E RL IN /Kaiser Fr iedr ich Museum Albrecht Durer
( 1 4 7 1 1 5 2 8) Portrait of Hieronymus H olzs chuh er .
. G . Photographic Reproduction by F . Bruckmann , A ,
Munich . The Kaiser Friedrich Museum with records that can be traced back for very little more than a hundred years is to - day in spite of its brief history one of the proudest
collections of works of art in the whole world . The
year 1 8 7 5 or thereabout marks the beginning of that
fabulous rise of the Museum, so closely associated in its
upward movement with the name of Wilhelm Bode .
’ It was in 1 8 8 4 that Bode incorporated Dur er s portrait
H olzschuh er of the Nuremberg patrician, Hieronymus ,
among the treasures of the collection, having paid the
for that time enormous sum of 5 0 0 0 0 0 Marks . The
H olzs chuh er portrait of , characterized by full maturity
’ Dur er s of execution , is a production of latest period of
artistic activity . It was to this period that one of the most st riking of the German Renaissance portraits owes its origin 'in this picture ofthe head ofa forceful German burgher clear m ind ednes s and a st r ong will are combined
G . . with a calm consciousness of personal worth. ( p pp
B ERLIN Kaiser Friedrich Museum Lukas Cranach ( 1 4 7 2 1 5 5 Rest during the Flight . Photographic
. . G . . Reproduction by F Bruckmann , A , Munich A specimen ofgenre—painting with religions and poetical
side lights, a legendary tale instinct with the grace of
melodious harmony 'such are the feelings awakened by
’ ' this early -born child ofCranach s genius painted by h
in 1 5 0 4 at the early age of 5 9 . The high esteem of our age for the temporarily somewhat neglected master
mainly turns on his work during the period of 1 5 0 0
1 0 . to 5 5 Later on swerving from his ideals, he turned
his ar t into a mere trade by having most of his pictures
painted by his drudg es, giving them only the final touch .
Here forsooth is a masterpiece, from first to last, stroke
’ own for stroke, Cranach s very , full of charm and depth
bit of feeling, a choice of composition, radiating the w — C . . ripe, rich glo of deep seated colouring . ( p p
B ERLIN Kaiser Friedrich Museum / Hans Baldung Grien (about 1 4 8 o 1 Adoration of the Kings
a F B r uckm ann (Section) . Photogr phic Reproduction by . ,
G . . A . , Munich
Of that great and majestic masterpiece of colour, the
Adoration, by the Upper German painter, Hans Bal
’ St r aBbur dung Grien , whose life s work was done in g, where he appears to have had relations with Mathias
Gr ii new ald m , a section has here been taken to exe plify
’ the master s technique and style . The Altar of the Three
1 0 Kings would appear to have originated about 5 7 ,
’ being thus a Specimen of Hans B aldung s early art . The solemnity and stiffness of the works ofthe Master at this period find due compensation in their dep th of feeling
and their uncommon concentration of expression .
Mu um / B E RL IN / Kaiser Friedrich se H ans Holbein theYoun er 1 1 g ( 497 Portrait ofGeorge Gysis .
. . G . Photographic Reproduction by F Bruckmann , A ,
Munich .
S uabian Y The great master, Hans Holbein the ounger, was the first of all German painters to enjoy a world
wide fame . As a portrait painter, he was very much
soug ht after especially in England, where he executed
a great number of orders . It was on the occasion of his
second visit to London in 1 5 5 2 that he painted the pic
’ Dar zi ture of the merchant, George Gysis from i g, at that
time 5 4 years of age, in his office, his profession being easy to divine from the various letters scattered about
the room as shown in the pictur e . A remarkably fine portrait of a man in his early prime perhaps intended
- th e to be a present to his lady love, the carnations in
' ' T h e Venetian glass marking him for a bridegroom .
t h e still life in the painting is all superb , charming to
slightest detail, touchingly true and real in its materi j ality and yet n ot lacking the great trait that does not admit of the trappings lording it over that which is
C . . essential, the soulful expression of the face . ( p pp
ERLIN Kaiser Friedrich Museum / Christoph Am — berger (about 1 5 0 0 1 5 6 Portrait of Sebastian
n Munster. Photographic Reproduction by F . Bruckma n,
. G . . A , Munich The spirit of the younger Holbein lives on in his coun t r m an y Christoph Amberger , the Augsburg painter , who apart from church and altar pictures paid special — attention to portrait painting . In the Berlin Museum for exam ple ther e hangs beside th e paint ing r epr oduced her e a p ortrait of Charles the Fifth by the same painter . The portraits of the Master apart from their strong decora tive effects, revealing the years of study in Venice, are distinguished by their keen power of characterisation . u The portrait of Sebastian M nster, the cosmographer, is a portrait typical of the German Humanist .
B ERLIN/ National Gallery / Franz Kruger ( 1 7 97 to 1 Picture of a Parade . (Section) .
The Berlin National Gallery opened in 1 8 7 6 under its present organization embraces masterpieces ofEuropean
art in the nin ent eenth and twentieth centuries . Hugo
T s chudi von had great deserts in making the collection,
purchasing above all the excellent French artists, but
at the same time, like his congenial successor, Ludwig ' usti , not failing to foster German art, more especially
' ' d for i in cor in its Berlin phase . usti eserves great praise — — por at in g nonetoo soon theparadepictures oftheBerlin u painter Franz Kr ger, one of which is reproduced in
excerpted form here . Far from being impressionistic, Kruger’ s pictures with their myriads of figures are in
virtue of th eir ingenuity of treatment, reliability of d raftsmanship, and the fond delicacy of luscious colou
ring a vi vid reproduction of motley crowds of humanity
r Apart from their intrinsic artistic value, these pictu es
are hardly less important from the point of view of cultural history by the insight they afford into society
life in the Berlin of Biedermeier days .
ERLIN National Gallery Adolph von Menzel B — 1 1 1 8 5 The Balcony Room . By kind per
mission of the Verlag R . Wagner, Berlin . Photographic
. . Mn ui h . . G c Reproduction by F Bruckmann, A , Menzel is a painter with two souls by the side of the
‘ ' fio h e and fficial Menzel, t painter of historical pictures — genre paintings and of great actions of State, there is
' ' the Menzel of private intimacy , the captivating de
lin eat or of the world he lived in, the creator of small
paintings of unrivalled power and beauty . These works
f 1 0 6 of Menzel, which were not really known be ore 9 , the year in which the German Centennial Art E xhibi
tion took place in the National Gallery, are mostly the
productions of his primary creative period . So too the
Balcony Room of the year 1 8 4 2 with its waving white fl cur tain irradiated by oods of sunlight . This small pain
ting of a most charming realism gives a portrait - like representation of Menzel ’ s own sitting room in the
C . 1 S choneb er ger Strasse in Berlin . ( p p .
x it? A k'
ERLIN National Gallery Ludwig Knaus ( 1 8 9 9 B ’ to 1 91 o) / Children s Party (Secti on) . By kind per
mission of the Photographic Society of Charlottenburg.
. . G . Photographic Reproduction by F Bruckmann, A ,
Munich . Knaus is the great and popular illust rator in German
painting of the life and manners of the people . The pic
ture from 1 8 6 9 that is owned by the National Gallery
' and is here given in a section, formerly bore the legend
2‘ ' As the elders sung, thus twitter the young . This title
is characteristic of the mannerism of this class of pain
ting which at one time formed the groundwork for the
once unprecedented fame of the Master, a fame that
t h e made itself felt far beyond confines of Germany . Partisans of 'absolute ' painting feel the art of Ludwig
' ' Knaus, because of its intentionality , to be intolerable .
But that goes far beyond the mark . There are points of view which allow of justice being done to Knaus ’ s
i . t paint ng It is his s aking all on the ability to paint . Not
a single one ofhis cont emporaries has been able to out v y
Knaus in technicalities and pictorial power pure a nd ml si p e .
AMBURG Kunsthalle Wilhelm L eibl ( 1 8 44 to
1 90 0) Peasant Women at Church (Section) . By ' kind permissi on of J . . Weber in Leipzig, Photographic
. . G . . Reproduction by F Bruckmann , A , Munich
The HamburgKunsthalle, noted for its collection of pic tures ofHamburg from the fourteenth to the nineteenth
m r t century, owes its pro inence in the a istic life of Ger many to Alfred L i cht w ar k who from 1 8 8 6 o nward fostered the development of the Museum fo r the space of three decades . He also purchased the painting shown here of the C ologne Master Wilhelm L eibl who was from 1 8 6 6 up to the time of his death actively engaged in painting in Munich and in small Upper Bavarian w to ns and villages . The picture of the three peasant women at church of which a section is given with a young peasant girl in a sitting posture was the work of — the years 1 8 7 8 1 8 8 0 in the village church of Berbling
’ L eibl s near Aibling . The picture is a classic example of method ofworking that r ises from the sphere of a han di craft to the massiveness of a Welta ns cha uung which has its roots in the subsoil of Nature Study . In 1 90 2 the painting was purchased for Hamburg for the sum of
K BURG unsthalle Max Liebermann, born
1 8 4 7 Por trait of the Burgomaster Petersen (Sec d tion) . Photographic Repro uction by F . Bruckmann,
- A . G . , Munich The intensity of L iebermann ’ s art which masters the most varied subjects and problems has its roots in that
V iew ofart which finds form and shape in impressionism .
s A graphic painter of many grade , hence an artist who
' ' is master ofan abridged process ofdescriptive painting,
Liebermann , as a portraitist, has the knack of fixing a transient but highly characteristic mien or gesture of
m ti the one port rayed . In this special instance the o f of a movement so characteristic of the Burgomaster i Petersen , whose portrait was ordered by the Hanseat c
. Senate A union of the . forceful, simple, intensely con cent r at ive manner of painting gave rise here to a master piece of modern pictorial art .
ANNOVER Neues Provinzial - Museum (New
Provincial Museum) Andreas Achenbach ( 1 8 1 5
to 1 91 o) . The Pleasures of Winter (Section) . By kind
permission of H . R . H . Duke of Cumberland , Duke of
Brunswick and Luneburg . The New Provincial Museum in Hannover is one of the latest German collections of art formed of several
constituents, among these the Gallery in Entail of the United Line of Brunswick and Luneburg (the Cumber
- r land Gallery) and the Guelph Museum . The present o
i n n ga niz at o came into bei g at the turn ofthe last century .
Andreas Achenbach , here represented by a striking
section ofa winterlandscape with skaters, once belonged
to the most lauded of German landscape pai nters . He u was a head of the D sseldorf school . Later on when impressionism reigned supreme one was inclined to
m er it but belittle him, placing him lower in the scale of ,
the estimate was wrong . A picture like that of the land
scape here shown, full of restrained inwardness but still
impulsive in expression, proves Achenbach to be ever deservi ng of a prominent position in the ranks of the
best artists of his day .
RUN S\VICK Picture Gallery Matthias Krodel — the Elder (about 1 5 5 0 1 6 0 5) Bearded Man
d . with Fur Cap . Photographic Repro uction by F Bruck
. G . . mann, A , Munich The Brunswick Museum at one time a part of the Ducal
th Museum was collected in the i 8 century by Duke
Anthony Ulrich and Duke Karl I . The paintings of the
Dutch schools, especially the fine paintings of Rem
’ ’
9126 6 d e r es zs ta nc e m . brandt, form the [ of the Museu
Even to the present day, the Brunswick Gallery is one
of the greatest and most important in Germany . That
rare master, Matthias Krodel the Elder, is of Saxon ex
r traction and closely related to the School of C anach . d To ju g e by the small hammer in his right hand, the
individual portrayed in 1 5 7 0 may perhaps have been
r c a goldsmith . The allegoric epresentations in the ba k
o . .ground with the C nversion of St Paul for their subject
matter give a certain richness to the pictur e which goes
- of—fa or t r ai tur e such far beyond the restful, matter ct p , as
Durer loved , the era of the Baroque is beginning to
announce its advent .
ASSEL Picture Gallery Wilhelm v on Kob ell — ( 1 7 6 6 1 8 5 5) The Ford . Photographic Repro
. . G . . duction by F Bruckmann, A , Munich
eCasselGaller Th y, even to this day , despitethe numerous
despoilments in the Napoleonic era and in spite of t h e
removal to the Eremitage at St . Petersburg ofwonderful
pieces of artistic work, one of the brilliant collections of art in Germany'is the creation of Landgrave VVil
1 0 helm VIII . (died 7 6 ) who during the term of his governorship at Breda and Maastricht acquired the
o n eucleus glori us Dutch paintings, which , forming the
of the collection, have raised it to a position of proud
w e preeminence on this field . In this series of pictures show as a representative of the Gallery an early work
a Kob ell ofthe Pal tine Master, von , who spent thegreater part of his life as a Professor of the Academy for Land
lVI un ich scape Painting in , where he painted his great b at i u t lep ct r es . It is but quite recently that the true — greatness of this great fore runner of impressionism, of
t i n f his masterm nd in the painti g of light and air e fects,
t has come to be recognized . His chief s rength lies in the h intimacy of pict ures like those in t e Cassel Gallery .
OL OGN E Wallr af-Richar t z Museum Stephan
Lochner (traceable from 1 4 5 0 1 Madonn a in the Arbour of Roses .
W allr af—Richar t z The Museum , originating in an en
Canonicus Wallr af who 1 8 9 dowment of , died in 5 , was
Opened in 1 8 6 1 as the City Picture Gallery . It is rich in works of the Old German School, especially that of
Cologne and of the Old Dutch painters 'in modern holdings the rich collection of the works of Wilhelm L i l e b . is worthy of especial notice Stephan Lochner, G one of the Patriarchs of erman painting, comes from
1 0 im the region of the Lake of Constance . In 45 he migrated to Cologne, in whose Dome and Museum his
- i . vi finest creations are enshr ned His life lo ng colouring, his j oy in beauty and splendo ur mark him fo r an
’ eulogist of earth s good things . The worship of Mar y of the end of th e Middle Ages that adored in the Mother of God not only the 'ueen of Heaven but also the most
’ radiant of Earth s fair womanhood finds tonguein his
Madonna of the Arbour of Roses .
OL OGN E Wallr af- Rich ar t z Museum A Master
of the Life of Mary (about 1 4 6 0 - 1 4 90) / The
Crucified (Section) . The works of the Master of the Life of the Virgin M ary who owes this appellation to a cycle of pictures, ' v i forming a lo ely dyll of a delicate, fully archaic ' s character , are di tinguished by a tender and slender grace . Within the Low German Gothic we here find a
' breath of R aph a elist ic refinement . Composition and colouring are of a dreamy blissfulness, the ideas full of poetry ,abov e all the Angels clad in blue garments catch
i in ing up the Blood ofChr st chalices, further Magdalena dressed in patrician garb, kneeling at the shaft of the
- cross, and the grand view of a far spreading landscape topped by the peering turrets of a distant
ONN Provincial Museum Januarius Zick ( 1 7 5 9
1 . to 7 97 ) Family Portrait From Biermann ,
German Baroque and Rococo, Publishers of the White
Books, Munich . Photographic Reproduction by van der
Smissen in Darmstadt .
The Provi ncial Museum at Bonn is famed less for its pictures but more for its rich collection of Roman and
Medieval stone monuments, yet, like the City Picture
ri Gallery of Coblentz, it possesses a se es of memorable paintings of one of the most prominent masters of the
R t 'anuar ius Z ococo Age, the ar ist ick who, though born
’ in Munich, did his life s work on the Rhine chiefly at
Ehrenbreitstein , where he died . Highly esteemed as a
aint er in sum m on ed t o -dist ant or der s p fresco, execute far , he here shows his skill as a table painter in the family
portrait from the year 1 7 7 1 fully signed and accurately dat ed r ov in th at h e kn ew com bin e th e int im ac ,p g howto y of psychological representation with strong decorative
effects, portraiture with landscape painting .
ARMST ADT State Museum Fritz von Uhde
( 1 8 4 8 1 91 1 ) Saying Grace . By kind permission
. G . . of the German Verlagsanstalt, A , in Stuttgart The Picture Gallery of the Hessian State Museum
th 1 8 originated in the last quarter of the century, when
ri the then P nce Apparent, later on Grand Duke Lud d t wig I, foun a home in the Cas le for a collection that was at first still rather promiscuous of choice . On moving into the splendid museum built by Messel alm nost 1 0 6 a century and a half later, in 9 , the gallery had command of over far more than half-a -thousand choice high - grade pieces having fine workmanship to show especially in the sections for Old Germans und Dutchmen and in the group of contemporary German
’
. 1 8 masters Uhde s painting, elaborated in 97 and bought for the Gallery in the same year from the studio of the artist, is characteristic of his style which in its subject matter presents that intertwinement of commonplace occurrences of everyday life with the supramundane U so pleasingto hde, the work from a pictorial standpoint ranging among the most masterly triumphs of German impressionism .
A N N H E I M Kun sthalle Anselm Feuerbach
9 ( 1 8 9 1 Children at the Fountain . Photo
. . G . . graphic Reproduction by F Bruckmann , A , Munich The Kunsthalle of Mannheim is one of th e latest
o m r m o f undations of Museu s in Ge any, which wes to the munificence of the citizens of Mannheim and to
r the lucky hand of its director, Wichert, its impo tance as a centre for collection of modern and qui te recent
German and French art . Feuerbach is represented in
n the Kunsthalle with five paintings, amo g which may
' ' be mentioned Hafis in the Tavern , an early work of fl his, that is still under the in uence of his Parisian
teacher, Couture, and the charming painting repro
' ' duced here of the Children at the Fountain which
together with a p end a nt originated in 1 8 5 9 in the
wh n h e third year of his sojourn at Rome . This was e was
at his brightest and best, he having not yet succumbed
- to his morbid self centredness, which robbed many of
his later works of the charm of artistic ingenuousness .
ARL SRUH E Picture-Gallery Matthias Grun e
wald (active about 1 5 0 0 1 5 5 0 ) Crucifixion .
e . . . Photographic R production by F Bruckmann, A G
Munich .
accom odat ed Originally in the Castle of Carlsruhe, the
Pi cture Gallery in 1 8 4 5 removed to the Kun sthalle where since then it has led a life of vigorous effectivity . In the main it is the home of the works of the more
B aden es e modern artists, shared by good Old Germans u of whom Matthias Gr newald of Aschaffenburg, the creator of the stupendous Isenheim Altar in Kolmar is u the most potent . The two works of Gr newald, the Crucifixion and the Bearing of the Cross left the City
Church of Tauberbischofsheim in 1 8 99 at a price of
4 0 0 0 0 marks for both paintings for the Gallery of
Carlsruhe, the two paintings, forming the front and the reverse of the leaf of an altar, having been sawn
. 1 5 9 0 asunder The Crucifixion , painted between and
1 5 9 5 n , raises the feeli g as of an echo, overburdened
m s o with me or ie too deep for words, of the grandi se
Crucifixion of the Isenheim Altar . The foaming and fretting temperament of t he Master glides ove r into a
TUT T GART / Collection of Paintings / Bartholo
mew Zeitblom (identifiable 1 4 8 4 1 5 9 1 Birth of
Christ (Section) . Photographic Reproduction by F .
G . . Bruckmann, A . , Munich
The Stuttgart Collection of Paintings incorporated to gether with th e allied Museum of Domestic Antiquities in the Museum of Arts, which was built in the years — 1 8 8 1 8 5 4 5 , is a gallery of great importance for old
n ew and works , among which especially the Upper
German masters, and of these again the school of Ulm
wi th its chief Bartholomew Zeitblom are well r epr esen Z i bl m — . e t o ted , master desig ner of fervid altar leaves, is the latest representative of the ofttime stiff- seeming
aintin of monumental style, in which the medieval p g j Z Upper Germany lingeringly dies away . Much of eit
’ blom s art , as often is the case with such transitional
personalities, indeed points forcibly to the future, the greater sensibility that is palpably existent in this pic ture presaging the development of a deeper delicacy of
feeling .
T UT T GART / Collection of Paintings / Wilhelm — — T r ubner ( 1 8 5 1 1 91 7) Boy at the Side board . By kind permission of the Deutsche Verlagsanstalt A . G . in Stuttgart . Photographic Reproduction by F . Bruck
. G . . mann, A , Munich — This master piece by Wilhelm T r ubn er originated at
1 8 9 Munich in 7 , the portentous period in which Wil helm T r ubner together with L eibl and other prominent artists formed a 'circle' from which its greatest stimulus
' ' was giv en to absolute painting in Germany . At the
T r ubn er same time as , Karl Schuch was painting at the
m ti same o f, both of them depicting the boy at the side
— - d board, the side board itself, the still life on theside boar , etc, each in his own vein with the utmost fidelity . But on comparing the two paintings (that of Schuch being in private hands at Dresden) one perceives the striking
’ truth of Ludwig Richter s observation, on drawing con clusion s from the chance occurrence of a similar case, ' ' v t that there is no objective ision, but hat the con ception of form and colour varies in every instance with the temperament of the artist .
I GMARIN G E N / Galler y7H ans Holbein the Elder
(about 1 4 7 0 1 5 Crowning with Thorns (Sec tion) . Photographic Reproduction by F . Bruckmann,
. G . . A , Munich
The quiet, former residential town on the youthful Da nube contains in the lordly castle the beautiful though — little known art collections of the princely House of
— Hohenzollern Sigmaringen, above all Upper German ,
u bia preeminently S a n masters . The Augsburg master
Hans Holbein, father of the younger and more promi nent painter of the same name, cloyed with the sweet idyllic style of his youth strove after the grotesque, the r bizarre, the monst ous in an unprecedented mobility of style, by means of a characterisation that pressed upon ' the confines ofpossibility . The section ofthe Crowning with Thorns ' at Sigmaringen with a Head of Christ that casts aside all tradition and runs counter to all ideal conceptions exemplifies to the full the above dictum .
UN ICH / Old Pinakothek /Albrecht Durer ( 1 4 7 1
1 9 to 5 The Apostles Mark and Paul (Section) .
. . G . Photographic Reproduction by F Bruckmann, A ,
Munich . The Old Pinakothek in Munich ranges among those ' galleries of ancient lineage' that are able to trace back their origin to the Renaissance . Resulting from the con
fluen ce of collections by the Bavarian and Palatine Wit t elsb a ch s S , the plendid gallery of Ludwig I found, after
n a its final reorganizatio , a permanent home in the p lat ial building erected for it by Klenze in the years 1 8 9 6
u Pinako l 8 6 . to 5 The works of D rer, held by the Old t h ek , are considerable in number, the two over life
' size paintings of the so- called Four Apostles being
- u 1 9 6 world famed . D rer painted these in 5 , making a present of them to his native city of Nuremberg , whence in 1 6 9 7 they came to Munich . The section shows Mark with an expression of face well - nigh akin to ferocity and the mighty Paul begirt with sword and
C . . 8 book in hand . ( p pp 5 and
UN ICH Old Pinakothek Matthias Grunewald — (active about 1 5 0 0 1 5 5 0) St . Erasmus and
St . Mauritius (Section) . Photographic Reproduction by
. G . . F . Bruckmann, A , Munich
ma e u The table of the great st r ofAschaffenb rg, a section of which here shows the head of the Moorish Saint Mauritius wi th its golden crown and irradiated by the aureole, the body sheathed in shining armour, at one time formed the middle leaf of the altar-painting in the
1 1 - Collegiate Church built in Halle in 5 8 . The art loving
Elector of Mayence, Cardinal Albrecht of Brandenburg, was the dedicator of the picture . From Halle it was brought to Aschaffenburg and from there in 1 8 9 6 to the Pinakothek in Munich . With a due regard for the u towering masterdom of Gr newald, the rarity of his
n r painti gs, the obscurity still su rounding the personality and work of the creator of the Isenheim Altar, this masterpiece is highly prized among the treasures of the
Pinakothek . (Cp . p .
UN I C H Old Pinakothek Hans Bur gkm a ir
1 / ( 1 4 7 5 1 5 5 ) John on the Isle of Patmos . Photo
h . . . G . graphic Reproduction by F Bruckmann , A , Munic
This table, with its mighty colouring effects, of the
Augsburg master, a contemporary of the elder Holbein , belongs to the earliest possessions of the Munich Pina k h k ot e . , forming one of its most beautiful treasures
1 5 1 8 Fully designated, and dated , the picture has main t a ined such freshness ofcolouringthat the impressionists
v l might learn from it . The exotic life of the egetab e and animal kingdoms surrounding the author of the secret Revelation betrays a strong feeling for nature, well-harmonizing with the contents of the picture and the strength of feeling expressed therein .
UN ICH New Pinakothek Heinrich Mar iaH ess — 1 8 1 8 6 5 Mar ch eza Fl r ( 7 9 ) Portrait ofthe o enzi .
Photographic Reproduction by F . Bruckmann, A . G .
Munich .
The New Pinakothek was built duri ng the years 1 8 46
1 8 5 to 5 by order and at the expense of King Ludwig I . with the pri mary intention of harbouring his priva te gallery of modern masters containing about 5 0 0 pain
1 tings . Since 8 8 6 the annual State purchases were also
. 1 1 taken up in the building In the year 9 9, it was deci t ded to remove a large integral portion of the collec ion ,
v n ew w th e which passed o er to the State Gallery, hile
New Pinakothek was after the revolution segregated from the Royal Family property by the State . The fine
’ female portrait belonged to the King s private collection , having been painted by his orders in 1 8 9 1 in Rome . The lady of Ravenna whom the then Crown Prince
L udwig was paying ardent homage to was full of r o mantic notions, a devotee to letters and the fine arts . The view intothe Open air from the arbour on Monte
’ Pinciolights on the Dom e of St . Peter s in R ome.
UN ICH New Pinakothek Franz v on Defr egger — 1 9 1 ( 1 8 5 5 9 ) Visitors . By kind permission of
August S ch er l G . m . b . H . in Berlin . Photographic Re f production by Franz H an st aengl in Munich .
i T r olese The primitively robust y master , Franz Def regger, who knew his own countrymen better than any
else aint ed w h en t his lov eable body , p , he was in his prime, picture, whose charm rests in the fact that it depicts a situation, but tells no anecdote or humorous occurrence .
1 8 v Dated 7 5 , it was purchased by the Ba arian State in 1 8 95 . The extreme care with which the colouring
- with its beautiful, half bright modulations of tone was effected is fully at one with the forceful simplicity of composition .
UN ICH New Pinak othek Albert von Keller
1 — 9 ( 8 44 1 9 0) Chopin . Photographic Repro
‘
. . i . G n . duction by F Bruckmann, A , Mu ch
This pict ur e treated with the ut most refin ement in
wh o author, was of Swiss extraction but had struck root in BIuni ch fil ' i th the artistic soil of , is led a world of
’ melody 'the raptur e emanated by Chopin s music has
’ l n s been caught up on Kel er s canvas, which gives lumi ou
fini w s in . expres ion to it colours The shed study, a ork l ’ i of moderate size, is one of Ke ler s early product ons
i 1 8 1 0 5 r i orig nating in 7 5 , but not before 9 did it, by p
s vate beque t, enter the Pinakothek, to be there reckoned a mong its pe arls .
UNICH New State Gallery Hans Thoma (born
1 8 5 9) Taunus Landscape . By kind permission l of Franz H an fst aeng in Munich . Photographic Repro
. n . G . . duction by F Bruckma n, A , Munich
Hans Thoma, son of the Black Forest, in this painting pays homage to the Taunus which , during his long stay of many years at Frankfort, he learnt to know and love and in wandering through which ' h e gained many a
n u pictorial impression . The feeli g of blissf l rest after
n fl a stiff march, the gladdeni g in uence of a retrospective o l ok into the valley below impress the picture, which in its beautiful contemplativeness, betraying the maturity
5 9 of the man, (Thoma painted it at the age of ) brings
v moreover, into close concord with the lo ely wan
’ d er er s v on pictures by Moritz Schwind .
UN ICH Schack Gallery Karl Spitzweg ( 1 8 0 8
h r a hi to 1 8 8 5) Serenade . P ot og p c Repr oduct ion
. . G . . by F Bruckmann , A , Munich
Count Schack created his private collection from 1 8 5 8
1 8 0 G en elli to 7 which with its choice works of , Schwind,
u L enb a ch Feuerbach, B cklin, and belonged to the most purposiv e and most valuable of the priv ate collections in Germany . Presented by Schack to the Emperor
Wilhelm II . , the gallery has now passed over into the
ult us— i custody ofthe C Ministry of Pruss a, being recently rehung by Geheimrat Jus ti . Schack whose penchant it was to pursue the track of artists that wandered along less -trodden paths also bought six works by Spitzweg w in a day when this idyllic poet, who like ise played a but now recognized part in the development ofpainting
' ' was looked upon rather a s a crank than as a great artist .
CH L E ISSH E IM Picture Gall ery / Franz Joa chim — Beich ( 1 6 6 5 1 7 4 8) / Landscape with a V iew of
Munich . Photographic Reproduction by F . Bruckmann
. G . . A , Munich
The Castle ofS chleiBh eim which rears up its loftyturrets in the broad moors about 1 5 Kilometres miles) north of Munich is a Splendid edifice in florid Baroque
Wi el b a h s tt s c . style, the property of the Always regarded
' ' as a Gallery Castle, its picture gallery embraced, up to the time that the New Pinakothek was opened, the best paintings held by the Wittelsbach princes . Even to this day it is one of the most variegated and well- stocked galleries in Germany, despite the fact of its having made
running consignments to the Museum s all over the country . The pictures of the Baroque Era are a unique source of pleasure, as, for example, the landscape of that
Beich excellent Munich artist, Franz Joachim , which represents the return of a hunting - party to Munich whose towers and edifices are silhouetted against the
- distant blue , Alpine mountain chains ' a characteristic
th 1 8 piece of landscape painting in the century, which
already shows strong traces of the dawn of the modern
— Museum Georg Flegel ( 1 5 6 5 1 6 5 8) f e . From Biermann , German Baroque and
Bo ks o Munich . Rococo, Publishers of the White , Photo graphic Reproduction by van der Smissen at Darmstadt .
The little museum in Gotha, embracing in the building,
O 1 8 erected and pened in 7 9, one portion of the art
the - treasures of Ducal House, enjoys in the Still life of a the rare B roque master, Georg Flegel, who, born in u w Olm tz, lived and orked at Frankfort on the Maine, a choice piece of intimate painting of the smaller order .
’ le el s Long misunderstood and misprized F g work has,
1 1 b e since the Darmstadt Baroque Exposition of 9 4,
i come a centre of nterest, for here it was recognized was one of the few German painters, who imparted the traditions of the grand of German art to a less favoured Age .
B IMAR Museum Lukas Cranach ( 1 4 7 9 to
1 5 5 5 ) Prinzess Sibylla ofCleves in Bridal Array.
hvvi r . Sc e (Section) . Photographic Reproduction by K in
W im a e r .
The Museum of Weimar, for which about a decade ago
H . v an . de Velde built a new home, is like most of the
M r l iddle German, pa ticu arly Thuringian art collections, rich in the works of the prolific master, Lukas Cranach the Elder and of his workshop . In the portrait painted 1 5 9 6 of the girlishly charming Prinzess Sibylla of
v Cle es, who was affianced to the then Saxon Electoral
Prince Johann Friedrich, a portrait of whom also hangs
as a pendant in the Museum of Weimar, Cranach has,
t in spite of all effor s to remain true to life in his portrait, maintained that type of maidenhood so characteristic
of all his creations . Feature and face it is true were given, but Cranach has filled the picture of the Princess with
v that sweet nai ety, which is significant of his view of
female loveliness . (Cp . p .
— G Museum Max Klinger ( 1 8 5 7 1 99 0)
A . m n E . S ee a n The BlueHour . By kind permission of of Leipzig. Photographic Reproduction by F . Bruck
n . G . . man , A , Munich The City Museum in Leipzig is a collection of works of art, made in the middle of the nineteenth century, the value of which bases chiefly on its picture gallery, in which there is hardly anything to be found but mod er n masters . That great son of Leipzig, Max Klinger, the
- v epoch making artist of unprecedented ersatility, is above all well - represented with a great number of
' works as a graphic artist , teeming with ideas , as a
w v po erfully creative modeller, as a painter who stro e to solve the most profound problems of the painter’ s ' art, to whit in the painting reproduced here of The
' Blue Hour , he wrought at a great work, the scope of which can be gauged nowhere else in the world better than here .
RE SDE N Picture Gallery Hans Holbein the
Younger ( 1 4 97 1 54 5 ) Portrait ofSieur Charles
Solier de Morette . Photographic Reproduction by F .
. G . . Bruckmann, A , Munich
In our circuit through the galleries of Germany, we meet the younger Holbein for the third time as a por trait painter, all of these pictures having been painted
' Gisz e in London the German merchant , the young
English nobleman, and here the French Grand Seig neur, who lived at the court of Henry the Eighth of
’ England . All the points of merit of Holbein s art are proper to this work 'a marvel of l uminous colouring and masterfulness in design gives v oice to a profound com prehension of a personality that has become manifest by psychological intuition of its inmost being . Strange to say for a long period Holbein ’ s portrait was taken
C . . for a work by Lionardo da Vinci . ( p pp 9 and
RE SDE N Picture Gallery Ludwig v on Herte m rich (bo 1 8 5 6) Ulrich von Hutten (Section) . m . . G . Photographic Reproduction by F Bruck ann, A ,
Munich . Of the works of modern masters the Dresden Gallery
has at its command, this is one of the most fascinating .
i H er t er i ch Ludwg , one of the founders and leaders of
' ' the Secession at Munich , manifesting himself to be the creator of a truly monumental style of painting, has crowded into this passionate representation of the
combatant , standing in the presence of his god with
gleaming sword, all that was in him of depth of emotion
t and temperament , of streng h of expression , of the grandeur of pictorial power and created thus a picture
in which all is comprehended, as in a brief formula, that a sublime past has transmitted of German battlings and
of German sufferings .
RESLAU Silesian Museum Arnold Bocklin
9 0 1 ( 1 8 7 1 9 ) Painting and Poetry . By kind per mission ofth ePhotogr aphis ch e Union inMun ich . Photo
u . . G . . graphic Reprod ction by F Bruckmann , A , Munich
In the German East, the Silesian Museum of the for m at iv e of Arts , existing in its present stage organization
1 8 8 0 . since , tells impressively ofGerman art Apart from a small number of paintings by older masters the collec tion contains prominent pictures of modern and recent u ’ ' art of all artistic lines . Arnold B cklin s Painting and
' 1 8 8 9 Poetry ofthe year , a masterpiece of architectonic pictorial designing, of glossy luminousness of colouring is so to say the programmatic picture of poetical pain
in i ting contradistinction to realist c painting, its object being to proclaim painting and poetry twin creations, to emphasize that both of them draw their inspiration from one common fount and that in the depths oftheir being they form an entity . The painting is thus also an
con es ion o z aesthetic f s f f a it/ .