Current

Behind the Mask: Artists in the GDR
October 29, 2017 to February 4, 2018

Artists in the GDR were caught between providing a role model and retreating into seclusion, between operating within a prescribed collective and pursuing creative individuality. How did they reflect the way they saw their profession and their own take on the official mission to educate the public? This exhibition brings together self- and group portraits, role projections and studio scenes to illustrate the critical gaze they turned upon themselves. Behind the Mask: Artists in the GDR is about the self-styling of artists as individuals from 1945 to 1989, presented through four generations in paintings, photographs, prints, drawings, collages, sculptures, and performances.

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Trak Wendisch: Tightrope Walker, 1984, Staatliche Museen zu Berlin, Nationalgalerie, Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders, © VG BILD-KUNST, Bonn 2017

Trak Wendisch: Tightrope Walker, 1984, Staatliche Museen zu Berlin, Nationalgalerie, Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders, © VG BILD-KUNST, Bonn 2017

October 29, 2017 to February 4, 2018

Artists in the GDR were caught between providing a role model and retreating into seclusion, between operating within a prescribed collective and pursuing creative individuality. How did they reflect the way they saw their profession and their own take on the official mission to educate the public? This exhibition brings together self- and group portraits, role projections and studio scenes to illustrate the critical gaze they turned upon themselves. Behind the Mask: Artists in the GDR is about the self-styling of artists as individuals from 1945 to 1989, presented through four generations in paintings, photographs, prints, drawings, collages, sculptures, and performances.

Trak Wendisch: Tightrope Walker, 1984, Staatliche Museen zu Berlin, Nationalgalerie, Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders, © VG BILD-KUNST, Bonn 2017

Trak Wendisch: Tightrope Walker, 1984, Staatliche Museen zu Berlin, Nationalgalerie, Photo: bpk / Nationalgalerie, SMB / Jörg P. Anders, © VG BILD-KUNST, Bonn 2017

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What's more
Documentation: The Gallery of the Palace of the Republic
October 29, 2017 to February 4, 2018

The sixteen large gallery paintings are on display again for the first time in twenty years. These works on the question Are communists allowed to dream?, painted in 1975 at the peak of GDR state art, adorned the East Berlin building, home to parliament and major cultural facilities until 1990. Widely acclaimed in their day, they are striking illustrations of art as official embellishment.

Hans Vent: Menschen am Strand, 1975, Leihgabe der Bundesrepublik Deutschland, © VG BILD-KUNST, Bonn 2017

Hans Vent: Menschen am Strand, 1975, Leihgabe der Bundesrepublik Deutschland, © VG BILD-KUNST, Bonn 2017

October 29, 2017 to February 4, 2018

The sixteen large gallery paintings are on display again for the first time in twenty years. These works on the question Are communists allowed to dream?, painted in 1975 at the peak of GDR state art, adorned the East Berlin building, home to parliament and major cultural facilities until 1990. Widely acclaimed in their day, they are striking illustrations of art as official embellishment.

Hans Vent: Menschen am Strand, 1975, Leihgabe der Bundesrepublik Deutschland, © VG BILD-KUNST, Bonn 2017

Hans Vent: Menschen am Strand, 1975, Leihgabe der Bundesrepublik Deutschland, © VG BILD-KUNST, Bonn 2017

Contemporary Positions in the USA and Mexico
June 17, 2017 to February 4, 2018

Along with Harold Joe Waldrum (1934–2003), Dan Namingha (*1950), and Rufino Tamayo (1899–1991), we are presenting three idiosyncratic modern art positions in the USA and Mexico.

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Harold Joe Waldrum: The Lost Church in Cleveland, New Mexico, ca, 2002, © The Estate of Harold Joe Waldrum

Harold Joe Waldrum: The Lost Church in Cleveland, New Mexico, ca, 2002, © The Estate of Harold Joe Waldrum

June 17, 2017 to February 4, 2018

Along with Harold Joe Waldrum (1934–2003), Dan Namingha (*1950), and Rufino Tamayo (1899–1991), we are presenting three idiosyncratic modern art positions in the USA and Mexico.

Harold Joe Waldrum: The Lost Church in Cleveland, New Mexico, ca, 2002, © The Estate of Harold Joe Waldrum

Harold Joe Waldrum: The Lost Church in Cleveland, New Mexico, ca, 2002, © The Estate of Harold Joe Waldrum

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Preview

Max Beckmann: The World as a Stage
February 24, 2018 to June 10, 2018

Many paintings by Max Beckmann (1884–1950) show the world of the theater, circus, and music halls. He presented his paintings as stages. Showmanship was a driving force behind his work. He viewed this ‘world theater’ as a model for basic human experiences.

Held in cooperation with the Kunsthalle Bremen where the exhibition will be shown from September 30, 2017 to February 4, 2018.

Max Beckmann: Self-Portrait with a Saxophone, 1930, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, © VG BILD-KUNST, Bonn 2017

Max Beckmann: Self-Portrait with a Saxophone, 1930, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, © VG BILD-KUNST, Bonn 2017

February 24, 2018 to June 10, 2018

Many paintings by Max Beckmann (1884–1950) show the world of the theater, circus, and music halls. He presented his paintings as stages. Showmanship was a driving force behind his work. He viewed this ‘world theater’ as a model for basic human experiences.

Held in cooperation with the Kunsthalle Bremen where the exhibition will be shown from September 30, 2017 to February 4, 2018.

Max Beckmann: Self-Portrait with a Saxophone, 1930, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, © VG BILD-KUNST, Bonn 2017

Max Beckmann: Self-Portrait with a Saxophone, 1930, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, © VG BILD-KUNST, Bonn 2017

Klaus Fußmann: People and Landscapes
February 24, 2018 to June 10, 2018

Klaus Fußmann has been exploring people in spaces since the 1970s. Early on, he began replacing depictions in interiors with figures in landscapes. These frequently large, nearly square works show people confronting their viewers head-on. They are often friends or relatives of the painter, but they may also be figures from fairy-tales or mythology. In the 1980s, the painter began portraying himself in the landscapes. He appears outdoors on large mirrors. In the past fifteen years, he has been applying his paint more thickly, turning the image space into a tactile experience.

This presentation will be shown in celebration of Klaus Fußmann’s eightieth birthday and will run parallel to the exhibition Max Beckmann: The World as a Stage.

Klaus Fußmann: Beveroe (Dance), 1982, private collection, Photo: Achim Kukulies, Düsseldorf

Klaus Fußmann: Beveroe (Dance), 1982, private collection, Photo: Achim Kukulies, Düsseldorf

February 24, 2018 to June 10, 2018

Klaus Fußmann has been exploring people in spaces since the 1970s. Early on, he began replacing depictions in interiors with figures in landscapes. These frequently large, nearly square works show people confronting their viewers head-on. They are often friends or relatives of the painter, but they may also be figures from fairy-tales or mythology. In the 1980s, the painter began portraying himself in the landscapes. He appears outdoors on large mirrors. In the past fifteen years, he has been applying his paint more thickly, turning the image space into a tactile experience.

This presentation will be shown in celebration of Klaus Fußmann’s eightieth birthday and will run parallel to the exhibition Max Beckmann: The World as a Stage.

Klaus Fußmann: Beveroe (Dance), 1982, private collection, Photo: Achim Kukulies, Düsseldorf

Klaus Fußmann: Beveroe (Dance), 1982, private collection, Photo: Achim Kukulies, Düsseldorf

Gerhard Richter. Abstraction
June 30 to Oktober 21, 2018

The exhibition Gerhard Richter: Abstraction examines for the first time the abstract strategies and processes found in the artist’s complete works. The show was inspired by a work held by the Museum Barberini and brings together around 80 pieces from international museums and private collections.

Gerhard Richter began to challenge the idea of painting in the 1960s. Beginning with these early images, the exhibition follows the path of abstraction in Richter’s work to the present day. This includes his series of gray, monochromatic works from the 1970s, the black-and-white images in which he explored contemporary documents, and his group of abstract paintings that retain the marks of brushes, squeegees, and palette knives.

This exhibition is held in cooperation with the Gerhard Richter Archive of the Dresden State Art Collections.

Gerhard Richter: A B, Quiet, 1986, Museum Barberini © Gerhard Richter 2017 (0181)

Gerhard Richter: A B, Quiet, 1986, Museum Barberini © Gerhard Richter 2017 (0181)

June 30 to Oktober 21, 2018

The exhibition Gerhard Richter: Abstraction examines for the first time the abstract strategies and processes found in the artist’s complete works. The show was inspired by a work held by the Museum Barberini and brings together around 80 pieces from international museums and private collections.

Gerhard Richter began to challenge the idea of painting in the 1960s. Beginning with these early images, the exhibition follows the path of abstraction in Richter’s work to the present day. This includes his series of gray, monochromatic works from the 1970s, the black-and-white images in which he explored contemporary documents, and his group of abstract paintings that retain the marks of brushes, squeegees, and palette knives.

This exhibition is held in cooperation with the Gerhard Richter Archive of the Dresden State Art Collections.

Gerhard Richter: A B, Quiet, 1986, Museum Barberini © Gerhard Richter 2017 (0181)

Gerhard Richter: A B, Quiet, 1986, Museum Barberini © Gerhard Richter 2017 (0181)

Past

Past
Impressionism: The Art of Landscape
January 23 to May 28, 2017

We present the exhibition Impressionism: The Art of Landscape from January 23 to May 28, 2017. River and marine landscapes, fields and gardens in bloom, reflections on water, and winter landscapes were themes used by the Impressionists to carry out their experiments. With works by artists such as Claude Monet (1840–1926), Pierre-Auguste Renoir (1841–1919), and Gustave Caillebotte (1848–1894) the show brings major representatives of Impressionism to Potsdam, presenting artistic explorations into what at the time was a new, modern understanding of nature.

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Gustave Caillebotte: The Argenteuil Bridge and the Seine, c. 1883, private collection

Gustave Caillebotte: The Argenteuil Bridge and the Seine, c. 1883, private collection

January 23 to May 28, 2017

We present the exhibition Impressionism: The Art of Landscape from January 23 to May 28, 2017. River and marine landscapes, fields and gardens in bloom, reflections on water, and winter landscapes were themes used by the Impressionists to carry out their experiments. With works by artists such as Claude Monet (1840–1926), Pierre-Auguste Renoir (1841–1919), and Gustave Caillebotte (1848–1894) the show brings major representatives of Impressionism to Potsdam, presenting artistic explorations into what at the time was a new, modern understanding of nature.

Gustave Caillebotte: The Argenteuil Bridge and the Seine, c. 1883, private collection

Gustave Caillebotte: The Argenteuil Bridge and the Seine, c. 1883, private collection

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Past
Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky
January 23 to May 28, 2017

The exhibition Modern Art Classics (January 23 to May 28, 2017) draws a line from impressionism in Germany to fauvism in France and international abstract art. It will show works by Max Liebermann (1847–1935), Edvard Munch (1863–1944), Wassily Kandinsky (1866–1944), and Andy Warhol (1928–1987).

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Edvard Munch: Summer Night by the Beach, 1902/03, private collection

Edvard Munch: Summer Night by the Beach, 1902/03, private collection

January 23 to May 28, 2017

The exhibition Modern Art Classics (January 23 to May 28, 2017) draws a line from impressionism in Germany to fauvism in France and international abstract art. It will show works by Max Liebermann (1847–1935), Edvard Munch (1863–1944), Wassily Kandinsky (1866–1944), and Andy Warhol (1928–1987).

Edvard Munch: Summer Night by the Beach, 1902/03, private collection

Edvard Munch: Summer Night by the Beach, 1902/03, private collection

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From Hopper to Rothko: America’s Road to Modern Art
June 17 to October 3, 2017

From Hopper to Rothko: America's Road to Modern Art presents the development of North American painting in the first half of the 20th century. It illustrates three major themes – landscapes, portraits, and cityscapes – and follows the evolution of abstract painting during this time. After 1945, these developments culminated in Abstract Expressionism, and New York City became the new center of the art world. The show brings together 68 paintings from The Phillips Collection, Washington, D.C. The Museum Barberini presents 68 masterpieces from The Phillips Collection, Washington, D.C.

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Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

June 17 to October 3, 2017

From Hopper to Rothko: America's Road to Modern Art presents the development of North American painting in the first half of the 20th century. It illustrates three major themes – landscapes, portraits, and cityscapes – and follows the evolution of abstract painting during this time. After 1945, these developments culminated in Abstract Expressionism, and New York City became the new center of the art world. The show brings together 68 paintings from The Phillips Collection, Washington, D.C. The Museum Barberini presents 68 masterpieces from The Phillips Collection, Washington, D.C.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

Edward Hopper: Sunday, 1926, The Phillips Collection, Washington D.C.

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