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Description
‘Junge Deutsche Frau’
‘Healthy Aryan flesh’
‘There were the sensual and lingering nudes of Karl Truppe, Gerhardinger, Graf, Ernst Liebermann, Johann Kluska, Schult, Richard Klein, and many others furnushed the exhibition with ‘healthy Aryan flesh’ (Peter Adam, ‘Art of the Third Reich’).
Nudes and half nudes
From year to year akts (nudes) gained popularity in National Socialist art, both in painting and sculpture. Finally about a tenth of the GDK-paintings shown were nudes. The increasing number of nudes was a reflection of the new feeling of the human body. Nudes were part of the Nature culture. The demand for naturalness, vitality, and sensualism found its visual counterpart in the presentation of the naked body. Here too it was antiquity, the Renaissance, and the old Masters that provided the models: the nudes of Titian, Tintoretto, Michelangelo, Rubens, and Rembrandt. The nudes of the Impressionists, especially Edouard Manet’s Olympia, were rejected as a mere experience of the eye, the body painted for its own sake, the carrier of colours. They were not the expression of a moral, sociological, and religious attitude, which determined the nudes of the Third Reich. The presentation of the devil woman, the prostitute, as modern artists often depicted her, was not only unthinkable but was considered an insult to German womanhood. If man was shown as the dominator of Nature, woman was represented as Nature herself. She was the beauty of Nature, or the playfulness of Nature, and of course was as fertile as Nature. She was shown over and over again in a state of ripeness.
Women were described with soft lines and gentle contours, the image of devotion and cooperation. They were an object; their role was subservient, to be looked at, to be fertilised. Her own sexuality was minimised. She was usually seen facing forward, without pubic hair. In the past, nudes often cowered, hiding their breasts. The new woman, as in Ivo Saliger’s Diana’s Rest, stood upright, proudly displaying her naked body to the viewer, who, in certain pictures, was also the male judge of its attractions, as in Adolf Ziegler’s Judgment of Paris. (source: Peter Adam, Art of the Third Reich).
Several halfnudes of Liebermann were displayed at the Great German Art Exhibition.
| – condition | : II |
| – size | : 85 x 75 cm, unframed 70 x 60 cm |
| – signed | : left, under |
| – type | : oil on canvas |
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BIOGRAPHY: ERNST LIEBERMANN
Ernst Liebermann, ‘Die drei Grazien’ (‘The three Graces’). GDK 1940, room 22. Bought by Hitler for 5.000 RM. In the possession of the Deutsches Historisches Museum. Size 190 x 135 cm. Displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999.
Left Ernst Liebermann, postcard. ‘Najade an der Quelle’, GDK 1942, room 24; depicted in the exhibition catalogue.
Right: Ernst Liebermann, postcard. ‘Am Gestade’ (‘At the Shore’), GDK 1941, room 23. Bought by Hitler for 4.500 RM. In possession of Deutsches Historisches Museum.
Displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999.
Again displayed at the Exhibition ‘Art in Battle’, KODE-Bergen Art Museum, Norway (September 2015 – January 2016). Size: 165 x 120 cm.
Left: Ernst Liebermann, ‘Die Sklavin‘ (‘The Slave‘). GDK 1940, room 25. Size 100 x 80 cm. Bought by Hitler for 1.500 Reichsmark. In the possession of the Deutsches Historisches Museum. Displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999.
Right: Ernst Liebermann, ‘Junges Mädel‘ (‘Young Girl‘). GDK 1940, room 25.
Left: Ernst Liebermann, ‘Kastanien am Wasser’ (‘Chestnuts near Water’). GDK 1938 room 32. Bought by Hitler for 1.200 Reichsmark.
Right: Ernst Liebermann, ‘Ruhende’ (‘Resting’). GDK 1944 room 35; depicted in the exhibition catalogue. Bought by the Deutsche Arbeitsfront Berlin for 4.900 Reichsmark. Size 100 x 80 cm. In the possession of the Bayerische Staatsgemäldesammlungen.
Ernst Liebermann, ‘Halbakt mit Apfel‘ (‘Half-nude with Apple‘). Oil on board. Size 70 x 60 cm. Sold by a German auction house in 2023.
Ernst Liebermann, ‘Akt mit Goldener Kette’ (‘Nude with Golden Chain’). GDK 1941 room 23. Bought by the mayor of Würzburg Theo Memmel for 6.000 Reichsmarks.
Ernst Liebermann, ‘Weiblicher Akt vor grüner Vase’ (‘Female Nude with green Vase’), signed 1942. Size 110 x 80 cm. Oil. Sold by a German auction house in 2019.
Ernst Liebermann, ‘Weigel auf dem Dach seines Hauses’, 1908. The painting shows the German mathematican, astronomer and philosopher Erhard Weigel (1625-1699) on the roof of his house, supposedly at 1662. Visable at the back is the ‘Kollegien-building’ (the old building of the University of Jena). The work was commissioned by the University of Jena around 1908.
Left: ‘Weigel auf dem Dach seines Hauses’, the painting hangs in the conference room of the Faculty of Physics and Astronomy of the Friedrich-Schiller-Universität in Jena. Size 195 x 155 cm.
Right: ‘Weigel auf dem Dach seines Hauses’, depicted in ‘Deutsche Kunst und Dekoration, illustr. Monatshefte‘, 1908. The text under the photo reads: ‘Dekoratives Gemälde im neuen Universitäts-Gebäude zu Jena. Professor Erhard Weigel und das alte Kollegien-Gebäude‘ (‘Painting in the new University-building in the city of Jena. Professor Erhard Weigel and the old Kollegien-building).
Left: Ernst Liebermann, ‘Weiblicher Akt’ (‘Female Nude’). Displayed at the ‘Münchener Kunstausstellung’, 1927, Glaspalast. Depicted in the official exhibition catalogue.
Right: Ernst Liebermann, ‘Auf einsamer Höhe’ (‘At lonely Heights’). GDK 1940 room 25. Solf for 4.000 Reichsmark.
Ernst Liebermann, ‘Halbakt mit Roter Nelke’ (‘Nude with Red Carnation’). GDK 1942 room 11. Also displayed at the ‘Münchner Kunstausstellung Danzig’, 1941; depicted in the exhibition catalogue.
Ernst Liebermann, ‘Feiertag’ (‘Holiday’). GDK 1937 room 39.
Left: Ernst Liebermann, ‘Park-märchen‘ (‘Park-fairytale‘), created 1904. Depicted in ‘Deutsche Kunst und Dekoration, illustr. Monatshefte‘, 1906.
Right: Ernst Liebermann, ‘Auf Bergeshoh‘ (‘At Mountain Height‘), ‘Bildkarten der Jugendblätter Nr. 22’ (postcard nr. 22 issued by the Verlag der Jugendblätter).
Left: Ernst Liebermann, ‘Am Felsquell‘ (‘At the Source‘), created 1905. Depicted in ‘Deutsche Kunst und Dekoration, illustr. Monatshefte‘, 1906.
Right: ‘Am Felsquell’, likely depicted in ‘Velhagen & Klasings Monatshefte’, around 1906.
Ernst Liebermann, ‘Neuschnee‘ (‘New Snow‘). Around 1906 the work was in the possession of the Kaiserliche Hoheit der Herzogin von Coburg (the dutchess of Coburg).
Left: ‘Neuschnee‘ depicted in Velhagen & Klasings Monatshefte, 1905/ 06.
Right: ‘Neuschnee‘ depicted in ‘Deutsche Kunst und Dekoration, illustr. Monatshefte‘, 1906.
Ernst Liebermann, ‘Die Überraschte‘ (‘Surprised‘). Displayed in the ‘Ausstellung Münchener Kunstler‘ 1943, Maximilianeum.
Left: Ernst Liebermann, ‘Loreley’. Size 120 x 100 cm. Created in 1926. Sold by a German auction house in 2016.
Rigt: Ernst Liebermann, ‘Weiblicher Akt vor einem Spiegel’ (‘Femal Nude before Mirror’). Size 122 x 101 cm. Sold by a German auction house in July, 2017.
Ernst Liebermann, ‘Bauernapostel‘ (‘Farmer-apostel‘). Displayed at the ‘Grosse Münchener Kunstausttellung’, Glaspalast, 1922.
Left: Ernst Liebermann, ‘Bergeinsamkeit‘ (‘Loneliness oft he mountains‘). Displayed at the ‘Grosse Münchener Kunstausttellung’, Glaspalast, 1929; depicted in the exhibition catalog.
Right: Ernst Liebermann, ‘Stille’ (‘Silence’). Displayed at the ‘Grosse Münchener Kunstausstellung, Pinakothek’, 1935. Depicted in ‘Das Bild’, 1935.
Left: Ernst Liebermann, ‘Nymphenburg’, created approx. 1911. Previously owned by the City of Charlottenburg/ Berlin (Museum Charlotttenburg-Wilmersdorf, Berlin). The painting has disappeared. Depicted in the magazine ‘Jugend’, 1913.
Right: Ernst Liebermann, ‘Nymphenburg’, displayed at the Grosse Berliner Kunstausstellung 1912. Also displayed at the ‘Jubiläums-Ausstellung der Münchener Künstler-Genossenschaft zu Ehren des 90. Geburtstages Sr. Kgl. Hoheit des Prinz Regenten Luitpold von Bayern, München, Kgl. Glaspalast 1911. Depicted in the cataloges of both exhibitions.
Left: Ernst Liebermann, ‘Neu-Schwanstein’, the Castle of King Ludwig II 1845 – 86 of Bavaria. Depicted in the magazine ‘Jugend’, 1902.
Right: Ernst Liebermann, ‘Amazone’. Oil on board, created around 1910. Sold by a German auction house in 2018.
Ernst Liebermann, ‘Erwachen’ (‘Wake up’). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1917.
‘Ein Feiertag der Hopfenzupfer’ (‘Day of the Hop-pickers’)
Ernst Liebermann, Zyklus ‘Ein Feiertag der Hopfenzupfer’, ‘Ausstellung München’, 1908, Theresiënhöhe. Liebermann displayed five works in the Hopfenhalle at the ‘Austellung München’, all connected with the theme ‘Day of the Hop-pickers’. Depicted in ‘Deutsche Kunst und Dekoration, illustr. Monatshefte‘, 1908.
Left: ‘Work III’ of the cyclus.
Right: ‘Work IV’ of the cyclus.
Below: part of the cycles, depicted left on the photo.
Left: Ernst Liebermann, ‘Romanze’ (‘Romance’). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1924.
Right: Ernst Liebermann, ‘Zwei Altbayern‘ (‘Old Bavarian men‘). Displayed at the Grosse Münchener Kunstraustellung in der Neue Pinakothek, 1934.
Ernst Liebermann, frescoes on the ceiling oft he church in Kirchheim, Thuringen. Created at the end oft he 20th century. Restored in 1989.
Left: Ernst Liebermann, ‘Wacht’ (‘Guarding’). Depicted on the cover of ‘Die Wochenschau, -Kriegsnummer’, 22 Mai 1915. Notice the pickelhaube, which would be replaced by the stahlhelm a year later.
Right: Ernst Liebermann, propaganda poster ‘Den Retterns Münchens’ (‘The Saviors of Munich’). Isued in 1919 by Das bayerische Oberkommando.
Ernst Liebermann, ‘Reigen’ (‘Round-dance’). Displayed at the Grosse Berliner Kunst-Ausstellung 1902.
Left: Prof. Ernst Liebermann, depicted in a German magazin from 1920.
Right: Ernst Liebermann, around 1930.
Ernst Liebermann, ‘Selfportrait’. Signed 1945, size 77 x 62 including frame. Sold in 2019.
Ernst Liebermann
Ernst Liebermann (1869 – 1960) born in Langemüss near Meiningen, was a German painter, graphic artist and illustrator. The sun of a Coburger castle-caretaker/ court-cook first went in 1886 to the School of Arts and Craft in Nürnberg; later to the Art School of the Kunstgewerbemuseum in Berlin. From 1890 to 1893 Liebermann studied at the Berliner Akademie der Künste with Josef Scheurenberg, Woldemar Friedrich and Franz Skarbina. In 1893 he won the golden medal (‘den grossen Schulpreis‘) of the Berlin Academy. During his studies he travelled through Germany and to Holland, Italy and France. He worked from 1897 in Munich as a book and magazine illustrator. Initially he made lithographs of cities and landscapes, later he started painting. At the end of the 20th century Liebermann created the frescoes on the ceiling of the church in Kirchheim, Thüringen. Liebermann was first a member of the Munich Luitpoldgruppe; after 1907 he switched to the neue Münchner Künstlergruppe Bayern. In 1902 he took part in the exhibition ‘Frühjahr-ausstellung der Münchener Luitpoldgruppe in the Gallerie Heinemann. In 1904 he was represented in the Münchener Jahresaustellung im Glaspalast; in subsequent decennia, numerous exhibitions of his works in the Glaspalast would follow. In 1907 he was awarded the professor title. A year later he displayed in the Hopfenhalle at the ‘Ausstellung München 1908’ his cyclus of 5 paintings: ‘Ein Feiertag der Hopfenzupfer’ (‘Day of the Hop-pickers’).
His paintings of people, nudes, castles and landscapes were done in warm earthy colors -most of the time in romantic sceneries- and many of them were printed on postcards. Numerous . During World War I Liebermann created portrait series of Russian prisoners. In 1916 he was represented at the exhibition ‘Kriegsbilder Austellung’, Königliche Akademie der Künste zu Berlin. Later his nude painting was embraced by the National Socialistic conception of art. From 1896 to 1938, almost 40 years (!), the drawings and paintings by Liebermann were published in the magazine ‘Jugend’. In 1936 he was represented at the exhibition ‘Lob der Arbeit’ (‘In Praise of Work’), organised by the NS-Kulturgemeinde, Berlin; and in the same year also at the exhibition ‘Heroïsche Kunst, NS-Kulturgemeinde, München. In 1938 he took part in the exhibition ‘Deutscher Bauer – Deutsches Land’, an exhibition ‘unter der Schirmherrschaft von Reichsbauernführer Reichsminister R. Walther Darré und Reichsleiter Alfred Rosenberg’.
In the Great German Art Exhibition in the Munich Haus der Kunst he was represented with 20 paintings, many of them nudes and half-nudes. Five works were bought by Hitler. In the last phase of the war Liebermann was put on the Gottbegnadeten-Liste as one of the most important painters. In 1943 Liebermann atelier in Munich was bombed and numerous of his works were destroyed.
Ernst Liebermann died in 1960 in Beuerberg, Bavaria.
The paintings ‘Die drei Grazien’ (GDK 1940 room 22), ‘Die Sklavin’ (GDK 1940 room 25) and ‘Am Gestade’ (GDK 1941 room 23) are currently in the possession of the Deutsches Historisches Museum. The Bayerische Staatsgemäldesammlungen owns ‘Das stille Tal’, ‘Der Strom der Deutschen Ostmark (GDK 1941, bought by Reichsschatzmeister Franz Xaver Schwarz, size 120 x 166,0 cm) and ‘Ruhende’ (GDK 1944, bought by the ‘Deutsche Arbeitsfront Berlin’). ‘Die drei Grazien’ (‘The three Graces’), ‘Am Gestade’ (‘At the Shore’) and ‘Die Sklavin‘ (‘The Slave‘) were displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999. ‘Am Gestade’ was again displayed at the Exhibition ‘Art in Battle’, KODE-Bergen Art Museum, Norway, September 2015 – January 2016). Liebermann’s work ‘Weigel auf dem Dach seines Hauses’, 1908 (showing the German mathematician, astronomer and philosopher Erhard Weigel (1625-1699) on the roof of his home in Jena) hangs in the conference room of the Faculty of Physics and Astronomy of the Friedrich-Schiller-Universität in Jena. The Städtischen Galerie Rosenheim is also in the possession of works by Ernst Liebermann. His frescoes on the ceiling of the church of Kirchheim have been restored.