. In the same year he became a member of the Preußischen Akademie der Künste. From 1937 to 1944 he made 19 designs for huge Gobelin tapestries (10 meters by 5.4 meters), which were meant to be placed in the marble gallery of the Neu Kanzlei (146 meters long). Several of these designs were published in the magazine Kunst im Deutschen Reich in 1940 ('Die Schlacht im Teutoburger Walde', 'Die Belagerung der Mariënburg', 'Die Schlacht bei Leipzig', etc). In 1944 Adolf Hitler included him in the Sonderliste der Gottbegnadeten-Liste.
Peiner was represented in the Great German Art Exhibitions with 33 works. In 1938 the GDK mounted a special display of paintings by Werner Peiner: the Sonderschau. The Sonderschau was a special exhibition that garthered works of a highly valued single artist -one per year- in one room.
'Stuhl mit Flasche' ('Sedia e bottiglia' or 'Chear with Bottle'), 1928, by Peiner was displayed at the XXI Venice Biennale 1938. 'Deutsche Erde' ('Terra tedesca') and ‘Eifeldorf im Schnee’ (‘Villagio dell’Eifel sotto la neve’ or ‘Village in the Eifel in snow’) were earlier displayed at the XIX Venice Biennale, 1934.
Eight paintings and twelve huge gobelins by Werner Peiner were part of the Herman Göring Collection and destinated to be displayed in the ‘Norddeutsche Galerie’. Six of the paintings were given by Peiner as a present to Hermann Göring, the last one in 1944.
After the war Peiner was detained for a period and his works were confiscated. From 1948 until his death he lived in Burg Haus Vorst in Leichlingen/Rheinland. In the after war period he created Gobelin Tapestries for the Gerlin-Konzern and for the Ethiopian Emperor Haile Selassie.
Some of his designs for the Neu Kanzlei Gobelin Tapestries hang in Rheinischen Landesmuseum Bonn (2013). ‘Europa und der Stier’ is in the possession of the Bayerische Staatsgemäldesammlung; it was displayed in 1977 at the Exhibition ‘Deutschland 1930-1939: Verbot, Anpassung, Exil’ in Kunsthaus Zürich, Switzerland. In 2012 the exibition ‘Werner Peiner, Verführer oder Verführter, Kunst im Nationalsozialismus‘, took place in Gmünd.
The Deutsches Historisches Museum holds ‘Steppenmorgen’ (GDK 1938 room 3) and 'Winterlandschaft'. 
The Louvre museum holds two gobelin tapestries by Werner Peiner, meant for Görings Carinnhall: 'Le Baldaquin' ('Thronhimmel') and 'Globe Terrestre' ('Erdkugel'). The Louvre also holds the Peiner gobelin tapestries ‘Char de Chevaux’ (‘Der Geist’) and ‘Char de Taureax’ (‘Die Fruchtbarkeit’). The last two tapestries, produced in Germany and meant for the official residence of Foreign Minister Von Ribbentrop in Berlin, are illegally confiscated by France.

* As also stated in our General Terms and Conditions, German Art Gallery offers the depicted postcards for sale. Prices on request.
** Pictures used with permission from the heirs of Werner Peiner.