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Munich Residence! Sun./Public Holidays: 9Am – 6Pm 27 July – 7 Sept.: Daily 9Am – 6Pm 2 8 Sept
Residence Museum/Upper floor Selected rooms on the upper floor Odeonsplatz 6 Gold-plated silver U 12/13 COURT GARDEN COURT GARDEN terrine with the coat of Stairs to Black Hall/Black Hall 10/2019 arms of Elector Max Emanuel, 14 –14a Yellow Staircase and Room 14a closed Munich Paris, 1714/15 for construction works 14b – c ‘Schlachtensäle’ (Battle Halls) Herkules Hall 14d – h Eighteenth- and nineteenth-century table culture Residence 15– 21 East Asian Porcelain 22– 31 RESIDENCE MUSEUM Electoral Apartments HIGHLIGHTS 32 All Saints’ Corridor 7 Commode TREASURY UPPER FLOOR 33 – 41 So-called Court Garden Rooms and ‘with 3 CUVILLIÉS THEATRE nymphs’, Charlotte Chambers Charles 42 – 45 Charlotte Corridor and Broad Staircase e ‘Königsbau’ (Royal Palace) 5 Cressent, 46 – 53 ‘Trierzimmer’ (Trier Rooms) Paris, c. 54 Hall of the Knights of St George/ IMPERIAL COURTYARD APOTHECARY COURTYARD 1730/1735 Conservatory exhibition 55 – 62 Ornate Rooms with Green Gallery 63 – 66 Rear chambers of the Ornate Rooms f 67– 69 Papal Rooms 8 Writing utensils 71 Golden Hall MARSTALLPLATZ of Madame 72 Queen Mother Staircase Pompadour, ALFONS-GOPPEL-STRASSE 94 Chapel Staircase Max-Joseph Sèvres porcelain 95 Reliquaries Room Hall Cuvilliés Theatre manufactory, 96 / 89 Gallery of the Court Chapel 1760/61 COMITÉ 97–98 Vestibule and Ornate Chapel f Steinzimmer (Stone Rooms) COURT- CHAPEL COURTYARD YARD 99 Antler Corridor FOUNTAIN COURTYARD 100 –102 Former chambers of the Council of State 103 ‘Hartschiersaal’ (Bodyguards’ Hall) Cabinet Garden 104 –109 Steinzimmer (Stone Rooms) -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Sabine Brantl Haus Der Kunst, Munich a Locality and Its History in National Socialism
edition monacensia Published by: Monacensia Literary Archive and Library Dr Elisabeth Tworek Sabine Brantl, born in 1969, is a historian and curator at Haus der Kunst in Munich. She freelanced for the Bavarian Television and Je- wish Museum Munich and was a research assistant at the Academy of Fine Arts, Munich. On behalf of Haus der Kunst she conceptualised the design of the historical archive in 2004, which she has headed since 2005. Among other things, Sabine Brantl was curator of the exhibition “Histories in Conflict: Haus der Kunst and the Ideological Uses of Art, 1937-1955” (2012) and is responsible for the Archive Gallery, a perma- nent exhibition room on the history of Haus der Kunst (since 2014). Sabine Brantl Haus der Kunst, Munich A Locality and its History in National Socialism Published by Haus der Kunst, Munich Information on the publisher and its programme can be found at: www.allitera.de Published by Haus der Kunst, Munich www.hausderkunst.de Oktober 20156 Allitera Verlag A publishing house of Buch&media GmbH, Munich © 2016 Buch&media GmbH, München Translation: Dialogticket, Reinbek b. Hamburg Cover design using the photograph “Great German Art Exhibition” 1938 Selection of works by Adolf Hitler © Bayerische Staatsbibliothek Munich Printed in Germany isbn 978-3-86906-922-7 Inhalt Foreword by Dieter Reiter, Lord Mayor of Munich . 7 Introduction by Sabine Brantl ............................ 10 1 A new Glass Palace .................................. 13 1.1 The Glass Palace fire ............................. 13 1.2 Adolf Abel’s preliminary project .................... 23 2 The “Führer’s First Builder” ........................... 29 2.1 Paul Ludwig Troost ............................. -
Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany
H-Labor-Arts Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany Discussion published by Patrick Jung on Saturday, October 7, 2017 (Copyright 2008, Society of Industrial Archeology and reprinted with permission) From the author: This article was published earlier in Industrial Archaeology: The Journal of the Society for Industrial Archeology, vol. 34, nos. 1 & 2. It is reproduced here on H-Labor Arts to make it available to a wider audience. I wrote this article while I was in the midst of finishing a book-length manuscript on Erich Mercker, who was, undoubtedly, one of the top industrial artists in Germany from 1919 to 1945. He and his contemporaries (e.g., Fritz Gärtner, Franz Gerwin, Ria Picco-Rückert, Leonhard Sandrock, and Richard Gessner) constituted a school of artists who I have provisionally labeled the “Heroic School” of German industrial art from 1919 to 1945. The Grohmann Museum in Milwaukee, Wisconsin has paintings produced by virtually all of these artists. It also has more than 90 paintings by Erich Mercker, more than any other art museum in the world. Thus, it is fitting this article should appear on the H-Labor Arts site titled “From the Grohmann….” I also hope this essay will spur more research into Mercker and his “Heroic School” contemporaries, all of whom produced some of the most stunning examples of industrial art during the course of the early twentieth century. Those interested in reading the full-length biography on Erich Mercker (for which this article paved the way) should contact the Grohmann Museum at [email protected]. -
Orientierung Deutsch
DIE PINAKOTHEKEN IM KUNSTAREAL MÜNCHEN Schelling- ORIENTIERUNG straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 6 DEUTSCH m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß 00 1 ra ÄGYPTISCHES s st LENBACH- n MUSEUM Karolinen- Bu e HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner S traße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG 00 STAATLICHE 1 s ANTIKEN- Bu SAMMLUNGEN U4/U5 6 U / 3 U Alter B otanischer 7/28 ALTE PINAKOTHEK Garten 2 m a Täglich außer MO 10.00–18.00 | DI 10.00–20.00 www.pinakothek.de/alte-pinakothek Tr NEUE PINAKOTHEK H S U S U S1–S8 Täglich außer DI 10.00–18.00S U H | MI 10.00–20.00Karlsplatz (Stachus) Marienplatz www.pinakothek.de/neue-pinakothekS1–S8 Hauptbahnhof DB PINAKOTHEK DER MODERNEU2 Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.pinakothek.de/pinakothek-der-moderne MUSEUM BRANDHORST Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.museum-brandhorst.de SAMMLUNG SCHACK MI–SO 10.00–18.00 | Jeden 1. und 3. -
History of Museums
博物館與文化 第一期 頁 131~153 （2011 年 6 月） Journal of Museum & Culture 1 : 131~153 （June, 2011） History of Museums A Focus on Museums and Museology in Germany 1900 - 2011 Hildegard K. Vieregg1 1 Prof. Dr. Hildegard K. Vieregg, Museum Sciences and History of Museums, Munich School of Philosophy. From 1999 to 2007, President of the International Committee for Museology (ICOFOM in ICOM/UNESCO). At present: Vice-President of ICOFOM SIB & SAP (Siberia, South East Asian Countries and Pacific). E-mail: [email protected] 132 博物館與文化 第一期 2011 年 6 月 Abstract The following article examines museum development in the course of the 20th century in Germany. Numerous of these museums for the Fine Arts, Natural Sciences and Cultural History have their origins already in the 19th century. After the year 1900 were again foundations in different sections and of a progressive typology which developed themselves according to the needs of people. Deutsches Museum Munich (founded in 1903) was and is thanks museum-pioneers until today the extraordinary model for all of the Museums for Science and the Techniques world-wide. The journal “Museumskunde” firstly organized and published (1905) by the famous museum expert Karl Koetschau is also an example that survived the 20th century, and is until now the most important scientific museum publication in Germany. Within the periods of the First World War (1914-1918), National Socialism (1933-1945) and Second World War (1939-1945), the Museum-Landscape in Germany was confronted with serious problems. The further development after 1945 was characterized by museum experts, and the German Association of Museums (founded in 1917, re-organized after the Second World War). -
NEWS RELEASE Press Preview: Tues., May 24 9
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726). -
Orientation English
ALL PINAKOTHEK MUSEUMS IN THE KUNSTAREAL MÜNCHEN ORIENTATION Schelling- straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 ENGLISH 6 m U a / 3 NEUE Tr Heßstraße PINAKOKTHE U e ß e a U2 ß r a Pinakotheken t Bus 100 r s t n s e Theresienstraße g i U H H H i l w a MUSEUM d ALTE m u A PINAKOTHEK BRANDHORST L TÜRKENTOR e ß e a ß PINAKOTHEK DER r a t r S t MODERNE s r s e Gabelsbergerstraße i H r e c a ß 100 B Ar Bus a 0 r t 10 s PALAIS en LENBACH- s s Karolinen- k PINAKOTHEK Bu r HAUS platz ü GLYPTOTHEK H T U U Königsplatz Brienner Straße H KUNSTBAU STAATLICHE Odeonsplatz ANTIKENSAMMLUNGEN 6 U ALTE PINAKOTHEK / 3 Daily except MON 10.00–18.00 | TUE 10.00–20.00 8 U /2 www.pinakothek.de/en/alte-pinakothekAlter B otanischer 7 Garten 2 m a NEUE PINAKOTHEK Tr 8 U Daily except TUE 10.00–18.00 | WED 10.00–20.00 S1–S S Marienplatz www.pinakothek.de/en/neue-pinakothek H S S U H PINAKOTHEK DER MODERNE Karlsplatz (Stachus) S1–S8 Hauptbahnhof DB Daily except MON 10.00–18.00 | THU 10.00–20.00 www.pinakothek.de/en/pinakothek-der-moderne U2 MUSEUM BRANDHORST Daily except MON 10.00–18.00 | THU 10.00–20.00 www.museum-brandhorst.de/en SAMMLUNG SCHACK WED–SUN 10.00–18.00 | Every 1st und 3rd WED in a month 10.00–20.00 www.pinakothek.de/en/sammlung-schack DEAR VISITORS, ALTE PINAKOTHEK We wish you a pleasant visit to the Alte Pinakothek. -
10 Years Museum Brandhorst
PROGRAM 10 Years OCT–DEC 2019 Museum Brandhorst Brand New? 10 Years Museum Brandhorst As a museum for contemporary art we aspire to constantly seek out fresh, current and relevant work, to know what is “brand new” – just as it says on Ed Ruscha’s famous triangular painting from 2016, which we are currently showing on the stair- way to the lower floor. Therefore the second issue of our magazine series on the anniversary exhibition “Forever Young – 10 Years Museum Brandhorst” is focused on the present. It is against the present that we continuously measure our work. It keeps us alert, opens our eyes, and as a result the collection changes constantly (p. 2). In the last ten years it has grown by around 500 works. These new acquisitions include, for example, paintings by Monika Baer, who explains in an interview (p. 34) how it was and still is to prevail in the male-dominated field of painting. To give an impression of the diversity of these recent additions to the collection, our exhibition also Jens Hartmann Photo: changes at regular intervals: From mid-September we are showing newly-acquired pieces by R.H. Quaytman (p. 16) and Michael Krebber (p. 18) in Achim Hochdörfer the “Spot On” rooms on the ground floor, and from Director Museum Brandhorst November we will present the recently acquired video installation “Fiorucci Made Me Hardcore (20 Year Anniversary Remaster)” (1999–2019) by Mark Leckey (p. 20) in the media rooms on the lower floor. A legendary piece – twice as old as the museum – which invites us to celebrate a homage to the British club culture to this day. -
PDF EN Für Web Ganz
MUNICH MOZART´S STAY The life and work of Wolfgang Amadeus Mozart is closely connected to Munich, a centre of the German music patronage. Two of his most famous works Mozart composed in the residence city of Munich: On the 13th January, 1775 the premiere from „La finta giardinera “took place, on the 29th January, 1781 the opera "Idomeneo" was launched at Cuvilliés Theater. Already during his first trip at the age of six years Wolfgang played together with his sister Nannerl for Elector Maximilian Joseph III. The second visit followed a year later, in June, 1763. From Munich the Mozart family started to their three year European journey to Paris and London. On the way back from this triumphal journey they stopped in Munich again and Mozart gave concerts at the Emperors court. Main focus of the next trip to Munich (1774 – in 1775) was the premiere of the opera "La finta giardiniera" at the Salvatortheater. In 1777 when Wolfgang and his mother were on the way to Paris Munich was destination again and they stayed 14 days in the Isar city. Unfortunately, at that time Wolfgang aspired in vain to and permanent employment. Idomeneo, an opera which Mozart had composed by order of Elector Karl Theodor, was performed in Munich for the first time at the glamorous rococo theatre in the Munich palace, the Cuvilliés Theater. With pleasure he would have remained in Munich, however, there was, unfortunately, none „vacatur “for him again. In 1790 Mozart came for the last time to Munich on his trip to the coronation of Leopold II in Frankfurt. -
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 New Objectivity: Modern German Art in the Weimar Republic, 1919-1933 Press images, full captions 1. Max Beckmann Dance in Baden-Baden (Tanz in Baden-Baden), 1923 Oil on canvas; 42 1/2 x 26 in. (108 x 66 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: bpk, Berlin/Bayerische Staatsgemäldesammlungen/Art Resource, NY 2. Max Beckmann Self-Portrait in Tuxedo (Selbstbildnis im Smoking), 1927 Oil on canvas; 54 15/16 x 37 5/8 in. (139.5 x 95.5 cm) Harvard Art Museums/Busch-Reisinger Museum, Association Fund © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: Imaging Department © President and Fellows of Harvard College 3. Max Beckmann Paris Society (Gesellschaft Paris), 1931 Oil on canvas; 43 × 69 1/8 in (109.2 × 175.6 cm) Solomon R. Guggenheim Museum, New York © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo © The Solomon R. Guggenheim Foundation, New York 4. Aenne Biermann Ficus elastic: Rubber Plant (Ficus elastic: Gummibaum), c. 1927 Gelatin silver print; 18 2/5 x 13 3/4 in. (46.7 x 35 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne Photo: Bayerische Staatsgemäldesammlungen, Fotoarchiv 5. -
Reading Sample
MUSEUM BRANDHORST The Collection Edited by Patrizia Dander, Achim Hochdörfer, and Jacob Proctor Museum Brandhorst Bayerische Staatsgemäldesammlungen, Munich PRESTEL Munich · London · New York 6 Foreword Achim Hochdörfer, Bernhard Maaz 10 On the History of the Museum Brandhorst Achim Hochdörfer 18 The Architecture Andres Lepik 290 Artists in the Brandhorst Collection 292 Copyrights and Photo Credits 293 Authors 294 Imprint Achim Hochdörfer 28 Cy Twombly Monika Bayer-Wermuth 64 Andy Warhol Jacob Proctor 104 Pop Art and its Aftermath(s) Patrizia Dander 146 Schiff Ahoy—Onwards to New Shores The Legacy of Minimal Art Jörg Heiser 188 Constitutive Unpredictability Manuela Ammer 222 Eccentric Figuration Jacob Proctor 244 Doing Things With Images Patrizia Dander 266 Bodies and Capital On the History of the Museum Brandhorst Achim Hochdörfer Situated at the northeastern corner of Munich’s Kunstareal, in direct proximity to the three Pinakothek museums, the Museum Brandhorst is certainly eye-catching. Its elongated volume extends like a colorful sphinx along Türkenstrasse, its towering head greeting visitors who arrive from Schwabing and Maxvorstadt. The façade, with its 36,000 ce- ramic rods, inspired by the colors of nearby buildings, thereby enters into lively communication with its surroundings. When we walk around the building, every step opens up a new play of colors and perspectives, yet Sauerbruch Hutton’s architecture also radiates formal clarity and independence. In this respect, the paradox which affects every museum of contemporary art already becomes evident outwardly. For the role of the Museum Brandhorst has been formulated by Armin Zweite as a place where “historicizing the present”: here, the public is presented with current artistic achievements that are expected to appear relevant from a future retrospective position.1 The collecting of contemporary art, then, is not a passive, purely documentary activity, but instead inter- venes directly into cultural production.