Rundgang Tour

Total Page:16

File Type:pdf, Size:1020Kb

Rundgang Tour HERZLICH WILLKOMMEN IN DER NEUEN PINAKOTHEK Bus 154 Bus 154 U IHR WEG DURCH DIE NEUE PINAKOTHEK Schellingstraße H H Universität Wir wünschen allen Besucherinnen und Besuchern einen Arcisstraße H RUNDGANG Als erstes öffentliches Museum in Europa, das aus- rundum gelungenen, anregenden Aufenthalt. Lassen Sie sich NEUE 27/28 Tram Heßstraße 6 3/U U schließlich der zeitgenössischen Kunst gewidmet überraschen, inspirieren, begeistern! Und besuchen Sie uns PINAKOTHEK MUSEUM REICH gerne immer wieder. U 2 TOUR sein sollte, gründete Ludwig I. Mitte des 19. Jahr- DER KRISTALLE Bus 100 U Theresienstraße H H H l Theresien- Pinakotheken MUSEUM hunderts die Neue Pinakothek. Die einzig artige straße Amalienstraße BRANDHORST Ludwigstraße EINIGE HINWEISE FÜR IHREN BESUCH Arcisstraße TÜRKENTOR und von Besucherinnen und Besuchern aus aller Helfen Sie uns, die Kunstwerke in unseren Ausstellungen best- ALTE PINAKOTHEK möglich zu schützen: PINAKOTHEK DER MODERNE Welt geschätzte Sammlung zur Kunst des 19. Jahr- Gabelsbergerstraße H Barer Straße Bus 100 Geben Sie sperrige Gegenstände wie Schirme, Stöcke, Foto- 00 1 hunderts umfasst heute Meisterwerke u. a. von ÄGYPTISCHES LENBACH- us stative, Taschen über 30 x 20 x 20 cm und vor allem Rucksäcke MUSEUM Karolinen- B HAUS H platz Francisco de Goya, William Turner, Caspar David an der Garderobe ab. Oder nutzen Sie ein Schließfach. Das ist GLYPTOTHEK Türkenstraße NS-DOKU- U kostenlos und bequem. Wenn Sie uns mit Kindern besuchen, U Königsplatz ZENTRUM Brienner Straße Friedrich, Édouard Manet und Vincent van Gogh. H haben Sie ein Auge darauf, dass sie die Kunstwerke nicht be- KUNSTBAU STAATLICHE GRAPHISCHE Odeonsplatz rühren – egal, wie verlockend das sein mag. Fotografieren Sie SAMMLUNG Kunst des 19. Jahrhunderts finden Sie auch in der Sammlung STAATLICHE U 4/U 5 6 3/U U 00 ANTIKEN- gerne überall, achten Sie nur darauf, dass die Blitz-Funktion 1 Schack in der Prinzregentenstraße 9. Die Sammlung Schack SAMMLUNGEN us uisenstraße B deaktiviert ist. Nutzen Sie das Foyer oder unser Museumscafé, L bietet einen Überblick über die deutsche Malerei von der wenn Sie telefonieren oder eine Kleinigkeit trinken oder essen Kunstareal München Romantik bis zum Idealismus der Deutschrömer mit Werken Alter Botanischer 27/28 möchten. Wenn Sie weitere Informationen wünschen oder Garten von Moritz von Schwind, Carl Spitzweg, Arnold Böcklin und spezielle Bedürfnisse haben (z. B. bei körperlichen Einschrän- NEUE PINAKOTHEK Tram Anselm Feuerbach. kungen), ist Ihnen unser Infopersonal im Foyer jederzeit sehr Barer Straße 29, 80799 München,H S+49U (0)89 23805-195 S U Mehr Informationen unter www.pinakothek.de. S U H S1–S8 Marienplatz gerne behilflich! www.pinakothek.de/neue-pinakothekKarlsplatz (Stachus ) S1–S8 Hauptbahnhof DB www.facebook.com/pinakotheken WELCOME TO THE NEUE PINAKOTHEK ÖFFNUNGSZEITEN HOURS YOUR WAY THROUGH THE NEUE PINAKOTHEK We would like to wish all visitors a stimulating time in our Täglich außer DI 10.00–18.00 Daily except TUE 10 a.m.–6 p.m. Ludwig I of Bavaria founded the Neue Pinakothek museum. Our displays can be a source of amazement, inspira- MI 10.00–20.00 WED 10 a.m.–8 p.m. tion and fascination for everyone – and for that reason, they are in the mid-19th century as the first public museum always worth visiting again. Geschlossen: 24.12., 25.12., 31.12., Closed: 24.12., 25.12., 31.12., in Europe to be exclusively dedicated to contempor- Faschingsdienstag, 01.05. Shrove Tuesday, 01.05. ary art. Its unique collection of 19th-century art SOME HELPFUL TIPS FOR YOUR VISIT is cherished by visitors from around the globe Please help us to protect the artworks in our exhibitions: Alle Informationen zu den Eintritts- You will find complete information items such as umbrellas, hiking poles, tripods, bags larger preisen und unserem Programm about admission prices and our and now features masterpieces by artists such than 30 × 20 × 20 cm and, above all, rucksacks must be handed finden Sie auf unserer Website. programme on our website. as Francisco Goya, William Turner, Caspar David in to the cloakroom. Alternatively, lockers can be used; this Friedrich, Édouard Manet and Vincent van Gogh. service is free and easy to use. If visiting with children, please keep an eye out to ensure that they do not touch the works of Informationen zu exklusiven Information about exclusive guided art – no matter how much the works may seem to invite this. Führungen unter tours at Further examples of the 19th century can also be found in the Feel free to take photographs in the galleries, but please ensure www.pinakothek.de/besuch www.pinakothek.de/en Samm lung Schack, which is located at Prinzregentenstrasse that the flash is turned off. Use the foyer or our museum cafe 9. The Sammlung Schack offers visitors an overview of German to make phone calls or to grab a bite to eat or to enjoy a drink. painting from romanticism to the idealism of the ‘Deutsch- If you require more information or have special needs (such as Römer’, featuring works by Moritz von Schwind, Carl Spitzweg, a physical disability), our staff at the info desk in the foyer will Arnold Böcklin and Anselm Feuerbach. be more than happy to assist you! Gültig ab April 2017. Änderungen sind möglich. Valid from April 2017. Changes are possible. RUNDGANG AP TOUR 1, 2, 2 a Kunst um 1800 | Art around 1800 13 a Malerei der Gründerzeit | Gründerzeit painting Antonio Canova, Jacques-Louis David, Francisco de Goya, 6 Anton Graff, Angelica Kauffmann, Wilhelm von Kobell 14, 14 a Landschaften der Münchner und Haager Schule 5 a 4 a Landscape painting of the Munich and Hague schools 3 Englische Malerei | English painting 3 Thomas Gainsborough, William Hogarth, Thomas Lawrence, 15 Hans von Marées 7 5 4 Joshua Reynolds, George Stubbs, William Turner, David Wilkie 16 Malerei der Deutschrömer 4, 4 a, Deutsche Künstler in Rom | German artists in Rome Arnold Böcklin, Anselm Feuerbach, Hans Thoma 5, 5 a Franz Ludwig Catel, Joseph Anton Koch, Friedrich Overbeck, 8 2 2 a Johann Christian Reinhart, Wilhelm von Schadow 17, 18 Adolph Menzel und die realistische Malerei in Deutschland Adolph Menzel and German realism 6 Carl Rottmann – Die Landschaften Griechenlands 15 13 a 14 a Carl Rottmann – Greek landscapes 19 Édouard Manet, Paul Cézanne und die französischen 9 1 Impressionisten | Édouard Manet, Paul Cézanne and the 7, 8 Künstler um Ludwig I. | Art at the Court of Ludwig I French impressionists 13 14 Peter von Hess, Leo von Klenze, Carl Rottmann, Joseph Stieler 16 20 Spätimpressionistische und symbolistische 12 9 Malerei der Romantik in Dresden und Berlin Landschafts malerei | Late impressionist and Early romantic painting in Dresden and Berlin symbolist landscape painting 10 11 Carl Blechen, Johan Christian Dahl, Caspar David Friedrich Henry van de Velde, Theo van Rysselberghe, Ferdinand Hodler 22 10, 10 a Französische Malerei zwischen Romantik und Realismus 10 a 11 a 22 a French painting from romanticism to realism 21 Vincent van Gogh, Paul Gauguin, Paul Sérusier Lift UG 17 Gustave Courbet, Honoré Daumier, Eugène Delacroix, Théodore Géricault 21 a Symbolismus | Symbolism Tickets Shop Fernand Khnopff, Odilon Redon, James Ensor 11, 11 a Biedermeier und beginnender Realismus 21 Biedermeier and early realism 22, 22 a Das neue Jahrhundert | The new century 20 19 18 Ferdinand von Rayski, Moritz von Schwind, Pierre Bonnard, Ferdinand Hodler, Gustav Klimt, Carl Spitzweg, Ferdinand Georg Waldmüller Egon Schiele u. a. 21 a Eingang | Entrance 12 Genre- und Landschaftsmalerei aus der Sammlung Ludwigs I. Theresienstraße Eingang Genre and landscape painting from Ludwig I’s collection Entrance Restaurant 13 Carl Theodor von Piloty und die Historienmalerei Carl Theodor von Piloty and history painting Änderungen sind möglich. Temporary alterations are possible..
Recommended publications
  • Adolph Menzel and 19Th Century History Painting 67
    TISED 5 [10] 2015 EESTI KUNSTIMUUSEUMI TOIMETISED PROCEEDINGS OF THE ART MUSEUM OF ESTONIA SCHRIFTEN DES ESTNISCHEN KUNSTMUSEUMS EESTI KUNSTIMUUSEUMI TOIME 5 [10] 2015 Kunstnik ja Kleio. Ajalugu ja kunst 19. sajandil The Artist and Clio. History and Art in the 19th Century Der Künstler und Klio. Geschichte und Kunst im 19. Jahrhundert 5 [10] 2015 EESTI KUNSTIMUUSEUMI TOIMETISED PROCEEDINGS OF THE ART MUSEUM OF ESTONIA SCHRIFTEN DES ESTNISCHEN KUNSTMUSEUMS Kunstnik ja Kleio. Ajalugu ja kunst 19. sajandil The Artist and Clio. History and Art in the 19th Century Der Künstler und Klio. Geschichte und Kunst im 19. Jahrhundert TALLINN 2015 Esikaanel: Rudolf von zur Mühlen. Tartu linn ja stifti rüütelkond uuendavad liidulepingut 1522. aastal. 1897. Detail. Eesti Rahva Muuseum On the cover: Rudolf von zur Mühlen. Treaty Between the City and the Vassals of the Bishop in Tartu 1522. 1897. Detail. Estonian National Museum Ajakirjas avaldatud artiklid on eelretsenseeritud. All articles published in the journal are peer-reviewed. Toimetuskolleegium / Editorial Board: Kristiāna Ābele, PhD (Läti Kunstiakadeemia / Art Academy of Latvia) Natalja Bartels, PhD (Venemaa Kunstide Akadeemia / Russian Academy of Arts) Éva Forgács, PhD (Art Center College of Design, Pasadena, USA) Roman Grigorjev, PhD (Riiklik Ermitaaž / State Hermitage Museum) Sirje Helme, PhD (Eesti Kunstimuuseum / Art Museum of Estonia) Kadi Polli (Tartu Ülikool / University of Tartu) Elina Räsanen, PhD (Helsingi Ülikool / University of Helsinki) Peatoimetaja / Editor-in-chief: Merike Kurisoo
    [Show full text]
  • Menzel's Realism. Art and Embodiment in Nineteenth-Century Berlin, New Haven, Conn
    Fried, Michael: Menzel's realism. Art and Embodiment in Nineteenth-Century Berlin, New Haven, Conn. [u.a.]: Yale University Press 2002 ISBN-10: 0-300-09219-9, X, 313 S Reviewed by: Deshmukh Marion "Berlin's Salons are irregular; there is no special exhibition hall. For some years, in fact, there has been no Salon at all. Admission is 50 centimes. It would be out of keeping to speak here of Ger- man art. With the exception of that extraordinary genius, Adolph Menzel, this art is inferior to that of France, Belgium, Holland, Italy and Spain."[1] Thus wrote Jules LaForgue, the French tutor to the Prussian Empress Augusta when he resided in Berlin at the end of the nineteenth century. His evaluation of German painting of the period has been surprisingly resilient. Michael Fried, J. R. Herbert Boone Professor of Humanities at Johns Hopkins University and author of works on 18th century French drawing, Édouard Manet, Charles Eakins and Gustave Courbet, has provided a bold, even audacious, yet convincingly original per- spective on 19th century Germany's foremost but still-obscure artist, Adolph Menzel (1815- 1905). In it, he desires not only to acknowledge that which LaForgue observed about Menzel over one hundred years ago, but Fried also wishes to recover some of the complexity of 19th century Euro- pean art more generally. Too often art historians and critics have presented simplistic dicho- tomies of French aesthetic domination and originality in contrast to German artistic inferiority and derivativeness. Like LaForgue, others of the time praised Menzel. For example, the important French critic, Edmond Duranty, wrote extensively about the artist in a series of articles detailing some of Menzel's key paintings, as Fried describes in his account (125-139).
    [Show full text]
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE: Deborah Ziska, April 30, 2001 Press and Public Information Officer MEDIA CONTACT: Lisa Knapp, publicist (202) 842-6804 /-/<[email protected]/ "SPIRIT OF AN AGE" PRESENTS MAJOR 19TH-CENTURY GERMAN PAINTINGS SURVEY FROM ROMANTICISM TO EXPRESSIONISM OPENS JUNE 10 AT THE NATIONAL GALLERY OF ART Washington, D.C.-One of the most significant presentations, in terms of range and quality, of 19th-century German painting ever to be shown in the United States will be on view at the National Gallery of Art, East Building, June 10 through September 3, 2001. Spirit of an Age: Nineteenth-Century Paintings from the Nationalgalerie, Berlin provides a survey of 19th-century German painting, and a history of Germany itself, through 75 of the finest works by 35 artists from the collection of the Alte Nationalgalerie (Old National Gallery), Berlin. The museum, which opened in 1876 to house the Prussian king's collection of paintings and sculpture, is currently closed for renovations as part of a larger reorganization of all Berlin's museums. In December 2001, when the museum reopens, it will display for the first time since 1939 the complete collection of work for which it was built. ("aspai David I-nednch mm ill//if ll'uulm. 182: The exhibition is made possible by the Anna-Maria and Stephen Kellen Foundation. "This enlightening exhibition offers American audiences the unique opportunity to study the works of important German painters who are rarely represented in North American collections," said Earl A. Powell III, director, National Gallery of Art, Washington.
    [Show full text]
  • Marion Deshmukh on Menzel's Realism: Art And
    Michael Fried. Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. New Haven and London: Yale University Press, 2002. 320 pp. $55.00, cloth, ISBN 978-0-300-09219-6. Reviewed by Marion Deshmukh Published on H-ArtHist (January, 2003) "Berlin's Salons are irregular; there is no spe‐ critics have presented simplistic dichotomies of cial exhibition hall. For some years, in fact, there French aesthetic domination and originality in has been no Salon at all. Admission is 50 centimes. contrast to German artistic inferiority and deriva‐ It would be out of keeping to speak here of Ger‐ tiveness. man art. With the exception of that extraordinary Like LaForgue, others of the time praised genius, Adolph Menzel, this art is inferior to that Menzel. For example, the important French critic, of France, Belgium, Holland, Italy and Spain."[1] Edmond Duranty, wrote extensively about the Thus wrote Jules LaForgue, the French tutor artist in a series of articles detailing some of Men‐ to the Prussian Empress Augusta when he resided zel's key paintings, as Fried describes in his ac‐ in Berlin at the end of the nineteenth century. His count (p. 125-39). Max Liebermann, turn-of-the evaluation of German painting of the period has century Germany's influential impressionist been surprisingly resilient. Michael Fried, J. R. painter, regarded Menzel as a great "genius."[2] So Herbert Boone Professor of Humanities at Johns too, the 19th century German realist novelist Hopkins University and author of works on 18th Theodor Fontane, known for his often-sardonic century French drawing, Édouard Manet, Charles portrayals of contemporary Prussian life in Impe‐ Eakins and Gustave Courbet, has provided a bold, rial Germany, ("Frau Jenny Treibel" or "Effi even audacious, yet convincingly original per‐ Briest", discussed by Fried in chapter 10) greatly spective on 19th century Germany's foremost but admired Menzel.
    [Show full text]
  • TX 201C Course Syllabus
    Spring 2012 Professor Mary-Beth O’Brien MWF TX 201C Glitter and Doom: Cultural History of Berlin, Past and Present Glitter and Doom is a two-course learning experience combining meetings and readings on campus during the Spring 2012 semester and a field trip with lectures in Berlin in May 2012. TX201C is the classroom segment of the experience. Students do not have to register for TX 202 in order to take this course. TX 201C and TX 202 are a 4-credit experience and can count toward the German major and minor and the Cultural World requirement of the IA major and minor. Course Topic: From its humble beginnings in 1237 as a sandy patch of land and trading post on the Spree River to a postmodern metropolis filled with shimmering glass and steel facades, Berlin has continually reinvented itself. In its 775-year history, Berlin has been at the center of many of Europe’s major political, social, artistic, and scientific developments. This seminar examines Berlin’s turbulent history over the last four hundred years with special attention to those moments that exemplify the glitter and doom of the German cultural heritage. We begin with eighteenth-century Enlightenment and philosopher-king Frederick the Great, who was an accomplished flautist, commissioned Europe’s first opera house outside a royal court, promoted the grand architectural vision of Karl Friedrich Schinkel, welcomed migration from Huguenots, Scots, and Jews, developed the notion of benevolent despotism, and institutionalized Prussian militarism. The nineteenth-century was engrossed in the long path to national unity in 1871.
    [Show full text]
  • Portrait of Fraulein Hanna Maercker Watercolour and Gouache, Over an Underdrawing in Pencil
    Adolph MENZEL (Breslau 1815 - Berlin 1905) Portrait of Fraulein Hanna Maercker Watercolour and gouache, over an underdrawing in pencil. Signed and dated Menzel/ Sept. 1848 at the lower left. 221 x 180 mm. (8 3/4 x 7 1/8 in.) Between 1845 and 1847 Adolph Menzel lived at 18 Schöneberger Strasse in Berlin, where his neighbours included the family of the lawyer Karl Anton Maercker (1803-1871), director of the Berlin Criminal Court and, from 1848, Justice Minister in the brief Prussian government of Rudolf von Auerswald. Menzel became friendly with the Maerckers, and produced a number of portraits - in oil, watercolour, chalk and pastel - of members of the family. (Frau Maercker also posed for both of the main figures in Menzel’s genre painting The Interruption (The Visit), painted between 1845 and 1846 and today in the Staatliche Kunsthalle in Karlsruhe.) In the spring of 1847 the artist moved to a new address, at 43 Ritterstrasse, and while he saw less of the Maercker family, he continued to occasionally produce drawings of them, as evidenced by the present sheet - a portrait of the daughter of Karl Anton Maercker - which is dated September 1848. In 1850, the Maercker family moved to Halbertadt in Saxony-Anhalt, ending their close relationship with Menzel. This charming watercolour by Menzel is a portrait of the Maercker’s eldest daughter, Johanna (Hanna) Maercker (1839-1918), at the age of nine. Little else is known of Hanna Maercker, apart from her marriage to Julius Albert in 1857. A black chalk drawing by Menzel of the same young girl, though perhaps a year or two earlier in date, is in the collection of the Kupferstichkabinett in Berlin.
    [Show full text]
  • National Gallery of Art
    National Galleryj of Art FOR IMMEDIATE RELEASE PRESS CONTACT: (202) 842-6353 August 5, 1996 Information Officer, Deborah Ziska For images, Lila Kirkland (202) 842-6360 A MAJOR GERMAN ARTIST REDISCOVERED ADOLPH MENZEL AT NATIONAL GALLERY OF ART SEPTEMBER 15. 1996 - JANUARY 5. 1997 Washington, D.C. Adolph Menzel's penetrating draftsmanship and versatility in style and subject matter will be on view in the first retrospective of works by this leading nineteenth-century German artist, at the National Gallery of Art, East Building, September 15, 1996 through January 5, 1997. Although Menzel is largely unknown to American audiences, he is familiar to French and German art lovers today and was celebrated in his lifetime. The exhibition is made possible in part by Mannesmann Capital Corporation. Additional support is provided by the Ministry for Foreign Affairs of the Federal Republic of Germany. Adolph Menzel (1815-1905); Between Romanticism and Impressionism, which opened in Paris last April, is organized by the National Gallery of Art, Washington; the Staatliche Museen zu Berlin/Preussicher Kulturbesitz; and the Reunion des Musees -more- Fourth Street at Constitution Avenue, N.W., Washington, D.C. 20565 menzel...page 2 Nationaux/Musee d'Orsay, Paris. The exhibition will travel to Berlin, where it will be on view from February 7 through May 11, 1997. "Adolph Menzel's work anticipated impressionism and he was greatly admired by Degas," said Earl A. Powell III, director, the National Gallery of Art. "This exhibition will be a revelation to many." Menzel, who was never without a pencil in hand, was not only prolific, but extraordinarily inventive.
    [Show full text]
  • Friedrich Der Grosse: an Opera
    Friedrich der Grosse: An Opera SYNOPSIS BY APRIL LINDNER WITH DAVID R. SORENSEN Based on Thomas Carlyle’s History of Friedrich II. of Prussia, Called Frederick the Great (1858–65) PROEM Excerpts from Frederick II’s Mollwitz March in F Major for winds and percussion can be heard, as a series of alternating hologram images are displayed on stage, showing the Adolph Menzel’s paintings Die Tafelrunde and Flötenkonzert Friedrich des Großen in Sanssouci; Christian Daniel Rauch’s equestrian statue of the King in Unter den Linden; the Prussian iron cross; Bismarck dressed in Prussian military regalia; Kaiser Wilhelm II inspecting troops; Hitler and Hindenburg shaking hands in front of the German Garrison Church in Potsdam; an image of Hitler’s bunker and a quote from Himmler relating Hitler’s reading of Carlyle’s Frederick the Great during his last days; an image of the palace of Frederick being dynamited and the statue of Frederick by Rauch being removed; the burial of Hohenzollern statues in the Bellevue gardens, 1954. In conjunction with the music and images, the voice of Winston Churchill can be heard addressing the House of Commons, 21 September 1943: “The core of Germany is Prussia. There is the source of the recurring pestilence. But we do not war with races as such. We war against tyranny, and we seek to preserve ourselves from destruction. I am convinced that the British, American, and Russian peoples who have suffered measureless waste, peril, and bloodshed twice in a quarter of CSA 30 2014 12 CARLYLE STUDIES ANNUAL a century, through the Teutonic urge for domination, will this time take steps to put it beyond the power of Prussia or of all Germany to come at them again with pent-up vengeance and long-nurtured plans.
    [Show full text]
  • Volume 4. Forging an Empire: Bismarckian Germany, 1866-1890
    Volume 4. Forging an Empire: Bismarckian Germany, 1866-1890 When compared with the revolutionary excitement of 1848/49 or the horrors of trench warfare in 1914-18, the Bismarckian era can seem drab, an age of equipoise when conformity and compliance were the first duty of the citizen. Certainly, Bismarck scored stunning military and diplomatic victories between 1866 and 1871, but his later years in office have been characterized as a period of “fortification” – not exactly an exciting interpretive key either. But to look beneath the surface calm of Bismarckian Germany is to see quite a different picture, one shot through with contradictions, conflicts, and crises. Contradictions resulted from attempts both to entrench and to extend the international and constitutional agreements achieved at the time of unification. Conflict was inevitable when the effects of rapid economic, social, cultural, and political change became self-reinforcing and as a younger generation of Germans sought new challenges to match the great deeds of their fathers. Crises arose whenever Bismarck felt his authority in jeopardy. How do we assess the causes, consequences, and historical significance of all this turmoil? A preliminary hypothesis, which readers are encouraged to test against the documents and images included in this volume, is that the German Empire was forged in ways that embedded features of a modernizing economy, society, and culture within the framework of an authoritarian polity. This is not a new proposition. Moreover, it is easy to be too categorical in applying the labels “modern” and “authoritarian,” so that everything before 1866 is deemed un- modern and everything after 1890 hypermodern.
    [Show full text]
  • Der Maler Als Städter
    Originalveröffentlichung in: Dogramaci, Burcu (Hrsg.): Großstadt : Motor der Künste in der Moderne, Berlin 2010, S. 29-43 Hubertus Kohle Der Maler als Städter Adolph Menzel in Berlin Die deutsche Stadt Deutschland ist nicht nur eine verspätete Nation, sondern auch ein verspäteter städtischer Raum. Metropolen wie Paris und London sind hier unter den Bedingungen der Klein­ staaterei nicht bekannt, der Phänotyp großstädtischen Lebens, wie er sich literarisch und künstlerisch im 19. Jahrhundert niedergeschlagen hat, ebenso wenig. Berlin entwickelte sich erst im späteren 19. Jahrhundert zu einem städtischen Schmelztiegel, dann aber mit einer vielfach empfundenen und beschriebenen übermäßigen Schnelligkeit, Brutalität und Desorganisiertheit. Einige statistische Zahlen sind hier sprechend: 1871 hatten acht, 1910 dagegen 48 deutsche Städte mehr als 100.000 Einwohner; im gleichen Zeitraum stieg der Anteil der Großstädter im Deutschen Reich von knapp fünf auf deutlich über 20 %. Noch eindrücklicher ist der Vergleich, wenn man ihn für Berlin selber anstellt: Um 1850 lag die Bevölkerungszahl bei ca. 440.000 Einwohnern. Bei der Reichsgründung hatte die Stadt gut 800.000, knapp zehn Jahre später schon 1.300.000 und in der Weimarer Republik dann 4.000.000 Einwohner, das bedeutet eine Verfünffachung der Einwohnerzahl innerhalb nur eines halben Jahrhunderts, fast eine Verzehnfachung in 70 Jahren. Die im späten 19. und frühen 20. Jahrhundert vorherrschenden kulturkritischen Vorbehalte gegenüber den amoralischen, zur Dekadenz neigenden Eigenheiten städtischen Lebens mögen in dieser Doppelung - verspätete und dann beschleunigte Metropolisierung - mitbegründet liegen und die Zurückgebliebenheit deutschen Modernitätsempfindens belegen. Sie fuhren auch dazu, dass man sich um 1900 und auch schon früher in manchen Kreisen ganz massiv nach der typisch deutschen Stadt zurücksehnte, die im Mittelalter existiert haben soll und in Nürnberg ihren Inbegriff fand.
    [Show full text]
  • Adolph Menzel and 19Th Century History Painting
    Originalveröffentlichung in: Kreem, Tiina-Mall (Hrsg.): Kunstnik ja Kleio. Ajalugu ja kunst 19. sajandil / The artist and Clio. History and art in the 19th century / Der Künstler und Klio. Geschichte und Kunst im 19. Jahrhundert, Tallinn 2015, S. 67-77 (Eesti Kunstimuuseumi toimetised ; 5 (10)) Adolph Menzel and 19th Century History Painting HUBERTUS kohle n the context of the rise of modernism, history painting has consistently been denounced rS backward and old-fashioned in two respects: as a genre that derives its subject matter hom the past, and as a genre that no longer acts in accordance with the spirit of its time. This: ’ second aspect in particular was essential in creating the negative reputation that his- °ry P^inbng began to acquire rapidly in the later decades of the 19th century: “II faut etre th Ument m°derne, ” that famous phrase of Arthur Rimbaud ’s that leading exponents of e modern period had prefigured in many variations and had subsequently taken up with § reat vigour, seems to preclude any form of artistic historicization. Nonetheless, when we study nineteenth-century definitions and practices of history pamting in greater detail, we notice that things are more complicated than that. Even such aPparently conservative phenomenon as history painting contained modern elements; ^eed, it ultimately seemed to affirm the modern rather than displaying an antagonism Wards it. I understand “the modern ” here in the sense of Reinhart Koselleck, who regarded a radical,openness towards the future and the temporalization of history as the fundamental cha:racteristics of the period under investigation. 1 The painter at the centre of my argument is ^dolph Menzel (1815-1905), (Fig.
    [Show full text]
  • Paper Instructions the Lectures on Campus Are Designed to Give You
    Paper Instructions The lectures on campus are designed to give you enough background so that you can adequately assess the art that you will see while we are in Munich. You will write two formal essays on the various works of art that characterized specific periods of German art history. You will notice as you read through this that there are five eras of art history to write about; you only have to write about two of them. Which two you write about is your decision. Both essays will be written as a separate paper of four to five pages. You will use APA citation. Instructions for APA are found on page 14. Both essays will be turned in as separate papers with separate reference lists. I would prefer that you first use the sources I gave you in class for these papers. You can use other sources in addition to those that I suggest for each essay, including web pages, but make sure they are quality sources. Remember also that Wikipedia is not a great source, although it usually has a list of really good sources at the end of its essays. Before you start writing, I would like all of you to read two samples of work that generally illustrate what you should do. The first is found in Henry Sayre, Writing About Art, 6th ed. (2009), pages 60-61. This short section provides a sample essay that an art history student wrote concerning a black-and-white photograph that is reproduced in these pages. The second is a sample entry that I wrote for Biedermeier art, and it is found below.
    [Show full text]