Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Press Release Press Release Berlin, 24 April 2008 Collection Scharf-Gerstenberg / National Gallery Schloßstraße 70, 14059 Berlin Visit at the building site Collection Scharf-Gerstenberg Seite 1 von 4 "Surreal Worlds" National Museums in Berlin The 10 July 2008 will mark the National Museums in Berlin's opening of the General head office Collection Scharf-Gerstenberg in a ceremony attended by Bernd Neumann, Stauffenbergstraße 41 Minister of State. 10785 Berlin From 11 July 2008, the Collection Scharf-Gerstenberg is exhibiting Head of department Press - Communication - excellent works by the Surrealists and their forerunners. Paintings, Sponsoring sculptures and works on paper are being exhibited on three floors under Dr. Matthias Henkel the title "Surreal Worlds". The spectrum of artists ranges from Piranesi, kommunikation@ Goya, Klinger and Redon to Dalí, Magritte, Max Ernst and Dubuffet. The smb.spk-berlin.de opening of the Collection Scharf-Gerstenberg opposite the Museum Berggruen will see the creation of a new cluster of museums in Press enquiries Charlottenburg dedicated to classical modernism. Dipl. phil. Anne Schäfer-Junker a.schaefer-junker@ smb.spk-berlin.de The collection Fon +49(0)30-266-2629 The history of fantastical art is traced in more than 250 works. Surrealism, Fax +49(0)30-266-2995 a movement seeking to renew art whose principles were proclaimed in a manifesto by André Breton in the Paris of 1924, is at the centre of the www.smb.museum collection. www.smb.museum/presse Nearly all members of the group of Surrealists are represented by selected works in the collection. There are larger groups of works, in particular, by René Magritte, Max Ernst and Hans Bellmer, but also by Wols and Paul Klee. The central pictorial strategies of Surrealism, such as combinatorics, metamorphosis and pure psychic automatism are illustrated by numerous virtuoso examples. Surrealism has its place in a significant line of tradition in occidental art. The earliest works in the collection include Piranesi's illustrations of fantastical dungeon architecture as well as the nightmarish ghostly figures in Goya's etchings. French Symbolism of the late 19th century is represented by paintings of Odilon Redon and Gustave Moreau, as is its German counterpart in the form of graphic cycles of Max Klinger. The spectrum of art on exhibit is augmented by a film programme which includes both the classic surrealist films of Luis Buñuel and Salvador Dalí as well as films by contemporary artists who draw upon Surrealism or use its formal instruments in their work. The National Museums in Berlin are a institution of the Foundation of Prussian Cultural Heritage Press Release History of the collection The Collection Scharf-Gerstenberg presents the holdings of the "Stiftung Sammlung Dieter Scharf zur Erinnerung an Otto Gerstenberg", the foundation of the Dieter Scharf collection in remembrance of Otto Gerstenberg. The starting point lies in the collection gathered together by Otto Gerstenberg (1848-1935) in Berlin around 1910. He compiled one of Seite 2 von 4 the largest collections of painting and graphic art of his time, covering a broad range of periods from the Old Masters to Impressionism. National Museums Otto Gerstenberg's passion for collecting art was continued by his in Berlin grandsons Walter Scharf (1923-1996) and Dieter Scharf (1926-2001). The General head office latter took over the graphic cycles by Piranesi, Goya and Klinger as a Stauffenbergstraße 41 founding stock for his own collection which focuses on the fantastic and the 10785 Berlin surreal. With great determination and consistency, he assembled an Head of department outstanding collection which, shortly before his death, he converted into a Press - Communication - foundation which was to present its holdings on a permanent basis in Sponsoring Berlin. Dr. Matthias Henkel In 2000, the collection was exhibited with great success under the title kommunikation@ "Surreale Welten (Surreal Worlds) in the New National Gallery. A ten-year smb.spk-berlin.de loan contract thereafter secured the collection for the National Museums in Press enquiries Berlin. With its thematic focus, the collection represents an ideal Dipl. phil. Anne Schäfer-Junker supplement to "Picasso and his time”, the exhibition on show in the a.schaefer-junker@ Museum Berggruen located opposite. With this additional highlight, the smb.spk-berlin.de museums in Charlottenburg become a centre for the art of the early 20th century. Fon +49(0)30-266-2629 Fax +49(0)30-266-2995 Museum ensemble Charlottenburg - the architecture www.smb.museum www.smb.museum/presse The Scharf-Gerstenberg collection will be housed in the building erected in the 1850s by the architect Friedrich August Stüler and located opposite Charlottenburg Palace. Between 1967 and 2005, the buildings, originally designed in 1851 for the horses, coaches and life guards of King Wilhelm IV, were used by the Egyptian Museum until it moved back to the Museum Island. The conversion of the buildings for the presentation of the Scharf- Gerstenberg collection was carried out according to plans by the architectural offices of Sunder-Plassmann. As a new addition to the building, the architectural office of Sunder-Plassmann have designed a generously glazed entrance area with a café. In this way, the courtyard wedged between the Collection Scharf-Gerstenberg, the Museum of Local History (Heimatmuseum Charlottenburg), the Plaster Cast Collection (Abguss-Sammlung Antiker Plastik), and the Natural Science Collections can be experienced as a new kind of urban architectural ensemble. The National Museums in Berlin are a institution of the Foundation of Prussian Cultural Heritage Press Release The future concept for exhibitions The entire ‘Surreal Worlds' collection will be put on display to mark the occasion of the opening of the new house in July 2008. And visitors will be able to enter the Collection Scharf-Gerstenberg through the new entrance in the gap between the two parts of the historical building. As well as the individual exhibits, a looped sequence of films will also be Seite 3 von 4 shown on repeat in the Sahure Hall. Such classics of Surrealist cinema as ‘Un Chien Andalou' by Luis Buñuel and Salvador Dalí will be shown alongside selected films by contemporary artists. National Museums in Berlin The Kalabsha Gate and the ancient columns from Sahure's temple will General head office remain where they are in the east wing of the building, designed by Stauffenbergstraße 41 Friedrich August Stüler, until the completion of the renovations still taking 10785 Berlin place in the Pergamon Museum on the Museum Island. Upon entering, visitors to the collection will be greeted by the gate to the Kalabsha Temple Head of department as they cross over to what used to be the royal stables. Press - Communication - Sponsoring In 1963 German archaeologists saved the Nubian Kalabsha Temple from Dr. Matthias Henkel flooding during the Aswan dam proJect. Eight years later Germany in return kommunikation@ received the monumental gate as a token of the Egyptians' gratitude. The smb.spk-berlin.de sandstone blocks from the gate, which stem from the time of around 20 BC were originally found in the temple's foundations, after having already Press enquiries been used in another construction. Once in Berlin the gate was Dipl. phil. Anne Schäfer-Junker a.schaefer-junker@ reconstructed in its original form. Its monumentality creates the perfect smb.spk-berlin.de frame for the long walk to the stables and the Collection Scharf- Gerstenberg itself. Fon +49(0)30-266-2629 Fax +49(0)30-266-2995 The architectural components of the Temple of Sahure themselves have an equally eventful tale to tell. Excavations by a contingent of Germans took www.smb.museum place in Abusir from as early as 1902 to 1908. Although the Pyramid of www.smb.museum/presse King Sahure, dating from around 2400 BC, was found to be in a bad state of repair, the temple complex on the other hand was largely in tact. When the finds were divided up between Germany and Egypt, a large part of the temple columns and architrave found their way to Berlin. And since the 1980s these have then been housed in the Sahure Hall, designed especially to accommodate them. Now when combined with the obJects on display from the Collection Scharf-Gerstenberg, the Egyptian architectural exhibits have become a surreal element in their own right. Catalogue Two special publications on the ‘Surreal Worlds' collection will be produced to commemorate the opening of the museum. The catalogue of the collection, published by Nicolai, will contain numerous essays from renowned experts of Surrealist art and will be interspersed with large- format colour prints of the works, explaining not only the history and structure of the Collection Scharf-Gerstenberg, but also analyzing the chief proponents of the Surrealist movement. A selection of around 80 main The National Museums in Berlin are a institution of the Foundation of Prussian Cultural Heritage Press Release works from the Collection Scharf-Gerstenberg will also appear in a second book, which will be brought out by the Prestel publishing house in their series of museum guides. Shop There will also be a museum shop in the entrance foyer to the Collection Seite 4 von 4 Scharf-Gerstenberg. As well as selling the museum's own exhibition catalogues, further literature on the artists and the themes covered in the ‘Surreal Worlds' collection will also be available. National Museums in Berlin General head office Stauffenbergstraße 41 Café 10785 Berlin The café in the Collection Scharf-Gerstenberg will interlock the outside with the museum's interior. Clearly visible from Schloßstraße and the opposing Head of department museums, the café will form a new centre to the cluster of museums in the Press - Communication - Sponsoring area. The glass front which often leaves the café awash in light can be Dr.
Recommended publications
  • A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
    A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property.
    [Show full text]
  • The Last Prisoners of World War II
    Pace International Law Review Volume 9 Issue 1 Summer 1997 Article 14 June 1997 The Last Prisoners of World War II Margaret M. Mastroberardino Follow this and additional works at: https://digitalcommons.pace.edu/pilr Recommended Citation Margaret M. Mastroberardino, The Last Prisoners of World War II, 9 Pace Int'l L. Rev. 315 (1997) Available at: https://digitalcommons.pace.edu/pilr/vol9/iss1/14 This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace International Law Review by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. COMMENT THE LAST PRISONERS OF WORLD WAR Ill Margaret M. Mastroberardino I. INTRODUCTION "To the victor belong the spoils of the enemy."2 The Ro- mans exhibited treasures captured from their prisoners; Napo- 3 leon did the same almost two thousand years later. Throughout world history, looting treasures belonging to ene- mies in times of war has been a constant.4 Looting occurred as recently as the Persian Gulf War, where Saddam Hussein re- moved collections of cultural property from Kuwait. At the end of the 19th century, an idea emerged that cultural objects should be protected from armed, military conflict.5 As a result, the Hague Conventions of 1899 and 1907 included provisions designed to "protect cultural institutions, historical monuments and works of art from premeditated seizure, destruction, or damage."6 During World War II, Adolph Hitler and his Nazi soldiers wrought havoc on Europe. In their quest to establish a superior 1 "They are the last prisoners of World War II, about to emerge from the dark rooms where they were locked away 50 years ago." Jack Kelly, The Spoils of War/ Show Ignites Debate Over Ownership, USA TODAY, March 3, 1995 at 1D.
    [Show full text]
  • Robert Lehman Papers
    Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General
    [Show full text]
  • 30. Oktober 2017, Bearbeitet Von Valentina Locatelli, Kunstmuseum Bern
    Stand: 30. Oktober 2017, bearbeitet von Valentina Locatelli, Kunstmuseum Bern ALEXANDER ARCHIPENKO (Kiew 30.5.1887–25.2.1964 New York) Zwei Figuren, o. J. Grafit auf Papier 30,2 x 44,1 cm Kunstmuseum Bern, Legat Rudolf Schindler, 2015 Inv.Nr. A 2015.384 Werkbefund Vorderseite Signiert unten links, mit Grafit: «Archipenko» Rückseite Zollstempel unten rechts, in einem Kreis: ZOLL // I-27 // [Schweizerkreuz]; Bezeichnet, unten mittig, mit Grafit: «A. ARCHIPENKO»; oben rechts, mit Grafit: «O.K.»; unten rechts, mit Grafit «30» [in einem Kreis]; Passepartout oben links, mit Grafit: «7» [in einem Kreis], Passepartout Unterlage: «792» Provenienz XXXX–XXXX Alexander Archipenko (1887–1964) [1] [...] XXXX–2015 Rudolf Schindler (1914–2015), Röthenbach bei Herzogenbuchsee (BE) [2] seit August 2015 Kunstmuseum Bern, Legat Rudolf Schindler Quellen [1] Alexandra Keiser, The Archipenko Foundation, New York, Schreiben an Valentina Locatelli, Kunstmuseum Bern, New York, 16.3.2017, Kunstmuseum Bern, Archiv, Werkdossier. [2] Schenkungsvertrag, Kunstmuseum Bern, Archiv. Literatur Donald Karshan, Archipenko, The Sculpture and Graphic Art. Including a Print Catalogue Raisonné, Tübingen 1974 [Werk nicht enthalten]. 1 Stand: 30. Oktober 2017, bearbeitet von Valentina Locatelli, Kunstmuseum Bern ALEXANDER ARCHIPENKO (Kiew 30.5.1887–25.2.1964 New York) Portese (Stehende Akte), 1922 Aquarell und Deckweiss auf Papier 48,2 x 32,1 cm Kunstmuseum Bern, Schenkung von Nell Walden, 1966 Inv.Nr. A 8358 Werkbefund Vorderseite Signiert unten rechts, mit Grafit: «Archipenko» Rückseite Signiert, mit Tinte: «Alexander Archipenko» Bezeichnet, mit Tinte: «Stehende Akte, Aquarell» Provenienz 1922–XXXX Alexander Archipenko (1887–1964), Nizza XXXX–XXXX Dr. Hanns Heyman [Hans Hermann Heimann] (1879–1942), Berlin [1, 2] XXXX–1937 [?] Nell Walden (1887–1975), Berlin, Ascona März 1937–März 1945 Kunstmuseum Bern, Leihgabe Nell Walden [3, 4] März 1945–April 1964 Nell Walden, Ascona 28.
    [Show full text]
  • Toulouse-Lautrec
    UNIVERSIDADE DE SÃO PAULO PROGRAMA DE PÓS-GRADUAÇÃO INTERUNIDADES EM ESTÉTICA E HISTÓRIA DA ARTE LILIAN DALILA TRINDADE DE CAMARGO PAPINI Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) São Paulo 2015 LILIAN DALILA TRINDADE DE CAMARGO PAPINI Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) Dissertação apresentada ao Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo para obtenção do título de mestre. Orientação: Profª. Drª. Ana Gonçalves Magalhães Agência de Fomento: FAPESP São Paulo 2015 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL E PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação da Publicação Biblioteca Lourival Gomes Machado Museu de Arte Contemporânea da Universidade de São Paulo Papini, Lilian Dalila Trindade de Camargo. Toulouse-Lautrec no Museu de Arte de São Paulo (MASP) / Lilian Dalila Trindade de Camargo Papini ; orientadora Ana Gonçalves Magalhães. -- São Paulo, 2015. 177 f. : il. Dissertação (Mestrado – Programa de Pós-Graduação Interunidades em Estética e História da Arte) -- Universidade de São Paulo, 2015. 1. Pós-Impressionismo – França. 2. Acervo Museológico – Brasil. 3. Toulouse- Lautrec, Henri de, 1863-1901. 5. Museu de Arte de São Paulo Assis Chateaubriand. I. Magalhães, Ana Gonçalves. II. Título. CDD 759.056 Nome: PAPINI, Lilian Dalila Trindade de Camargo Título: Toulouse-Lautrec no Museu de Arte São Paulo (MASP) Dissertação apresentada ao Museu de Arte Contemporânea da Universidade de São Paulo para obtenção do título de Mestre em Estética e História da Arte: Aprovado em: Banca Examinadora: Profa.
    [Show full text]
  • GREEN Museum Conference Booklet
    11.–12.04.2013 Berlin International Scientific Workshop Heritage Science and Sustainable Development for the Preservation of Art and Cultural Assets On the Way to the GREEN Museum Conference Booklet SCOPE OF THE WORKSHOP The term "Green Museum" brings together conservation science with the sustainable development for the preservation of art and cultural heritage. This involves three closely related issues: firstly, the preservation and conservation, i.e. the widest possible extension of life expectancy for our cultural heritage; secondly, the economic and infrastructural conditions for it; and finally the ecological energy and resource issue (energy efficiency, carbon footprint). In the sustainability debate, these three aspects can only be considered and evaluated together. The 'Green Museum' is a museum that embraces the concept of sustainability in its program, its activities and its physical presence. Here conservation science programs share a particular responsibility. An important element of sustainable development in the field of museums and monuments is preventive conservation with all its elements, including the various challenges of climate, temperature and humidity, light, pollutants etc. The professional field of conservation and conservation science (Heritage Science*) has developed continuously since the foundation of the Rathgen Research Laboratory on the April 01st, 1888 as the first museum laboratory, especially in recent decades. Conservation research activities have to focus and need to develop modern concepts in interdisciplinary collaborations that are consistent with both the primacy of heritage conservation as well as environmental and financial desiderata. They must integrate all three dimensions of sustainability, ecology, economics and society in order to cope with the immense challenges of the future.
    [Show full text]
  • List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
    List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Manet: Portraying Life 26 January 2013 to 14 April 2013 Title: Amazone Date / Period: c. 1875 Artist: Édouard Manet Inv.N: 1980.5 659 Medium: Oil on canvas Size: Unframed : 88 x 116 cm Image © The Bridgeman Art Library Lender: Provenance: Museu de Arte de São Paulo Inventory after Manet’s death, 1883, no. 30; posthumous sale, 2/4- Assis Chateaubriand, São 5/1884, no. 50; Max Linde, Lübeck (c. 1904); A. Cassirer, Berlin (c. 1930); Wildenstein, New York; Museu de Arte de São Paulo Assis Paulo Chateaubriand, São Paulo . List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Manet: Portraying Life 26 January 2013 to 14 April 2013 Title: Berthe Morisot Date / Period: c.1873 Artist: Édouard Manet Inv.N: 1958.34 Medium: Oil on fabric Size: Unframed : 74 x 60 cm Framed : 91.2 x 76.52 x 7.3 cm © The Cleveland Museum of Art Lender: Provenance: The Cleveland Museum of Manet's studio inventory, 1884, no. 60, ff. 50. Artist's estate sale, Art. Bequest of Leonard C. Paris, Drouot, 4-5 February 1884 (lot 29), La jeune femme au manchon, 73.5 x 60 cm. Bought back by Mrs. Manet (née Hanna, Jr., 1958.34 Leenhoff) for ff 170. Auguste Pellerin, Paris, by 1910. Jules Strauss, Paris, by 1912. Paris sale, Georges Petit, 15 December 1932 (lot 48, repr.), Portrait de Berthe Morisot au Manchon, paint au cours de l'hiver de 1868-69 dans l'atelier de la rue Guyot (acc.
    [Show full text]
  • „Portrait D'homme“, 147 X 120 Mm, (Lostart-ID: 478051)
    Provenienzbericht zu Honoré Daumier, „Portrait d’homme“, 147 x 120 mm, (Lostart-ID: 478051) Version nach Review v. 12.12.2017 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 15.10.2017) Aus datenschutz- bzw. urheberrechtlichen Gründen erfolgt die Publikation mit Anonymisierung von Namen und ohne Abbildungen. Provenance research report, Lost Art ID: 478051 Yehudit Shendar/Yochanan Amichai, Yad Vashem Honoré Daumier Portrait d’homme de trois-quart vers la gauche / Portrait of a male turning to the left 1 1860 (?); double-faced Yehudit Shendar/Yochanan Amichai, Yad Vashem Pen and black ink on paper, 147 x 120 mm (recto sheet) on recto: Pen and black ink and wash, monogrammed at lower left "h D", inscribed in pencil on matting at lower left: “8” on verso: Étude de quatre têtes masculines / Study of four male heads,2 pen and black ink, red and brown wash; inscribed in pencil on cardboard at upper right: “8” Provenance (…) By latest 28 April 1944: Raphaël Gerard, Paris (per CG papers) 1 http://www.culture.gouv.fr/public/mistral/joconde_fr Musée du louvre RF 36798 (October 2017) 2 Ibid. REC 129 1 von 14 Provenienzbericht zu Honoré Daumier, „Portrait d’homme“, 147 x 120 mm, (Lostart-ID: 478051) Version nach Review v. 12.12.2017 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 15.10.2017) [Hildebrand Gurlitt (1895-1956), Düsseldorf] [Estate of Hildebrand Gurlitt, 1956-?] Cornelius Gurlitt (1932-2014), Munich Estate of Cornelius Gurlitt Introductory remarks: Honoré Daumier (1808–1879) is widely recognized by his immense production of lithographs, which have coined him as the foremost caricaturist of French politics and the one to establish the satirical portrayal of the emerging bourgeoisie.
    [Show full text]
  • Biens Culturels De La Confédération : Enquête Sur La Période De 1933 À 1945 »
    Département fédéral de l’intérieur DFI Office fédéral de la culture OFC « Biens culturels de la Confédération : Enquête sur la période de 1933 à 1945 » Actualisation du Rapport de l’Office fédéral de la culture de 1998 Berne, novembre 2018 Table des matières 1 Introduction ................................................................................................... 3 1.1 Contexte ................................................................................................................................... 3 1.2 Evolution depuis 1998 ............................................................................................................ 3 1.3 Objectifs de l’actualisation du rapport de 1998 ................................................................... 4 2 Procédure adoptée pour l’actualisation du Rapport de provenance 1998 ................................................................................................................ 6 3 Résultats de l’actualisation du Rapport de provenance 1998 .................. 7 3.1 Collection Oskar Reinhart « Am Römerholz », Winterthour ............................................... 7 3.2 Collection de la famille des artistes Vincenzo, Spartaco et Lorenzo Vela, déposée au Musée Vincenzo Vela de Ligornetto ................................................................................... 15 3.3 Collection du Musée du couvent Saint-Georges de Stein am Rhein ............................. 19 4 Conclusion .................................................................................................
    [Show full text]
  • Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II?
    Cleveland State University EngagedScholarship@CSU Law Faculty Articles and Essays Faculty Scholarship 1999 The Stolen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? Barbara Tyler Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/fac_articles Part of the Fine Arts Commons, and the Property Law and Real Estate Commons How does access to this work benefit ou?y Let us know! Publisher's Statement Copyright permission granted by the Rutgers University Law Journal. Original Citation Barbara Tyler, The Stolen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? 30 Rutgers Law Journal 441 (1999) This Article is brought to you for free and open access by the Faculty Scholarship at EngagedScholarship@CSU. It has been accepted for inclusion in Law Faculty Articles and Essays by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. +(,121/,1( Citation: 30 Rutgers L.J. 441 1998-1999 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon May 21 10:04:33 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: https://www.copyright.com/ccc/basicSearch.do? &operation=go&searchType=0 &lastSearch=simple&all=on&titleOrStdNo=0277-318X THE STOLEN MUSEUM: HAVE UNITED STATES ART MUSEUMS BECOME INADVERTENT FENCES FOR STOLEN ART WORKS LOOTED BY THE NAZIS IN WORLD WAR II? BarbaraJ.
    [Show full text]
  • The State Hermitage Museum Annual Report 2013
    THE STATE HERMITAGE MUSEUM ANNUAL REPORT n 2013 CONTENTS General Editor 4 The Year of Extraordinary Exhibitions Mikhail Piotrovsky, General Director of the State Hermitage Museum, 6 State Hermitage Museum. General Information Corresponding Member of the Russian Academy of Sciences, 16 Awards Full Member of the Russian Academy of Arts, Professor of St. Petersburg State University, 20 Composition of the Hermitage Collection as of 1 January 2014 Doctor of History 42 Permanent Exhibitions 44 Temporary Exhibitions 92 Restoration and Conservation EDITORIAL BOARD: 117 Publications Mikhail Piotrovsky, 129 Electronic Editions and Video Films General Director of the State Hermitage Museum 130 Conferences Georgy Vilinbakhov, 135 Dissertations Defended Deputy Director for Research 136 Archaeological Expeditions Svetlana Adaksina, Deputy Director, Chief Curator 153 Major Construction and Restoration of the Buildings Marina Antipova, 164 Structure of Visits to the State Hermitage in 2013 Deputy Director for Finance and Planning 165 Educational Events Alexey Bogdanov, Deputy Director for Maintenance 175 Special Development Programmes Vladimir Matveyev, 184 International Advisory Board of the State Hermitage Museum Deputy Director for Exhibitions and Development 186 Guests of the Hermitage Mikhail Novikov, 194 Hermitage Friends Organisations Deputy Director for Construction 208 Hermitage Friends’ Club Mariam Dandamayeva, Academic Secretary 210 Financial Statements of the State Hermitage Museum Yelena Zvyagintseva, 212 Principal Patrons and Sponsors of
    [Show full text]
  • Andrea Mantegna and Giovanni Bellini
    Padua and Venice Contact Zones Editors Lars Blunck, Bénédicte Savoy, Avinoam Shalem Volume 4 Padua and Venice Transcultural Exchange in the Early Modern Age Editors Brigit Blass-Simmen and Stefan Weppelmann Gedruckt mit freundlicher Unterstützung der Geschwister Boehringer Ingelheim Stiftung für Geisteswissenschaften in Ingelheim am Rhein. ISBN 978-3-11-046483-2 e-ISBN (PDF) 978-3-11-046540-2 e-ISBN (EPUB) 978-3-11-046518-1 ISSN 2196-3746 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the internet at http://dnb.dnb.de © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover illustration: Andrea Mantegna and Giovanni Bellini, The Presentation of Christ in the Temple, photomontage after the idea of Giovanni Villa, © Gemäldegalerie Staatliche Museen zu Berlin and Fondazione Querini Stampalia Venice. Copy editor: Kristie Kachler Typesetting: LVD GmbH, Berlin Printing and Binding: Hubert & Co. GmbH & Co. KG, Göttingen Printed on acid-free paper Printed in Germany www.degruyter.com Preface Two paintings with the same basic composition. Painted by two artists, Andrea Man- tegna and Giovanni Bellini, in different places. Two ingenious works: the same and yet different. Images fashioned after images, so near and yet so different! Andrea Mantegna spent his apprenticeship and the early years of his career in Padua; Giovanni Bellini worked all his life in his native city, Venice. Both painted the motif The Presentation in the Temple.
    [Show full text]