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David Chipperfield Architects
David Chipperfield Architects Museum Folkwang Essen, Germany 2007–2010 The Museum Folkwang, founded in Hagen by Karl Ernst Osthaus in 1902, was the first museum of contemporary art in Europe. The most significant works were transferred from Hagen to Essen in 1922, from which point on, aside from a period when the National Socialists temporarily divested the collection, the museum was able to pursue a high level of collecting activity. Today, it is one of the most high profile museums of the classic modern in Germany. In 2007, David Chipperfield Architects won the international architecture competition for the museum extension, held by the city of Essen, one year before Prof. Dr. Berthold Beitz, the Chairman of the Board of Trustees of the Alfried Krupp von Bohlen and Halbach Foundation, announced that the foundation would be the sole sponsor in providing the funding for the new building. The building was constructed by the Neubau Museum Folkwang Essen GmbH, a company of the Wolff Group. The opening of the museum is one of the most important cultural events to be held in Essen and the Ruhr region during their time as European Capital of Culture 2010. The new building by David Chipperfield Architects complements the original building, continuing the architectural principle of an ensemble of six structures and four inner courtyards, gardens and galleries. The publicly accessible areas connect seamlessly with the existing exhibition areas. A generous open stairway leads from the Bismarckstraße into the new foyer, which takes the form of an open interior courtyard with a restaurant and a bookstore, and is protected from the street by a glass facade. -
Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
Site/Non-Site Explores the Relationship Between the Two Genres Which the Master of Aix-En- Provence Cultivated with the Same Passion: Landscapes and Still Lifes
site / non-site CÉZANNE site / non-site Guillermo Solana Museo Thyssen-Bornemisza, Madrid February 4 – May 18, 2014 Fundación Colección Acknowledgements Thyssen-Bornemisza Board of Trustees President The Museo Thyssen-Bornemisza Hervé Irien José Ignacio Wert Ortega wishes to thank the following people Philipp Kaiser who have contributed decisively with Samuel Keller Vice-President their collaboration to making this Brian Kennedy Baroness Carmen Thyssen-Bornemisza exhibition a reality: Udo Kittelmann Board Members María Alonso Perrine Le Blan HRH the Infanta Doña Pilar de Irina Antonova Ellen Lee Borbón Richard Armstrong Arnold L. Lehman José María Lassalle Ruiz László Baán Christophe Leribault Fernando Benzo Sáinz Mr. and Mrs. Barron U. Kidd Marina Loshak Marta Fernández Currás Graham W. J. Beal Glenn D. Lowry HIRH Archduchess Francesca von Christoph Becker Akiko Mabuchi Habsburg-Lothringen Jean-Yves Marin Miguel Klingenberg Richard Benefield Fred Bidwell Marc Mayer Miguel Satrústegui Gil-Delgado Mary G. Morton Isidre Fainé Casas Daniel Birnbaum Nathalie Bondil Pia Müller-Tamm Rodrigo de Rato y Figaredo Isabella Nilsson María de Corral López-Dóriga Michael Brand Thomas P. Campbell Nils Ohlsen Artistic Director Michael Clarke Eriko Osaka Guillermo Solana Caroline Collier Nicholas Penny Marcus Dekiert Ann Philbin Managing Director Lionel Pissarro Evelio Acevedo Philipp Demandt Jean Edmonson Christine Poullain Secretary Bernard Fibicher Earl A. Powell III Carmen Castañón Jiménez Gerhard Finckh HSH Prince Albert II of Monaco Giancarlo Forestieri William Robinson Honorary Director Marsha Rojas Tomàs Llorens David Franklin Matthias Frehner Alejandra Rossetti Peter Frei Katy Rothkopf Isabel García-Comas Klaus Albrecht Schröder María García Yelo Dieter Schwarz Léonard Gianadda Sir Nicholas Serota Karin van Gilst Esperanza Sobrino Belén Giráldez Nancy Spector Claudine Godts Maija Tanninen-Mattila Ann Goldstein Baroness Thyssen-Bornemisza Michael Govan Charles L. -
Entartete Kunst" Druckgraphik Aus Dem Bestand Des Kunsthändlers Bernhard A
Forschungsstelle "Entartete Kunst" Druckgraphik aus dem Bestand des Kunsthändlers Bernhard A. Seite 13.05.2008 Böhmer 1 Künstler Titel, Datierung Mat./ Technik/Bildmaße Bezeichnung Herkunftsmuseum Inv.-Nr. Jussuf Abbo Komposition, o. J. Lithographie, 43 x 33 cm signiert unten rechts Mannheim, Städtische Kunsthalle K 383 a G Komposition, o. J. Lithographie, 40,5 x 30,5 cm signiert unten rechts unbekannt K 383 b G Jankel Adler Zwei Menschen (Der Besuch), 1926 Radierung, 40 x 29,5 cm signiert unten rechts Krefeld, Kaiser Wilhelm-Museum K 496 G Bei der Toilette, um 1921 Radierung, 26 x 13 cm signiert unten rechts Hagen, Städtisches Museum K 497 G Gerd Arntz Schleppkahn, 1924 Holzschnitt, 24,5 x 35 cm signiert und datiert unten rechts Düsseldorf, Kunstsammlungen der Stadt K 372 G Vorstadt, 1925 Holzschnitt, 23 x 29 cm signiert und datiert unten rechts Düsseldorf, Kunstsammlungen der Stadt K 373 G Fabrikzaun, 1924 Holzschnitt, 24 x 35 cm signiert und datiert unten links Düsseldorf, Kunstsammlungen der Stadt K 374 G Ernst Barlach Der tote Tag, Mappe mit 27 Litho- Frankfurt/M, Städelsches Kunstinstitut und K 2323 aa G - graphien und einem Textband, X. Werk der Städtische Galerie K 2323 z G Pan-Presse, Verlag Paul Cassirer, Berlin 1912 Stehende Frau auf halber Kellertreppe, Blatt 1 Lithographie, 22,3 x 25,4 cm K 2323 p G Träumender Jüngling, Blatt 2 Lithographie, 28,1 x 37,3 cm K 2323 n G Das Paar im Gespräch, Blatt 3 Lithographie, 26,3 x 34 cm K 2323 c G Der Seufzerstein, Blatt 4 Lithographie, 22,3 x 27,6 cm K 2323 u G Die Wiege, Blatt 5 Lithographie, -
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. -
Das Umfassende Osthaus-Experiment – Leitbild Für Die Komplexität Des Bauhauses
Das umfassende Osthaus-Experiment – Leitbild für die Komplexität des Bauhauses. Freundschaft. Karl Ernst Osthaus und Walter Gropius waren beste Freunde. Sie hatten sich zufällig im Sommer ### in Spanien kennen gelernt, genossen die Atmosphäre, hatten lange Gespräche. 400 Briefe umfasst die Korrespondenz Osthaus – Gropius. Karl Ernst Osthaus (1874–1921) war ein sehr großer, etwas ungelenk wirkender junger Mann, der aber einen gewaltigen und umfänglichen Ehrgeiz hatte, mit Geld sich sowohl ein kulturell wunderbares Leben zu machen sowie mit diesem Geld auch der Menschheit etwas Esentielles zu zeigen: Schönheit im täglichen Leben. Die Freundschaft hatte bedeutende Wirkungen: in Hagen und später in Weimar. Das Bauhaus verdankt Osthaus wichtige Grundlagen. Osthaus und Gropius waren Mitglieder in der neuen Reform-orientierten Vereinigung „Deutscher Werkbund“ und hatten dadurch viel Gesprächs-Stoff. Osthaus besaß die Phantasie und die Mittel, ein komplexes Unternehmen anzufangen, das man als den engsten und dichtesten Vorläufer des Bauhauses bezeichnen kann. Dessen Grundlagen legte zum Teil ein „Universal-Künstler,“ den Osthaus aus Belgien angeworben hatte: Henry van de Velde ((1863-1957). Aus den Niederlanden. die in dieser Zeit sehr wichtig waren, holte sich Osthaus mehrere bedeutende Künstler. ### Rasch kam in diesen Zusammenhang Peter Behrens (1868-1940). Wahrscheinlich von Osthaus empfohlen, erhielt Walter Gropius bei ihm als Assistent seine erste Stelle. Und dann bereitete Karl Ernst Osthaus, auch über Henry van de Velde, für Walter Gropius den Weg zur Gründung des Bauhauses. Umfangreicher Betrieb. Osthaus kauft am östlichen Rand der Stadt Hagen viel Gelände und läßt darauf ein ganzes Stadtviertel anlegen. Zugleich konzipiert und organisiert er darauf einen immens umfangreicher »Betrieb«. Die Vorstellung mag auch angeregt sein von der Industrialisierung, die sich in dieser Zeit im Ruhrgebiet entwickelt. -
Modern Art and Politics in Prewar Germany
Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists. -
Ernst Ludwig Kirchner's Shadow 1 MUSEUM
1 MUSEUM DIGITAL ARCHIVE Loss and Restitution: The Story of the Grunwald Family Collection Ernst Ludwig Kirchner’s Shadow PETER H. FOX A major strength of the original Fred Grunwald collection is early twentieth-century German illustrated books. The resurgence of artistic interest in book design precipitated by Jugendstil is evident in Joseph Sattler’s vision of Germanic myth in Die Nibelunge (The Nibelunge, 1900) and Oskar Kokoschka’s fable Die Träumenden Knaben (The Dreaming Boys, 1908), while Expressionist impulses animate Wassily Kandinsky’s mystical Klänge (Sounds, 1913), Max Beckmann’s treatment of friend Kasimir Edschmid’s novel Die Fürstin (The Princess, 1918), and Ernst Ludwig Kirchner’s design for poet Georg Heym’s Umbra Vitae (The Shadow of Life, 1924) (fig. 1). Kirchner created numerous illustrations to literary texts throughout his career, starting with 1001 Nights in 1906–7, but his edition of Umbra Vitae is the most complete realization of his work in this genre. Unique to the Grunwald Center is a set of two bound volumes with 163 original woodcuts, drawings, and other illustrations by Kirchner, which were created from roughly 1919 to 1923 (figs. 2–3). Previously unaccounted for in the literature on the artist, these volumes present a new perspective on the significance of illustration for Kirchner’s artistic project. This essay explores Kirchner’s engagement with Umbra Vitae as a turning point in his oeuvre, a moment in which his desires to work through the trauma of World War I and control the reception of his art coalesced. Fig. 1. Ernst Ludwig Kirchner, Umbra Vitae (The Shadow of Life, 1924). -
MF 2 Collection Folkwang Engl
Museum Folkwang Folkwang Collection The Museum Folkwang was founded in 1902 by Karl Ernst Osthaus. From its beginnings as an art collection with natural science and crafts sections it soon developed into one of the most pioneering museums of modern art in the world. The Museum Folkwang was the first public collection in Germany to acquire and exhibit works of the forerunners of Modernism – Paul Cézanne, Paul Gauguin, Vincent van Gogh and Henri Matisse. After the death of its founder in 1921, the Osthaus collection was acquired for the city of Essen by the recently founded Folkwang- Museumsverein, an initiative of Essen companies and citizens, and in 1922, it merged with the Municipal Art Museum to form a new Folkwang Museum. Today, the Museum Folkwang is among the most important art museums in Germany. The focal points of its collection are 19th century art and classic modernism, photography and painting after 1945. It holds 550 paintings and 250 sculptures, ca 14,000 drawings and works on paper as well as ca 98,000 photographs and related objects. One special aspect is a collection of works of antique and non-European art as well as European and non-European crafts (4000 B.C. – 19th century) with about 1,800 objects. The German Poster Museum has now become a department of the Museum Folkwang. With ca 350,000 posters, it is among the largest collections of its kind in Europe and documents the development of German posters in a European context. The German Poster Museum now occupies exhibition and studio rooms in the Folkwang’s new building, allowing it to present its collection to a broad public in suitable rooms for the first time. -
Karl Ernst Osthaus Und Der „Hagener Impuls“
Auf dem Weg zu einer „handgreiflichen Utopie“ — Karl Ernst Osthaus und der „Hagener Impuls“ Birgit Schulte Folkwang — Die Grenzen des Museums 1 Ida Gerhardi, Porträt Karl Ernst Osthaus, 1903 überschreiten Als der Hagener Museumsdirektor Karl Ernst Ost- haus (1874 – 1921)1 im Jahr 1912 das Vorwort zu dem Gesamtkatalog seines Folkwang-Museums schrieb, re- sümierte er zehn Jahre Sammlungsgeschichte und for- mulierte eine erstaunliche Erkenntnis: „Die Wirksam- keit eines Museums zeigt sich einstweilen weniger in einer Sammlertätigkeit der ihm nahestehenden Kreise. Bedeutsamer ist die erhebliche Zahl von Werken mo- derner Baukünstler im Hagener Stadtbilde“.2 Um dieser Aussage Nachdruck zu verleihen, nahm er die „Werke der neueren Baukunst“, deren Initiator er war, kurzer- hand als Sammlungsobjekte in sein Katalogverzeichnis auf.3 So finden sich dort unter der Rubrik „Architek- tur und Raumkunst“4 Gebäude von Peter Behrens, Jan Ludovicus Mathieu Lauweriks, Richard Riemerschmid, Fritz Schumacher und Henry van de Velde sowie ande- ren zeitgenössischen Architekten. Auf diese Weise sig- nalisierte Osthaus, er betreibe in Hagen als Außenstelle des Folkwang ein dezentrales Freilichtmuseum vorbild- licher Baukunst. (Abb. 1) Osthaus’ städtebauliche Initiativen gründeten auf der Erkenntnis, dass „die kulturelle Entwicklung [...] im Westen mit der wirtschaftlichen nicht gleichen Schritt gehalten“ habe.5 Insofern fordert er, den „Wandel zu schaffen. Denn unsere Bürger, auch die der Industrie- städte, haben ein Recht darauf, am künstlerischen Leben unserer Nation teilzunehmen.“6 Diese Forderung nach einem Wandel durch Kultur, auf die sich nicht zuletzt das Motto der Kulturhauptstadt RUHR.2010 bezogen hatte, formulierte Karl Ernst Osthaus im Jahr 1908 in seinen kritischen Betrachtungen über das vergangene Hagener Baujahr. -
The National Gallery Immunity from Seizure
Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Delacroix and the Rise of Modern Art. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 Protection under the Act is sought for the objects listed below: Eugène Delacroix (1798 - 1863) © The Art Institute of Chicago, -
The Museum of Modern Art, New York Exhibition Checklist Gauguin: Metamorphoses March 8-June 8, 2014
The Museum of Modern Art, New York Exhibition Checklist Gauguin: Metamorphoses March 8-June 8, 2014 Paul Gauguin, French, 1848–1903 Vase Decorated with Breton Scenes, 1886–1887 Glazed stoneware (thrown by Ernest Chaplet) with gold highlights 11 5/16 x 4 3/4" (28.8 x 12 cm) Royal Museums of Art and History, Brussels Paul Gauguin, French, 1848–1903 Cup Decorated with the Figure of a Bathing Girl, 1887–1888 Glazed stoneware 11 7/16 x 11 7/16" (29 x 29 cm) Dame Jillian Sackler Paul Gauguin, French, 1848–1903 Vase with the Figure of a Girl Bathing Under the Trees, c. 1887–1888 Glazed stoneware with gold highlights 7 1/2 x 5" (19.1 x 12.7 cm) The Kelton Foundation, Los Angeles Paul Gauguin, French, 1848–1903 Leda (Design for a China Plate). Cover illustration for the Volpini Suite, 1889 Zincograph with watercolor and gouache additions on yellow paper Composition: 8 1/16 x 8 1/16" (20.4 x 20.4 cm) Sheet: 11 15/16 x 10 1/4" (30.3 x 26 cm) The Metropolitan Museum of Art, New York. Rogers Fund 03/11/2014 11:44 AM Gauguin: Metamorphoses Page 1 of 43 Gauguin: Metamorphoses Paul Gauguin, French, 1848–1903 Bathers in Brittany from the Volpini Suite, 1889 Zincograph on yellow paper Composition: 9 11/16 x 7 7/8" (24.6 x 20 cm) Sheet: 18 7/8 x 13 3/8" (47.9 x 34 cm) The Metropolitan Museum of Art, New York. Rogers Fund Paul Gauguin, French, 1848–1903 Edward Ancourt, Paris Breton Women Beside a Fence from the Volpini Suite, 1889 Zincograph on yellow paper Composition: 6 9/16 x 8 7/16" (16.7 x 21.4 cm) Sheet: 18 13/16 x 13 3/8" (47.8 x 34 cm) The Metropolitan Museum of Art, New York.