Georg Lebrecht, Panzer in Feld


                                Price:   €  2,500


‘Panzer im Feld’ (‘German Tanks in the Fields’)

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

– condition : II
– size : 62 x 49 cm
– signed : left, below
– type : oil on board

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Georg Lebrecht, ‘Bomben über England’ (‘Bombs over England’). Displayed at the GDK 1941 room 1. Again displayed at the Grosse Berliner Kunstausstellung 1942.

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; depicted in the exhibition catalogue. 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, ‘Der Tiger’ (‘Tiger’, German heavy tank developed in 1942. The official German designation was ‘Panzerkampfwagen VI Tiger Ausf.E’.). Displayed at the exhibition ‘Deutsche Künstler und die SS’, Breslau, 1944. Depicted on a postcard; on the back is printed ‘Ausstellung Deutsche Künstler und die SS, – Herausgegeben im Auftrag: der Reichsführer-SS, SS-Hauptambt Berlin (‘Exhibition German Artists and the SS, -Published by order of the Reichsführer-SS, SS-Headquarter Berlin’).
Right: ‘Der Tiger’ by Lebrecht, depicted in the ‘Deutsche Zeitung im Ostland‘, 28 January 1944

‘Der Tiger’ by Lebrecht, depicted in the exhibition catalogue ‘Deutsche Künstler und die SS’, 1944, Breslau.

Deutsche Künstler und die SS (‘German Artists and the SS‘)
‘Deutsche Künstler und die SS’ was an exhibition organized by the Reichsführer SS and the SS Supplementary Office of the Headquarter, held in the first quarter of 1944 in the Museum der Bildende Künste in Breslau. In total 589 works of art were displayed, of which 63 were depicted in the exhibition catalogue, published by Wilhelm Limpert Verlag in Berlin. The 72-pages catalogue had a prologue by SS Obergruppenführer Gottlob Berger and a prologue by Heinrich Himmler.

Three months later -from June to July 1944- the exhibition was held in the Alte Residenz in Salzburg  (Salzburg Residenz Palace); a separate catalog was issued with 20 depictions.

Left: Georg Lebrecht, ‘Eingekesselt’ (‘Surrounded’). GDK 1942, room 27.
Right: ‘Eingekesslet’, depicted in the ‘Deutsche Zeitung im Ostland‘, 16 August 1942.

Georg Lebrecht, ‘Pferdetränke in der Puszta’ (‘Horses at Drinking Trough in the Pusta’). GDK 1941 room 18. Also displayed at the ‘Herbst-Ausstellung’, Verein Berliner Künstler, 1940; depicted in the exhibition catalogue.

Left: Georg Lebrecht, ‘Kameraden’ (‘Comrads’). GDK 1937 room 24; depicted in the exhibition cataloge. Also depicted in ‘Das Bild’, 1937.
Right: Georg Lebrecht, ‘Angriff mit Sturmgeschützten’. Displayed at the ‘Herbst-Ausstellung 1942’, Preussische Akademie der Künste, Berlin.
Sturmgeschütz, meaning ‘assault gun’, was a series of armored vehicles used by both the German Wehrmacht and the Waffen-SS armored formations during WWII.

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’).

Georg Lebrecht (and Günther Vogler), ‘Die Uniformen und Abzeichen der SA, SS und des Stahlhelm, Brigade Ehrhardt (Freikorps), Hitler-Jugend, Amtswalter (Amtsträger der NSDAP), Abgeordnete, NSBO (Nationalsozialistische Betriebszellenorganisation) und NSKK (Nationalsozialistisches Kraftfahrkorps)‘, published by Kolk Verlag, 1933, Berlin (a 32 page book with uniforms of German paramilitary organisations in the Weimar Republic).

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. Again displayed at the GDK 1939 room 3.
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 want to 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.

‘Nella brughiera di Tuchel’, Venice Biennale 1942
Georg Lebrecht, ‘In der Tucheler Heide’ (‘At the Tuchola Heather’). GDK 1940 room 13; depicted in the exhibition cataloge. Bought by Hitler for 5.000 Reichsmark. Also displayed under the name ‘Nella brughiera di Tuchel’ at the XXIII Esposizione Biennale Internationale d’Arte, 1942. Depicted in ‘Feuer und Farbe’, Wien, 1943.
The Battle of Tuchola Forest (Schlacht in der Tucheler Heide) was one of the first battles of World War II, during the 1939 invasion of Poland. The battle began 1 September and ended 5 September with a major German victory. Thanks to poor Polish command and control and to German numerical and tactical superiority, the Germans managed to cripple Poland’s Army Pomerania and, by breaking through the Polish Corridor, to connect mainland Germany with East Prussia.

Georg Lebrecht, ‘Der Rundfunk – Die Stimme des Staates’ (‘The Radio  -The Voice of the Nation’), drawing created in 1933.

‘Hohenstaufen’ at the XXII Venice Biennale 1940
Left: Georg Lebrecht, ‘Der Hohenstaufen’. GDK 1943 room 4. Also displayed under the name ‘Hohenstaufen’ at the XXII Esposizione Biennale Internationale d’Arte, 1940. Depicted is the ‘Schwäbische Alp’ in Baden-Württemberg.
Right: 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, ‘Parco Nazionale Gran Paradiso’ (‘National Parc Gran Paradiso’, Italy). Displayed at the ‘XXII Esposizione Internazionale d’Arte di Venezia’, 1940.

Georg Lebrecht’, ‘Renn- und Jagdsport’ (‘Horse Races and Hunting’), lithography. Size 25 x 35 cm. Published around 1900.

Georg Lebrecht

Georg Lebrecht, painter of the First and Second World War
Committed suicide when the Russian army was approaching Berlin (on the premises of the Chamber of Art).

Georg Lebrecht (18751945) born is Silesia, was the son of a German family of farmers and craftsmen. He attended school in Schwiednitz (now Poland) only until he was fifteen. Later he went to the Art Academy of Stuttgart were he studied under 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. During WWI he created many war sceneries, which were displayed in newspapers and at art exhibitions. For example at the ‘Kriegsbilder Ausstellung’, 1916, organised by the Königliche Akademie der Künste zu Berlin, where he displayed:
‘Schwere Artillerie vor Ypern’ (‘Heavy Artillery near Ypres‘), ‘Kotjadere bei Ari Burun auf Gallipoli’  (‘Near Ari Burna at Gallipoli‘), ‘Kum Kaleb, Dardanellen’ (‘Kum Kaleb at the Dardanelles‘), ‘Erstürmung von Dixmuiden’ (‘Storming of Diksmuude‘), ‘In den Ruinen bei Neuve Chapelle’ (‘In the Ruins of Neuve Chapelle‘), ‘Kilid Bahr, Dardanellen’ (‘Kilitbahir at the Dardanelles‘) and ‘Hof in der Dardanellenfestung Kilid Bahr’ (‘Courtyard of the Kilitbahir Castle at the Dardanelles‘).
In 1919 he became member of a Freikorps, a German 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 military-war painting (WWI and WWII). He lived and worked in Berlin and in South Germany.
Lebrechts works were displayed at several ‘Grosse Berliner Kunstausstellungen’ (i.a. 1926, 1927, 1928, 1930, 1940/41, 1942), and at exhibitions organised by the ‘Verein Berliner Künstler’ (i.a. ‘Herbst Ausstellung 1938’, ‘Frühjahrs Austellung 1940’, ‘Herbst Ausstellung 1940’ and ‘100 Jahre Verein Berliner Künstler‘, Berlin, May/June 1941). He was represented at the exhibition ‘Deutscher Bauer – Deutsches Land’, Berlin 1938, organised by Reichsleiter Alfred Rosenberg, and at the ‘Kunstausstellung Hilfswerk für Deutsche Bildende Kunst in der NS-Volkswohlfahrt’, 1941. Lebrecht participated at the exhibitions organised by the Preussische Akademie der Künste in May/June 1942, in October/December 1942, and in April/May 1943.
In 1933, Georg Lebrecht (together with Günther Vogler) published ‘Die Uniformen und Abzeichen der SA, SS und des Stahlhelm, Brigade Ehrhardt (Freikorps), Hitler-Jugend, Amtswalter (Amtsträger der NSDAP), Abgeordnete, NSBO (Nationalsozialistische Betriebszellenorganisation) und NSKK (Nationalsozialistisches Kraftfahrkorps)‘, a 32 page book with uniforms of German paramilitary organisations in the Weimar Republic.
Later in the 1930s, Lebrecht was the Head of the Department of Fine Arts of the Reichskammer. He also had other cultural-political functions, including some at the Berlin Art Association. In 1937 he was a member of the selection-jury of the GDK. Hitler granted him the Professor titel in 1938.
At the Great German Art Exhibitions Lebrecht was represented with 22 works, eleven of them showing military/war scenes. His most famous paintings were ‘Bomben über England’ (‘Bombs on England‘, GDK 1941) and ‘Übergang über den Oberrhein’ (‘Crossing the Upper Rhine’, GDK 1941). Hitler bought three of Lebrecht’s works: ‘Übergang über den Oberrhein’ (8.000 Reichsmark), ‘Nach Ostland woll’n wir Reiten’ (‘We want to ride to the East’, GDK 1939) and ‘In der Tucheler Heide’ (‘At the Tuchola Heather’, GDK 1940). Other buyers were Gauleiter Paul Giesler, Reichsminister Otto Meissner and the city of Leslau (now Wloclawek, Poland).
The Deutsches Historisches Museum in Berlin is currently in the possession of the following works: ‘Grüne Huzaren’ (‘Green Hussars’, GDK 1937), ‘Nach Ostland woll’n wir reiten’ (GDK 1939) and ‘Übergang über den Oberrhein’ (GDK 1941).
Georg Lebrecht was represented at the Venice Biennale in 1938, 1940 and 1942. At the XXI Venice Biennale 1938 he displayed ‘Seguendo i Cani’ (‘Hinter den Hunden’, GDK 1937) and at the XXII Venice Biennale 1940 he showed three works: ‘Hohenstaufen’ (‘Der Hohenstaufen’, GDK 1943), ‘Parco Nazionale Gran Paradiso’ (‘National Parc Gran Paradiso’) and ‘Capella del Reiterle’ (‘Reiterleskapelle’, GDK  1937). At the XXIII Venice Biennale 1942 he displayed ‘Nella brughiera di Tuchel’ (‘In der Tucheler Heide’, or ‘At the Tuchola Heather’, GDK 1940).
In 1945, when the Russian army was approaching Berlin, Lebrecht and his wife committed suicide (on the premises of the Chamber of Art).