Georg Ehmig, Mittagsruhe

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‘Mittagsruhe’ (‘Midday Pause’)

Depicted in Westmernanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.

Georg Ehmig, ‘Mittagsruhe’, depicted in Westmernanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.

– condition	: II
– size	: 107 x 92 cm; unframed 96 x 82
– signed	: right, under
– type	: oil on canvas
– misc.	: cleaned and reframed

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BIOGRAPHY: GEORG EHMIG

Left: Georg Ehmig, ‘In der Ramsau’ (‘in Ramsau’), postcard. Displayed with the alternative name ‘Bergwald’ at the GDK 1938, room 11; bought by the ‘Dienststelle des Beauftragten für aussenpolitische Fragen des NSDAP, Sitz Berlin’. Size 117 x 82 cm. In the possession of the Belvedere Museum, Vienna (previous Kunsthistorisch Museum Wien, -Sammlung Joachim von Ribbentrop).
Right: 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.
  

Left: Georg Ehmig, ‘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. Goebbels’. Depicted in ‘Das Bild’, August 1935, and in ‘Das bäuerliche Jahr, Ein Buch vom Bauerntum in Bildern deutscher Maler’, 1939.
Right: ‘Weinbergarbeiterin’ (same work) by Ehmig depicted in Nationalsozialistische Monatshefte’, 1937, Heft 89.
   

‘Weinbergsarbeiterin’ by Ehmig. A second version. In possession of the Museum Kulturspeicher, Würzberg. Displayed at the exhibition ‘Tradition & Propaganda’, 2013, Würzburg. Size 87 x 44 cm.

Left: ‘Weinernte’ (‘Wine Harvest’) by Ehmig. Displayed at the exhibition ‘Die Auslese I’, organised by the NS-Kulturgemeinde in der NS-Gemeinschaft Kraft durch Freude, Berlin, 1934. Depicted in the exhibition catalog.
Right: the same painting depicted under the name ‘Wasserträgerin’ (‘Water Carrier’) in ‘Die Kunstkammer’, 1935.
   

Georg Ehmig, ‘Weinlese in Franken’ (‘Wine harvest in Franken’). GDK 1939, room 15; bought by Von Ribbentrop for 5.000 Reichsmark. Also displayed at the ‘Frühjahrs-Ausstellung, Preussische Akademie der Künste’, 1939.
Depicted in the ‘Illustrierte beobachter’, 28 January 1943.

‘Weinlese’ by Ehmig. Size 200 x 150 cm. In the possession of the Belvedere Museum, Vienna (previous Kunsthistorisch Museum Wien, -Sammlung Joachim von Ribbentrop).

Interview with Ehmig in the same issue of the ‘Illustrierter Beobachter’ (below ‘In der Ramsau’).

Left: Georg Ehmig, ‘Bei der Toilette’ (‘Making Up’). Depicted in ‘Velhagen & Klasings’, Monatshefte, 1932.
Right: Georg Ehmig, ‘Heimkehr’ (‘Returning’). GDK 1942 room 19. Postcard.
   

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 at the ‘Grosse Berliner Kunstausstellung’, Haus der Kunst, Hardenbergstrasse, Berlin, 1940.
   

Georg Ehmig, ‘Reitende Bauer’ (‘Riding Farmer‘). GDK 1939, room 11; depicted in the exhibition catalogue. Bought by Reichsminster Joachim Freiherr von Ribbentrop for 2.500 RM. Depicted in ‘Nationalsozialistische Monatshefte’, 1939, Heft 112 -114. The text below the picture reads: ‘In the possession of Reichsaussenminister Von Ribbentrop’.

‘Reitende Bauer’ by Ehmig. Size 137 x 112 cm. In the possession of the Belvedere Museum, Vienna (previous Kunsthistorisch Museum Wien, -Sammlung Joachim von Ribbentrop).

Georg Ehmig, ‘Urteil des Paris’ (‘Judgement of paris’). GDK 1942 room 22. Bought by Robert Ley for 12.000 Reichsmark.

Georg Ehmig, ‘Das Urteil des Paris’ (other version). Displayed at the ‘Grosse Berliner Kunstausstellung’, 1926. Depicted in ‘Velhagen & Klasing’, Monatshefte, 1937.

Left: Georg Ehmig, ‘Würzburger Festung’ (‘Casttle of Würzburg’). Displayed at the ‘Frühjahrs-Ausstellung 1933’, Preussische Akadamie der Künste, Berlin. Depicted in Nationalsozialistische Monatshefte’, 1936, Heft 78.
Right: Georg Ehmig, ‘Hüterknab am Walchensee’ (‘Young Shepherd at the Wachensee’). Depicted in Nationalsozialistische Monatshefte’, 1937, Heft 89. Displayed at the exhibition ‘Kunstausstellung Hilfswerk für Deutsche Bildende Kunst in der NS-Volkswohlfahrt’, Berlin, November/December 1938.
   

The 1938 Rosenberg Competition: The Pure German Family
Georg Ehmig, ‘Familie’ (‘Family’). GDK 1938 room 33. Photo: Stiftung Preussicher Kulturbesitz/ BPK-bildagentur.
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 1916-1918.
   

Georg Ehmig, ‘Kirchweihtanz’ (‘Kirchweih-dance’). Displayed at the ‘Grosse Berliner Kunstausstellung’, 1933. 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 Städtebilder’, Berlin, 1936. Depicted in ‘Westermanns Monatshefte’, 1937, and in ‘Nationalsozialitische Monatshefte’, 1936, Heft 78.
Right: Georg Ehmig, ‘Liebelei’ (‘The flirt’). Displayed at the ‘Akademie-Ausstellung’, Berlin, 1928. Depicted in ‘Velhagen & Klasings’, Monatshefte, 1928, part I.
  

Georg Ehmig, ‘Kals am Grossglockner’ (‘Kals near Grossglockner’). Sold by a German auction house in 2020. Size 100 x 75 cm.

Left: Georg Ehmig, ‘Frauenbildnis’ (‘Portrait of a Woman’). Displayed at the ‘Grosse Berliner Kunst Ausstellung’, 1931, im Schloss Bellevue. Depicted in the exhibition catalogue.
Right: Georg Ehmig, ‘Weinbergsarbeiterinnen’ (‘Female vineyard-workers’). Displayed at the ‘Herbst-Ausstellung Preussische Akademie der Künste zu Berlin’, 1935. Depicted in the exhibition catalogue. Also depicted in ‘Kunst und Volk’, October 1936.
   

Left: Georg Ehmig, ‘Stilleben’ (‘Stil-life’), 1925. Depicted in ‘Velhagen & Klasings’, Monatshefte, 1932, and in Westermanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36. Displayed at the exhibition ‘Georg Ehmig, zum 70. Geburtstag, -Ausstellung in der Otto-Rigter-Halle’, 1962, Würzburg; depicted in the exhibition catalogue.
Right: Georg Ehmig, ‘Heimfahr’ (‘Returning Home’’). Depicted in ‘Kunst und Volk’, October 1936.
  

Georg Ehmig, ‘Hütejunge’ (‘Young Shepherd’). Depicted in ‘Kunst und Volk’, October 1936, and in Westermann’s Monatshefte, 80. Jahrgang 160. 1936.

Left: Georg Ehmig, ‘Illustration’ (‘Illustration’). Displayed at the ‘Frühjahrs-Ausstellung Preussische Akademie der Künste zu Berlin’, 1933. Depicted in the exhibition catalogue.
Right: Georg Ehmig, ‘Baumgruppe mit Kühen’ (‘Trees and Cows’). Displayed at the ‘Ausstellung Berliner Kunst’, Am Königsplatz, 1935. Depicted in the exhibition catalogue.
   

Left: Georg Ehmig, ‘Spielende Kinder am Brunnen’ (‘Children playing in Fountain’). Displayed at the ‘Grosse Berliner Kunstausstellung’, 1928. Depicted in ‘Velhagen & Klasings’, Monatshefte, 1932.
Right: Georg Ehmig, ‘Ausfahrt’ (‘Going for a Ride’). Displayed under the name ‘Spazierfahrt’ (‘A Ride’) at the ‘Frühjahrs-Ausstellung 1933’, Preussisches Akademie der Künste, Berlin. Depicted in ‘Velhagen & Klasings’, Monatshefte, 1932, and in ‘Kunst und Volk’, October 1936.
   

Left: Georg Ehmig, ‘Heuernte’ (‘Hay Harvest’), GDK 1940 room 33. Also displayed at the exhibition ‘100 Jahre Verein Berliner Künstler’, May/June 1941, Berlin; depicted in the exhibition catalogue.
Right: Georg Ehmig, ‘Kalser Mädchen’ (‘Girl from the village of Kals’), displayed at the ‘Graphikschau von Mitgliedern des Vereins Berliner Künstler’, 1942.
   

Left: Georg Ehmig, postcard. ‘Auf Hiddensee’ (‘Insel Hiddensee’), 1942. The painting is In the possession of the ‘Bayerische Staatgemäldesammlungen‘. Displayed at the ‘Frühjahrsausstellung der Preussischen Akademie’, 1934. Depicted in ‘Kunst und Volk’, October 1936. Depicted under the name ‘Die Insel Hiddensee’ in Westermanss Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
Right: Georg Ehmig, ‘Weinlese‘ (‘Wine Harvest‘), around 1925.
   

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

Georg Ehmig, ‘Kühe’ (‘Cows’). Depicted in ‘Kunst und Volk, Die NS-Kulturgemeinde’, June 1937.

Left: Georg Ehmig, ‘Mittagsruhe’, depicted in Westermanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
Right: Georg Ehmig, ‘Badende’ (‘Bathing’). Depicted in Westermanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
    

Left: Georg Ehmig, ‘Kartoffelernte’ (‘Potato Harvest’). Depicted in ‘Velhagen & Klasings’, Monatshefte, 1935/36, volume 50. Depicted under the name ‘Rast bei der Ernte’ in ‘Kunst und Volk’, October 1936.
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 ‘Ausstellung des Hilfswerkes für deutsche bildende Kunst‘ in der Preußischen Akademie der Künste, Berlin, 11.01.1941. Also displayed at the ‘Frühjahrs Ausstellung’, Verein Berliner Künstler, 1940 (depicted in the exhibition catalogue).
Right: ‘Geschwister’ shown at the ‘Wochenschau’ in 1941: Die Deutsche Wochenschau, 22 January 1941, nr. 542 (at 7.33)
   

‘Geschwister’ by Ehmig, depicted in ‘Westermanns Monatshefte’, 1944.

Georg Ehmig, ‘Weinlese bei Würzburg‘ (‘Wine harvest near Würburg‘). Size 100 x 75 cm.

Georg Ehmig, ‘Trommelnder Junge’ (‘Boy Drumming’). Displayed at the Grosse Berliner Kunstausstellung 1926. Depicted in the official exhibition catalogue.
Georg Ehmig, ‘Geigende Knabe’ (‘Boy playing Fiddle’). Displayed at the Grosse Berliner Kunstausstellung 1928. Depicted in the official exhibition catalogue.
   

Georg Ehmig, ‘Musizierende’ (‘Making Music’). Displayed at the ‘Hannov. Frühjahrsausstellung’, 1940. Depicted in Westmermanss Monatshefte, 80. Jahrgang, 159. Band, 1935/36, and again in ‘Das Bild’, November 1940.

Georg Ehmig, ‘Singende Mädchen’ (‘Singing Girls’). Depicted in ‘Velhagen & Klasings’, Monatshefte, 1932. Displayed under the name ‘Lesende Mädchen’ (‘Reading Girls’) at the ‘Grosse Berliner Kunstausstellung 1931’, Schloss Bellevue; also displayed at the ‘Frühjahrs-Ausstellung’, 1937, Preussische Akademie der Künste, and at the ‘Kunstausstellung Hilfswerk für Deutsche bildende Künst in der NS-Volkswohlfahrt’, Preussische Akademie der Künste, Berlin, 1939.

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’, displayed at the GDK 1938, room 11, and at the ‘Grosse Berliner Kunstausstellung’, 1933. Also displayed at the exhibition ‘Lob der Arbeit, -NS Kulturgemeinde’, 1936, Berlin; depicted in the exhibition catalogue.
Also depicted in ‘Nationalsozialistische Monatshefte, Zentrale politische und kulturelle Zeitschrift der NSDAP’, 1939, and in Westermanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
   

Left: 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. Displayed at the exhibition ‘Georg Ehmig, zum 70. Geburtstag, -Ausstellung in der Otto-Rigter-Halle’, 1962, Würzburg; depicted in the exhibition catalogue. In the possession of the Knauf Museum, Iphofen. Displayed in 2016 in the Museum Kulturspeicher, Würzburg.
Right: Georg Ehmig, ‘Nach dem Bade’ (‘After Bathing’). Another version depicting the  woman of Ehmig. Published in Westmermanss Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
    

Georg Ehmíg, ‘Weinbergarbeiter im Maintal’ (‘Vineyard-workers in the Main-valey’). Depicted in ‘Westermanns Montashefte’, 1939. Displayed at the exhibition ‘Deutscher Bauer – Deutsches Land’, 1938, Berlin.

Left: Georg Ehmig, ‘Dengler’ (‘Scythe-sharpener’). GDK 1937, room 3. Depicted in ‘Velhagen & Klasings Monatshefte’, 1937 and in ‘Westermanss Monatshefte’, 1938. The painting was bought for 1.000 Reichsmark by the New Reich Chancellery, but the location where it was hung is unknown.
Right: Georg Ehmig, ‘Holzknechte in den bayerischen Bergen’ (‘Woodworkers in the Bavarina mountains’). Depicted in ‘Westermanss Monatshefte’, 1938.
   

Georg Ehmig, ‘Orpheus’ (‘Orpheus’, legendary musician, poet, and prophet in ancient Greek religion and myth). GDK 1943 room 22. Depicted in the ‘Illustrierter Beobachter’, 30 Juni 1943.

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.
   

Georg Ehmig, ‘Bildnis’ (‘Portrait’). Depicted in ‘Velhagen & Klasings’, 1935/36.

Left: Georg Ehmig, ‘Badende’ (‘Bathing)’. Displayed at the Grosse Berliner Kunstausstellung 1925.
Right: Georg Ehmig, ‘Rügenküste’ (‘Coast of Rügen’). Depicted in Nationalsozialistische Monatshefte’, 1937, Heft 89.
  

Georg Ehmig, ‘Almweg im Kalsertal’ (‘Alpine path in the Kalsertal’). Displayed at the ‘Grosse Berliner Kunstausstellung’, Haus der Kunst, Hardenbergstrasse, Berlin, 1940; depicted in the exhibition catalogue.

The ‘Grosse Berliner Kunstausstellung’, Haus der Kunst, Hardenbergstrasse, Berlin, 1940. At the left ‘Almweg im Kalsertal’, and at the right ‘‘Pflügende Bergbauern’ by Ehmig.

‘Almweg im Kalsertal’ by Ehmig, depicted in the Dutch magazine ‘De Tijd’, 15 December 1940. Also depicted in the Dutch newspaper ‘Haarlems Dagblad’, 12 December 1940.

Georg Ehmig, ‘Ostseehafen’ (‘Port in the Baltic Sea’). Postcard issued by Verlag Hermann A. Wiechmann, München.
 

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.
   

Left: Georg Ehmig, ‘Wascherinnen’ (‘Laundresses’), displayed at the exhibition ‘Georg Ehmig, zum 70. Geburtstag, -Ausstellung in der Otto-Rigter-Halle’, 1962, Würzburg; depicted in the exhibition catalogue.
Right: ‘Wäscherinnen’ by Ehmig, depicted in Westermanns Monatshefte, 80. Jahrgang, 159. Band, 1935/36.
  

Georg Ehmig, ‘Eisbahn’ (‘Skating Rink’). Depicted in Westermanns Monatshefte 77, Jahrgang 154, March-August 1933. Displayed at the ‘Herbstausstellung Preussische Akademie der Künste’, 1932.

Georg Ehmig, Sizilianische Landschaft’ (‘Landscape of Sicily‘). Displayed at the Grosse Berliner Kunstausstellung 1930. Depicted in ‘Westermanns Monatshefte’, 149. Band, 1930/1.

Left: Georg Ehmig, depicted in the ‘Illustrierter Beobachter’, 28 January 1943, -in the context of an interview.
Right: Georg Ehmig, depicted on the cover of the exhibition catalogue ‘Georg Ehmig, zum 70. Geburtstag, -Ausstellung in der Otto-Rigter-Halle’, 1962, Würzburg.
   

Georg Ehmig
Georg Ehmig (1892 – 1969), born in Altona (Hamburg), was the son of graphic designer. 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 (Sachsen). 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 painting from Paul Plontke. Later he became Meisterschüler from Arthur Kampf. In 1927 he married Martha Genkel, a paintress from Hannover. 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 belonged to the German Romantic painters who particularly depicted simple country life on their canvases; they pictured the peaceful country life of uncomplicated, decent people; clean and earthy. A style also liked by the National Socialists who related it to their ideal of ‘blood and soil’.
Ehmig was represented at every prominent exhibition in Berlin: at the ‘Grosse Berliner Kunstausstellungen’, at the exhibitions of the ‘Preussische Akademie der Künste’ and at exhibitions organised by the ‘Verein Berliner Künstler’. He also took part in major NS-exhibitions, and later in the Great german Art Exhibitions in Munich.
Tens of his works were depicted in the art magazine ‘Velhagen & Klasings Monatshefte’. Other magazines that depicted his works were ‘Die Kunst im Deutschen Reich‘, ‘Das Bild’, Nationalsozialistische Monatshefte’, ‘Westermanns Monatshefte’, ‘illustrierter Beobachter‘, ‘Kunst und Volk‘ and ‘Die Kunstkammer’. Several of his works were depicted on postcards.
Georg Ehmig was represented at the following exhibitions organised by the NS-Kulturgemeinde: ‘Die Auslese I’, Berlin, 1934; ‘Lob der Arbeit’, Berlin, 1936; ‘Deutsche Städtebilder’, Berlin, 1936, ‘Kunstausstellung Hilfswerk für Deutsche Bildende Kunst in der NS-Volkswohlfahrt’, 1937, Berlin (8 works); and two years later with 5 works at the ‘Kunstausstellung Hilfswerk für Deutsche bildende Künst in der NS-Volkswohlfahrt’, Preussische Akademie der Künste, Berlin, 1939 (again represented in 1941). Also at the ‘Kunstausstellung‘, Hamburgischen Kunsthalle, 1938, and in the same year at the exhibition ‘Deutscher Bauer – Deutsches Land’. In 1940 Ehmig displayed his works at the ‘Grosse Berliner Kunstausstellung’, Haus der Kunst, Hardenbergstrasse, Berlin, and at the ‘Frühjahrs Ausstellung’, Verein Berliner Künstler, 1940 (again represented in 1942). In 1938 Ehmig participated in the ‘Rosenberg Competition Das Familienbild’, with ‘Familie’ (‘Family’), a work later displayed at the GDK 1938 room 33.

The 1938 Rosenberg Competition: The Pure German Family
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 ‘Familienbild’ Ehmig participated (before the GDK) 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.

From 1937 to 1944 Georg Ehmig, who was placed on the Gottbegnadeten Liste, displayed 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 works by Ehmig such as: ‘Burkardus mit Festung’, ‘Blick auf Würzburg’, ‘Die Befreiung des Weibes’ and ‘Parsival’. As a result of a bomb attack in Berlin at 23 November 1943,  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, his works stored in Brandenburg were destroyed or stolen. 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.
Georg Ehmig died in 1969 in Würzburg.
Nowadays his works hang in museums in Berlin, Würzburg and Iphofen. ‘Weinbergsarbeiterin’, in the possession of the Museum Kulturspeicher, Würzberg, was displayed at the exhibition ‘Tradition & Propaganda’, 2013, Würzburg. ‘Bildnis der Gattin des Künstlers, Martha Genkel‘ (‘Portrait of Martha Genkel, wife of Georg Ehmig who died in 1945’), in the possession of the Knauf Museum in Iphofen, was displayed in 2016 in the Museum Kulturspeicher. ‘Hiddensee‘, ‘Blumen in der Vase‘ and ‘Raub der Europa’ are in the possession of the ‘Bayerische Staatgemäldesammlungen‘. ‘Raub der Europa’  (‘Raping of Europe’, size 3 x 2 meters, GDK 1941, bought for 6,000 RM by Reichsschatzmeister Franz Xaver Schwarz) was confiscated by the Americans in 1946, but later given back to the ‘Bayerische Staatsgemäldesaammlungen’.