Early Life, Family and Training

Hermann Tiebert was born on January 31, 1895, in Koblenz, Germany. His early years led him toward formal training in the arts, beginning at the Kunstgewerbeschule in Karlsruhe in 1913. By 1914, he had moved on to the Kunstakademie Karlsruhe to continue his studies. During this formative period, he studied under Walter Georgi from 1914 to 1916. His education continued through the following years as he worked under the guidance of Hans Adolf Bühler starting in 1917. By 1918, he had become a master student of Wilhelm Trübner, a position he held until 1919.

In 1921, Hermann Tiebert married the Swiss painter Emmy Daeniker. The two formed a household that would eventually include their three daughters. This personal life provided a steady backdrop to his developing practice as a painter. His training in Karlsruhe helped shape the technical foundation he would carry into his professional life.

Artistic Style and Movements

Tiebert began his career within the framework of New Objectivity. His early work followed the sober, detached approach characteristic of that movement. However, as the political climate in Germany shifted, his brushwork and subject matter underwent a visible change. He moved away from the detached clarity of New Objectivity, adopting the visual language of NS-Kunst. His paintings began to align with the specific values and ideological requirements of the regime during the Nazi era.

His compositions often focused on the German rural population. He frequently chose to depict people in traditional costume, using these figures to reflect the concepts of race and tradition. This preference for agrarian motifs allowed his work to mirror the political emphasis on "blood and soil." Through these portraits, he sought to capture a specific idealized version of rural life that suited the era's cultural expectations.

Exhibitions and Professional Activity

His early professional presence was marked by an exhibition at the Galerie Moos in Karlsruhe in 1919. As his career progressed, his work moved through various spaces across Germany. Between 1927 and 1943, he held numerous exhibitions throughout the country. This period of activity saw his paintings appearing in different cities, reflecting a steady presence in the German art scene of the time.

In 1938, his work reached an international stage when he participated in the Venice Biennale. During the late 1930s and early 1940s, his involvement with the Great German Art Exhibitions in Munich was consistent. He had fifteen paintings represented in these exhibitions between 1937 and 1944, with the exception of the year 1943. His standing within the official structures of the era was solidified in 1944, when he was included in the Gottbegnadeten-Liste of the Reichsministerium für Volksaufklärung und Propaganda.

Key Works and Masterpieces

In 1928, Tiebert painted Meine Frau und ich. His brushwork often turned toward the people of the countryside, capturing the specific textures of rural life. This interest is seen clearly in Vorarlberg Farmer, which was exhibited about 1936.

A significant piece in his output is Erbhofbauer, created in 1934. The painting depicts an owner of an Erbhof, a hereditary farm. This subject matter connects the figure to the concept of land passed down through generations. A second, smaller version of this work has been held by the Städtische Galerie München since 1934.

Where to See the Works Today

His paintings are held in several public collections across Germany. You can find his work in the Staatsgalerie Stuttgart and the Kunsthalle Karlsruhe. These institutions hold pieces that reflect the shifts in his style and the subjects he chose to paint during his career.

In Munich, his presence is felt in the Lenbachhaus. The Städtische Galerie München also holds a second version of Erbhofbauer, a work that has been part of their collection since 1934. Seeing these different versions allows for a closer look at how he approached his subjects and the variations that can exist within a single composition.