‘Stilleben mit roter Weste und Hut’ (‘Still life with red Waistcoat and Hat’)
Displayed at the GDK 1938, room 16.
Bought at the GDK 1938 by the Lufgaukommando VII (Munich), and placed in the Officers mess of the Airbase Leipheim.
With stamp on the back of the Luftwaffe, dated 1940, and FL. U.V., indicating ‘Flieger Unterkunft Verwaltung’ (Flight Barracks Administration). Also a sticker on the back reading: ‘Unterkunftsverwaltung Leipheim’.
Deeply conservative art on a high-tech military production facility
The still lifes by Platzöder are a deeply conservative Bavarian form of art. What is remarkable is the fact that this style of art hung in high-technology military facilities, like the Fliegerhorst Leipheim.
Fliegerhorst Leipheim, build in 1936/ 37, was a Wehrmacht Airbase near the city of Leipheim, Bavaria. From 1940 to 1945 Messerschmitt GmbH Augsburg had aircraft production plants in operation at the airbase (and also assembly factories in the forests scattered around the airbase). Produced (assembled) at the Messerschmitt factory in Leipheim was the World’s first operational jet-powered fighter aircraft, the Messerschmitt Me 262. On 18 July 1942, test pilot Fritz Wendel made the first test Me 262 flight on jet power alone from the airfield at Leipheim.
Conservative art hand in hand with high technology.
|– condition||: II|
|– size||: 65 x 54 cm, unframed 50 x 40 cm|
|– signed||: right, under (and on the back)|
|– type||: oil on board|
|– misc.||: professional cleaned and reframed|
Ludwig Platzöder, postcard. ‘Stilleben mit Posthorn’ (‘Still life with Posthorn’). GDK 1943, room 11. Depicted in ‘Kunst dem Volk’, 1943.
Left: Ludwig Platzöder, ‘Stilleben mit Zinnkrug’ (‘Still life with Tin Jar’). GDK 1944, room 35.
Right: Ludwig Platzöder, ‘Stilleben mit Hut’ (‘Still Life with hat’). This work was bought in 1937 by the Ministry of the Interior at the exhibition ‘Kunst für Alle’. The painting hung in the Officers-section of the Jägerkaserne des II. Gebirgsjäger-Regiments in Berchtesgaden (owned by the Bayerischen Staatsgemäldesammlungen, it was on permanent loan to the Jägerkaserne). The painting disappeared in world war II.
Left: Ludwig Platzöder, ‘Besuch im Atelier’ (‘Visiting the Atelier’). GDK 1944, room 15; depicted in the exhibition catalogue, and in ‘Die Kunst in Deutschen Reich’, 1944.
Right: ‘Besuch im Atelier’ by Platzöder, located in Germany. Offered in 2019 on internet. Size 175 x 125 cm.
Ludwig Platzöder, ‘Frau beim Apfelschälen” (‘Woman peeling Apples’). GDK 1942, room 16. Sold for 15.000 Reichsmark.
Left: Ludwig Platzöder, ’Jungbäuerin’ (‘Young female-farmer’), GDK 1939, room 37. Bought for 800 Reichsmark by Hitler. In the possession of the Deutsches Historisches Museum, Berlin. Displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999.
Right: Ludwig Platzöder, ‘Apfelstilleben mit Zinnschüssel und Krug‘ (‘Still life with apples, tin-platter and jar‘). GDK 1937, room 37. In the possession of the Deutsches Historisches Museum, Berlin.
Hitler bought in 1939 three of Platzöder’s paintings; ‘Stilleben mit Zinnschüssel und grüne Flasche’ (‘Still life with Tin-bowl and Green Bottle’, GDK 1939 room 35), ‘Jungbäuerin’ (‘Young female-farmer’, GDK 1939 room 37) and ‘Bauerliches Stilleben’ (‘Rural Still-life’, GDK 1939 room 35).
On his orders in 1943, one of these paintings was placed in his apartment in the Prinregentenstrasse.
Below: documents about Hitlers purchases from the Haus der Deutschen Kunst, 1939, found in the Bundesarchiv, Berlin.
Left: Ludwig Platzöder, ‘Sinnendes Mädchen’ (‘Contemplating’), GDK 1941, room 16. Bought by ‘Reichsschatzmeister’ (National Treasurer) Franz Xaver Schwarz for 10.000 Reichsmark. In the possession of the ‘Bavarian State Paintings-Collections’.
Right: Ludwig Platzöder, ‘Stilleben mit rotem Tuch und Hut‘ (‘Still life with red voucher and hat‘). GDK 1939, room 11. Bought for 1.250 Reichsmark by Joachim von Ribbentrop. In the possession of the Belvedere Museum, Vienna. Size : 80 x 25% cm, oil on canvas.
Left: Ludwig Platzöder, ‘Schlafendes Bauernmädchen’ (‘Sleeping farmer-girl’). GDK 1940, room 26.
Right: Hitler at the opening of the GDK 1940. Left at the background: ‘Schlafendes Bauernmädchen’.
Left: Ludwig Platzöder, ‘Stileben mit Tonflasche’ (‘Stillife with Jar’). GDK 1942, room 37; depicted in the exhibition catlalogue. Bought by Robert Ley for 2.500 Reichsmark. Also depicted in ‘Die Kunst für Alle’, 1942.
Right: Ludwig Platzöder, ‘Stilleben’ (‘Stillife’). Displayed at the ‘Münchener Jahresausstellung’, 1937, Neue Pinakothek.
Left: Ludwig Platzoder, ‘Stilleben mit Maske und Pantoffeln‘ (‘Still life with Mask and Slippers‘). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1931.
Right: Ludwig Platzöder, ‘Still life’. Displayed at the Grosse Münchener Kunstausstellung 1936, Neue Pinakothek. Depicted with the name ‘Bayerisches Stilleben’ in ‘Westermanns Monatshefte’, 1937.
Ludwig Platzöder, ‘Bayerisches Stillleben’ (‘Bavarian Still-life), 1942. Created on postcards.
Left: Ludwig Platzöder, ‘Im Selbstportrait’ (‘Selfportrait’). Depicted in the newspaper ‘Dachauer Nachrichten’, 1976.
The atelier of Ludwig Platzöder, around 1935.
Ludwig Platzöder was a very successful painter during the time of the National Socialists. However, very little is known about him. Platzöder was born in 1898 in Munich and he died in 1976 in Holzkirchen, Bavaria. He lived and worked for a certain period in Dachau and Munich and was a member of the ‘Reichsverband bildender Künstler Deutschland.’ From 1928 to 1934 Ludwig Platzöder was represented at exhibitions organised by the Dauchauer Kunstverein in the Dachauer Schloss. In 1931 he took part in the ‘Grosse Münchener Kunstausstellung’ in the Glaspalast, in 1932 in the ‘Münchener Kunstausstellung’ in the Deutsche Museum, in 1936 in the ‘Grosse Münchener Kunstausstellung’ in the Neue Pinakothek and in 1937 he was represented at the ‘Münchener Jahresausstellung’ in the Neue Pinakothek.
Platzöder painted portraits, landscapes and especially still lifes. His depictions of country-people show the influence of Wilhelm Leibl; he painted still lifes very precisely, with an extreme eye for detail.
In the Great German Art Exhibitions Platzöder was represented with an impressive 37 paintings. Most of them were still lifes, depicting items such as apples, clay vessels and tin crocks on a table, often with a small painting on the wall behind the depicted still life. Typical titles of his works displayed at these exhibitions were: ‘Stilleben mit Zinnkrug und Äpfeln’, ‘Stilleben mit Steingutflasche’, ‘Stilleben mit Tonflache’, ‘Stilleben mit Raupenhelm’, etc.
In 1943 Hitler had 21 paintings from the Great German Art Exhibition delivered to his Munich apartment on Prinzregentestrasse. It is fair to assume that these works, which mainly comprised landscapes and still lifes by painters such as Anton Müller-Wischin, Franz Xaver Wolf, Friedrich Schüz, Herman Urban, Sepp Happ, Sepp Meindl, Willy ter Hell and Ludwig Platzöder, were his personal favourites. Besides Hitler, other high-ranking Nazi officials bought several GDK-works of Platzöder, for prices of up to 15,000 RM. His works were purchased by Von Ribbentrop, Minister Franz Xaver Schwarz, Robert Ley, and organisations including Luftgaukommando München (the Luftwaffe).
In total, Hitler bought in 1939 three of Platzöder’s paintings; ‘Stilleben mit Zinnschüssel und grüne Flasche’ (‘Still life with Tin-bowl and Green Bottle’, GDK 1939 room 35), ‘Jungbäuerin’ (‘Young female-farmer’, GDK 1939 room 37) and ‘Bauerliches Stilleben’ (‘Rural Still-life’, GDK 1939 room 35).
Two paintings of Platzöder are currently in the possession of the Deutsche Historische Museum in Berlin: ‘Apfelstilleben mit Zinnschüssel und Krug’, GDK 1937, and ‘Jungbäuerin’ (bought for 800 Reichsmark by Hitler). The work bought by Von Ribbentrop in 1939 (‘Stilleben mit rotem Tuch und Hut‘) is in the possession of the Belvedere Museum, Vienna. ‘Sinnendes Mädchen’, bought by ‘Reichsschatzmeister’ (National Treasurer) Franz Xaver Schwarz for 10.000 Reichsmark, is in the possession of the ‘Bavarian State Paintings-Collections’, together with ‘Junges Bauernmädchen‘, ‘Kleines Blumenstilleben’ and ‘Stilleben mit Tischchen und weißer Decke‘.
’Jungbäuerin’ was displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999.