Heinrich Ehmsen

Heinrich Ehmsen (9 August 1886 – 6 May 1964) was a German painter and grafiker

Grave of Heinrich Ehmsen at the Dorotheenstadt Cemetery in Berlin

Life

Apprenticeship, School of Arts and Crafts

Born in Kiel, Ehmsen - son of a Basketmaker master and his wife - started a four-year apprenticeship as a house painter in 1901. At the same time he attended the Städtische Gewerbeschule in Kiel, where he - at times together with Friedrich Peter Drömmer, Werner Lange and Karl Peter Röhl - had an arts and crafts apprenticeship with Gerd Zimmermann.[1]

With the help of a scholarship, Heinrich Ehmsen was able to train as a decorative painter from 1906 to 1909 at the Kunstgewerbeschule Düsseldorf under Peter Behrens, Fritz Helmuth Ehmcke and Johannes Ludovicus Mathieu Lauweriks. In 1909, together with Lauweriks, Ehmsen designed a room for the Düsseldorf Exhibition "Christliche Kunst".

Paris, Académie Colarossi and Café du Dôme

Bei einem Aufenthalt in Paris von 1910 bis 1911 studierte Ehmsen an der Académie Colarossi, und er hatte im Le Dôme Café Kontakte zu Ernesto de Fiori, Jules Pascin and Alfred Flechtheim.[1]

Munich

In 1911, Ehmsen moved to Munich, where he was influenced by the painters of the Neue Künstlervereinigung München and the Blauer Reiter. In particular, he maintained contact with Marianne von Werefkin and Alexej von Jawlensky. Jawlensky once characterised the latter: "Yes, Jawlensky is already a human being! - He could be canonised."[2]

World War I

From 1914 to 1918, Ehmsen was stationed as a soldier in the First World War in France, Romania and Flanders. His impressions from the years 1918 to 1919 during the conflicts and the disintegration of the Bavarian Soviet Republic are reflected in many of his works.

1920s

In 1919, Ehmsen joined the November Group. In 1920, he applied for a residence permit at the Aliens Office at the Munich Police Headquarters[3] for Werefkin, Jawlensky, Helene Nesnakomoff and Andreas Jawlensky[4] which gave them the opportunity to dissolve their Munich flat.

On 24 March 1921, Ehmsen signed the guest book of Heinrich Kirchhoff in Wiesbaden as a painter residing in Munich.

In the summer of 1921, Jawlensky rented Ehmsen's flat in Munich and from there certainly visited Paul Klee, who was then living in Possenhofen on Lake Starnberg.[5] After an extended trip in 1928 to Martigues in southern France[6] Ehmsen moved to Berlin in 1929.

1930s

In 1930, he became a member of the Kampfkomitee der Künstler und Geistesarbeiter in support of the Communist Party of Germany in the Reichstag elections. From 1932 to 1933, he stayed in the USSR, where he had an exhibition in Moscow and his works were bought by museums.

Until his arrest by the Gestapo on 18 October 1933, Ehmsen was an artistic employee at Junkers-Werke. Friedrich Peter Drömmers had arranged the job for him. During his imprisonment in the Columbia concentration camp in Berlin, his works were removed from all German museums. Although eight works were shown in the 1937 exhibition Degenerate Art[7] it came to be admitted to the Reich Chamber of Culture in 1939.[8]

1940s

From 1940 to 1944 he was a soldier in the Wehrmacht. He was employed in the propaganda department of the German military administration in occupied France during World War II, which received its instructions from the Reich Ministry for Popular Enlightenment and Propaganda and the MBF jointly. Lieutenant Ehmsen, responsible for visual arts, was a "comrade" of Lieutenant Gerhard Heller[9] and organised with him the trip of French writers to the 1941 European Meeting of Poets. He organised a trip of French painters and sculptors to Germany in 1941, among them André Derain and Maurice de Vlaminck. However, the Breker exhibition in Paris was not organised by Ehmsen, but by Karl Epting and the Deutsches Institut.[10]

After the Second World War

In 1945, Ehmsen - together with Karl Hofer - was one of the co-founders of the Berlin University of the Arts in Berlin-Charlottenburg, of which he was deputy director as well as head of the liberal arts department. Because of a declaration of solidarity for the Paris Congrès mondial des partisans pour la paix (World Peace Movement), he was dismissed in 1949. In 1950, Ehmsen became a full member of the Akademie der Künste der DDR and took over the master class for painting.

Legacy

His estate is now held by the Academy of Arts, Berlin, among them are seven paintings.[11]

Awards

Work
  • Erschießung, 1919
  • Meine Kinder, 1922
  • Radierungen zu Gerhart Hauptmann's novel Der Narr in Christo Emanuel Quint, 1927
  • Der Angler von Cassis, 1930
  • Erschießung des Matrosen Engelhofer, 1932–1933
  • Harlekine des Krieges, 1945

Works in Public Collections

Exhibitions
  • 1913: Galerie Der Sturm, Berlin, Erster Deutscher Herbstsalon, Gruppenausstellung
  • 1913: Städtisches Museum Essen, Einzelausstellung unter dem Namen Heinz Ehmke.[8]
  • 1914: Wiener und Münchner Galerien, Holzschnitte
  • 1920: Galerie Goltz, Munich, Einzelausstellung
  • 1926: Kunstverein Wiesbaden, Graphic works together with Emil Nolde and Frans Masereel
  • 1926: Kunsthalle Kiel, Holsteinische Künstler, Gruppenausstellung
  • 1968: Staatliches Museum Schwerin, Gedächnisausstellung aus dem Nachlaß des Künstlers.[12]

Further reading
  • Knut Nievers (ed.): Kunstwende. Der Kieler Impuls des Expressionismus 1915–1922. Wachholtz, Neumünster 1992, ISBN 3-529-02728-6.
  • Kurzbiografie zu Ehmsen, Heinrich. In Wer war wer in der DDR? 5th edition. Volume 1. Ch. Links, Berlin 2010, ISBN 978-3-86153-561-4.
  • Ulrich Schulte-Wülwer: Heinrich Ehmsen. In the same: Kieler Künstler. Volume 3: In der Weimarer Republik und im Nationalsozialismus 1918-1945, Heide: Boyens 2019 (Sonderveröffentlichungen der Gesellschaft für Kieler Stadtgeschichte; 88), ISBN 978-3-8042-1493-4, pp. 167–183.
  • Ehmsen, Heinrich. In Hans Vollmer (ed.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts. Volume 2: E–J. E. A. Seemann, Leipzig 1955, p. 18

References
  1. Knut Nievers (ed.): Kunstwende. The Kiel Impulse of Expressionism 1915 - 1922. Wachholtz, Neumünster 1992, p. 203.
  2. Clemens Weiler, Alexej Jawlensky, Cologne 1959, p. 139
  3. Katja Förster, Stefan Frey: "In intimate friendship", Alexej Jawlensky, Paul und Lily Klee, Marianne Werefkin. Zurich 2013, p. 260
  4. Bernd Fäthke: Alexej Jawlensky, Zeichnung - Graphik - Dokumente. Exh. Cat.: Museum Wiesbaden 1983, Cat: No. 92, p. 54.
  5. Katja Förster, Stefan Frey: "In intimate friendship", Alexej Jawlensky, Paul und Lily Klee, Marianne Werefkin. Zurich 2013, p. 264.
  6. Reinhold Heller, Heinrich Ehmsen, in Ausst. Cat.: From Expressionism to Resistance Art in Germany 1909-1936. The Marvin and Janet Fischmann Collection. Schirn Kunsthalle Frankfurt 1991, p. 170.
  7. Armin Zweite: Fritz Hofmann und die Städtische Galerie 1937 - Eine nationalsozialistische Museumskarriere, ihre Vorgeschichte und Konsequenzen. In Ausst. Cat.: The 'City of Art' Munich, National Socialism and "Degenerate Art". Staatsgalerie moderner Kunst, Munich 1987, pp. 262–278
  8. Knut Nievers (ed.): Kunstwende. Der Kieler Impuls des Expressionismus 1915–1922. Wachholtz, Neumünster 1992, p. 204.
  9. Katrin Engel: Deutsche Kulturpolitik im besetzten Paris 1940-1944: Film und Theater. Oldenbourg, Munich 2003, p. 131.
  10. Katrin Engel: German Cultural Policy in Occupied Paris 1940-1944: Film and Theatre. Oldenbourg, Munich 2003, p. 257.
  11. Kunstsammlung: Heinrich Ehmsen, at the Akademie der Künste
  12. Ingeborg Michailoff: Heinrich Ehmsen 1888–1964. Gemälde. Gedächnisausstellung aus dem Nachlaß des Künstlers. Staatliches Museum, Schwerin 1968.
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