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Description
‘Sarntaler Bauer’ or ‘The face of a People’
‘Farmer from Sarntal, decendent of the Goths’, ‘The Face of a People’
Depicted is ‘The Face of a People’ (‘Das gesicht eines Volkes’): the profile of a farmer from the Sarntal Valley in South-Tyrol, ‘a population believed to be descendants of the Goths’.
Displayed at the GDK 1938 room 6.
Also displayed at the prominent 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’, which took place in the Berlin gallery of the Commissar for Supervision Alfred Rosenberg (‘Der Beauftragte des Führers für Überwachung’); depicted in the exhibition catalogue.
Signed 1932.
Ferdinand Spiegel was represented at early, high impact National Socialist exhibitions, at the 1937-Paris World Exhibition, at the Great German Art Exhibitions, and at the Venice Biennale.
‘Sarntaler Bauer’ by Spiegel, displayed at the GDK 1938 room 6.
‘Sarntaler Bauer’ by Spiegel, displayed at the 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’, which took place in the Berlin gallery of the Commissar for Supervision Alfred Rosenberg. Depicted under the name ‘Bichler von Astfeld’ in the exhibition catalog; Astfeld is a village in the Sarntal Valley, Bichler an old Austrian family-name.
‘Sarntaler Bauer’ by Spiegel, at the 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’.
Left: visable in the middle of the photo, partly behind the sculpture ‘Boxer’ (listed nr. 28 in the exhibition catalogue) by Thorak.
Right: visable in the middle of the photo, left.
Left: ‘Sarntaler Bauer’ by Spiegel, at the same 1935-exhibition, visable at the left of ‘Stehender Mädchenakt’ (‘Nude Girl Standing’) by Thorak (over life-size, listed nr. 29 in the exhibition catalogue).
Right: ‘Stehender Mädchenakt’ by Thorak, depicted in ‘Die Völkische Kunst’, March, 1935.
‘Sarntaler Bauer’: ‘The Face of a People’
The ‘Farmer from Sarntal’ was also displayed at the 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’, which took place in the Berlin gallery of the Commissar for Supervision Alfred Rosenberg (‘Der Beauftragte des Führers für Überwachung’). In this highly publicized show, works were shown by Ferdinand Spiegel and Joseph Thorak. In total, Spiegel displayed 60 works here, all created in the Sarntal.
‘Das Bild’, April 1935, in which the exhibition is described, writes about the ‘Rest eines königlichen, Germanischen Stammes’ in the region of Bolzano, the capital city of South Tyrol: the ‘Sarntalern’, descendants of the Goths, ‘Gotensöhne’. Ferdinand Spiegel perfectly catched, according to Das Bild, the essence and the soal of these mountain-farmers; with good reason the organisors of the exhibition, the NS-Kulturgemeinde, gave the displayed works by Spiegel the title ‘Das Gesicht eines Volkes’ (‘The Face of a People’).
The 1935-Kollektiv-Ausstellung was also extensively covered in the March 1935 edition of ‘Die Völkische Kunst’.
Below: Alfred Rosenberg delivering a speech at the opening of the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 4 March, 1935, Berlin. In this highly publicized show, 60 works were shown by Ferdinand Spiegel -all created in the Sarntal Valley- and 41 works by Joseph Thorak.
At the background we see some paintings by Ferdinand Spiegel, at the foreground ‘Stehender Mädchenakt’ (bronze) by Joseph Thorak.
First row, sitting, from left to right: the ambassador of Turkey, the ambassador of Poland, the Reichsleiter der NS-Kulturgemeinde Walter Stang.
Articles about the opening of the 1935-Kollektiv-Ausstellung were i.a. published in the ‘Völkische Beobachter Berlin, 5 March 1935, and in the ‘General-Anzeiger für Bonn und Ungebung’, 8 March 1935 (below).
The ‘Völkische Beobachter’ wrote: ‘Professor Ferdinand Spiegel zeigt uns das Gesicht eines Volkes. Jahrelang hat er mit grosster Liebe das Gesicht eines Tales in Tirol gezeichnet und aus den Gesichtern dieses Menschentums blikt uns eine vielhundertjährige, ja, über tausendjahre alte Geschichte gegen. Aus manchen Typen wird lebendig das Gesicht der grossen Wanderungen der Germanische Völker, die, über ganz Europa gegangen, ihre gestaltenden Spuren auch dort heute noch zeicht, wo andere Menschenarten vorhanden, später in stärkeren Mase hinzugekommen sind’.
| – condition | : III tear of 6 cm right under |
| – size | : 54 x 35 cm unframed |
| – signed | : left under: ‘Ferdinand Spiegel Tyrol 32’ |
| – type | : mixed technique |
| – misc. | : on the back a poststamp d.d. 7 November 1933 and ‘Astfelder Bauer’. |
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BIOGRAPHY: FERDINAND SPIEGEL
‘Contadino con Toro’
Ferdinand Spiegel, ‘Bauer mit Stier’ (‘Famer with Bull’). Tempera.
Displayed at the following exhibitions:
– ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935 (depicted in the exhibition catalogue);
– GDK 1937 room 4;
– XXI Esposizione Biennale Internazionale d’Arte, 1938 under the name ‘Contadino con Toro’;
– ‘Deutscher Bauer – Deutsches Land’, 1938, Berlin;
– ‘100 Jahre Verein Berliner Künstler’, 1941, Berlin (depicted in the exhibition catalogue).
Depicted in the following magazins:
– ‘Die Völkische Kunst’, March 1935;
– ‘die Kunst im Dritten Reich’, 1937;
– ‘Deutsche Maler der Gegenwart’, 1937;
– ‘Nationalsozialistische Monatshefte’, 1938, Heft 94 and Heft 95;
– ‘Die neue Deutsche Malerei’, 1941;
– ‘Das Bild’, 1941.
Left: ‘Contadino con Toro’, displayed at the ‘XXI Esposizione Biennale Internazionale d’Arte’, 1938. Photoarchive Biennale di Venezia.
Right: ‘Bauer mit Stier’ by Spiegel, displayed at the exhibition ‘Deutscher Bauer – ‘Deutsches land’, 1938 Berlin. Depicted in ‘Nationalsozialistische Monatshefte’,1938, Heft 95.
Ferdinand Spiegel, ‘Baurnfamilie’ (‘Peasant-family’). Displayed at the 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’ which took place in the Berlin gallery of the Commissar for Supervision Alfred Rosenberg (‘Der Beauftragte des Führers für Überwachung’). In this highly publicized show, works were shown by Ferdinand Spiegel and Joseph Thorak. In total, Spiegel displayed 60 works here, all created in the Sarntal. Also displayed at the ‘Frühjahrs- Ausstellung’, Verein Berliner Künstler, 1940; depicted in the exhibition catalogue.
Depicted in ‘Das Bild’, April 1935, in ‘Das bäuerliche Jahr, Ein Buch vom Bauerntum in Bildern deutscher Maler’, 1939, in ‘Deutsche Kunst der Gegenwart’, Breslau, 1943, and in ‘Die Völkische Kunst’, March 1935.
‘Sarntaler Bauern’
The text left on top reads: ‘Eine Familie aus dem Sarntal. Das sind deutsche Menschen, die oben in Tirol leben, und Mann sagt, dass sie Nachfahren der Göten seien‘, or ‘A family from the Sarntal. These are German people, who live in Tyrol, and it is said that they are the descendants of the Goths’.
Depicted in the ‘Deutsche Jugendburg’, Heft 1, October 1936, -‘Ein Künstler malt das Sarntal in Tirol’.
Left: Ferdinand Spiegel, ‘Bauer’ (‘Farmer’). Displayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935; depicted in the exhibition catalogue under the name ‘Bauer am Fenster’. Again displayed at the ‘Kunstausstellung’ des Amtes Feierabend der NS-Gemeinschaft Kraft durch Freude, für die Betriebe des Deutschen Verlages, 2 – 31 December 1937, Berlin; depicted in the exhibition catalog (this was an exhibition for the employees of the companies of Deutsche Verlag, the in 1937 aryanised Verlag Ullstein). Also depicted in ‘Das bäuerliche Jahr, ein Buch vom Bauertum in Bildern deutscher Maler’, 1939.
Right: Ferdinand Spiegel, ‘Kopf eines Hirten’ (‘Head of a Shepherd’). Displayed at the ‘Münchener Kunstausstellung’, 1927, Glaspalast. Depicted in the official exhibition catalogue.
Ferdinand Spiegel, ‘Arbeitskameraden’ (‘Work-comrades’). GDK 1940 room 6. Bought for 7.500 Reichsmark by Theo Memmel, mayor of the city of Würzburg. In the possession of the Museum Kulturspeicher, Würzburg. Mixed technique. Size 225 x 150 cm.
Left: Ferdinand Spiegel, ‘Bauernschmidt’ (‘Farmer-Blacksmidt’). Displayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935. Depicted in ‘Die Völkische Kunst’, 1935, March, Heft 3.
Right: Ferdinand Spiegel, ‘Frau Oberstin’ (‘Ms. Oberstin’). Displayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935. Depicted in ‘Die Völkische Kunst’, 1935, March, Heft 3.
Ferdinand Spiegel, ‘Jakob Kröss’. Size 76 x 54 cm. GDK 1938 room 6. Also dsplayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935. Depicted in ‘Die Völkische Kunst’, 1935, March, Heft 3, under the name ‘Sarntaler Bauernporträt’. In the possession of the Bayerische Staatsgemäldesammlungen.
Ferdinand Spiegel, ‘Flieger, Landsoldat, Marine‘ (‘Pilot, Infantrist, Sailor‘). GDK 1937 room 6; the left part of the triptychon, ‘Flieger’, was depicted in the exhibition catlogue.
Purchased in 1938 for the New Reich Chancellery, together with the triptych below, for 25.000 Reichsmark.
Ferdinand Spiegel, ‘SA-Mann, SS-Mann, Arbeitsdienst‘ (‘SA-Men, SS-Men, Labor-service‘). GDK 1937 room 6. Purchased in 1938 for the New Reich Chancellery.
The triptych ‘SA-Mann, SS-Mann, Arbeitsdienst‘ at the GDK 1937 room 6.
‘Flieger’ by Spiegel, the left part of the GDK-1937 triptychon, depicted in ‘Deutsche Kunst und Entartete Kunst‘, München, 1938. ‘Flieger‘ is shown here as an example of pure German art in juxtaposition to ‘Der Gott der Flieger’ by Johannes Molzahn, 1921.
XXIII Esposizione Biennale Internazionale d’Arte, 1942 (Venice Biennale 1942)
Ferdinand Spiegel was represented at the XXIII Esposizione Biennale Internazionale d’Arte, 1942, were he showed four of his works: ‘Truppe Aerotrasportate , -Cacciatore di Carri Armati J.M.’ (‘Airborne Forces, Tank-hunter J.M.’, GDK 1941); ‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H.M. (‘Airborn Forces, -Tank-hunter H.M., GDK 1941); ‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H. (‘Airborn Forces, -Tank-hunter H., GDK 1941) and ‘Cacciatore di Aeroplani F.’ (‘Fighter Pilot F., GDK 1941).
‘Truppe Aerotrasportate , -Cacciatore di Carri Armati J.M.’
‘Luftlandetruppe Panzerjäger J.M.’ (‘Airborne Forces, Tank-hunter J.M.’). GDK 1941 room 36. Bought by Hitler for 4.000 Reichsmark. Also displayed at the XXIII Esposizione Biennale Internazionale d’Arte, 1942 under the name ‘Truppe Aerotrasportate , -Cacciatore di Carri Armati J.M.’ Depicted in ‘Feuer und Farbe, -155 Bilder vom Kriege’, 1943.
‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H.M.’
‘Luftlandetruppe, -Panzerjäger H.M.’ (‘Airborn Forces, -Tank-hunter H.M.). Size 66 x 52 cm. GDK 1941 room 36. Bought by Hitler for 4.500 Reichsmark. Also displayed at the XXIII Esposizione Biennale Internazionale d’Arte, 1942 under the name ‘Truppe Aerotrasportate , -Cacciatore di Carri Armati H.M.’. Also displayed at the exhibition ‘Maler an der Front’ (‘Painters at the Front’), organized by the ‘Oberkommando des Heeres‘ (Supreme High Command of the German Army) in combination with the ‘Hauptstelle Bildende Kunst in der Dienstelle des Reichsleiters Rosenberg’ (‘Amt Rosenberg‘) and the ‘Reichsminsterium für Volksaufklärung und Propaganda‘, April 1941, Berlin. Depicted in ‘Die Kunst im Deutschen Reich’, 1941, and in ‘Kunst und Propaganda in der Wehrmacht’, 2005.
In the possession of the Deutsches Historisches Museum.
‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H.’
‘Luftlandetruppe, Panzerjäger H.‘ (‘Airborne Forces, Tank-hunter H.’). GDK 1941 room 36; depicted in the exhibition catalogue. Bought by Hitler for 4.000 Reichsmarks. Also displayed at the XXIII Esposizione Biennale Internazionale d’Arte, 1942 under the name ‘Truppe Aerotrasportate , -Cacciatore di Carri Armati H.’ In the possession of the US Army Centre for Military History.
Depicted in the ‘Nationalsozialistische Monatshefte, Zentrale politische und kulturelle Zeitschrift der NSDAP, Heft 135, 1941, and in ‘Kunst dem Volk’, September 1941. Also displayed at the exhibition ‘Maler an der Front’ (‘Painters at the Front’), organized by the ‘Oberkommando des Heeres‘ (Supreme High Command of the German Army) in combination with the ‘Hauptstelle Bildende Kunst in der Dienstelle des Reichsleiters Rosenberg’ (‘Amt Rosenberg‘) and the ‘Reichsminsterium für Volksaufklärung und Propaganda‘, April 1941, Berlin.
‘Luftlandetruppe, Panzerjäger H.‘ by Spiegel, depicted in the ‘Deutsche Zeitung im Ostland‘, 12 December 1941.
‘Luftlandetruppe, Panzerjäger H.‘ by Spiegel, depicted in the ‘Frauenwarte’, Heft 5, 1942.
‘Cacciatore di Aeroplani F.’
‘Fliegerjäger F.’ (‘Fighter-pilot F.’). Size 63 x 50 cm. GDK 1941 room 36. Bought by Hitler for 4.000 Reichsmark. Also displayed under the name ‘Cacciatore di Aeroplani F.’ at the XXIII Esposizione Biennale Internazionale d’Arte, 1942. Depicted in ‘Kunst und Propaganda in der Wehrmacht’, 2005.
In the possession of the Deutsches Historisches Museum.
Photo of one of the exhibition rooms of the XXIII Esposizione Biennale Internazionale d’Arte, 1942. Photo taken at June 23, 1942.
Left on the photo ‘Luftlandetruppe, -Panzerjäger H.M.’
At the right ‘Luftlandetruppe, -Panzerjäger H.‘
Ferdinand Spiegel, ‘Partisanenposten, -Männer der Organisation Todt’ (‘Looking for Guerrillas, -Men from the Organization Todt’). GDK 1943 room 36. Also depicted in the ‘Deutsche Zeitung im Ostland‘, 15 September 1943.
Left: Ferdinand Spiegel, ‘Zimmerman, -Männer der Organisation Todt’ (‘Carpenter, -Men from the Organization Todt’). GDK 1943 room 36. Depicted in ‘Feuer und Farbe, -155 Bilder vom Kriege’, 1943. Also depicted in the ‘Deutsche Zeitung im Ostland‘, 27 July 1943.
Right: Ferdinand Spiegel, ‘Arbeiter mit Kranen, -Männer der Organisation Todt’ (‘Workman with Cranes, -Men from the Organizatio Todt’). GDK 1943 room 36; depicted in the exhibition catalogue. Also depicted in ‘Nationalsozialistische Monatshefte’, 1943, Heft 159.
Ferdinand Spiegel, ‘Atlantikarbeiter, Maschinst, -Männer der Organisation Todt’ (‘Atlantik-worker, Engine-driver’). GDK 1943 room 36. Depicted in ‘Die Kunst im Deutschen Reich’, 1943.
‘Die Deutsche Wochenschau’, 30 June 1943, Nr. 669 (at 5.37)
Shown in ‘Die Deutsche Wochenschau’ in 1943 are three works by Spiegel:
‘Zimmerman, -Männer der Organisation Todt’.
‘Arbeiter mit Kranen, -Männer der Organisation Todt’.
‘Atlantikarbeiter, Maschinst, -Männer der Organisation Todt’
Left: Ferdinand Spiegel, ‘Bayerische Ulan‘ (‘Bavarian Uhlan‘). Depicted in ‘Kunst und Volk’, June, 1936. Again depicted under the name ‘Soldat’ in ‘Krieg und Kunst’, 1944, by Wilhelm Westecker.
Right: ‘Bayerische Ulan’, sold by an auction house in the USA in 2013. Size 52 x 45 cm.
Ferdinand Spiegel, ‘Vogesenposten’ (‘Observationpost in the Vosges‘), displayed at the exhibition ‘Die Auslese I’, Berlin 1934. Depicted in ‘Nationalsozialistische Monatshefte‘, Heft 57, 1934.
Left: Ferdinand Spiegel, ‘Jungbauer mit Vieh‘ (‘Young farmer with Cattle‘). Depicted in the ‘Nationalsozialistische Monatshefte, Zentrale politische und kulturelle Zeitschrift der NSDAP‘, Heft 60, 1935.
Right: Ferdinand Spiegel, ‘Bäuerin’ (‘Female-farmer’). Depicted in ‘Deutsche Maler der gegenwart’, 1937.
‘Contadinotto’
Ferdinand Spiegel, ‘Acherer Bub’. Displayed under the name ‘Contadinotto’ (‘Peasant’) at the XXI Esposizione Biennale International d’Arte, 1938, Venezia. In the possession of the ‘Museum im Kulturspeicher’, Würzburg.
Left: Ferdinand Spiegel, ‘Bäuerin’ (‘Female-farmer’). Size 96 x 68 cm. In the possession of the ‘Museum im Kulturspeicher’, Würzburg.
Right: ‘Schlafende Bauer’ (‘Sleeping Farmer’). Displayed at the GDK 1937 room 4. Described and depicted in ‘Kunst und Volk’, August 1937. Also displayed at the 1935-exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’; depicted in the exhibition catalogue.
Ferdinand Spiegel, ‘Berghirt’ (‘Shepherd’). GDK 1937 room 4. Depicted in ‘Die Grosse Deutsche Kunstausstellung 1937 im Haus der Deutschen Kunst zu München’, 2012, by Dr. Marlies Schmidt.
Left: Ferdinand Spiegel, ‘Oberhammler’ (‘Man from Oberhammler, Sarntal’) . Displayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935. Depicted in ‘Die Völkische Kunst’, 1935, March, Heft 3.
Right: Ferdinand Spiegel, ‘Kornträger’ (‘Corn-porter’). Displayed at the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde’, 1935. Depicted in ‘Die Völkische Kunst’, 1935, March, Heft 3.
Ferdinand Spiegel, ‘Flugzeugführer Ahlgrin‘ (‘Pilot Ahlgrin‘). GDK 1941 room 36. Depicted in ‘Nationalsozialistische Monatshefte’, 1941, Heft 137.
Ferdinand Spiegel, ‘Wache der OT., – Männer der Organisation Todt’ (‘Guard of the Organisation OT, -Men of the Organisation Todt’). GDK 1943 room 36.
‘Wache der OT., – Männer der Organisation Todt’ by Spiegel, depicted in the ‘Deutsche Zeitung im Ostland‘, 20 August 1943.
Ferdinand Spiegel, ‘Panzer’ (‘Tanks’). Giant mural which combined the modern army with the old Prussian cavalry. Depicted in Peter Adam, Art of the Third Reich.
‘Die Vier Elemente’ (‘The Four Elements’)
Ferdinand Spiegel, two large frescos named ‘Die Vier Eelemente’ in the Diningroom of the ‘Erweiterungsbau der Reichshauptbank’ in Berlin (Extension of the Reichshauptbank). Four female allegories represent Fire, Water, Air and Earth. They are supported by four mail figures: a Blacksmith, a Captain, a Pilot and a Worker.
Created in 1939/40, size approx. 7,5 x 2,3 meters each.
Depicted in ‘Kunst dem Volk’, Mai, 1940. The frescos are lost.
Pre-designs of the fescos are in the possession of the ‘Museum im Kulturspeicher’, Würzburg.
The 80 meters long Diningroom, depicted in ‘Zentralblatt der Bauverwaltung’, -‘Der neubau der Reichshauptbank in Berlin’, 22 Januar 1941. The frescos are located at both ends of the room.
Ferdinand Spiegel, details of the frescos in the Diningroom of the Erweiterungsbau der Reichshauptbank in Berlin.
Left: Ferdinand Spiegel, ‘Kampfflieger’ (‘Fighter Pilot’). GDK 1941 room 36.
Right: Ferdinand Spiegel, ‘Flieger Sch.’ (‘Pilot Sch.’). GDK 1941 room 36. Depicted in ‘Die Kunst im Deutschen Reich’, 1941, in ‘Der SA.-Führer. Zeitschrift der SA.-Führer der NSDAP‘, 1942, and in ‘Deutsche Kunst der Gegenwart’, Breslau, 1943.
Left: Ferdinand Spiegel, ‘Panzerjäger’ (‘Tank-hunter’), created around 1940. In the possession of ‘Museum im Kulturspiecher’, Würzburg.
Right: Ferdinand Spiegel, one of his works depicted on the cover of ‘Volk und Rasse’, Juli 1937.
Left: Ferdinand Spiegel, ‘Westfälische Soldat’ (‘Soldier from Westphalia’). Depicted in ‘Wilhelm Westecker, Krieg und Kunst’, 1944.
Right: Ferdinand Spiegel, ‘U-Boot-Steuermannsmaat aus Niedersachsen’ (‘U-boat-Steersman’s mate from Lower Saxony’), 1918. Depicted in ‘Wilhelm Westecker, Krieg und Kunst’, 1944, and in ‘Die Kunst im ‘deutschen Reich’, 1939.
Ferdinand Spiegel, ‘Hitlerjunge’ (‘Hitler Youth Boy‘). Charcoal drawing, signed 1938. Size 47 x 32 cm. Sold by a German auction house in 2013.
Ferdinand Spiegel, ‘Infanterist aus Bayern‘ (‘Infantry Man from Bavaria‘), signed 1918. Poster, printed by ‘Verlag F. Mittelbach’, Berlin Friedenau. Size 63 x 54 cm.
Ferdinand Spiegel, design of the German 1934-stamps with charity surcharge for the ‘Winterhilfswerke’: depicted are 9 different occupations.
Ferdinand Spiegel, design of three German 1935-stamps; depicted are the German composers Heinrich Schütz, Johann Sebastian Bach and Georg Friedrich Händel.
Ferdinand Spiegel, ‘Bauernsportrait‘ (‘Portrait of a Farmer‘), displayed at the Münchener Kunstausstellung 1927 im Glaspalast. Depicted in the exhibition catalogue.
Left: Ferdinand Spiegel, ‘Tiroler Bauer’ (‘Farmer from Tyrol’). Depicted on the cover of the magazine ‘Jugend’, 1917.
Right: Ferdinand Spiegel, ‘Bayerische Jäger´(‘Bavarian Hunter’). Depicted on the cover of the magazine ‘Jugend’, 1915.
Ferdinand Spiegel, ‘Am Schanktisch der Frauen/ Bayerische Wirtin’ (‘At the Bar of Women/ Bavarian Innkeeper’), 1914. Size 80 x 80 cm. Depicted in ‘Bruckmanns Lexikon der Münchener Kunst’, 1994.
Left: ‘Am Schanktisch der Frauen/ Bayerische Wirtin’ depicted in the magazine ‘Jugend’, 1915.
Right: ‘Am Schanktisch der Frauen/ Bayerische Wirtin’, sold by a German auction house in 2001.
Left: ‘1914 – 1915. Von Fritz Erler and Ferdinand Spiegel’: 30 waterworks by Erler and Spiegel depicting battlefields in and around Arras, Ypres and Lille. Published in ‘Velhagen & Klasing Monatshefte’, 1915/16; some paintings were also printed in ‘die Kunst für Alle’, 1915. The orignal works were displayed in 1915 in Galerie Caspari in Munich; 12 of these works were bought by the Kgl. Pinakothek.
Right: 12 of the 30 works are by Ferdinand Spiegel, one of them named ‘Über die Aisne’ (‘Crossing the Aisne river’).
Postcards designed by Ferdinand Spiegel. Created in the first decade of the 20th century.
Ferdinand Spiegel, ‘Bayrische Gewerbeschau, 1912‘ (‘Bavarian Art and Craft Exhibition, 1912‘). Official postcards (‘Amtliche Postkarte’). The left design by Spiegel was also printed on stamps.
Ferdinand Spiegel, design of the cover of the exhibition catalogue ‘Die Ausstellung München’, 1908, Theresienhöhe.
Ferdinand Spiegel, ‘LOVE-SONG’, decorative wall painting. Depicted in ‘The International Studio, 1925 (between 1897-1921, The International Studio was the U.S. edition of the British fine and decorative arts journal The Studio. In September 1931 it was absorbed into The Connoisseur).
Left: Ferdinand Spiegel, ‘On dit‘ (‘They say’)‘). Depicted in Simplicissimus 1914, Heft 41. The text below reads: ‘Yesterday-night they rang the doorbell of the priest, but he did not here it! I can image that, if your (female-)cook is laying on you!’
Right: Ferdinand Spiegel, ‘Im Kornfeld‘ (‘In the Cornfield‘). Depicted in Simplicissimus 1913, Heft 19. The text below reads: ‘Good Things come in Threes, – I hope so’.
Left: Ferdinand Spiegel, ‘Zimmerspruch’ (‘Carpenters Saying’). Depicted in Simplicissimus 1923, Heft 23. Below a related German poem.
Right: Ferdinand Spiegel, ‘Mit Mass und Ziel’ (‘With Measure and Goal’). Depicted in Simplicissimus 1922, Heft 24. The text below reads: ‘Mate, you better slow down, it’s still half an hour before eating’.
Right: Ferdinand Spiegel, ‘Der Versöhnliche‘ (‘Forgiveness‘). Depicted in Simplicissimus 1916, Heft 19. The text below reads: ‘I have nothing against the enemy. Although I do not like the French, neither the English. The bloody Russians should all be destroyed, and if god allows me, I will take care of the Italians. For the Slavs, I have something special in mind. But otherwise I have nothing against the enemy’.
Ferdinand Spiegel, ‘Warneton’, (Belgium), November 1914. One of the 12 works by Spiegel from the publication ‘1914 – 1915, War Depictions by Fritz Erler and Ferdinand Spiegel’. Also published in ‘Velhagen & Klasing Monatshefte’, 1915/16.
Ferdinand Spiegel, depicted in theexhibition catalogue ‘Kollektive-Ausstellung, NS-Kulturgemeinde’, Berlin, 1935.
Ferdinand Spiegel, painter of heroic German farmers and soldiers
Represented at the 1937 World Exhibition, the GDK’s and the Venice Biennale
Ferdinand Spiegel (1879–1950), born in Würzburg as the son of a shoemaker, was a German painter and sketcher.
In 1898 he attended the ‘Naturklasse’ of Gabriel von Hack at the Munich Art Academy. Later Spiegel transferred to the Kunstgewerbeschule, where he studied under Julius Dietz.
Even before his studies he worked for the magazines Jugend and Simplicissimus. Both magazines would publish numerous works by Spiegel over four decades, often on their cover.
In 1907 Spiegel assisted Fritz Erler with the creation of the frescos in the Wiesbaden Kurhaus. He also created wall paintings for restaurants and exhibitions, amongst others for the ‘Deutsches Haus’ at the World Exhibition in Brussels, 1910. Study trips brought him into France, Belgium and Italy. In 1914 Spiegel went in to military service. During his time at the east- and west front, he created many portraits of soldiers and war sceneries, several of which were commissioned by the Kriegsministerium/ Minister of War, Hermann von Stein. In 1914/15 Spiegel published, together with Fritz Erler, the booklet ‘1914–1915’, a map with 30 works depicting the battlefields in and around Arras, Ypres and Lille. The original watercolours were displayed in 1915 in Galerie Caspari in Munich; 12 of them were bought by the Kgl. Pinakothek.
In 1916 he desplayed 7 war scenes at the exhibition ‘Kriegsbilder Austellung’, Königliche Akademie der Künste zu Berlin, -some of his portraits of soldiers from World War I were published again in 1936 at the request of the Ministry of War. Also in 1916 Spiegel was, at the age of 37, appointed as Professor by Arthur Kampf, at the Berliner Akademische Hochschule. Spiegel, who exhibited in the Glaspalast from 1903 onwards, painted mainly portraits, genre- and war scenes, as well as depictions of rustic- and folk life in Bavaria and Tyrol. German farmers and soldiers were often the heroic subjects of his work.
In 1933, at the occasion of the 10th anniversary of the Hitler Putsch, Spiegel displayed 23 works in the Städtische Galerie in Munich. In the following two years, he created the designs for 12 stamps of the Reichspost, including depictions of Johann Sebastina Bach, Georg Friedrich Händel and Heinrich Schütz. In 1934 Spiegel displayed four works in the exhibition ‘Die Auslese’, NS-Kulturgemeinde, Berlin. In 1935 the exhibition ‘Kollektiv-Ausstellung der NS-Kulturgemeinde Berlin’ took place in the Berlin gallery of the Commissar for Supervision Alfred Rosenberg (‘Der Beauftragte des Führers für Überwachung’). In this highly publicized show, works were shown by Ferdinand Spiegel and Joseph Thorak. In total, Spiegel displayed 60 works here, all created in the Sarntal. Rosenberg himself gave the opening address.
Again in 1935, Spiegel was represented with his Sarntaler-depictions at the ‘Zweiten Schlesischen Kunstausstellung’, organised by the Kulturamt der Stadt Breslau and the NS-Kulturgemeinde. A year later, 1936, Spiegel was represented at the exhibition ‘Heroische Kunst’, NS Kulturgemeinde, Munich, and a year later at the ‘Kunstausstellung’ des Amtes Feierabend der NS-Gemeinschaft Kraft durch Freude, für die Betriebe des Deutschen Verlages, 2 – 31 December 1937, Berlin.
In 1937 Spiegel was represented at the Worldexibition, Deutsches Haus, in Paris (source: ‘Das Bild, Monatsschrift für das Deutsche Kunstschaffen’, page 344, November 1937). A year later he displayed four depictions of farmers -including ‘Sarntaler Bäuerin- at the exhibition ‘Der NS.-Gemeinschaft KRAFT DURCH FREUDE’, Hamburgischen Kunsthalle. Also in 1938, he participated in the exhibition ‘Deutscher Bauern – Deutsches Land’, Berlin (an exhibition ‘unter der Schirmherrschaft von Reichsbauernführer Reichsminister R. Walther Darré und Reichsleiter Alfred Rosenberg’).
Ferdinand Spiegel became a member of the Prussian Academy of Arts, and in 1937 he was appointed to Honorable Member of the Munich Art Academy. Spiegel, representative of the ‘New German Wall Painters’, created in around 1937 a series of wall paintings in military barracks. In 1939 he was appointed to take charge of a Meisteratelier at the Berlin Academy. In 1939/40 Spiegel created ‘Die Vier Elemente’ (‘The Four Elements’), two monumental frescos in the Diningroom of the ‘Erweiterungsbau der Reichshauptbank’ in Berlin (Extension of the Reichshauptbank). In 1940 he became ‘Künstler im Kriegseinsatz’, and again went to the front and produced numerous paintings of the war (later Hitler put his name on the ‘Gottbegnadetenliste’). In the same year he took part in the exhibition ‘Frühjahrs-Ausstellung’, Verein Berliner Künstler, and a year later in the exhibition ‘100 Jahre Verein Berliner Künstler‘, Berlin, May/June 1941.
Spiegel was represented at the XXI Esposizione Biennale Internazionale d’Arte, 1938 with his ‘Contadino con Toro’ (‘Famer with Bull’, GDK 1937 room 40) and two other works ‘Montanaro’ and ‘Contadinotto’ (‘Acherer Bub’, in the possession of the ‘Museum im Kulturspeicher’, Würzburg). Four years later he was at the XXIII Esposizione Biennale Internazionale d’Arte, 1942, were he showed his works: ‘Truppe Aerotrasportate , -Cacciatore di Carri Armati J.M.’ (‘Airborne Forces, Tank-hunter J.M.’, GDK 1941); ‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H.M. (‘Airborn Forces, -Tank-hunter H.M., GDK 1941); ‘Truppe Aerotrasportate, -Cacciatore di Carri Armati H. (‘Airborn Forces, -Tank-hunter H., GDK 1941) and ‘Cacciatore di Aeroplani F.’ (‘Fighter Pilot F., GDK 1941).
At the Great German Art Exhibitions, Spiegel displayed 35 works. Among them the triptychs ‘SA-Mann, SS-Mann, Arbeitsdienst’ (‘SA Men, SS Men, Labour service’) and ‘Flieger, Landsoldat, Marine’ (‘Pilot, Infantryman, Sailor’), 11 portraits of soldiers and 11 portraits of workers of the Organization Todt. The triptychs were bought for the Neue Reichskanzlei in 1938 for 25.000 Reichsmark. Four works were bought by Hitler, one by Martin Bormann and one by the mayor of the city of Würzburg, Theo Memmel. The works that Hitler bought included: ‘Luftlandetruppe, Panzerjäger H.‘ (‘Airborne Forces, Tank-hunter H.’, GDK 1941 room 36); ‘Luftlandetruppe Panzerjäger J.M.’ (‘Airborne Forces, Tank-hunter J.M.’, GDK 1941 room 36), ‘Luftlandetruppe, -Panzerjäger H.M.’ (‘Airborn Forces, -Tank-hunter H.M., GDK 1941 room 36), and ‘Fliegerjäger F.‘ (‘Fighter pilot F.´, GDK 1941 room36).
Ferdinand Spiegel died in 1950 in Würzburg.
The Bayerische Staatsgemäldesammlungen is in possession of ‘Portrait of Jacob Kröß’ (GDK 1938) and ‘Chiemsee-landscape’ (GDK 1940, bought by Martin Bormann for 5,500 Reichsmark, depicted in ‘Bruckmanns Lexikon der Münchener Kunst’, 1994).
Deutsches Hisorisches Museum is in possession of: ‘Luftlandetruppe Panzerjäger Josef Miedl’ (GDK 1941, bought by Hitler for 4,000 Reichsmark), ‘Porträt eines deutschen Oberfeldwebels der Luftwaffe’ and ‘Porträt eines deutschen Soldaten der Artillerie’. The last two paintings were likely displayed at the GDK 1941 under a different name, and bought by Hitler. ‘Luftlandetruppe, Panzerjäger H.‘ (GDK 1941, bought by Hitler for 4.000 Reichsmarks) is in the possession of the US Army Centre for Military History.