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Erich Heckel (Döbeln 1883 - Radolfzell 1970)
Erich Heckel (Döbeln 1883 - Radolfzell 1970) Selfportrait,1968 Artist description: Erich Heckel began studying architecture in 1904 at the Technical University in Dresden, but left the university again one year later. Heckel prepared the ground for Expressionism when he founded the artist group "Die Brücke" together with his friends Karl Schmidt-Rottluff, Fritz Bleyl and Ernst Ludwig Kirchner in 1905. The artist now concentrated on various printing techniques such as woodcut, lithograph and engraving. He produced landscapes in dazzling colours. In the autumn of 1911 Heckel moved to Berlin. He was acquainted with Max Pechstein, Emil Nolde and Otto Mueller who had joined the "Brücke" artists and now met Franz Marc, August Macke and Lyonel Feininger. In 1912 Erich Heckel painted the murals for the chapel of the "Sonderbund Exhibition" in Cologne together with Ernst Ludwig Kirchner. "Die Brücke" was dissolved in the following year and Gurlitt arranged Heckel's first one-man-exhibition in Berlin. Erich Heckel spent the years 1915 - 1918 in Flanders as a male nurse with the Red Cross and then returned to Berlin where he remained until the beginning of 1944. Heckel spent most summers on the Flensburger Förde while his many travels took him to the Alps, Southern France, Northern Spain and Northern Italy. 729 of his works were confiscated in German museums in 1937 and his studio in Berlin was destroyed in an air raid in Berlin shortly before the end of the war, destroying all his printing blocks and many of his works. Heckel subsequently moved to Hemmenhofen on Lake Constance. In 1949 he was appointed professor at the "Akademie der Bildenden Künste" in Karlsruhe, a post that he held until 1955. -
Jahrbuch Für Kulturpolitik 2009 Jahrbuch Für Kulturpolitik 2009 · Band 9 INSTITUT FÜR KULTURPOLITIK DER KULTURPOLITISCHEN GESELLSCHAFT E
Institut für Kulturpolitik der Kulturpolitischen Gesellschaft (Hrsg.) Jahrbuch für Kulturpolitik 2009 Jahrbuch für Kulturpolitik 2009 · Band 9 INSTITUT FÜR KULTURPOLITIK DER KULTURPOLITISCHEN GESELLSCHAFT E. V. (Hrsg.) Das Jahrbuch für Kulturpolitik ■ greift jeweils ein besonders bemerkenswertes Thema der kultur- politischen Diskussion als Schwerpunkt auf; ■ reflektiert wichtige gesellschaftliche Entwicklungen im Lichte der Kulturpolitik; ■ dient als Plattform, um Perspektiven der Kulturpolitik – jen- seits des hektischen Tagesgeschäfts – zu diskutieren; ■ versteht sich als Instrument der Politikberatung im kommu- nalen Bereich wie auf Länder- und Bundesebene; ■ stellt zentrale Ergebnisse der kulturstatistischen Forschung zusammen und widmet der Kulturstatistik ein besonderes Augenmerk; ■ dokumentiert wichtige Daten und Ereignisse der Kulturpolitik des abgelaufenen Jahres; ■ verweist in einer umfangreichen Bibliografie auf Veröffent- lichungen zur Bundes-, Landes- und lokalen Kulturpolitik; ■ entwickelt sich als laufende Berichterstattung zur umfassen- den Dokumentation der Kulturpolitik in der Bundesrepublik Deutschland HERAUSGEGEBEN FÜR DAS INSTITUT FÜR KULTURPOLITIK DER KULTURPOLITISCHEN GESELLSCHAFT E. V. VON BERND WAGNER Jahrbuch für Kulturpolitik 2009 Band 9 Thema: Erinnerungskulturen und Geschichtspolitik ■ Kulturstatistik ■ Chronik ■ Literatur ■ Adressen Das »Jahrbuch für Kulturpolitik« wird aus Mitteln des Beauftragen der Bundesregierung für Kultur und Medien gefördert. Bibliografische Information der Deutschen Bibliothek Die -
16 Forse Mai, O Forse in Paradiso MINICATALOGUE
¢ £ ¤ ¥ ¦ § ¥ ¨ ¥ © ¥ ¥ ¥ ¦ ¥ ¦ ¦ § ¥ ¤ ¦ §¥ ¨¥© £¥¤ £ ¨ ! "# # $#$# $$ % & ' ¨ %()* ¦ + $ , % ( - ( - % ( .. .. & / 0 , % ( - ( - % ( .. 1 222 + & 3 # # & # ! + & 22 2+ & 3 # # !+ FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN Giovanni Manfredini, the artists of „Brücke“ and their successors on the theme of „Religion“ Left: Giovanni Manfredini, Stabat Mater, silver plated 2014, diameter 33 cm. Signed. Obj. Id 79808. Right: Hermann Max Pechstein, Vater Unser, Portfolio with 12 Woodcuts 1921, Edition B: Exemplar 121 of 250, each print is signed, paper size 41 x 60 cm. Obj. Id: 80154 2nd September until 26th November 2016 ¢ ¨ ## ¦+ $ 24$# ¢ ¨ ## £¢ "!+#!+ 5$# 6 3$$$!+ $ ¢42# ¢ & 5$#+54 & 5$#5!++54 &74 & £!+6 £5$$#54 & £358 & 7358 & 99$$ & !+:#54 #54 ;4!+ 359## ¥!+#+# $654 7$!+54 $<# <# 5 4$#$!+ #554 6 5$#5$$#54 5 5$#$9954 $#4&/#4 (= & () , (% (1 >+ & 9$#4 (= & (- >+ ¢£¤¥¦§¥ ¨¥© ¥ ¥ ¥¦¥¦ ¦§¥¤ ¦§¥¨¥©£¥¤ £ ¨ ! "##$#$#$$ % & '¨ %()* ¦+$ ,%(-(-%( .. .. & /0 ,%(-(-%( .. .1 222+&3##&#!+ & 222+&3##!+ FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN Giovanni Manfredini, the artists of “Brücke” and their successors on the theme of “Religion” nd th 2 September until 26 November 2016 Besides allegorical and historical representations, paintings and sculptures devoted to religious themes also became firmly established very early on in the history of art. By the time of the ancient Greeks and Romans, at the latest, their gods and their deeds, histories -
9783791358291-Sample.Pdf
6 7 PREFACE This exhibition is devoted to two artists who shared ideas about art, and in the process helped Franz Marc, The First Animals, 1913, gouache create the movement known as Expressionism in early twentieth-century Germany. But it is really and pencil on paper. Private Collection about the power of friendship. Franz Marc and August Macke met as young artists in Munich in 1910. In the four years prior to Macke’s untimely death in 1914 (Marc himself died in 1916), they wrote each other scores of letters, visited each other’s homes, traveled together, and often discussed the development of their work. What grew out of this friendship were paintings and drawings of tremendous power, works that had the ability to challenge the primacy of French art in breaking boundaries and setting new directions. Seen side by side, the works seem to speak to each other, continuing this conversation even into the present day. I first came across an exhibition devoted to these two artists at the Kunstmuseum Bonn in 2014, a show that traveled to the Lenbachhaus in Munich. It was very moving to think about these artists, whose work I had long admired and collected, and to understand them as two young men finding their way in the world. I thought about the founding of the Neue Galerie New York, and how it had developed as a result of my friendship with the art dealer and curator Serge Sabarsky. What began as a series of freewheeling conversations about life and art eventually took root, and over the course of several years, the museum took shape. -
Василий Кандинский В Норвегии WASSILY KANDINSKY in Norway
василий кандинский в Норвегии WASSILY KANDINSKY in Norway Значительным событием в культурной жизни Норвегии начала Exhibitions of paintings by the prominent artist and art theorist ХХ века стали выставки произведений Василия Кандинского, Wassily Kandinsky, one of the leaders of the avant-garde movement, крупнейшего художника и теоретика, одного из лидеров аван- became a significant event in the cultural life of Norway at the гардного движения. Его работы были дважды представлены в beginning of the 20th century. Kandinsky’s works were exhibited there этой стране: в 1914 году на выставке объединения «Синего всад- twice, first in 1914 at the “Der Blaue Reiter” (Blue Rider) exhibition ника» (февраль–март, Христиания (Осло); апрель–май, Трон- (in Christiania, now Oslo, in February-March, and in Trondheim in хейм) и в 1916 году на совместной выставке с немецкой худож- April-May), and then in April-June 1916, at a joint exhibition with the ницей Габриэлой Мюнтер (апрель–июнь, Христиания (Осло)). German artist Gabriele Münter in Christiania. Выставка «Синего всадника», организованная в 1913 году гале- The Blue Rider show, organized in 1913 by Galerie Der Sturm in Berlin, реей «Штурм» («Der Sturm») в Берлине, в несколько измененном was slightly modified to tour other European cities. In 1914, it came составе путешествовала по городам Европы. В Осло она состоя- to Oslo; five of Kandinsky’s important works were exhibited there – лась в начале 1914 года, здесь экспонировалось пять программ- “Composition V” (1911), “Pastoral” (1913), and three improvisations. ных произведений Кандинского: «Композиция V», «Пастораль» (оба – 1911) и три импровизации. Круг художников «Синего всад- The Blue Rider circle of artists took shape in 1911 in Munich. -
Mehr Mode Rn E Fü R D As Le N Ba Ch Ha Us Die
IHR LENBACHHAUS.DE KUNSTMUSEUM IN MÜNCHEN MEHR MEHR FÜR DAS MODERNE LENBACHHAUS LENBACHHAUS DIE NEUERWERBUNGEN IN DER SAMMLUNG BLAUER REITER 13 OKT 2020 BIS 7 FEB 2021 Die Neuerwerbungen in der Sammlung Blauer Reiter 13. Oktober 2020 bis 7. Februar 2021 MEHR MODERNE FÜR DAS LENBACHHAUS ie weltweit größte Sammlung zur Kunst des Blauen Reiter, die das Lenbachhaus sein Eigen nennen darf, verdankt das Museum in erster Linie der großzügigen Stiftung von Gabriele Münter. 1957 machte die einzigartige Schenkung anlässlich des 80. Geburtstags der D Künstlerin die Städtische Galerie zu einem Museum von Weltrang. Das herausragende Geschenk umfasste zahlreiche Werke von Wassily Kandinsky bis 1914, von Münter selbst sowie Arbeiten von Künstlerkolleg*innen aus dem erweiterten Kreis des Blauen Reiter. Es folgten bedeutende Ankäufe und Schen- kungen wie 1965 die ebenfalls außerordentlich großzügige Stiftung von Elly und Bernhard Koehler jun., dem Sohn des wichtigen Mäzens und Sammlers, mit Werken von Franz Marc und August Macke. Damit wurde das Lenbachhaus zum zentralen Ort der Erfor- schung und Vermittlung der Kunst des Blauen Reiter und nimmt diesen Auftrag seit über sechs Jahrzehnten insbesondere mit seiner August Macke Ausstellungstätigkeit wahr. Treibende Kraft Reiter ist keinesfalls abgeschlossen, ganz im KINDER AM BRUNNEN II, hinter dieser Entwicklung war Hans Konrad Gegenteil: Je weniger Leerstellen verbleiben, CHILDREN AT THE FOUNTAIN II Roethel, Direktor des Lenbachhauses von desto schwieriger gestaltet sich die Erwer- 1956 bis 1971. Nach seiner Amtszeit haben bungstätigkeit. In den vergangenen Jahren hat 1910 sich auch Armin Zweite und Helmut Friedel sich das Lenbachhaus bemüht, die Sammlung Öl auf Leinwand / oil on canvas 80,5 x 60 cm erfolgreich für die Erweiterung der Sammlung um diese besonderen, selten aufzufindenden FVL 43 engagiert. -
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Devotion Woodcut, 1912 Schmidt-Rotluff was one of the founding members ofDie Brücke (The Bridge) in Dresden in 1905, along with Erich Heckel, Ernst Ludwig Kirchner, and Fritz Bleyl, and joined by Emil Nolde and Max Pechstein. The group disbanded in 1913, largely due to their varying styles and independent moves to Berlin, but each remained true to their rejection of European academic painting and conventions in favor of exploring the vitality and directness of non-Western art forms, particularly West African masks and Oceanic art, as well as revitalization of the pre-Renaissance tradition of German woodcuts. Devoción Xilografía, 1912 Schmidt-Rottluff fue uno de los miembros fundadores de Die Brücke (El puente) en Dresde en 1905, junto con Erich Heckel, Ernst Ludwig Kirchner y Fritz Bleyl, grupo al que se unieron luego Emil Nolde y Max Pechstein. El grupo se disolvió en 1913, en gran parte debido a la evolución de sus estilos y a los traslados individuales de los artistas a Berlín, pero cada uno de ellos permaneció fiel al rechazo de la pintura y las convenciones academicistas europeas, en favor de la exploración de la vitalidad y la franqueza de formas artísticas no occidentales, especialmente las máscaras de África occidental y el arte de Oceanía, así como de la revitalización de la xilografía alemana de tradición prerrenacentista. Museum purchase through the Earle W. Grant Acquisition Fund, 1975.37 KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Head of a Woman Woodcut, 1909 “I know that I have no program, only the unaccountable longing to grasp what I see and feel, and to find the purest means of expressing it.” Studying Japanese techniques of woodcuts, as well as the techniques of Albrecht Dürer, Paul Gauguin, and Edvard Munch, Schmidt-Rottluff produced powerful images, evoking intense psychological states through the flattening of form and retention of traces of roughly hewn wood blocks. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
L LIBRARY (109.?) Michigan State
llllllgllllllgfllllfllllllUllllllllllllIIHHIHHIW 01399 _4581 l LIBRARY (109.?) Michigan State University » —.a._——-——_.——__—— ~—_ __._._ .- . v» This is to certify that the 4 thesis entitled The Influence of Walt Whitman on the German Expres- sionist Artists Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein and Ernst Ludwig Kirchner presented by Dayna Lynn Sadow has been accepted towards fulfillment of the requirements for M.A. History of Art degree in /' l" s in? / l Majo\profe:sor Dateg’v ' ‘0‘ ‘0' 0‘ S 0-7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE N RETURN BOX to remove thh checkout Irom your record. TO AVOID FINES return on or before dete due. DATE DUE DATE DUE DATE DUE fl! l I MSU IeAn Affirmetive ActioNEquel Opportunity Inetituion Wan-94 THE INFLUENCE OF WALT WHITMAN ON THE GERMAN EXPRESSIONIST ARTISTS KARL SCI-[MIDT-ROTTLUFF, ERICH HECKEL, MAX PECHSTEIN AND ERNST LUDWIG KIRCHNER By Dayna Lynn Sadow A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Art 1994 ABSTRACT THE INFLUENCE OF WALT WHITMAN ON THE GERMAN EXPRESSIONIST ARTISTS KARL SCHMIDT-ROTTLUFF, ERICH HECKEL, MAX PECHSTEIN AND ERNST LUDWIG KIRCHNER By Dayna Lynn Sadow This study examines the relationship between Walt Whitman and the Briicke artists Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein and Ernst Ludwig Kirchner. Chapter I analyzes the philosophy of Whitman as reflected in his book Leaves of Grass and explores the introduction of his work into Germany. Chapter II investigates the doctrine of the Briicke artists. -
MW5 Layout 10
MASTERPIECES VI GALERIE THOMAS MASTERPIECES VI MASTERPIECES VI GALERIE THOMAS CONTENTS ALEXANDER CALDER UNTITLED 1966 6 MAX ERNST LES PEUPLIERS 1939 18 SAM FRANCIS UNTITLED 1964/ 1965 28 ERICH HECKEL BRICK FACTORY 1908 AND HOUSES NEAR ROME 1909 38 PARK OF DILBORN 191 4 50 ALEXEJ VON JAWLENSKY HEAD OF A WOMAN c. 191 3 58 ABSTRACT HEAD: EARLY LIGHT c. 1920 66 4 WIFREDO LAM UNTITLED 1966 76 MAX LIEBERMANN THE GARDEN IN WANNSEE ... 191 7 86 OTTO MUELLER TW O NUDE GIRLS ... 191 8/20 96 EMIL NOLDE AUTUMN SEA XII ... 191 0106 MAX PECHSTEIN GREAT MILL DITCH BRIDGE 1922 11 6 OSKAR SCHLEMMER TWO HEADS AND TWO NUDES, SILVER FRIEZE IV 1931 126 5 UNTITLED 1966 ALEXANDER CALDER sheet metal and wire, painted Provenance 1966 Galerie Maeght, Paris 38 .1 x 111 .7 x 111 .7 cm Galerie Marconi, Milan ( 1979) 15 x 44 x 44 in. Private Collection (acquired from the above in 1979) signed with monogram Private collection, USA (since 2 01 3) and dated on the largest red element The work is registered in the archives of the Calder Foundation, New York under application number A25784. 8 UNTITLED 1966 ALEXANDER CALDER ”To most people who look at a mobile, it’s no more time, not yet become an exponent of kinetic art than a series of flat objects that move. To a few, in the original sense of the word, but an exponent though, it may be poetry.” of a type of performance art that more or less Alexander Calder invited the participation of the audience. -
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction. -
Open Windows 10
Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten.