Heinrich Ehmsen (9 August 1886 – 6 May 1964) was a German painter and graphic artist.
Life Apprenticeship, School of Arts and Crafts Born in Kiel, Ehmsen, he was the son of a master and his wife. He 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 , Werner Lange and Karl Peter Röhl – had an arts and crafts apprenticeship with Gerd Zimmermann.Knut Nievers (ed.): Kunstwende. The Kiel Impulse of Expressionism 1915 - 1922. Wachholtz, Neumünster 1992, .
With the help of a scholarship, Ehmsen was able to train as a decorative painter from 1906 to 1909 at the Kunstgewerbeschule Düsseldorf under Peter Behrens, Fritz Helmuth Ehmcke and . In 1909, together with Lauweriks, Ehmsen designed a room for the Düsseldorf Exhibition "Christliche Kunst".
Paris, Académie Colarossi and Café du Dôme During a stay in Paris from 1910 to 1911, Ehmsen studied at the Académie Colarossi, and at the Le Dôme Café he had contacts with Ernesto de Fiori, Jules Pascin and Alfred Flechtheim.
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."Clemens Weiler, Alexej Jawlensky, Cologne 1959,
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 HeadquartersKatja Förster, Stefan Frey: "In intimate friendship", Alexej Jawlensky, Paul und Lily Klee, Marianne Werefkin. Zurich 2013, for Werefkin, Jawlensky, Helene Nesnakomoff and Andreas JawlenskyBernd Fäthke: Alexej Jawlensky, Zeichnung - Graphik - Dokumente. Exh. Cat.: Museum Wiesbaden 1983, Cat: No. 92, . which gave them the opportunity to dissolve their Munich flat.
On 24 March 1921, Ehmsen signed the guest book of in Wiesbaden as a painter residing in Munich.
In the summer of 1921, Jawlensky rented Ehmsen's flat in Munich and from there visited Paul Klee, who was then living in Possenhofen on Lake Starnberg.Katja Förster, Stefan Frey: "In intimate friendship", Alexej Jawlensky, Paul und Lily Klee, Marianne Werefkin. Zurich 2013, . After an extended trip in 1928 to Martigues in southern FranceReinhold 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, . 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 ArtArmin 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, it came to be admitted to the Reich Chamber of Culture in 1939.Knut Nievers (ed.): Kunstwende. Der Kieler Impuls des Expressionismus 1915–1922. Wachholtz, Neumünster 1992, .
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 HellerKatrin Engel: Deutsche Kulturpolitik im besetzten Paris 1940-1944: Film und Theater. Oldenbourg, Munich 2003, . 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.Katrin Engel: German Cultural Policy in Occupied Paris 1940-1944: Film and Theatre. Oldenbourg, Munich 2003, .
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, and includes seven paintings.Kunstsammlung: Heinrich Ehmsen, at the Akademie der Künste
Awards 1961: Patriotic Order of Merit in Silver
Work Erschießung, 1919 Meine Kinder, 1922 Radierungen zu Gerhart Hauptmann's novel , 1927 Der Angler von Cassis, 1930 Erschießung des Matrosen Engelhofer, 1932–1933 Harlekine des Krieges, 1945
Works in public collections Stadtgalerie Kiel Academy of Arts, Berlin
Exhibitions 1913: Galerie Der Sturm, Berlin, Erster Deutscher Herbstsalon, Gruppenausstellung 1913: Städtisches Museum Essen, Einzelausstellung unter dem Namen Heinz Ehmke. 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.Ingeborg Michailoff: Heinrich Ehmsen 1888–1964. Gemälde. Gedächnisausstellung aus dem Nachlaß des Künstlers. Staatliches Museum, Schwerin 1968.
Further reading Knut Nievers (ed.): Kunstwende. Der Kieler Impuls des Expressionismus 1915–1922. Wachholtz, Neumünster 1992, . Kurzbiografie zu Ehmsen, Heinrich. In 5th edition. Volume 1. Ch. Links, Berlin 2010, . 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), , . Ehmsen, Heinrich. In Hans Vollmer (ed.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts. Volume 2: E–J. E. A. Seemann, Leipzig 1955,
References
External links
Heinrich-Ehmsen-Archiv im Archiv der Academy of Arts, Berlin