DOCSLIB.ORG

Art in Berlin 1880 – 1980

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art in Berlin 1880 – 1980 Press Release Berlin, 14.10.20 Berlin is always changing. The city’s art scene con- stantly reinvents itself, too. Narrating this eventful his- tory from the dawn of Modernism around 1900 into the 1980s is the theme of our permanent exhibition “Art in Berlin 1880–1980”. With fresh vigour and diversity since the revamp in October 2020, the collection at the Berlinische Galerie occupies more than 1000 square metres. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before. 2020 Walking around this exhibition is like time travel through Berlin: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Bild-Kunst, Bonn Bonn Bild-Kunst, VG Cold War in the divided city, and the counter-cultures , © and unconventional lifestyles that evolved in East and 1926 West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight. New in the permanent Richard Ziegler, Knabe im Sandkasten, exhibition Art in Berlin Heroes, Knights, Monsters In 1913/14 Lovis Corinth (1858–1925) created a spec- tacular 11-part cycle of wall paintings for the wealthy 1880 – 1980 Berlin entrepreneur Ludwig Katzenellenbogen and his first wife Estella. Six of these are now in the Ber- Rediscovering the Collection linische Galerie. The comic-like, monumental can- at the Berlinische Galerie vases have not been shown for many years, but now they add a striking highlight to the hall around the stairway. They were made for the dining room of a From 22 October manor house (no longer standing) at Freienhagen near Oranienburg. Corinth was closely involved in Berlin’s venture into modern art. From 1900 he cham- pioned the cause of the Berlin Secession, where he regularly exhibited. By inviting international artists to their shows, the Secessionists also publicised the full spectrum of Modernist styles: Naturalism, Symbol- ism, Art Nouveau, Impressionism and Pointillism, all of which are represented in the permanent exhibition. Der Sturm – a stage for the avant-garde In March 1912 Herwarth Walden (1878–1941) opened his gallery “Der Sturm” in Berlin. For a decade and a half it was to be a leading forum for modern art. Its very name, “the storm”, conveys the energy and pace 1 with which its founder brought the European avant- he accompanied the big airships of the period. In garde to Berlin. Walden’s interests centred initially the late 1920, his aerial photography also caught on fairly unknown young Expressionists, Futurists the attention of the avant-garde, featuring in exhibi- and Cubists. In the 1920s, with his strong feel for new tions and publications associated today with the New visual forms, he showed the Hungarian Constructiv- Vision. ists and the Russian Ivan Puni (1892–1956) and gave a forum to Merz artist Kurt Schwitters (1887–1948). He Herbert Tobias – Photographs from the 1940s was tireless and pugnacious on behalf of “his” artists The photographs taken in Russia by Herbert Tobias and so “Der Sturm” came to epitomise progressive (1924–1982) are among the most notable war pictures art in general. The history of this avant-garde gallery to emerge from the Second World War. In 1943 he is told through numerous artworks along with original was deployed to the Soviet Union to fight as a Ger- documents from our Artists’ Archives. man soldier on the Eastern Front. At the age of 19, Tobias was already a talented amateur photographer. Dada in Berlin Like many soldiers he took his camera to war, but the For a long time, these works, which are among the metaphorical quality and symbolic content of his pic- most precious in our collection, were out on the road. tures offer far more than the usual souvenir snapshot. Now the anti-art of the Dadaists is on show at home These empathetic images not only expose the brutal- again. The Dada movement began as a political reac- ity of the campaign, which left an indelible mark on tion by artists to the First World War. Its key protago- Tobias’s world view. There are also noticeable signs nists in Berlin were Hannah Höch (1889–1978), Raoul of his homosexuality, well before he came out. Hausmann (1886–1971), John Heartfield 1891( –1968), George Grosz (1893–1959) and Johannes Baader Individual and functional – Detached houses (1875–1955). Through their works the Dadaists vented in Berlin from 1950 radical opposition to German nationalism and milita- Among the single-family houses designed for the rism. Dada devised new forms of artistic expression city from the 1950s onwards there were some stylish with an instructive component. The provocations and detached homes, especially in the Western sectors. shock tactics – in both visual art formats and stage Their architects drew consciously on the modern- performances – were intended to make society think ist aesthetic of the 1920s. Styles ranged from organic about itself. architecture with its free-flowing, irregular forms in the manner of Hans Scharoun (1893–1972) to a revival Faces of the City of Bauhaus ideals founded on functionality and From the early 1920s, a loose-knit group of artists in clarity. Floor plans and versatile references to the Germany began responding to life’s often harsh real- outdoor space were tailored to the needs of the occu- ities. Their style soon became known as New Objec- pants. Every house acquired its own distinctive char- tivity. Its proponents were not united by any kind of acter. manifesto. They simply took their cue from the visible world, casting aside both Expressionism with its for- Art photography in the GDR of the 1980s mal disarray and Dada with its anti-bourgeois stance. From the late 1970s East Berlin was the most impor- These portraits from the 1920s illustrate a wide range tant base for the alternative art community in the of personal styles. People and objects tend to appear GDR. Young artists in particular rejected the concept cool, sober and isolated within the setting. of socialist realism, which was ideologically framed. Instead they created their own counter-positions, Robert Petschow and New Vision undermining its claims to offer a faithful depiction of As a fruit of our latest Thomas Friedrich Research everyday life under socialism. More and more young Grant in Photography and as a contribution to the photographers insisted on a subjective perception of European Month of Photography (EMOP), we are the world and called for an uncompromising gaze on showing works by Robert Petschow (1888–1945). life in the GDR. In the 1980s, the exhibitions organised Petschow was a well-known balloonist in the Wei- in galleries, clubs and culture centres, although small, mar Republic. By 1935 he had completed almost 400 were extremely significant for the photography scene ascents. His aerial views not only appeared in avia- in the GDR. We are showing works by Ulrich Wüst tion journals and illustrated magazines, but were pro- (*1949) and Maria Sewcz (*1960). moted during his own slide lectures. With his camera 2 Exhibition chapters Collection Online The permanent exhibition is structured in 17 chapters: To find out which works are currently on display, vis- ∙ Heroes, Knights, Monsters. itors can consult the Collection Online in the Perma- Lovis Corinth: The Katzenellenbogen Cycle nent Exhibition section of the museum website (berlinischegalerie.de): ∙ Conservatives and Modernists. Art around 1900 http://sammlung-online.berlinischegalerie.de ∙ Embracing Modernism. Berlin Art around 1900 Berlinische Galerie 45 years on ∙ Robert Petschow and the New Vision 2020 the Berlinische Galerie is celebrating its 45th ∙ Der Sturm. A Forum for the Avant-Garde, 1912–1929 birthday. Now a public museum, it was founded in ∙ Upheaval and a Fresh Start. Avant-Garde Move- 1975 as an association for modern art, photography ments in Berlin, 1910–1933 and architecture that had been created in Berlin. Its first address was a little office on Schlossstrasse ∙ Dada in Berlin. Radical Art from 1918 (Charlottenburg). The inaugural exhibition was held ∙ Berlin as a Hub Between East and West. Constructi- from 21 to 23 November 1975 at Berlin’s Academy vism and the New Vision in the 1920s of Arts. In 1978, the Berlinische Galerie moved into ∙ Faces of the City. New Objectivity in the 1920s its own exhibition space on Jebensstrasse (today’s Museum of Photography), and from 1986 until 1997 it ∙ Metropolitan Berlin. New Objectivity in the 1920s was housed in the Martin Gropius Bau. The search for ∙ Berlin in the Nazi Era. Art between 1933 and 1945 a location ended in 2004 when the museum opened in ∙ Isolation. Artists During Nazi Rule between 1933 and a former glass warehouse in Kreuzberg near Berlin’s 1945 Jewish Museum. ∙ A City in Ruins. Berlin after 1945 On the path to an accessible museum ∙ Abstraction as the “Language of Freedom”. The permanent exhibition can be experienced with Art around 1950 different senses: tactile models and an audio guide ∙ Individual and Functional. Detached Houses in with 17 listening points in German and English per- Berlin from 1950 mit an inclusive tour through 100 years of art in Berlin. This can be downloaded as a free app or accessed ∙ In the Shadow of the Wall. Painting from the 1960s to on the museum website. All the texts in the exhibi- the 1980s tion have a high-contrast layout and are available in ∙ The Young Generation. Photography in 1980s East large print for the visually impaired. Tactile floor guid- Germany ance helps visitors to find their way around the build- ing, and there is barrier-free access to the permanent Artists (selected): exhibition.
Load more

Recommended publications
  • Exhibitions 2021/22
    Press Release Berlin, 23.9.21 , © Privatsammlung © , 1910 Ferdinand Hodler , Der Frühling, ca. Ferdinand Hodler and Modernist Berlin 10.9.21 – 17.1.22 Ferdinand Hodler’s evocative figure paintings, moun- tain landscapes and portraits are Modernist icons. The Swiss artist (1853–1918), an influential force in symbolism, drew great international acclaim even in his own lifetime. Contemporaries valued Hodler above all as a master of human characterisation: as the artist Paul Klee noted in 1911, he could “create the soul by painting the body”. Few people realise today that Hodler’s path to fame lay through Berlin. At the dawn of the 20th century, the capital of the German Berlinische Galerie, © Foto: Noshe Reich had become a leading hub of European art alongside Paris, Vienna and Munich. These cities Exhibitions offered Hodler a chance to publicise his work outside Switzerland. The exhibition “Ferdinand Hodler and Modernist Berlin” traces his success on the banks of 2 021/22 the Spree. From 1898 until the outbreak of the First World War, the artist exhibited here almost annually: first at the Great Berlin Art Exhibition, then at the Berlin Secession and in a number of galleries. The presentation at the Berlinische Galerie will bring together about 50 paintings by Hodler from German and Swiss collections, including 30 from the Kunst- museum Bern, our partner in this collaboration. It will also feature works by artists who exhibited with Hodler in Berlin, including Lovis Corinth, Walter Leistikow, Hans Thoma and Julie Wolfthorn. The exhibition is a cooperation between the Berlinische Galerie and the Kunstmuseum Bern.
    [Show full text]
  • MATERIALIEN (Hand-) 1990-2013
    Sign. DSK Name/Bez. Name/Bez. (Forts.) Ort Sign. KMB 1. Veröffentlichungen, die sich ausschließlich mit Künstlerinnen befassen 1. 1 Kuenstlerinnen und ihre Werke in der... Staatsgalerie Stuttgart: Bestandsaufnahme Stuttgart (bis 2004) (Ordner) DSK: 1.1 1. 2 Kuenstlerinnen von der Antike... bis zur Gegenwart (Kirchb./Zonderg.) Dumont 1979 (in LabiblioS) BG 1979 A 1. 3 Adolf Hoelzel's Schuelerinnen Künstlerinnen setzen neue Maßstäbe Museum Stadt WN 1991 NDM 775 1991 1. 4 Deutsche Kuenstlerinnen des 20. JH Malerinnen, Bildhauerinnen,..., (Evers, U.) Schultheiss 1983 BGD 1 1983 1. 5 Kuenstlerinnen des 20. JH Museum WI 1990 YG WIESBA 30 1990 A 1. 6 Kuenstlerinnen International... 1877-1977 (1 Kop.-Bd.) Schl. B-Charlottenburg 1977 DSK: 1.6 1. 7 BRIGITTE- Serie Malerinnen BRIGITTE 1984 DSK: 1.7 1. 8 Malerinnen aus 5 JH (Gottfried Sello; Kopie) Ellert&Richter-V. 1988 R 1988 A 1. 9 Kuenstlerinnen aus Baden-Wuerttemberg von Maria Caspar-Filser bis heute Landes-Girokasse S 1992 YG STUTTG 9 1992 E 1. 10 Kuenstlerinnen von der Renaissance... bis zur Gegenwart (Heller, Nancy) vgs 1989 NCF 1989 A 1. 11 Und ich sehe nichts, nichts als die... (Berger, Renate) Fischer 1989 FU 3 1989 1. 12 Das Verborgene Museum I Dokum. z. Kunst v. Frauen in B öff. Sammlung. Hentrich 1987 YG BERLINW 20 1987/88 : 1 1. 13 Das Verborgene Museum II Dein Land ist Morgen Hentrich 1987 YG BERLINW 20 1987/88 : 2 1. 14 Kuenstlerinnen (Fischer, Mields, Nemeczek, Windheim) GHS KS 1984 DAD 1984 ZB 1. 15 Kunst von Frauen (Krull, Edith; Kopie) Weidlich 1984 DSK: 1.15 1.
    [Show full text]
  • PRESS RELEASE Ulrike Andres Head of Marketing & Communication Phone 030 789 02-829 [email protected]
    BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] PRESS RELEASE Ulrike Andres Head of Marketing & Communication Phone 030 789 02-829 [email protected] Contact Melanie Arsjad Marketing & Communication Phone 030 789 02-833 [email protected] Berlin, 09th Fe bruary 2012 From the Collection: Streets and Faces 1918-1933 09.03.-28.05.2012 Ines Wetzel, Selbstbildnis, 1930, Copyright unknown Photographer: Kai-Annett Becker One emphasis in the collection of the Berlinische Galerie is the art of the Weimar Republic, in particular the field of graphic art. As contemporary witnesses, artists documented and commented on the political struggles and social changes of those years with a sharp eye and a deft pen; it was a time when Berlin was developing into a scintillating big city of entertainment after the world war and revolution. Not without sympathy, artists traced the deep lines that a struggle to survive had etched into the faces of people chasing after happiness on the city's boulevards, at its bars, or in the gloomy dance halls of the working men's pubs. This exhibition with circa 60 works from our own collections, supplemented by some loans, will show works on paper by artists including Max Beckmann, Chas-Laborde, Otto Dix, Dolbin, Heinrich Ehmsen, Lilo Friedlaender, Rudolf Großmann, George Grosz, Karl Holtz, Karl Hubbuch, Jeanne Mammen, Gertrude Sandmann, Rudolf Schlichter, Gerd Wollheim and Richard Ziegler.
    [Show full text]
  • Hannah Höch’S Radical Imagination: a Study on the Transformation of Reality Through Space, Language and a Politicised Psychoanalysis
    Hannah Höch’s radical imagination: a study on the transformation of reality through space, language and a politicised psychoanalysis. Volume 1 of 2: Written thesis Andrea Kay Tabernacle UCL PhD Thesis September, 2017 1 Declaration I, Andrea Kay Tabernacle confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This thesis presents an analysis of Höch’s work in relation to the idea of radical imagination. It proposes that Höch activated radical imagination in her work, aiming to transform perceptions of reality, in order to create social change. In pursuit of such change, Höch was influenced both by psychoanalysis and philosophy, in particular, by Salomo Friedländer’s concept of creative indifference. The target for radical imagination is the dismantlement and reconstruction of the prevailing moral, social and aesthetic order, from its root. This study argues that its effect derives from its rootedness in the perception of subjective realities. Beginning in the unconscious processes of looking and the construction of concepts of self and other, it is radical in means as well as in intention towards fundamental changes in values. While not directed at specific political aims, it is argued here that there is, nonetheless, an ethical and political imperative. The research has been carried out through an examination of Höch’s work in context, including by reference to Walter Benjamin and Sigmund Freud. Her work is also considered in relation to other Dada artists and the writer, Til Brugman.
    [Show full text]
  • Introduction to the First International Dada Fair*
    Introduction to the First International Dada Fair* WIELAND HERZFELDE Translated and introduced by Brigid Doherty Printed in red-and-black typography over a photolithographic reproduction of John Heartfield’s montage Life and Activity in Universal City at 12:05 in the Afternoon, the newspaper-sized cover page of the catalog to the First International Dada Fair—an “exhibition and sale” of roughly two hundred “Dadaist products” that was held from June 30 to August 25, 1920, in a Berlin art gallery owned by Dr. Otto Burchard, an expert in Song period Chinese ceramics who underwrote the show with an investment of one thousand marks and thereby earned the title “Financedada”—asserts that “the Dada movement leads to the sublation of the art trade.”1 Aufhebung is the Dadaists’ word for what their movement does to the traffic in art, and the cover page evokes the trebled meaning that can be attached to that term: the Dada Fair “maintained” the art trade to the extent that it put Dadaist products on the market; at the same time, and indeed thereby, the exhibition aimed to generate within the walls of a well-situated Berlin art gallery an affront to public taste that would “eradicate” the market into which its products were launched, as if, again thereby, to “elevate” the enterprise of dealing in works of art in the first place. Organized by George Grosz, who is given the military rank “Marshall” on the cover page, Raoul Hausmann, “Dadasopher,” and Heartfield, “Monteurdada,” the Dada Fair failed as a commercial venture. Despite charging a considerable admission fee of three marks thirty (a sum even higher than the cat- alog announces), while asking an additional one mark seventy for the catalog, which was published three weeks into the run of the show, the Dadaists could not bring in enough from sales to turn a profit.
    [Show full text]
  • From Schiele to Grosz
    BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] Vienna Berlin Press release, Berlin, 21 August 2013 The Art of Two Cities From Schiele to Grosz Exhibition: 24 October 2013 to 27 January 2014 Vienna Berlin The Art of Two Cities: From Schiele to Grosz A joint exhibition by the Berlinische Galerie and the Österreichische Galerie Belvedere Berlinische Galerie, Berlin: 24.10.2013 – 27.01.2014 Belvedere, Wien: 14.02. – 15.06.2014 In their first major themed exhibition together, the Berlinische Galerie and the Ernst Ludwig Kirchner, Women on the Street, 1915 Österreichische Galerie Belvedere will show key works of modern art from Vienna and Von der Heydt Museum, Wuppertal Berlin ranging from the Secessions via Expressionism to New Objectivity. Masterpieces EXHIBITION 24.10.2013 – 27.01.2014 from both collections will combine with lesser-known specimens to create a panoramic insight into the vibrant exchange between these two metropolitan hubs in the early PRESS CONFERENCE Wed 23.10.2013, 11 am 20th century. PREVIEW Wed 23.10.2013, 7 pm Much is already known about the links between these two cities in the fields of literature, theatre and music, but the dialogue between Vienna and Berlin around CURATORS Dr. Ralf Burmeister classical modernism in art has rarely been explored. This themed exhibition of some Dr. Annelie Lütgens 200 works seeks to redress the oversight. It opens with the formation of the OPENING HOURS Secessions, whose champions turned their backs on academic style to negotiate new Wed – Mon 10 am to 6 pm positions between art nouveau and late impressionism.
    [Show full text]
  • Reopening Berlinischegalerie.De/En/Visit/Your-Visit/#C2539
    Press Release Berlin, 21.5.21 Thanks to falling incidence values, the museums can open again. Starting today, May 21, the Berlinische Galerie can be visited again. The museum is equipped throughout to meet current hygiene standards. There will be a limit on the num- ber of people so that everyone can keep the minimum distance from each other as prescribed. The staff will be wearing high-filtration or surgical masks, and the , © Rechtsnachfolger*in unbekannt unbekannt Rechtsnachfolger*in © , 1930 same rule applies to our visitors. To visit the museum, - 1920 you must show evidence that you have tested neg- ative for Covid-19 in a rapid antigen test issued no more than 24 hours ago. Exceptions apply to those who have been fully vaccinated and who have recov- ered. To gain admission, visitors must buy a ticket in Cami Stone, Ohne Titel, advance for a specific time slot. Tickets can only be purchased online and will be available five days in advance: Reopening berlinischegalerie.de/en/visit/your-visit/#c2539 From 21 May 2021 Current exhibitions the Berlinische Galerie Anything Goes? Berlin Architecture will be open again in the 1980s (until 16.8.) Berlin boasts a unique concentration of notewor- thy buildings from the 1980s, and more than 30 years later they deserve a review. The diversity of this archi- tectural vocabulary challenged previous ideas of living in the modern world. Widely labelled “post- modern”, it drew on structural typologies and stylis- tic devices from the past and tested alternative urban lifestyles. In the run-up to the celebrations marking 750 years since the original town charter, the entries submitted to the “Internationale Bauausstellung” in West Berlin in 1984/87 and the “Bauausstellung” of 1987 in East Berlin turned the city into a kind of archi- tectural laboratory observed from well beyond its boundaries.
    [Show full text]
  • Freedom the Art of the Novembergruppe 1918–1935 09.11.2018–11.03.2019
    Freedom The Art of the Novembergruppe 1918–1935 09.11.2018–11.03.2019 PRESS CONFERENCE (in German) 07.11.2018, 11 am 11:10 Welcome reception Dr. Thomas Köhler Director of Berlinische Galerie 11:15 Introduction to the project "100 Years of Revolution – Berlin 1918–19" Moritz van Dülmen CEO of Kulturprojekte Berlin GmbH 11:25—11:45 Introduction to the exhibition Dr. Ralf Burmeister Head of artists’ archive and exhibition curator Dr. Janina Nentwig Exhibition curator 11:45—12:15 Tour through the exhibition with the exhibition curators OPENING (in German) 08.11.2018, 7 pm The admission to the event starts at 6 pm. Speakers: 19:10 Dr. Thomas Köhler, Director of Berlinische Galerie 19:15 Dr. Klaus Lederer, Senator for Culture and Europe and Mayor of Berlin 19:25 Dr. Martin Hoernes Secretary General of the Ernst von Siemens Kunststiftung 19:35—19:50 Introduction to the exhibition Dr. Ralf Burmeister Head of artists’ archive and exhibition curator Simultanous interpreting is provided in German Sign Language Followed by music. Catering by Café Dix. WWW.BERLINISCHEGALERIE.DE Freedom The Art of the Novembergruppe 1918–1935 09.11.2018–11.03.2019 PRESS KIT CONTENTS Press release 1 Exhibition texts 4 Exhibition catalogue 7 Education programme 8 Online campaign #novembergruppe 9 Press images 10 WWW.BERLINISCHEGALERIE.DE BERLINISCHE GALERIE LANDESMUSEUM FÜR MODERNE ALTE JAKOBSTRASSE 124-128 FON +49 (0) 30 –789 02–600 KUNST, FOTOGRAFIE UND ARCHITEKTUR 10969 BERLIN FAX +49 (0) 30 –789 02–700 STIFTUNG ÖFFENTLICHEN RECHTS POSTFACH 610355 – 10926 BERLIN [email protected] PRESSINFORMATION Ulrike Andres Head of Communications and Educa- tion Tel.
    [Show full text]
  • DIE SAMMLUNG KÜNSTLERINNEN © │Ingrid Kleinebrahm│Erich-Weinert-Strasse 136│D-10409 Berlin│ │Fon 030 - 42 80 71 21│[email protected]│
    __________________________________■DIE SAMMLUNG KÜNSTLERINNEN © │ingrid kleinebrahm│Erich-Weinert-Strasse 136│D-10409 Berlin│ │Fon 030 - 42 80 71 21│[email protected]│ Was finde ich in diesem Bestands-Verzeichnis MATERIALIEN ? Alle Bücher, Kataloge etc., die die SAMMLUNG KÜNSTLERINNEN darstellen hierzu gehört das => Neben-Bestands-Verzeichnis MATERIALIEN... (i....) Struktur: Die Sortierung erfolgt aufsteigend nach der "Signatur" (Spalte 1), dann nach (Zusatz-) Ziffer bzw. alphabetisch Die Signatur dient zur Klassifizierung der Materialien; sie ist erläutert nach der Eingangsseite. ___________________________________■DIE SAMMLUNG KÜNSTLERINNEN © │ingrid kleinebrahm│Erich-Weinert-Strasse 136│D-10409 Berlin│ │Fon 030 - 42 80 71 21│[email protected]│ DIE SAMMLUNG KÜNSTLERINNEN dokumentiert das LEBEN UND WERK BILDENDER KÜNSTLERINNEN über Ländergrenzen hinweg, von der Vergangenheit bis zur Gegenwart; sie ist ein Archiv, das immer Bestands-Verzeichnis noch weiter wächst - MATERIALIEN auch gefördert durch Materialien von Einzelpersonen und Institutionen. Bestands- Teil 1 Verzeichnisse: KÜNSTLERINNEN nach "Signatur" sortiert (Spalte 1), dann nach (Zusatz-) Ziffer bzw. alphabetisch und MATERIALIEN. Letztere sind: Gliederung: Kataloge, Bücher, Einladungen, Briefe, - Signatur: Kurzzeichen für die Bestandsgruppen bzw. die archivierten Materialien (s. Vorblatt) Postkarten, Plakate, - Name (der Künstlerin) bzw. /Bez. (Beschreibung der jeweiligen Materialien) Neue Medien, Werke; - Ort des Erscheinens der Publikation, ggf.
    [Show full text]
  • Ferdinand Hodler and Modernist Berlin
    Press Release Berlin, 1.9.21 The evocative figure paintings, mountain landscapes and portraits by Ferdinand Hodler (1853–1918) are modernist icons. The Swiss artist, an influential force in symbolism, drew great international acclaim even in his own lifetime. Few people realise today that Hodler’s path to fame lay through Berlin. From 1898 until the outbreak of the First World War, the artist exhibited here almost annually. The exhibition , © Privatsammlung © , “Ferdinand Hodler and Modernist Berlin” presents 1910 about 50 paintings by the artist, including 30 from the Museum of Fine Arts in Bern, the partner in this col- laboration. It will also feature works by artists who exhibited with Hodler in Berlin, such as Lovis Corinth, Walter Leistikow, Hans Thoma and Julie Wolfthorn. Contemporaries valued Hodler above all Ferdinand Hodler, Der Frühling, ca. as a “master of human characterisation who could create the soul by painting the body,” as the artist Paul Klee noted in 1911. Hodler wanted to combine Ferdinand simplicity with grandeur. Even now, viewers are capti- vated by the timeless grace of his dancers and young men with their graceful postures and tender expres- Hodler and sions. They seem archaic, often earnest, and yet spir- ited, full of life and lightness. Hodler drew for his art on nature, of which people were a part. His figures Modernist and mountains breathe a cold, clear air. The artist, as Hodler himself put it in a programmatic text, “reveals nature magnified and simplified, liberated from Berlin detail”. Today Ferdinand Hodler is undoubtedly the most popular of all Swiss painters and is 10.9.21 – 17.1.22 regarded alongside Paul Cézanne, Vincent van Press conference: Wed 8.9.21, 11 am Gogh and Edvard Munch as a key player in modern Opening: Thu 9.9.21, 7 pm art.
    [Show full text]
  • Katalog Kunstkaufen 2020
    KunstKaufen! 2020 Karl Hofer Gesellschaft . KunstKaufen! 2020 Gesellschaft . KunstKaufen! Hofer Karl Freundeskreis der UdK Berlin | Karl Hofer Gesellschaft e.V. Freundeskreis der UdK Berlin | Karl Hofer Gesellschaft e.V. KUNST ERLEBEN | NACHWUCHS FÖRDERN | IDEEN ENTWICKELN KUNST ERLEBEN | NACHWUCHS FÖRDERN | IDEEN ENTWICKELN KunstKaufen! Der Katalog für Entdecker 2020 Neue Kunst 1 - 75 Jahresgaben 76 - 87 Freundeskreisporträt 88 - 93 www.karl-hofer-gesellschaft.de Neue Kunst VON: Der Freundeskreis der UdK Berlin | Karl Hofer Gesellschaft hat in den letzten Lena-Elise Aicher Julian-Jakob Kneer Kathleen Alisch Paula Krause Jahren während des UdK-Rundgangs jeweils eine Verkaufsausstellung Kifan Alkarjousli Domenik Krischke Clara Bahlsen Nina Lamiel Bruchhaus mit dem Titel KunstKaufen! insbesondere mit Präsentation "NEUE KUNST" Felix Becker Hannah Lansburgh Sophia Berg Luisa Lieben von vielen UdK-Studierenden und Absloventen*innen organisiert, Maj-Synje Berns Eleni Manolopoulos Sabine Beyerle Albert Markert die zunehmend Zuspruch erfahren hat. Johannes Bittmann Thomas Masc In diesem Jahr findet der Rundgang leider nicht statt, aber gerade Kim Bode Teresa Mayr Louisa Boeszoermeny Anna Mészáros deshalb scheint es uns sinnvoll, unsere Aktion nicht ebenfalls abzusagen. Judith Brunner Navot Miller Ruben Susanne Bürgam Lydia Müller Elke Burkert Antonia Nannt Rüzgâr Buşki Ingrid Elsa Maria Ogenstedt So freuen wir uns, Ihnen mit diesem Katalog auch in diesem Jahr Tim Busse Amanda Viktoria Pastwa Anna Choi Viktor Petrov wieder zahlreiche "NEUE KUNST" von gesamt 74 UdK-Kunstschaffenden Josefine Emilie Däumer Anna-Maria Podlacha Luc Demissy Olena Polovko und Gästen präsentieren zu können. Amrita Dhillon Leila Edda Raabe Taleja Engelke Kolja Amanda Richard Witalij Frese Michael (Erny) Richter Dennis Fuchs Janine Röfke Man kann mit den Beteiligten "NEUE KUNST" direkt in Kontakt treten, Valerie Funk Gonzalo Ruelas Woodrow um sich in deren Atelier bzw.
    [Show full text]
  • Albany (NY) 1916, Februar: Februar-Ausstellung
    Aachen Ascona, Museo Comunale di Ascona. 1960/61: s. Denver 1960/61 1950, 27.08. - 08.10.: Meisterwerke der Liste, Nr.1 - 6; 8 - 45 (10 G, 3 A, 1 Z, 30 Sammlung Haubrich. Museumsverein Gr.) Bamberg Aachen, Suermondt-Museum der Stadt 1947, 14.06. - 12.07.: Deutsche Kunst Aachen (2 G) Athenai der Gegenwart. Neue Residenz zu 1955, 05.09. - 30.09.: ars viva aachen 1962, Dezember: s. Thessaloniki 1962, Bamberg, Verein für Kunst, Literatur und ‘55. Kulturkreis im Bundesverband der November Kunsthandwerk Bamberg e.V. (2 G) deutschen Industrie e.V. (1 G; 1 Farbabb.) Athens (GA) Basel 1959, 03.05. - 28.06.: Deutsche Malerei 1970, 19.06. – 31.07.: s. Albany (NY) 1916, Februar: Februar-Ausstellung. im 20.Jahrhundert. Aachener 1971 Kunsthalle Basel (Basel: Birkhäuser) (2 Museumsverein in Verbindung mit dem G) Suermondt-Museum der Stadt Aachen Augsburg 1916, Mai: Mai-Ausstellung 1916. (Aachener Kunstblätter) (4 G; 4 Abb.) 1947, August/Sept.: 9.Augsburger Kunsthalle Basel (Basel: Birkhäuser) (15 1964, 03.05. - 28.06.: Deutsche Kunst im Kunstausstellung: Künstler der Ostzone. G) 20.Jahrhundert. Malerei und Plastik aus Schaezler-Palais, Augsburg 1947 (14 G; 1933, 07.10. – 29.10.: Moderne Privatbesitz. Aachener Museumsverein 1 Abb.) deutsche Malerei aus Privatbesitz. in Verb. mit dem Suermondt-Museum Kunsthalle Basel (4 G) der Stadt Aachen (Aachener Bad Godesberg 1934 [März]: Ausstellung Karl Hofer. Kunstblätter) (3 G; 3 Abb.) 1965 [April]: Karl Hofer. Gemälde. Ausst. Kunstsalon Bettie Thommen, Basel im Rahmen der „Berlin - Woche“ in Bad (o.Kat.?) (Zahl der Exponate unbekannt) Ahlen Godesberg 1965. Stadt Bad Godesberg 1945, 01.09.
    [Show full text]