ENGLISH

1 April > 17 July 2011

curated by Felix Krämer 100 Masterpieces from the Städel Museum of Impressionism, Expressionism, Avant-Garde

“The appeal of the Städel Institute lies in the vast artistic energy it manages to concentrate within a confined space. Here there is almost all that has been generated by the great spiritual movements of Europe and all in the finest works of art.” These are the words with which ’s Kunsthalle director, Alfred Lichtwark, voiced his enthusiasm for the collection of the Städel Museum – which comprises masterpieces from the early 14th century to the present - after a visit in 1905. Goethe himself made frequent mention of the banker Städel in his letters, underlining how, notwithstanding his advanced age, he would insist on personally receiving visitors and accompanying them through his great collection, which at the time was composed largely of 17th and 18th century Flemish and German painting. In his will Städel bequeathed his enormous fortune, his art collection and his magnificent residence to the public by constituting a foundation that was a complete novelty for the time. In line with the tradition of bourgeois patronage and still influenced by Illuminism, Städel voiced his intentions in his will as being to offer “the finest for local citizens”. The Städel Museum was thus born from the initiative of a single individual intent on promoting art by offering public access to his

3 collection and library, as well as through the creation of hitherto enjoyed the contribution of so many Jewish an affiliated art school. In Germany such actions had intellectuals of the Frankfurter bourgeoisie, temporarily hitherto been the prerogative of the aristocracy and the lost its great prestige. The confiscated works that were Church. The Städel Museum, on the other hand, was of interest to the international market were sold off founded neither through noble patronage nor through at ridiculously low prices, while others were simply public or ecclesiastical commissions but through the destroyed. Among the dispersed works were paintings spirit of civic engagement of a private citizen. The by German artists such as Max Beckmann, Ernst Ludwig success of this original formula is still visible today, in Kirchner and Franz Marc, as well as key works by Pablo the museum itself but even more so in the art library Picasso, Marc Chagall, Edvard Munch, Henri Matisse, and the Städel School, which ranks as one of Germany’s Paul Gauguin and Vincent van Gogh. Deprived of all most influential art academies. its major contemporary artworks, the Städel ceased to A dark chapter in the history of the museum does exist, be a the museum of modern art it had been since its however. With the rise to power of the Nazis in 1933, the beginning and the dream of a museum geared towards collection of modern art was first confined to storage the art of the future appeared shattered forever. then largely confiscated four years later as “degenerate Reconstruction in the post-War years was particularly art”. The regime seized a total of 77 paintings and difficult. On the one hand there was the need to fill, 575 drawings, graphic works and sculptures. Some where possible, the gaps in the collection left by were included in the infamous Degenerate Art tribunal the Nazis, while on the other it was inconceivable to exhibition organised in 1937 in , which toured overlook the present. Between 1948 and 1966 the the country for the three following years. Although the museum managed to recover at least six of the works authorities attempted to remove Swarzenski from his that had been confiscated, including paintings of great position as director on account of his Jewish origins and importance such as Franz Marc’s Dog Lying in the Snow. because he was a champion of modern art, the board Further acquisitions of modern art included Picasso’s of the Städel managed to keep him in place until 1937 Portrait of Fernande Olivier, motivated as a kind of thanks to the founder’s stipulation that the institution ‘reminiscence’ of the famous Portrait of Dr Gachet by should remain utterly free and independent of the city Van Gogh, which had been confiscated in 1937. administration. Swarzenski emigrated to the United In line with the modernist curatorial vocation of the States where he continued his career at the Museum Palazzo delle Esposizioni, the exhibition will concentrate of Fine Arts in Boston. The Museum-Vereit, which had on the 19th and early 20th century portion of the Städel

4 5 collection. Through a succession of major masterpieces supreme spiritual concentration. Their art is notable for and articulated over seven stylistic and chronological its traits inspired by the Renaissance masters and for its sections, the show will illustrate the mounting clash and frequent use of figures from Christian symbology. reciprocal contamination of artistic styles, currents and In the same gallery works by Friedrich, Dahl, Lessing movements that determined the progress of European and Delacroix document the various channels taken art history from Neoclassicism to the early Avant-garde. by the figurative culture during Romanticism, from the ethereal poetic expressions of the northern Sublime to the tempestuous moods of the exotic south. room 1 Classicism and Romanticism Carl Blechen (1798 Cottbus – 1840 Berlin) In 1822 resigned from his position in a bank and The show opens with a panorama of early 19th century attended his first drawing classes at the Berlin German Classicism, introduced by the famous portrait Akademie. In 1823 visited Dresden and the surrounding of Goethe reclining with the Roman campagna in the area and met Johan Christian Dahl and Caspar David background. Completed in 1787 by Tischbein, this Friedrich. Worked as a theatre painter and ornamental portrait has come to epitomise the myth of the Italian painter in Berlin. First travelled to Italy at the end Grand Tour. A broad selection of German artists active in of 1828. Upon his return, exhibited works and was Italy in the early 19th century (Pforr, Fohr, Blechen, Koch) appointed professor of landscape painting at the Berlin is intended to convey an idea of the cultural context at Akademie. In 1835 travelled to Paris. In addition to the time of the founding of the Städel Museum, whose visionary pictorial worlds, also painted nature, faithfully direction was entrusted in 1830 to the Nazarene painter reproducing his observations of light and colour. Philipp Veit. Nazarenes” was the name given to a group of young Johan Chr. Dahl (1788 Bergen – 1857 Dresden) German painters who broke with their country’s Attended the academy in Copenhagen from 1811 on, academic tradition and in 1809 left for Rome in search studied Dutch landscape painters, travelled through of inspiration from nature (the Classical landscape) Germany, Switzerland and Italy. In 1818 settled in and in order to return to ancient sources (Renaissance Dresden, where he became friends with Caspar David painting). Having taken up residence in the Franciscan Friedrich, living in the same building. In 1824 became Monastery of Sant’Isidoro, the group embraced a life of

a professor at the academy. His works based on room 1 6 7 plein-air studies made a considerable contribution to the Nazarene circle around Friedrich Overbeck and Peter Romanticist landscape painting in Europe. They include Cornelius. Painted works of literary fantasy and made numerous seascapes, moonrises, mountain scenes drawings of the young German painters in Rome at the and cloud paintings, drawn primarily from the dramatic Caffe Greco. Was considered a great Romanticist talent. scenery of Norway, which he introduced to the German public. Caspar David Friedrich (1774 Greifswald – 1840 Dresden) Initial instruction in drawing in Greifswald; from 1794 Eugène Delacroix (1798 Charenton-Saint-Maurice – 1863 Paris) to 1798 study of art at the academy in Copenhagen, Trained from 1815 in the studio of the painter Pierre moved to Dresden. In 1808 a landscape painted to Narcisse Guerin. There made the acquaintance of serve as an altarpiece triggered a dispute among critics. Theodore Gericault and others. Within the framework of Contact with painters, writers and philosophers, among his training, copied works by Rubens and Veronese in them Philipp Otto Runge and Goethe. From 1824 the Louvre. Made a name for himself in 1822 with his assistant professor at the Dresden Akademie. Extensive painting The barque of Dante; beginning in 1826 state travels – to the Baltic Sea and Rugen, the Harz, Ore and commissions for wall and ceiling paintings. Travelled Krkonosˇe mountains, Bohemia and Saxony – which to Morocco in 1832, gathering impressions there that had a formative influence on the development of his would accompany him for the rest of his life. In 1838 artistic style. stayed in Holland and Belgium to study the painting of those countries, which had a lasting influence on the Joseph Anton Koch (1768 Obergilben – 1839 Rome) pathos as well as the colouration of his works. Studied at the Carlsschule in Stuttgart from 1785 to 1791; from 1795 lived in Rome, where he developed a Carl Philipp Fohr (1795 Heidelberg – 1818 Rome) close friendship and artistic exchange with Jakob Asmus Instruction in drawing with Friedrich Rottmann in Carstens and Johann Christian Reinhart. Lived in Vienna Heidelberg; from 1810 onward in Darmstadt, in from 1812 to 1815 and thereafter once again in Rome, 1815/16 at the Akademie in Munich and member of where he was at the hub of the German-Roman artistic the Romanticist circle in Heidelberg. Travelled the Alps community. Participated in the painting of the Casino with his dog, Grimsel; from the late autumn of 1816 Massimo from 1825 to 1828. lived in Rome. There worked in the studio of landscape painter Josef Anton Koch and came into contact with room 1 8 9 Carl Friedrich Lessing (1808 Breslau – 1880 Karlsruhe) landscape painting via the English painter George From 1822 until 1826 studied at the Berlin Augustus Wallis. Moved to Munich in 1821; there Bauakademie under Karl Friedrich Schinkel, then enjoyed his first successes. In 1826 and 1828/29 switched to the Akademie der Kunste where he was a travelled to Italy to fulfil a commission from Bavarian pupil of Wilhelm Schadow. In 1826 moved to Dusseldorf King Ludwig I for a series of Italian views to adorn the where he became one of the chief exponents of the arcades of the court gardens in Munich. In 1834/35 Dusseldorf school of painting. In 1858 appointed travelled to Greece. Bavarian court painter from 1841 director of the Grossherzogliche Gemaldegalerie, onward. and between 1863 and 1866 served as head of the Kunstschule. Carl Spitzweg (1808 Munich – 1885 Munich) Served an apprenticeship as a pharmacist, then Franz Pforr (1788 Frankfurt am Main – 1812 Albano Laziale) university studies in pharmacy, botany, and chemistry. Trained with his father Franz Georg Pforr, then with his A self-taught artist, successful career as a painter uncle, Galerieinspektor (museum director) Johann H. from 1833 onward. Large oeuvre consisting of genre Tischbein the Younger, in Kassel. From 1805 to 1810 depictions and landscapes. His many walking tours, studied at the academy in Vienna, in 1809 founding on which he engaged in nature studies, powerfully of the so-called Brotherhood of St Luke with Friedrich influenced his artistic development. In 1851 stayed Overbeck and other academy students. Was expelled at the artists’ colony at Barbizon. Between 1867 and from the academy for criticising Johann Heinrich 1879 took part in the World’s Fair in Paris and the Fuger’s rigorous Neo-Classicist style; travelled to Italy International Art Exhibition at the Glaspalast in Munich. with Overbeck. The Nazarene community lived in the Honorary member of Munich Akademie der Kunste. monastery of San Isidoro; their religious interpretation of German Romanticism influenced the painters in Rome. Johann H.W.Tischbein (1751 Haina – 1829 Eutin) From a distinguished family of painters. Trained with his uncles in Kassel and Hamburg, later becoming a portrait Carl Rottmann (1797 Handschuhsheim – 1850 Munich) painter in the studio of his brother, J. H. Tischbein the Trained under his father, a drawing master at the Younger. Stipendiary of the Kassel Akademie in Italy, Universitat Heidelberg, together with Carl Philipp then worked in Zurich for Laveter’s Physiognomische Fohr and Ernst Fries. Taught himself oil painting and Fragmente. discovered the new developments in international room 1 10 11 From 1789 to 1799 director of the art academy in Room 2 Naples and later court painter and inspector of the Realism and en plein air Painting Oldenburg Galerie. His etchings based upon vases from Antiquity played a significant role in the reception Among the consequences of the aesthetic revolution of Homer in his day; his illustrative representations of introduced by Romanticism, with traditional values animals and his Idyll cycles united literature and the swept away in favour of a newfound predilection for visual arts. representing emotions, was a reappraisal of sketches and preparatory drawings made from life to the level of Wilhelm von Kobell (1766 Mannheim – 1853 Munich) artworks in their own right. The individual interpretation Born into an artistic family in Mannheim, he studied at of elements from landscape and nature through such the academy there and was appointed court painter preparatory studies was greeted with ever-greater in Munich in 1792; from 1808 onward received interest and began to be considered on a par with commissions from Crown Prince Ludwig of Bavaria. subjects from the established academic tradition. This Initially painted animal and battle scenes but later second gallery is devoted to Realist painting towards discovered the landscape of Upper Bavaria. From the middle of the 19th century, illustrating the culture 1814, professor of landscape painting at the Munich of Romanticism and the reactions it entailed, from the Akademie. classical Italianising works of Corot on the one hand, to the descriptive and decidedly more realistic painting of Courbet on the other. Daubigny’s Orchard, on the large Moritz von Schwind (1804 Vienna – 1871 Munich) Studied philosophy at the Universitat Wien from 1818 to wall at the far end of the gallery, ranks as one of the most evocative examples of late-19th century en plein air 1821. Decided to become a painter and studied under th Julius Schnorr von Carolsfeld at the Vienna Akademie painting. The developments of 19 century Naturalism der Bildenden Kunste until 1823. Came into contact into Symbolism and Impressionism is highlighted in works with Franz Schubert and Franz Grillparzer. Lived in by Thoma and von Hude and Monticelli, Guigou and Munich from 1829 to 1840, cultivating intense artistic Cézanne respectively, while the well-known Cottage near exchange with Peter von Cornelius. From 1840 to 1844 Nuenen hangs at the end of this gallery to highlight the lived in Karlsruhe and then in Frankfurt am Main, where complex and layered position of Van Gogh in relation to he had a studio at the Stadelschule. Professor at the the artistic currents in Europe at the time, from Realism Munich Kunstakademie from 1847. to Symbolism and Impressionism. room 2 12 13 Paul Cézanne (1839 Aix-en-Provence – 1906 Aix-en-Provence) encounter with the sea at Le Havre in 1841. In 1848 Initially embarked on law studies at Aix-en-Provence in became a sympathiser with the Revolution. From 1849 1859, but in 1861 moved to Paris, where he joined his painted primarily in Ornans. His large-scale figurative boyhood friend Emile Zola. Rejected by the Ecole des paintings caused a scandal at the Paris Salon of Beaux-Arts, attended private art schools. There he met, 1850/51. Courbet presented his rejected works at the among others, Pissarro, Monet, Renoir and Sisley. Lived World Fair of 1855 in the specially created Pavillon du alternately in Paris and Provence and, from the 1890s realisme. Subsequently devoted himself to landscape onward, mainly in Aix-en-Provence. In 1895 first solo painting. After 1873 lived in exile in Switzerland. exhibition hosted by Ambroise Vollard in Paris. Cezanne achieved fame only posthumously, following the Salon Charles-Fr. Daubigny (1817 Paris – 1878 Paris) d’Automne of 1906. Trained with his father, the landscape painter Edme- Francois Daubigny, and Paul Delaroche; later contact Camille Corot (1796 Paris – 1875 Paris) with the painters of the Barbizon School and friendship From a family of craftsmen. Initially worked as a cloth with Camille Corot. His landscapes repeatedly received merchant until abandoning this profession at the age distinctions from the Salon, of whose jury he was of twenty-six and establishing himself, with parental himself a member for a time. Among the pioneers support, as an independent artist. Studied under of plein-air painting. His free, sometimes sketchy Achille-Etna Michallon and Jean-Victor Bertin, both painting style and endeavours to reproduce nature in representatives of a classical tradition of landscape an unaffected manner, without sentimental or heroic painting. Made several journeys to Italy, chiefly between overstatement,made him one of the forerunners of 1825 and 1828, as well as travelling through France for Impressionism. the purpose of making studies out of doors. Exhibited regularly at the Paris Salon. After 1848 enjoyed great Paul-Camille Guigou (1834 Villars – 1871 Paris) success in the Second Empire, becoming a member of First worked as a notary before turning in 1854 to the Salon jury. the study of painting under Loubon at the Ecole des Beaux-Arts in Marseilles. His painting subjects were Gustave Courbet (1819 Ornans – 1877 La Tour-de-Peilz) almost exclusively Provencal landscapes, influenced In 1839 moved to Paris and devoted himself to by exhibitions of the Barbizon painters’ works. From painting, teaching himself for the most part. Had his first 1862 onward, concentrated solely on painting and room 2 14 15 moved to Paris, where he exhibited at the Salon every After 1890 received an ever-increasing number of public year. Painted together with Monticelli. Visited Algeria in awards and in 1900 was granted his own pavilion at the 1866. Was probably acquainted with the Impressionist Paris World Fair. painters. Hans Thoma (1839 Bernau – 1924 Karlsruhe) Adolphe Monticelli (1824 Marseilles – 1886 Marseilles) From 1859 to 1866 attended art school in Karlsruhe, Came from a humble background. Studied art in studying primarily with landscape painter Johann Marseilles and at the Ecole des Beaux-Arts in Paris Wilhelm Schirmer. In 1867 attended the academy in under Paul Delaroche. His subjects were landscapes Dusseldorf and began a life-long friendship with Otto and village scenes in Provence. In 1855–56 stayed Scholderer. In 1868 journeyed to Paris where he met for a second time in Paris, where he met Van Gogh Gustave Courbet. From 1870 to 1876 member of and Cezanne. Executed studies in the forest of artists’ circles around Viktor Muller and Wilhelm Leibl. Fontainebleau. Met Paul Guigou, who introduced him From 1877 to 1899 lived in Frankfurt. From 1899 to the Impressionist painters. Earned his living by onward, director of the Gemaldegalerie and professor at painting portraits, still lifes and fetes galantes which the Kunstakademie in Karlsruhe. accommodated the Second Empire’s taste for the Rococo. Wilhelm Trübner (1851 Heidelberg – 1917 Karlsruhe) Began artistic training in Karlsruhe in 1867/68, Auguste Rodin (1840 Paris – 1917 Meudon) continued in Munich and Stuttgart. From summer of Began his training as a draughtsman and sculptor at 1871 onward close contacts to the so-called Leibl the Petite Ecole at the age of thirteen. Having repeatedly Circle and collaboration with Carl Schuch, with whom he been rejected by the Ecole des Beaux-Arts, studied undertook several journeys within Europe in the years animal anatomy with Antoine-Louis Barye and modelling that followed. In the 1880s less active as a painter. and design with Albert-Ernest Carrier-Belleuse. Travelled From 1896 to 1903 teacher at the Stadelschule to Italy to study the sculptures of Michelangelo. His own in Frankfurt, from 1903 to 1917 professor at the sculptures were rejected by the Paris Salon. Worked for Kunstakademie in Karlsruhe. a number of years at the porcelain factory in Sevres. In 1880 received the commission for the Gates of Hell, the Vincent van Gogh (1853 Groot-Zundert – 1890 Auvers) bronze portal for the planned decorative arts museum.

Eldest son of a pastor. Decided to become an artist room 2 16 17 in 1880. Trained in The Hague and Antwerp. In 1886 intimate and suspended Symbolist declination such moved to Paris, where he staged his first exhibitions with as Knopff, Altheim, Hodler. Max Klinger’s Portrait of Paul Gauguin and Henri de Toulouse- Lautrec. In 1888 a Woman on a Rooftop of Rome acts as a solemn moved to Arles, where he painted many works in oil en backdrop to the different expressive currents plein air. From October of that year, shared a studio represented elsewhere in this gallery. with Gauguin, an undertaking which ended in dispute. In 1892 critic Albert Aurier wrote of a “paradoxical In 1889 entered a sanatorium in Saint-Remy. Periods of revolution” playing out alongside his generation’s intense creativity were interrupted by bouts of serious obsession with scientific analysis and naturalistic health problems. In May 1890 moved to Auvers, where observation of the world. “Invain”, he wrote, “art that is he died in July after suicide attempt. only materialistic, experimental and immediate struggles against the assault of new idealistic and mystical Fritz von Uhde (1848 Wolkenburg – 1911 Munich) currents. From every corner people are now claiming Admission to the academy in Dresden in 1866; left their right to dream”. Gustave Moreau is the precursor again in 1867 for a career as an officer. From 1879 to of this movement, whose distinguishing trait was an 1880 with Mihaly Munkacsy in Paris, took up painting instinctive refusal for observation from nature. Inspired again. In late 1880 returned to Munich where he by Moreau, Odilon Redon devoted his art to the world of established a friendship with Max Liebermann. Under dreams and imagination, striving to return towards an his influence turned to Impressionism. Specialised in expressivity founded on poetry and mystery. New Testament themes and family scenes. Arnold Böcklin (1827 Basel – 1901 San Domenico) Studied landscape painting at Kunstakademie room 3 Dusseldorf from 1845 to 1847. Various stays in Symbolism Belgium, France, Switzerland and Italy. From 1860 held a professorship at the academy in . Already This gallery reflects the varied nature of the Symbolist having visited Italy extensively, he resided in Florence movement, represented through its greatest exponents from 1874 to 1885 and again from 1893 to 1895; in (Böcklin, Moreau, Redon, Munch, Ensor) with their the intervening period lived and worked in Germany and depictions of imaginary, unsettling worlds, juxtaposed Switzerland. against a sophisticated group of artists with a more room 3 18 19 James Ensor (1860 Ostend – 1949 Ostend) influenced by Venetian painting and the art of Antiquity From 1877 to 1879 studied at Brussels Academy; and the Renaissance. From 1873 to 1876 held friendship with philosopher and physicist Ernest professorship at Akademie der Kunste in Vienna. Rousseau. In 1883 founding member of the artists’ group Les XX, but many of his works were rejected from Ferdinand Hodler (1853 – 1918 Geneva) their exhibitions. In the 1880s developed a fantastical Began his career as copyist and veduta (view) painter. and grotesque pictorial world in his painting and graphic With the exception of short sojourns and journeys, works. Writings on art theory. Lived and worked mainly in remained largely in Geneva. In 1889 achieved great the Belgian seaside resort of Ostend. success with the exhibition of his picture The night, in which his Symbolist concept of art is brought to bear. Louis Eysen (1843 Manchester – 1899 Munich) Several successful exhibitions in Germany around 1900. From 1861 attended the drawing class at Stadelschule Awarded the gold medal for three of his works at the in Frankfurt and took lessons in painting with the World Fair in Paris in 1900. From 1903 painted large landscape and history painter Friedrich Carl Hausmann. history paintings and from 1904 returned to the theme From 1869 to 1870 further training with Leon Bonnat of landscapes. while staying in Paris. Made the acquaintance of the Barbizon plein air painters and Gustave Courbet. In the Fernand Khnopff (1858 Grembergen – 1921 Brussels) 1870s close association with the realists Wilhelm Leibl Began studying law in Brussels before switching to the and Hans Thoma. Started with still lifes, later painted Brussels art academy at the age of twenty. Spent half landscapes around his homes in the Taunus and South a year studying in Paris and thereafter primarily lived Tyrol. and worked in Brussels and Fosset (Ardennes). From 1884 was part of the Les XX society. Participated in Anselm Feuerbach (1829 Speyer – 1880 Venice) exhibitions in Belgium and other European countries. Son of archaeologist Anselm Feuerbach. From 1845 Worked as painter, graphic artist and sculptor as well as to 1848 trained at Kunstakademie Dusseldorf and in the applied arts. subsequently in Munich and Antwerp. In 1852 first stay in Paris, pupil of Thomas Couture, became familiar with Max Klinger (1857 Leipzig – 1920 Grossjena) the work of Gustave Courbet. From 1856 onward in Italy, Began his training at the Kunstschule in Karlsruhe in particularly Venice and Rome, where he was profoundly

1874 and thereafter made several trips to a number room 3 20 21 of cities, including Berlin, Leipzig and Munich. Worked sculptor from 1900. From 1905 received numerous intensively on drawing cycles. From 1883 to 1886 public commissions. His work had a considerable lived in Paris, where he began working in the medium impact on European, particularly German, sculpture. of sculpture. From 1888 to 1893 lived in and around Rome. In 1893 returned to Leipzig, the city around Gustave Moreau (1826 Paris – 1898 Paris) which his life would centre from this time on. Extensive From 1844 to 1846 pupil of Francois-Edouard Picot; journeys to southern Europe and an increasing interest began studies at the Ecole des Beaux-Arts in Paris in in painted room decorations and sculpture. 1846. Friends with Eugene Delacroix and Theodore Chasseriau, both of whom influenced him artistically. Max Liebermann (1847 Berlin – 1935 Berlin) From 1857 to 1859 travelled to Italy and establishment From 1868 to 1873 academic training at the School of friendship with Edgar Degas. Thereafter settled in of Art in Weimar. In 1871 first travels in Holland, Paris and participated in numerous Salon exhibitions the country which was to exert a decisive influence as well as the Paris World Fairs of 1867, 1878 and on his further artistic development. In 1873 visited 1889. In 1892 was appointed professor at the Ecole Paris, where he was especially impressed by Francois des Beaux-Arts, where his pupils included Georges Millet. Between 1878 and 1884 lived in Munich, then Rouault, Albert Marquet and Henri Matisse. Bequeathed returned to Berlin. Collected French Impressionists from his house to the state as a museum. A forerunner of the 1892 onward. In 1898 was elected president of the Symbolists. newly founded Berlin Secession. From 1920 to 1933 president of the Preussische Akademie der Kunste. Edvard Munch (1863 Lø´ten – 1944 Ekely) Began painting in 1880. From 1884 onward he moved Aristide Maillol (1861 Banyuls-sur-Mer – 1944 Banyuls-sur-Mer) in bohemian circles in Kristiania (Oslo). From 1889 to Studied at the Ecole des Beaux-Arts in Paris and 1892 spent the winters in France, from 1892 to 1896 under Cabanel and Gerome. Influenced in his work lived, mostly, in Berlin. In 1892 scandal erupted over the by his contemporaries Gauguin and Pierre Puvis de premature closure of an exhibition of pictures by Munch at Chavannes. Joined the Nabis artists’ group in 1892. the Verein Berliner Kunstler. Continual moves from one place Inspired by Medieval tapestries, worked on tapestries to another in Europe and consumption of drugs leading of his own from 1895 to 1900. Began producing to physical and mental collapse in 1908. He returned via sculptural works in 1895; worked exclusively as a Denmark to Norway, where he remained from that time on. room 3 22 23 Odilon Redon (1840 Bordeaux – 1916 Paris) professor at the Akademie in Munich where his students From 1855 received drawing instruction from Stanislas included Wassily Kandinsky and Paul Klee. In 1897 work Gorin in Bordeaux. In 1864 studied with Jean-Leon was begun on the Villa Stuck using his architectural, Gerome in Paris. Learned the techniques of copper interior decoration and furnishing designs. The villa, engraving and lithography under Rodolphe Bresdin. located in Munich, is one of the most significant Published his first album of lithographs, Dans le Rêve, examples of a Gesamtkunstwerk (synthesis of the arts) in 1879. Until 1890 worked almost exclusively as a of the period. graphic artist, but then increasingly used pastels and oils. Friendships with Symbolist artists, musicians and poets, among them Stephane Mallarme. room 4 Impressionism Max Slevogt (1868 Landshut – 1932 Leinsweiler-Neukastel) Studied at the Kunstakademie in Munich from 1885 to The central gallery of the entire exhibition has been 1889. In 1889 attended the Academie Julian in Paris. devoted to the Impressionist revolution, which played a In 1901 took up residence in Berlin with Lovis Corinth crucial role in transforming both the operative practices and became a member of the Berliner Secession. In and social equilibrium of the traditional art system. 1906 began designing stage sets. Along with Lovis Introduced by the precursory works of Corot, Daubigny Corinth and Max Liebermann, Max Slevogt was one of and Cézanne, this movement is represented here the last exponents of painting en plein air. Apart from through masterpieces by Degas, Monet, Renoir and Wilhelm Leibl, he also emulated Arnold Bocklin with his Sisley, and occupies a pivotal role in the history of the mythological and symbolic themes. Städel Museum’s collection.From the 20th century the Städel Museum turned its gaze more and more towards France and managed to secure a number of exceptional Franz von Stuck (1863 Tettenweis – 1928 Munich) Attended the Kunstgewerbeschule and the pieces on the Parisian market. The Städel thus became Kunstakademie in Munich. Along with Lovis Corinth, one one of the first German museums where it was of the founding members of the Munchner Sezession, possible to admire Impressionist painting presented as an integral part of Europe’s overall art history.An established in 1892 to serve as a counter-movement to th the Akademie. Inspired by Arnold Bocklin, he favoured exquisite selection of works from the turn of the 19 mythological and allegorical themes. From 1895 and 20th century documents the Post-Impressionist room 4 24 25 evolution of the Nabis painters Sérusier, Bonnard, Berlin, where he opened a painting school for women. Vuillard and Denis, who distanced themselves from the One of his first pupils there was Charlotte Berend, who phenomenological observation of nature in favour of a would later become his wife. A member of the Berlin Symbolist aesthetic. The gallery ends with Carmencita Secession, caused a sensation as one of the most by German painter Lovis Corinth. Despite being strongly important representatives of German Impressionism. influenced by French Impressionism, Corinth’s work is imbued with Symbolist and Expressionist tones. The Edgar Degas (1834 Paris – 1917 Paris) Städel Museum’s original policy of acquiring works by After early studies of drawing and painting, was German artists active abroad, as was the case with admitted to the Ecole des Beaux-Arts in Paris in Corinth, stands behind the stimulating dialogue between 1855. On travels in Italy from 1856 to 1858 for national art and the artistic currents of Europe that is study purposes, was particularly fascinated by the the leitmotif of this exhibition. early Renaissance. Friendship with Manet from 1862 onward. Began to draw his subject matter from modern Pierre Bonnard bourgeois culture such as racecourses and motifs (1867 Fontenay-aux-Roses – 1947 Le Cannet) associated with the opera. From 1874 participated Studied at Ecole des Beaux-Arts and Academie Julian in almost all of the Impressionists’ exhibitions. Began from 1887 to 1891; friendships with Maurice Denis, working in the medium of sculpture in 1881. The Paul Serusier, Felix Vallotton and Edouard Vuillard. In extraordinary naturalism of the works he created in 1888 was among the founding members of the Nabis this medium caused a sensation. Increasing visual artists’ community. Designed numerous posters and impairment eventually led to blindness. illustrations as well as theatre programmes and stage sets for various avant-garde theatres. Lived and worked Maurice Denis (1870 Granville – 1943 Paris) primarily in Paris, from 1925 in Le Cannet. Studied at the Ecole des Beaux-Arts and Academie Julian in Paris. In 1888 founding member of the Lovis Corinth (1858 Tapiau – 1925 Zandvoort) artistic community known as the Nabis, to which Pierre Began training at Kunstakademie Konigsberg, in 1880 Bonnard, Paul Serusier and Edouard Vuillard also continued studies in Munich. In 1891, following visits belonged. Aside from Symbolist paintings and graphic to Antwerp and Paris, returned to Munich, where he works, also executed mosaics, stage sets, costumes, co-founded the Munich Secession. In 1901 moved to posters, paintings on glass, murals and tapestries. room 4 26 27 In 1919 founded the Ateliers d’Art Sacre in Paris. Pierre-Auguste Renoir Published numerous writings on art theory. (1841 Limoges – 1919 Cagnes-sur-Mer) Initially trained as a porcelain painter, subsequently – like Monet, Sisley and Bazille – worked in the studio Henri Evenepoel (1872 Nice – 1899 Paris) of Charles Gleyre while also experimenting with plein- Trained as a painter and draughtsman in Brussels from air painting. Was one of the core Impressionists and 1890. In 1892 moved to Paris and attended courses in participated in the group’s first three exhibitions while decorative painting at the Ecole des Beaux-Arts under also continuing to exhibit at the official Salon. From the Victor Galland and Henri Mayeux. From 1893 was a late 1880s onward turned away from Impressionism student of Gustave Moreau and came into contact with increasingly and developed an individual, Classicist- Henri Matisse and Georges Rouault. First exhibited at influenced late style. the Salon des Artistes Francais in 1884. Spent the winter of 1897/98 in Algeria. His late works already displayed characteristics of the emerging style of Paul Sérusier (1864 Paris – 1927 Morlaix) Fauvism. Died of typhoid fever in 1899. Studied at the Academie Julian in Paris. In 1888 met Paul Gauguin and the artists of the Pont- Aven School; in the same year, along with Pierre Bonnard, Maurice Claude Monet (1840 Paris – 1926 Giverny) Denis and others, was a founding member of the Studied art initially at the free Academie of Charles Nabis artists’ group. Designed stage sets and decor Suisse in Paris, from 1862 in the studio of Charles for the theatre. Travelled to Beuron, where he became Gleyre, where he met Pierre-Auguste Renoir, Alfred acquainted with the Benedictine school of art. Wrote Sisley and Frederic Bazille. Following repeated rejection ABC de la Peinture, a treatise on art theory published in of his works by the Salon, founded the Societe 1921. anonyme des artistes peintres, sculpteurs et graveurs. At the association’s first group exhibition, the name Impressionists, intended derisively, was coined. With Alfred Sisley (1839 Paris – 1899 Moret-sur-Loing) his free painting style that went against academic From 1862 to 1863 trained in the Atelier Gleyre in tradition, Monet made an important contribution to the Paris together with Auguste Renoir, Claude Monet development of modern painting. and Frederic Bazille. Took part in the Impressionist exhibitions between 1874 and 1877 and travelled extensively within France during this period. His room 4 28 29 paintings were widely exhibited but enjoyed little room 5 commercial success. After 1880 Sisley lived in and Expressionism and Die Brücke around Moret-sur-Loing. (The Bridge)

Félix Vallotton (1865 Lausanne – 1925 Paris) Expressionism is the term used to describe the cultural Moved to Paris in 1882 and began studying at the movement – which extended well beyond painting – Academie Julian. In 1892 joined the Nabis artists’ that embodied the sense of intolerance and rebellion group and established a close friendship with Edouard towards the artistic and social conventions prevalent Vuillard. In the 1890s devoted himself primarily to in Europe at the beginning of the 20th century. woodcuts and subsequently to painting. His activities Provocative, eccentric, decidedly non-conformist and included the design of posters, theatre programmes, deliberately ungraceful, Expressionist art derived its book illustrations and craft objects; he was also a characteristically spiky, hastily traced forms from anti- writer of art criticism, novels and plays. Obtained French Classical formal repertoires such as Medieval woodcuts citizenship in 1900. or African sculpture. The movement’s fondness for warm colours was instead intended as a way to channel emotions in an intense and immediate manner.In Édouard Vuillard (1868 Cuiseaux – 1940 La Baule) Studied at the Ecole des Beaux-Arts and the Academie Germany Expressionism developed from two pivotal pre- Julian in Paris, friends with Felix Vallotton, Maurice Denis War art movements, Der Blaue Reiter (The Blue Rider) and Ker-Xavier Roussel. Member of the artists’ group in Munich and Die Brücke (The Bridge) in Dresden. Die known as the Nabis. In addition to a number of interiors Brücke was founded in 1905 by Fritz Bleyl, Erich Heckel, and portraits, also produced poster designs for the Karl Schmidt-Rottluff and Ernst Ludwig Kirchner while journal La Revue Blanche and decorations for private they were still students at the architecture faculty. Proud and public buildings, as well as stage sets and theatre of their lack of formal training in painting or drawing, programmes. Lived and worked primarily in Paris. these artists interpreted this condition in a positive light as a guarantee of their lack of cultural contamination. The group’s name alludes to its ‘bridging’ role between the conventions of tradition and the freedom of modern art with its new expressive potential. The exhibitions organised by Die Brücke also featured works by artists room 5 30 31 not strictly affiliated to the movement, such as Henri Henri Matisse (Le Cateau-Cambrésis, 1869 – Nice, 1954) Matisse, who shared with his German colleagues certain After completing his law studies in 1888, from 1891 elements of artistic research matured in France within Matisse studied first at the École des Arts Décoratifs, the context of Fauve painting. then from 1895 at the École des Beaux-Arts under Gustave Moreau and then at the Académie Julian. In Erich Heckel (1883 Döbeln – 1970 Radolfzell) 1905 his friendship with André Derain and Maurice One of the cofounders and first president of the de Vlaminck prompted him to adhere to the Fauve artists’ group Die Brucke in 1905 while a student of movement, which broke up in 1907. In 1905 Matisse architecture at the Technische Hochschule Dresden. exhibited at the Salon d’Automne in Paris. Influenced From 1906 to 1910 spent the summers in Dangast. by Oriental decorative elements and their pure colours, In autumn 1911 moved to Berlin. In 1913 Die Brucke Matisse’s work developed its characteristic arabesques disbanded amid dispute. Was a founding member of and flat compositional surface. In 1908 the Académie the Arbeitsrat fur Kunst (Work Council for Art) at the end Matisse was founded and in 1951 the Chapelle du of World War I. Subsequently travelled abroad on many Rosaire, designed and decorated by the artist, was occasions. In 1944 his Berlin studio was destroyed inaugurated in Vence. along with his printing blocks. In 1949 was appointed to the Karlsruhe Akademie where he remained until 1955. Emil Nolde (1867 Nolde – 1956 Seebüll) After serving an apprenticeship as a woodcarver, Ernst Ludwig Kirchner (1880 Aschaffenburg – 1938 attended the Kunstgewerbeschule Karlsruhe from 1884 Davos-Frauenkirch) to 1888. In 1900 attended the Academie Julian in Studied architecture in Dresden from 1901 to 1904. Paris, where he met Paula Modersohn- Becker. From Founded the artists’ group Die Brucke with Erich Heckel, 1902 onward called himself Nolde after his native Fritz Bleyl and Karl Schmidt-Rottluff in Dresden in 1905. village. In 1906–07 was a member of the artists’ Moved to Berlin in 1911, where he met Erna Schilling, group Die Brucke, in 1910 a founding member of the his long-time companion and model for many paintings. Neue Secession in Berlin.World War I broke out during His famous street scenes date from this period. Die his voyage to the South Seas in 1913–14. Exhibited Brucke disbanded in 1913. Suffered a physical and extensively in the 1920s. In 1937 moved to Seebull. mental collapse as a result of the horrors of World War I. Moved to Davos-Frauenkirch, Switzerland, in 1917. room 5 32 33 Karl Schmidt-Rottluff (1884 Rottluff – 1976 Berlin) leading exponents of contemporary German art. Studied architecture at the Technische Hochschule in The Nationalgalerie in Berlin did the same in 1932. Dresden in 1905. Friendships with Erich Heckel, Fritz Following Hitler’s rise to power in 1933, Beckmann’s Bleyl and Ernst-Ludwig Kirchner. Together they founded works and those of so many of his contemporaries were Die Brucke (The Bridge) artists’ group in 1905. In 1923 branded immoral and degenerate by the Nazi regime. In travelled to Italy to study works of Antiquity. Spent 1937 the artist decided to leave Germany and remained the springs from 1932 to 1943 in Hofheim in the in exile in Amsterdam until 1947 when he moved to the Taunus hills. In 1943 returned to Rottluff. Taught at the United States. Having been banned in his home country, Hochschule fur Bildende Kunste in Berlin from 1947 to Beckmann’s art was acclaimed in the United States as 1954. the brilliant Modernist expression of a painter of dark subjects and strong colours, capable of capturing the complexity of modern life. room 6 MAX BECKMANN Max Beckmann (1884 Leipzig – 1950 New York) Studied at the Weimar Kunstschule from 1900 to Max Beckmann (Leipzig 1884 – New York 1950) 1903. Subsequently in Paris, travelled to Amsterdam. attained early fame with his landscape and figure From 1904 to 1914 in Berlin, member of the Berlin studies influenced by the Modernist techniques of Secession. In 1914 volunteered to serve in the army as Paul Cézanne, Vincent Van Gogh, Lovis Corinth and a medic. After World War I settled in Frankfurt am Main; Edvard Munch. This early inclination towards such art from 1925 onward professorship at the Stadelschule. was quickly swept away by the tragedy of the First In 1933 labelled a degenerate artist by the National World War, which left Beckmann traumatised. His Socialists and dismissed from his post. From 1933 to post-War paintings in fact are introverted, tormented 1937 in Berlin; exile in Amsterdam from 1937 to 1947. and disquieting. In the 1920s Beckmann did manage Emigrated to the US. From 1949 teaching positions in to regain a new lightness, which critics compared to St Louis and New York. the emergence in Germany of the magical-realist Neue Sachlichkeit (New Objectivity) aesthetic. In 1930 the Städel Museum devoted an entire gallery to Beckmann’s work, recognising him as one of the room 6 34 35 room 7 Hanauer Zeichenakademie, for many years pupil of MODERN ABSTRACTION Georg Cornicelius. Beginning in 1895 studied etching with Bernhard Mannfeld. In 1899 and 1900 was Between 1909 and 1912 the simplification of forms Wilhelm Trubner’s Meisterschülerin (master scholar) introduced by Cubism in France contributed to push (a distinction conferred upon out standing students) the avant-garde art movements of Europe and Russia in Frankfurt am Main. She was a member of the towards Abstraction, albeit with starkly diverging results. Allgemeine Deutsche Kunstgenossenschaft and later In Cubist art figures and objects appear in their solid, (1913) on the board of that association, as well as tangible form (as in Picasso’s Portrait of Fernande being active in the Frauenkunst-Verband. Most of her Olivier and Laurens’ Woman With Earrings, both on show work was destroyed in World War II. here), while in Germany, Switzerland and Russia Abstract art enabled transcending and ideal visions. Jawlensky Otto Dix (Untermhaus, 1891 – 1969) and Klee considered art to be a vehicle towards the Born in 1891 into a working class family, Dix studied at spiritual dimension. “My art is simply meditation or the Dresden Academy of Fine Arts from 1919 to 1922. A prayer through colour” declared Jawlensky, whereas co-founder of the 1919 Dresden Secession Group, from Klee employed colour and abstraction to highlight 1922 to 1925 Dix continued his studies at the academy the mystery of symbols. Together with Kandinsky in Düsseldorf, making study trips to Italy and Paris. After and Feininger in 1923 these artists formed the Die 1925 he lived and worked in Berlin as an independent Blaue Vier (The Blue Four) group and all taught at the artist. In 1927 Dix was nominated to a professorship at Bauhaus school. Another teacher at the Bauhaus was the Dresden academy, where he remained until 1933 Oskar Schlemmer, who synthesised the human figure when he was suspended and forbidden to exhibit. into geometric shapes as part of a research project bent Meanwhile in the United States a number of shows on revealing the “unity of nature and spirit”.All of the featured his works. In 1939 Dix was imprisoned. In 1945 ‘Blue Four’ suffered persecution under the Nazi regime, he joined the popular militia and remained a prisoner of which considered their work to be “degenerate art”. war in France until 1946. After the War Dix exhibited widely both in Germany and abroad. Eugenie Bandell (1858 Frankfurt am Main –1918 Frankfurt am Main) Max Ernst (1891 Brühl – 1976 Paris) Painter and etcher, pupil of Paul Andorff at the From 1910 to 1914 studied classical philology, art room 7 36 37 history, psychology and philosophy in Bonn.From 1914 Paris with Felix Vallotton and Maurice Denis. Friendship to 1918 military service. In 1919 founding member with introduced Kolle to Cubist and naive of the Cologne Dada group; encountered Giorgio forms of French modernism – , Georges de Chirico’s pittura metafisica (metaphysical art). Braque, Henri Rousseau. Moved to Paris in 1924, and Established friendships with Andre Breton and Paul then to Chantilly in 1928. Solo exhibitions in Paris and Eluard and in 1922 moved to Paris. Became the main London before early death in 1931. representative of Surrealist painting, developed new techniques such as frottage and grattage, and published Henri Laurens (1885 Paris – 1954 Paris) three collage novels. In 1940 emigrated to the USA, Trained at a college of arts and crafts and atelier for returning to France in 1953. decorative sculpture in Paris. Self-taught as a sculptor. Initially influenced by Rodin, his friendship with Braque Paul Klee (1879 Münchenbuchsee – 1940 Muralto) and Picasso led him to the Cubists in 1911. In the From 1898 to 1901 studied art in Munich. From 1920s experimented with polychrome bas-reliefs, later 1911 to 1912 exhibited with Blaue Reiter (Blue Rider) returning to the human figure. Beginning in the 1930s Expressionist group founded by Wassily Kandinsky his sculptures became more monumental, favouring and Franz Marc. Early work consisted predominantly an organic style and subject matter drawn from of drawings. In 1914 journey to Tunisia, discovery of mythological themes of Antiquity. In 1948 represented colour, a breakthrough in his painting. From 1916 to France at the Venice Biennale. 1918 military service. From 1921 to 1931 taught at the Bauhaus in Weimar and Dessau; publications on August Macke (1887 Meschede – 1914 Perthes-lès-Hurlus) the theory of form and design. From 1931 to 1933 held From 1904 to 1906 studied at Kunstakademie professorship at Kunstakademie Dusseldorf. In 1933 Dusseldorf; travelled extensively in Europe during this dismissed from his post by the National Socialists, period and afterwards. In 1910 start of friendship emigrated to Switzerland. with Franz Marc, later with Wassily Kandinsky. In 1912 participation in the Blaue Reiter Almanac and exhibition. Helmut Kolle (1899 Berlin – 1931 Chantilly) In the same yearvisit to Paris with Franz Marc and Childhood drawing lessons, followed by study with intensive contact with Robert Delaunay. In 1914 journey Erna Pinner, a former pupil of the Stadel Art Institute in toTunis with Paul Klee and Louis Moilliet. Frankfurt who had trained in Berlin with Lovis Corinth, in room 7 38 39 Franz Marc (1880 Munich – 1916 Verdun) Bremen while training as a teacher; lengthy stay in In 1899/1900 studied theology and philosophy, and London to study at the St John’s Wood School of Art. also began studying painting at the Munich Akademie. In 1896 further training at the Verein der Berliner After many trips abroad, met August Macke and the art Kunstlerinnen. Following a stay in Worpswede in 1897, patron Bernhard Koehler in 1910, two encounters that settled in the artists’ colony there in 1898. Married the proved decisive. In 1911 made the acquaintance of painter Otto Modersohn in 1901. From 1900 onward Wassily Kandinskywho, along with Marc and others, was several stays in Paris which strongly influenced her work; responsible for the editing of the Blaue Reiter Almanac in 1906 broke with Modersohn and settled in Paris. in 1912. In the same year travelled to Paris with August 1907 returned to Worpswede. Macke to visit Robert Delaunay. Volunteered for military service in 1914. Pablo Picasso (1881 Malaga – 1973 Mougin) In 1895 attended art school in Barcelona. From 1900 Gerhard Marcks (1889 Berlin – 1981 Burgbrohl) to 1902 first stay in Paris, settled there permanently Studied sculpture at the Berlin Akademie under in 1904. In 1906 made the acquaintance of Henri August Gaul and Georg Kolbe. Shared a studio with Matisse and Georges Braque. From 1917 onward, Richard Scheibe. From 1919 he was master of form artistic preoccupation with ballet. In 1925 participated at the Bauhaus, from 1925 head of sculpture at the in the first Surrealist exhibition in Paris. In 1936 Kunstgewerbeschule Burg Giebichenstein. Dismissed was temporarily appointed director of the Prado and from his position in 1933. In 1937 banned from participated in the Spanish Pavilion of the World Fair, exhibiting. Received support from gallery owner Karl exhibiting Guernica. From 1947 ever more frequent and Buchholz, whose circle included Schmidt-Rottluff, lengthier stays in the South of France. Heckel and Beckmann. After the war was appointed professor at the Hochschule fur Bildende Kunst in Henri Rousseau (1844 Laval – 1910 Paris) Hamburg. In 1971 the Gerhard-Marcks-Stiftung was Came from a family of modest circumstances. In 1868 opened in Bremen. moved to Paris, where he worked first as a bailiff, from 1871 onward as a customs official. Self-taught Paula Modersohn-Becker as an artist, embarked on an artistic career in mid (1876 Dresden – 1907 Worpswede) life. In 1885 first exhibition of two paintings at the Beginning in 1892 received drawing instruction in Salon des Refuses in Paris. Beginning in 1886 annual room 7 40 41 participation in the Salon des Independants (with two exceptions). From 1901 drawing teacher at the Ecole Philotechnique in Paris.

Oskar Schlemmer (1888 Stuttgart – 1943 Baden-Baden) From 1903 onward served an apprenticeship as a technical draughtsman, then studied at the Stuttgart Akademie der Bildenden Kunste. From 1913 belonged to various artists’ groups. In 1920 was appointed professor at the Weimar Bauhaus, where, from 1923 onward, he was in charge of the stage workshop. From 1929 to 1931 taught at the Akademie fur Kunst und Kunstgewerbe in Breslau (Wroclaw). In 1932 appointed professor at the Vereinigte Staatsschule fur Kunst und Kunstgewerbe in Berlin.

Alexej von Jawlensky (1864 Torschok – 1941 Wiesbaden) Studied at the art academy in St Petersburg from 1889 to 1896. Moved to Munich where he became friends with Kandinsky, Klee and Munter. Founding of the Neue Kunstlervereinigung Munchen in 1909. In 1914 emigrated to Switzerland. After 1921 lived in Wiesbaden. In 1924 founded the group Die Blaue Vier (The Blue Four) with Klee, Kandinsky and Feininger. After 1938 no longer able to paint due to advanced polyarthritis. His oeuvre is dominated by still lifes, landscapes and portraits.

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