Press

On this page, we have compiled all media-related information and press documents regarding exhibitions at the Museum Barberini. Please contact us if you have any questions, require additional material, or would like to schedule an interview:

Achim Klapp, Marte Kräher, presse@museum-barberini.com

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Press Releases
  • September 3, 2020 | Pressemitteilung
    Impressionism: The Hasso Plattner Collection – On permanent display at the Museum Barberini starting September 5, 2020

    Beginning on September 5, 2020, the Museum Barberini in Potsdam will present a permanent display of the extensive collection of Impressionist and Post- Impressionist paintings from the collection of the museum’s founder, Hasso Plattner, including masterpieces by Monet, Renoir, and Signac. With thirty-four paintings by Monet, there is no venue in Europe outside of Paris where visitors can see more works by this painter. The holdings of paintings by Caillebotte, Pissarro, Signac, Sisley, and Vlaminck are also unique in Germany. In addition to its temporary exhibitions, the Museum Barberini now showcases a permanent collection that is unparalleled in Germany. This makes Potsdam one of the most important international centers of Impressionist landscape painting.

    Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley formed a group in the 1860s and revolutionized art with light-infused landscapes that were liberated from the traditional subject matter of the era. In 1874 they became known as the “Impressionists”: artists who preferred to work outdoors, capturing fleeting impressions directly on the canvas. Painters such as Berthe Morisot, Paul Cézanne, and Gustave Caillebotte joined this new movement. More than a decade later, artists such as Paul Signac and Henri-Edmond Cross further developed the painting style of these pioneers. Even in their Neo-Impressionist compositions, focus on the landscape remained linked to the liberation of color—an aspect that was reinforced by the high-key compositions of the Fauves such as Maurice de Vlaminck and André Derain. Impressionists, Neo-Impressionists, and Fauves followed the ideal of making nature tangible through color and light.

    Impressionism has been the focus of Hasso Plattner’s collecting since 2000. As Plattner explains, “The paintings involve us as viewers in a very direct way. We can practically feel the wind on our skin and the temperature of the water when we look at Monet’s sailboats on the Seine. No other art can do that. The Impressionists are geniuses of communication.” Roughly three years after the Museum Barberini first opened, Plattner is now giving one hundred works from his private collection as well as from the Hasso Plattner Foundation to the museum as a permanent loan. Featuring thirty-four paintings by Claude Monet, no other venue in Europe outside of Paris offers more works by this artist. The holdings of compositions by Caillebotte, Pissarro, Signac, Sisley, and Vlaminck are also unique in Germany. Among the most famous works of the collection are Caillebotte’s The Argenteuil Bridge and the Seine (ca. 1883), Signac’s The Port at Sunset, Opus 236 (Saint- Tropez) (1892), and Monet’s Grainstacks (1890), The Palazzo Contarini (1908) and Water Lilies (1914–17).

    The presentation of the collection at the Museum Barberini spans the period from the 1860s to the early twentieth century and brings together works by three generations of artists who often worked together, traveled to the same places to work, and mutually inspired each other. Consisting of eight central chapters, the show enables visitors to trace the development of French landscape painting through the styles of Impressionism, Neo-Impressionism, and Fauvism. Ortrud Westheider, the director of the Museum Barberini, stresses the significance of the new permanent exhibition: “No other collection can present Impressionist landscape painting as comprehensively and coherently in terms of its development and iconography. Through our works, visitors can learn about the fascinating history of the Impressionist movement as well as the further development of landscape through the Neo-Impressionists and Fauves.”

    In the 2017 inaugural exhibition of the Museum Barberini, Impressionism: The Art of Landscape, Westheider had already countered the preconception that Impressionism is a spontaneous art of atmosphere. “These paintings invite a thorough examination. Now that Hasso Plattner has entrusted this treasure to the Museum Barberini as a permanent loan, we can offer new impulses to research on Impressionism and create an international network through our exhibitions, conferences, and lectures. These are paintings that have companion pieces in such high-profile collections as the Musée d’Orsay in Paris, the Art Institute of Chicago, and the National Gallery of Art in Washington—institutions with which the Museum Barberini will be able to connect more closely in the future. In addition to museums rich in tradition such as the Wallraf-Richartz-Museum in Cologne, the Neue Pinakothek in Munich, the Alte Nationalgalerie in Berlin, and the Staatsgalerie Stuttgart, which later this fall will be opening the exhibition With All the Senses that is devoted to French Impressionism, the museum landscape of Germany has gained another venue that has an excellent collection of Impressionist and Post- Impressionist works—thanks to the generous permanent loans of our patron.”

    In conjunction with the opening of the collection presentation, Prestel will publish the catalog Impressionism: The Hasso Plattner Collection by Ortrud Westheider. The museum’s website will present the collection with texts by Daniel Zamani, Curator at the Museum Barberini, and the results of the provenance research carried out by Research Associate Linda Hacka.

  • July 22, 2020 | Press Release
    Data Analytics – Museumserlebnisse mit Datenanalyse optimieren

    Das von der Hasso Plattner Stiftung gegründete Museum Barberini in Potsdam zeigt Themen aus der gesamten Kunstgeschichte mit den Schwerpunkten Impressionismus und Kunst aus der DDR. Bis zu drei Ausstellungen im Jahr bieten Besuchern eine hohe Abwechslung, erfordern aber auch die stetige Anpassung und Weiterentwicklung der digitalen Produkte des Hauses. Die Ausstellungen und Exponate werden durch ein reichhaltiges Zusatzangebot, insbesondere mittels der Museums-App begleitet. Auf diese Weise soll der Museumsbesuch ein nachhaltiges Erlebnis für vielfältige Besuchergruppen bieten.

    Das Ziel eines mit dem Hasso-Platner Institut (HPI) entwickelten Bachelorprojekts war die Sammlung, Aufbereitung, Analyse und Präsentation verfügbarer Daten rund um den Museumsbesuch. Die Analyseergebnisse sollen zukünftig genutzt werden, um Ausstellungen und deren weitere Angebote noch attraktiver zu gestalten, den Besucher noch besser zu begleiten und so das Museumserlebnis zu verbessern.

    Für das in der der deutschen Museumslandschaft einzigartigen Projekt standen anonymisierte Daten aus der Museums-App und aus Befragungen zur Verfügung. Darin sind auch Ortungsinformationen innerhalb des Museums enthalten. Zusätzlich wurden externe Informationen etwa aus Ausstellungsbesprechungen in Bewertungsportalen oder anderen Web-Texten gesammelt und ausgewertet.

    Das Projekt durchschrittt sämtliche Schritte eines typischen Datenanalyseprojekts und umfasste mehrere Aufgabenpakete. Der genaue Umfang jedes Pakets wurde mit den Teilnehmern im Laufe des Projekts abgestimmt:

    - Datensammlung: In dieser ersten Phase wurden alle vorhandenen Systeme identifiziert und die darin enthaltenen strukturierten und unstrukturierten Daten extrahiert sowie zentral gespeichert. Hierbei wurden Export-Funktionen der bestehenden Systeme und den darin bereits gesammelten Daten nutzbar, aber auch z.B. Webcrawler oder eigene Tools zur Datensammlung entwickelt..
    - Datenaufbereitung: In der zweiten Phase wurden die Rohdaten so formatiert und strukturiert, dass sie für eine automatisierte Analyse verwendet werden konnten. Hierbei gilt es, ein Datenmodell zu entwickeln, das eine optimale Auswertung ermöglichte, und alle Daten in diese Struktur überführte.
    - Datenanalyse und Erstellung von Handlungsempfehlungen: In dieser Phase wurden Analysemethoden entwickelt, die eine möglichst ergiebige Datenauswertung aus textuellen Daten ermöglichten, etwa statistische Algorithmen, aber auch Machine Learning Ansätze. Aus den Ergebnissen der Datenanalyse wurden dann konkrete Empfehlungen abgeleitet.
    - Visualisierung und Präsentation der Ergebnisse: Die Kernergebnisse der zugrundeliegenden Handlungsempfehlungen wurden durch Visualisierungstools darzustellt, die durch die Geschäftsführung des Museums nun nutzbar sind.

    Das Projekt startete im Oktober 2019 und wurde durch Prof. Dr. Felix Naumann und sein Team sowie durch Mitarbeiter des Museums Barberini betreut.

  • July 20, 2020 | Press Release
    Monets Werke begeisterten in Potsdam und online

    Am Wochenende ging die große Monet-Retrospektive im Museum Barberini zu Ende. Rund 110.000 Besucherinnen und Besucher zählte die Werkschau trotz der Corona-Pandemie. Die Ausstellung war die umfangreichste Retrospektive, die dem Künstler jemals an einem deutschen Museum gewidmet wurde. Digitale Angebote begleiteten die erste Schau, die Monets künstlerischen Werdegang im Hinblick auf seine Ortswahl und sein Ortsbewusstsein in den Blick nahm.

    Um Gäste und Mitarbeiter vor einer möglichen Ansteckung zu schützen und die Ausbreitung des Coronavirus zu verlangsamen, hatte das Museum Barberini im März nach knapp vierwöchiger Ausstellungslaufzeit schließen müssen. Zwei Monate später öffnete das Museum im Mai wieder seine Türen, allerdings unter strengen Hygiene-Auflagen und mit stark eingeschränkten Ticketkontingenten.

    „Wir sind sehr froh, dass wir unter diesen besonderen Bedingungen so vielen Besucherinnen und Besuchern die Möglichkeit geben konnten, diese einzigartige Schau zu erleben“, erklärt Museumsdirektorin Ortrud Westheider. „Die Nachfrage nach der langen Schließzeit nach Tickets war riesig, und es tut uns unendlich leid, dass die Online-Buchung aufgrund der stark reduzierten Ticketkontingente eine so große Herausforderung war. Unser Team hat alles Erdenkliche getan, um einen angenehmen Museumsbesuch bei maximaler Sicherheit zu ermöglichen. Sehr herzlich möchte ich mich für die Geduld und das Verständnis unserer Besucher in dieser außerordentlichen Situation bedanken“.

    Westheider bedauert, dass wegen der Einschränkungen längst nicht alle Kartenwünsche erfüllt werden konnten, hat aber einen Trost für Freunde des französischen Impressionismus parat: „Alle, die keine Chance hatten, Monet. Orte zu besuchen, können wir hoffentlich mit dieser Nachricht erfreuen: 34 Gemälde von Claude Monet werden dauerhaft ins Museum Barberini ziehen und sind ab dem 7. September 2020 im Rahmen unserer Sammlungspräsentation Impressionismus. Die Sammlung Hasso Plattner zu sehen“. Mit der umfangreichen Sammlung des Museumsstifters wird Potsdam eines der weltweit wichtigsten Zentren impressionistischer Landschaftsmalerei: In Zukunft werden über 100 Werke von Monet, Renoir, Signac, Pissarro bis Sisley dauerhaft im Museum Barberini präsentiert.

    Mit zahlreichen, täglich wechselnden Online-Angeboten rund um die AusstellungMonet. Orte hatte das Museum Barberini die Werke und die Geschichten hinter den Gemälden auch während der temporären Schließzeit in den digitalen Raum getragen. Neben der multimedialen Website Barberini Prolog, gefilmten Kuratoren-Rundgängen, 360°-Touren durch die Ausstellung und Monets Garten in Giverny sowie Interviews mit internationalen Monet-Experten präsentierte das Museum Online-Yoga-Kurse, digitale Gesprächskonzerte und Bildbesprechungen der Barberini Kids. Eine Live Tour bot zudem die Möglichkeit, die Schau gemeinsam mit einem erfahrenen Guide bei einem interaktiven Rundgang virtuell zu besuchen. Das Interesse an den digitalen Angeboten war groß: 1,8 Millionen Nutzer besuchten in der Ausstellungszeit die Website, mit Posts und Videos erreichte das Museum allein auf Facebook fast 1,5 Millionen User.

    Zur Vorbereitung der Sammlungspräsentation bleibt das Museum Barberini bis 6. September 2020 geschlossen, alle Online-Angebote sind weiterhin auf www.museum-barberini.de/digital verfügbar.

  • June 18, 2020 | Press Release
    Impressionism: The Hasso Plattner Collection: from September 7, 2020 at the Museum Barberini

    Beginning on September 7, 2020, the Museum Barberini in Potsdam will present a permanent display of the extensive collection of Impressionist paintings of the museum’s founder, Hasso Plattner, including masterpieces by Monet, Renoir, and Signac. With thirty-four paintings by Claude Monet, there is no venue in Europe outside of Paris where visitors can see more works by this painter. This makes Potsdam one of the most important international centers of Impressionist landscape painting. The Museum Barberini now showcases a collection that is unique in Germany in addition to its temporary exhibitions mounted in cooperation with museums all over the world.

    Claude Monet, Camille Pissarro, Auguste Renoir, and Alfred Sisley formed a group in the 1860s and revolutionized art with light-infused landscapes that were liberated from the traditional subject matter of the era. In 1874 they became known as the “Impressionists,” who preferred to paint outdoors and captured fleeting impressions directly on the canvas. Artists such as Berthe Morisot, Paul Cézanne, and Gustave Caillebotte joined this new movement. More than a decade later, colleagues such as Paul Signac and Henri-Edmond Cross further developed the painting style of these pioneers, and even Pablo Picasso was inspired by the Impressionist style in 1901, the first year he spent in Paris.

    With its focus on the fleeting moment, this movement has lost none of its original charm. The Impressionists wanted to paint everything in a fresh way. Their gift of observation resulted in realistic images of surprising abstraction. Guided by changing effects of light and atmosphere, they created timelessly beautiful landscapes whose pioneering spirit and energy continue to delight us to this very day.

    Hasso Plattner chose to concentrate on this style and explains his passion in the following terms: “The paintings involve us as viewers in a very direct way. We feel the wind on our skin and the temperature of the water when we look at Monet’s sailboats on the Seine. No other art can do that. The Impressionists are geniuses of communication.” Plattner is now lending more than 100 works from his private collection as well as from the Hasso Plattner Foundation to the Museum Barberini. Amongst the most famous paintings in this body of works are Caillebotte’s Bridge at Argenteuil (1893), Monet’s Grainstacks (1891), Signac’s The Port at Sunset (1892), as well as Monet’s Palazzo Contarini (1908) and Water-Lilies (1914–17).

    With the Museum Barberini and his collection, one of Plattner’s aims is to remind us of the contested history of Impressionism in Germany. To this day, the paintings of this movement are underrepresented in German museums: “Due to national resentments, French Impressionism was only rarely collected during the imperial era in Germany. I would like my collection in the Museum Barberini—particularly due to its location in eastern Germany—to be a place of French-German friendship, of cultural openness, and of international exchange.”

    The collection enables visitors to visualize the history of French Impressionism. Ortrud Westheider, the Director of the Museum Barberini, underlines the importance of the new permanent display: “No other collection can present Impressionist landscape painting as comprehensively and coherently in terms of its development and iconography. Our works make the history of this fascinating art movement tangible.” In Impressionism: The Art of Landscape, the opening exhibition of the Museum Barberini in 2017, Westheider already confronted the preconception that Impressionism is merely a spontaneous and atmospheric art form. According to Westheider, this art deserves to be examined in a more profound way: “The fact that Hasso Plattner has now entrusted the Museum Barberini with this treasure as a permanent loan enables us to give new impulses to scholarship on Impressionism with our exhibitions, conferences, and lectures, and also to further enhance our international networks.”

    The catalog Impressionism: The Hasso Plattner Collection by Ortrud Westheider will be published by Prestel in conjunction with the opening of the permanent display. On the museums website, the collection will be presented with texts by Daniel Zamani, Curator at the Museum Barberini, and results of provenance research conducted by Linda Hacka, Research Assistant at the Museum Barberini.

    Until July 19, the Museum Barberini will be showing the exhibition Monet: Places, the largest retrospectives ever devoted to the artist by a German museum, as well as the presentation of Jasper Johns: The 100 Monotypes. Thanks to the extraordinary support of all lenders, the museum was not only able to extend Monet: Places until July 19, but to also postpone the exhibition Rembrandt's Orient, a cooperation with the Kunstmuseum Basel, to spring 2021. On view from March 13 to June 27, 2021, the show features more than 100 works of art, exploring how Rembrandt and his Dutch colleagues responded to the influence of Far Eastern cultures.

  • April 29, 2020 | Press Release
    Museum Barberini reopens on May 6

    After almost two months of its temporary closure, the Museum Barberini will reopen its doors on Wednesday, May 6, 2020. The state of Brandenburg has approved the reopening of cultural institutions, subject to strict conditions. In consultation with the relevant authorities, the museum has developed an extensive list of protective and hygiene measures.

    To ensure health and safety during the coronavirus pandemic, the number of visitors will be strongly restricted until further notice. Visiting slots will be limited to 120 minutes, and a sign-posted tour will help visitors to abide by the 1.5-meter social distancing rule. The compulsory wearing of masks and a general contact reduction will further enhance protection.

    Ortrud Westheider, Director of the Museum Barberini, points out: “We are delighted to finally make the museum accessible again. We are conscious of the responsibility we have to our guests and staff. In these difficult times, during which museums all over the world were closed, the Museum Barberini has experienced extraordinary solidarity: Within a very short time, our numerous international lenders agreed to extend the exhibition Monet: Places, thus enabling us to devote time and space to Monet’s work.”

    From Thursday, April 30, 2020, all tickets will initially have to be booked online. Pre-booked tickets for a visit from May 6, 2020 onwards remain valid.

    For further information on tickets for the Monet exhibition and the protective measures adopted by the Museum Barberini please visit our website: www.museum-barberini.de.

  • April 20, 2020 | Press Release
    Museum Barberini Examines Requirements for Reopening

    On Friday, April 17, 2020, the state of Brandenburg agreed to the reopening of museums, albeit under strict conditions in terms of hygiene and social distancing. The Museum Barberini is currently reviewing these safety and hygiene regulations in consultation with the responsible authorities in Potsdam and plans their technical and organizational implementation. The museum is also in close contact with other cultural institutions in Potsdam and Berlin.

    “We have drawn up a hygiene plan and concepts for regulating the flow of visitors. In order to ensure the safest possible visit to the exhibition, we still need some more time to adapt the necessary protective measures for the building. We hope to make our Monet exhibition accessible to our visitors again as soon as possible. We will keep you posted on the opening date,” the museum’s Director, Ortrud Westheider, explains.

    With numerous online resources and digital offers accompanying the exhibition Monet: Places, the Museum Barberini gives daily insights into the exhibition, giving insights into its narrative threads, themes and works on display. In addition to a mini-site on the exhibition, filmed curatorial tours, 360° tours of the galleries, and interviews with international Monet scholars, the museum now offers Barberini Live Tours.

    In this format, experienced guides invite users to an interactive journey through the wide-ranging places that Monet painted and which significantly influenced the course of his long and prolific career — from the metropolis of Paris and the Seine villages of Argenteuil, Vétheuil and Giverny to travel destinations such as London or Venice. This virtual tour does not only feature reproductions of the paintings themselves, but also conveys a sense of the atmosphere in the galleries, allowing users to understand the decisions behind the installation and the way clusters of works illuminate key artistic approaches and themes – almost as if they were in the museum themselves. Participants can experience the show in their own home, complete with a personal guide they can address questions to.

    “We know that a virtual tour can never fully replace the encounter with the original. But the combination of a 360° tour with a personal guided tour comes very close to an exhibition visit and allows access to people who cannot visit the museum in person,” Ortrud Westheider points out. “In a preliminary test phase, we want to offer this unique guided-tour format for free. In doing so, we have the chance to gain valuable initial experience and to then gradually fine-tune the offer. From May 10, 2020, the virtual tour – where users join an online tour – will be subject to a fee. We are curious to see how users will react to this new offer.”

    Further information on the Barberini Live Tour and the current digital activities of the Museum Barberini can be found at: www.museum-barberini.com/digital. www.museum-barberini.com/digital.

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More extensive legal provisions apply in particular to works by artists that are represented by VG Bild-Kunst. These works may not be altered and may only be reproduced in their entirety. In addition, reproducing these images free of charge is only permitted in conjunction with current news coverage (starting three months before the exhibition opens and up to six weeks after it closes). Furthermore, any use for social media (Facebook, Twitter, Instagram) or product advertising is subject to licensing conditions and fees and any agreements regarding this must be arranged directly with VG Bild-Kunst reproduktionsrechte@bildkunst.de.

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Press Releases - archive

  • March 16, 2020 | Press Release
    Coronavirus Update – Museum Barberini closed until April 19, 2020

    In response to the decree issued by the state capital Potsdam regarding the Coronavirus (Covid-19), the Museum Barberini will extend its temporary closure until Sunday April 19, 2020. We will be reviewing this and keep you updated. In an effort to contain the spread of the virus and protect the safety of our visitors and staff the museum had already voluntarily closed its doors from Thursday, March 12, 2020.

    Ortrud Westheider, Director of the Museum Barberini: “We deeply regret having to close the museum until after the Easter break but we are responsible for the health of our visitors and our staff. During the closure, our social media channel will provide new insights into the Monet exhibition every day. Existing digital offers include our Barberini Prolog—the website dedicated to the exhibition—as well as the audio tour on the free Barberini App and interviews with international Monet experts on our YouTube channel.

    No tickets will be sold in the period up to and including April 19, 2020. Tickets already purchased for the period between March 12 and April 19 for the exhibition and events at the Museum Barberini will be reimbursed. For further information please see www.museum-barberini.com

  • March 11, 2020 | Press Release
    Temporary closure of the Museum Barberini

    The health of the visitors and staff of the Museum Barberini is a top priority. The museum constantly checks the reports and recommendations of the competent authorities on Covid-19. The Museum Barberini would like to actively contribute to inhibiting the dynamic spread of the virus.

    In order to protect guests and staff from potential infection, the Museum Barberini already severely restricted the number of available timed tickets last week. However, in light of the 2,500 to 3,000 visitors our large exhibition Monet: Places initially received, we cannot currently guarantee the recommended limit of no more than 500 to 1,000 visitors for cultural events. Therefore, the museum will close from Thursday, 12 March 2020, up to and including Tuesday, 17 March 2020. Online ticket sales will be suspended during this period. After reviewing the current situation, the museum will make a new decision on 17 March.

    Tickets already booked for the exhibition and events at the Museum Barberini for the above-mentioned period will be fully refunded; further information will be published on the website shortly.

  • February 20, 2020 | Press Release
    Impressionism: The Hasso Plattner Collection (from September 5, 2020 at the Museum Barberini)

    From September 5, 2020, the Museum Barberini in Potsdam will be showing Impressionist paintings from the collection of the museum’s founder and benefactor, Prof. Dr. Hasso Plattner. More than 100 masterpieces by Monet, Renoir, Morisot, Sisley, Pissarro, Cross, Signac as well as other Impressionist and Post-Impressionist painters will be on permanent display at the Museum Barberini in the future. Among them are 34 paintings by Claude Monet alone. More works by Monet are nowhere else to be seen outside Paris in Europe. In total, over twenty artists will be represented in the permanent exhibition. Their works underline the central role that landscape painting played at that time.

    Hasso Plattner explains his passion for the Impressionists as follows: “Out of national resentment, French Impressionism was hardly collected in Germany at the time. My collection, especially here in eastern Germany, should therefore be a place of German-French friendship, cultural free spirit and international exchange.”

    Ortrud Westheider, Director of the Museum Barberini, underlines the importance of the new permanent display: “This collection is a great opportunity for us. With great passion and an infallible eye for quality, Hasso Plattner has assembled one of the most outstanding collections of Impressionist painting worldwide. In addition to important museums in Berlin, Bremen, Frankfurt, Cologne, Munich and Stuttgart, the German museum landscape is now gaining a further institution which boasts an superb collection of Impressionist and Post-Impressionist works – thanks to his generous support.”

    For the first time, the permanent display of the Plattner Collection will include paintings recently acquired by the Hasso Plattner Foundation, among them works by Caillebotte, Pissarro and Renoir, but also Monet’s Still Life with Spanish Melons (1879), Bordighera, Italy (1884) and The Flowered Meadow (1885). The most famous of these works is his Grainstack from 1890, which was acquired for the museum. The painting is one of 25 variations of the motif of simple grainstacks that were located in the immediate vicinity of Monet’s house in Giverny. The artist painted them at different seasons and times of the day in the early 1890s. When 15 of these works were exhibited at the Paris gallery of Paul Durand-Ruel in May 1891, Monet declared: “For me, a landscape does not exist in and of itself, because its appearance changes every moment; it lives through what envelops it – through the air and the light that constantly changes. (...) For me, the subject only acquires its true value through its environment.”

    At the end of the 19th century, Monet developed his signature serial procedure with the grainstack images, which he later continued with his water-lily paintings – a turning point in his work. In the Barberini’s version from the series, the unusual diagonal arrangement endows the composition with a sense of dynamism, which is further emphasized by the intense coloring. This painting was acquired in 1892 by the Chicago art collector Bertha Palmer, who once owned one of the largest collections of French landscape painting outside Paris, including nine compositions from this first series by Monet.

    Museum founder Hasso Plattner elaborates on the importance of this acquisitions: "With Monet’s Grainstack, the Hasso Plattner Foundation has acquired an icon of Impressionism for the museum. Masterpieces like these should not be locked away, but shown in public. At the Museum Barberini, the painting will be on display for everyone to see.” Director Ortrud Westheider adds: "With Monet’s Grainstack, the Museum Barberini is linked to collections such as the Art Institute of Chicago, the Metropolitan Museum of Art in New York, the Musée d'Orsay in Paris and the Kunsthaus Zürich, which also own works from this same series.”

    Monet’s painting Grainstack is on public dispay for the first time since 1945 in the context of the extensive retrospective Monet: Places, which held at the Museum Barberini from February 22 to June 1, 2020. In this exhibition, the painting is shown in a visual dialogue with two other variations of the Grainstacks: One painting comes from the private collection of Hasso Plattner. The other is on loan from the National Gallery of Australia in Canberra and was formerly also in the collection of Bertha Palmer.

  • February 20, 2020 | Press Release
    Monet: Places (February 22 to June 1, 2020)

    From February 22 to June 1, 2020 the Museum Barberini will stage the exhibition Monet. Places. The show, organised in partnership with the Denver Art Museum, is one of the biggest retrospectives ever devoted to the artist by a German museum. More than 100 works chart the places where Monet drew inspiration for his Impressionist plein air painting – from Paris and the villages of Argenteuil, Vétheuil and Giverny along the River Seine to travel destinations like London and Venice. Generously spread across three floors, the show brings together numerous key works from every period of Monet’s oeuvre, and it is the first exhibition to illustrate his artistic development by examining his choice and awareness of places.

    Place was essential to Claude Monet (1840–1926). Here light, which depends on the weather, the seasons and the time of day, plays out over a landscape. Here he explored the fleeting effects of atmospheric phenomena – the layer between him and his motif. He did not make it easy for himself and was always on the look-out for topographies that presented a challenge to implementing his theme, from the dazzling light of the Riviera to the wind-swept Atlantic coast of northern France. The exhibition Monet. Places reveals the strategies pursued by the artist in deciding where to live and what cities to visit. This broad panorama of his oeuvre is illustrated by over 100 exhibits, from his first recorded composition to the famous water lilies painted in his garden in Giverny in the final years of his career.

    There are two pervasive threads at the heart of this venture: one is Monet’s fascination with the centuries-old notion of the genius loci, the aura breathed by a particular place, and the other is his contextual investigation of the motif, which Monet always rendered with topographical precision. Both played an integral part in his decision to work outdoors, not only to make preparatory sketches in oil, which was a widespread practice at the time, but to produce full-fledged paintings in their own right.

    In his correspondence Monet spoke repeatedly of his need to begin by immersing himself in a landscape, because he had to forge a sense of an unknown territory before he could capture it properly on canvas. This made him extremely deliberate and methodical about transposing the motif. There was a fundamentally conceptual element to the way he formulated his compositions in advance, not at all like the widespread cliché of Impressionist art as a ‘spontaneous’ interaction with nature. Monet’s struggle to depict a landscape authentically, to catch hold of that subjective impression, was the sine qua non of his painterly practice. Monet confirmed as much in a letter he wrote in 1912: “I only know that I do what I can to render what I feel when facing nature and that more often than not, when I try to do so, I completely forget the most basic rules of painting, if indeed there are any.”

    Unlike many of his contemporaries, whose work was inextricably associated with a particular area, Monet sought out a wide spectrum of landscapes and moods of light, not only all over France, but also beyond the borders. His ability to work in so many different places was facilitated by technical innovations such as the portable easel and industrially manufactured oil paints in handily sized metal tubes. Even more important was the rail network, which grew rapidly from 1850, dramatically expanding the radius of French landscape painters. The 19th century was an age of travel, and Monet’s art vividly reflects this new mobility brought by the railways. Many of the places that he featured in his paintings were favourite tourist spots, widely circulated on picture postcards and in amateur photographs. Monet used this strategy to appeal to the up-and-coming urban middle classes, clients with purchasing power who defined themselves through tourism, leisure and recreation – all major themes in his Impressionist testimonies to the modern lifestyle. “Faithful as he was to the motif, he aimed in his works to share his experience of nature with the viewer,” observes Ortrud Westheider, the director of the Museum Barberini. “Although his desire to capture subtle atmospheric effects betrays the positivist spirit of the 19th century, his paintings always convey a subjective feeling – for which Monet used the term sensation.”

    Curator Daniel Zamani adds: “The significance of place as a category is already evident in the titles that Monet chose, which often refer to a specific place – like View of Bordighera or Rock Points at Port-Goulphar. Monet was well aware that a place could serve as a token of identification or a trademark and he accordingly took pains to make the topography in his paintings distinctive, rather than using generic titles like Seaside Town or The Black Cliffs, as was the custom for Salon paintings at the time.”

    The exhibition draws primarily on the collection of Hasso Plattner, the founder and patron of the Museum Barberini, and the Impressionist holdings of the Denver Art Museum. This substantial core of significant works is complemented by loans from museums and private collections in many different countries, including key works from the Musée d’Orsay and the Musée Marmottan Monet in Paris, the National Gallery in London, the Museo Nacional Thyssen-Bornemisza in Madrid, the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, D. C., the Hammer Museum in Los Angeles, the National Museum of Western Art in Tokyo and the National Gallery of Australia in Canberra. Over 100 exhibits will be on display across all three floors of the museum, arranged thematically according to place. As visitors progress through the rooms they will be able to trace Monet’s entire artistic development, culminating in his late serial works, and will gain a sense of the various places which inspired his Impressionist plein air painting – not least the elaborate landscape of his water garden in Giverny, the exclusive focus of his final years.

    “The endpoint and in many respects the highpoint of our retrospective is a room devoted entirely to Monet’s garden in Giverny,” says Ortrud Westheider. “This backdrop, created specifically for his plein air painting, transcends the category of natural places that Monet discovered through his art. In his iconic paintings of water lilies, but also his depictions of the Japanese Bridge, a free play of colour and form is carving out its way, making him one of the most important precursors of abstract painting in the early 20th century.” Daniel Zamani expands on the aims of the retrospective: “Scholars have rigorously explored Monet’s art, but our focus is on the places which inspired him, and it offers new insights into his artistic interests and methods. We wanted to show how important certain landscapes and topographies were at decisive turning-points in his career, and to examine more closely how and why these places influenced the course of his painting.”

    The exhibition is accompanied by a 280-page catalogue (Prestel, 2020) with essays by some of the leading researchers in the field of Impressionism, among them Marianne Mathieu, James H. Rubin, George T. M. Shackelford, Richard Thomson and Paul Hayes Tucker.

  • February 3, 2020 | Press Release
    Van Gogh show at the Museum Barberini draws 165,000 visitors

    The exhibition Van Gogh: Still Lifes, which came to an end last Sunday after three months, attracted 165,000 visitors. This makes it our third most successful exhibition after the opening exhibition Impressionism: The Art of Landscape in 2017 and Picasso: The Late Work last year. With a representative selection of 27 paintings, it showed how important still lifes were for Van Gogh’s artistic development. Ortrud Westheider, Director of the Museum Barberini: “There has never been an exhibition dedicated to Van Gogh’s still lifes. We are delighted that so many visitors have come to see this closely focused show—all on a single floor of the museum—to look at Van Gogh’s work from a different angle. To ensure that all our guests had an enjoyable experience in the six galleries, the number of tickets available was limited. I am especially pleased that this has been another show which has attracted many young people. Over three months, we gave more than 1200 guided tours and workshops, including 300 for children and school groups. The proportion of guided tours and events for children and young people at the Museum Barberini has thus been a quarter of all guided tours—a wonderful success!”

    From February 22 to June 1, 2020, the Museum Barberini will show Monet: Places. Featuring more than 100 paintings, this exhibition will be the largest retrospective that a German museum has ever dedicated to this artist. Places were of vital importance for Claude Monet. Here he could capture light as it changed with the weather, the seasons, or the time of day. Spanning the artist’s entire career and bringing together many key works, Monet: Places is the first exhibition to explore Monet’s artistic development through his choice and conception of locations.

    www.museum-barberini.com/en/monet/

  • January 3, 2020 | Press Release
    100,000 visitors for Van Gogh

    Exhibition on Van Gogh’s still life runs until 2 February 2020 / Over 390,000 visitors in 2019

    Today the Museum Barberini welcomed the 100,000th visitor to its exhibition Van Gogh: Still Lifes. With a representative selection of 27 works, the show illustrates the role played in the artist’s development by his still life paintings. Ortrud Westheider, director of the Museum Barberini: “There has never been an exhibition dedicated to still life by Van Gogh before. We are delighted that our focus has been inspiring so many visitors with this new take on his art. We advise anyone who still wants to see the show to book tickets online in advance. As we only have six rooms for this exhibition, numbers have been limited to ensure that all our visitors enjoy their experience to the full.”

    Altogether 390,000 visitors came to the Museum Barberini in 2019 to see the exhibitions on Picasso’s late work, Baroque masterpieces in Rome and the still life paintings by Van Gogh. More than 3,300 group tours were provided for adults and children. This makes last year’s attendance at the new museum in Potsdam the biggest since its opening year in 2017, and the Picasso show in spring 2019 proved to be the most popular exhibition after the opening show. “We have been overwhelmed by the public reaction and by the enthusiasm for our building, our exhibitions, our events, our wide-ranging education programme and the digital services we provide,” says Ortrud Westheider. “The response to our 13 shows to date has been excellent, both from the general public and from the media. Over 100,000 holders of our annual Barberini Friends ticket drop by regularly. About 250,000 users make the most of the Barberini App with its audio guides and specially edited content, such as expert videos and podcasts. And about a third of our visitors use the Barberini App while they are here, either on their own smart phones or on the devices they can hire in the museum.”

    The exhibition Van Gogh: Still Lifes, put together by Michael Philipp, the Chief Curator at the Museum Barberini, which can still be seen until 2 February 2020, surveys the artist’s entire œuvre, from his early studies in dark, earthy tones produced between 1881 and 1885 to the brightly hued still lifes with fruit and flowers painted during his final years in Arles, Saint-Rémy and Auvers. Michael Philipp: “He made the still life genre an experimental arena to try out painterly techniques and potential. His reaction to Impressionism, which Van Gogh was able to witness in Paris, is reflected in the still life paintings, as is his response to the influence of coloured woodcuts from Japan. What we can observe particularly by looking at his still lifes is the way he evolved an ever greater freedom and intensity in his use of colour.”

    Following the Van Gogh exhibition, the Museum Barberini will be showing Monet: Places from 22 February to 1 June 2020. With over 100 works, this will be the biggest Monet exhibition in Germany to date. From 27 June until 11 October 2020, the exhibition Rembrandt’s Orient will look at how the great master himself and other painters of the Dutch Golden Age reflected non-European cultures and explores their image of the Orient. In autumn the Museum Barberini will launch the exhibition Impressionism in Russia (7 November 2020 to 28 February 2021). This event will demonstrate the international quality of the Impressionist style adopted by artists around 1900, showing how it also became a springboard for avant-garde painters like Natalia Goncharova, Mikhail Larionov and Kazimir Malevich. The exhibition integrates Russian artists into the project of European Modernism.

    www.museum-barberini.com/van-gogh
    prolog.museum-barberini.com/vangogh
    #VanGoghBarberini

  • December 20, 2019 | Press Release
    Monet, Rembrandt, Impressionism in Russia. 2020 at Museum Barberini

    Monet. Orte
    22. Februar bis 1. Juni 2020

    Die Wiedergabe flüchtiger Natureindrücke spielt eine zentrale Rolle in der Kunst Claude Monets (1840–1926). Wie kein anderer Impressionist setzte er sich intensiv mit der Topographie und den spezifischen Lichtstimmungen der unterschiedlichsten Orte auseinander, von der Metropole Paris bis zu den abgelegenen Seine-Dörfchen Vétheuil und Giverny. Die Ausstellung zeigt mit über 100 Gemälden die Entwicklung von Monets Kunst von den 1850er bis zu den 1920er Jahren mit einem Fokus auf die Orte – sowohl in der Heimat wie auf Reisen –, aus denen er Inspiration für seine Malerei bezog. In Zusammenarbeit mit dem Denver Art Museum, wo die Ausstellung unter dem Titel Claude Monet: The Truth of Nature bis zum 2. Februar 2020 zu sehen ist.

    Rembrandts Orient. Westöstliche Begegnung in der niederländischen Kunst des 17. Jahrhunderts
    27. Juni bis 11. Oktober 2020

    Der intensive Handel der Niederlande mit dem Nahen und Fernen Osten machte die Stadt Amsterdam im 17. Jahrhundert zu einem kulturellen Schmelztiegel und einem zentralen Umschlagplatz für exotische Güter in Europa. Rembrandt (1606–1669) und andere Maler des Goldenen Zeitalters der Niederlande schöpften freimütig aus der Vielzahl von Einflüssen ferner Länder und bereicherten ihr Werk um neue Motive. Die Ausstellung geht der Auseinandersetzung dieser Künstler mit den außereuropäischen Kulturen nach und fragt nach ihrem Bild vom Orient.
    In Zusammenarbeit mit dem Kunstmuseum Basel.

    Impressionismus in Russland. Aufbruch zur Avantgarde
    7.11.2020 bis 28.2.2021

    Zahlreiche Künstler in Russland ließen sich am Ende des 19. Jahrhunderts von den Themen und der Malweise der französischen Impressionisten anregen. Sie arbeiteten en plein air und spürten der Flüchtigkeit des Moments nach, wenn sie Szenen des russischen Alltags portraitierten. Malerinnen und Maler wie Natalja Gontscharowa, Michail Larionow und Kasimir Malewitsch, die später die Avantgarde bildeten, entwickelten aus dem impressionistischen Studium des Lichts ihre neue Kunst. Die Ausstellung zeigt die Internationalität ihrer Bildsprache um 1900 und integriert die russischen Künstler in das Projekt der europäischen künstlerischen Moderne.
    In Zusammenarbeit mit der Staatlichen Tretjakow-Galerie, Moskau, und dem Museum Frieder Burda, Baden-Baden.

  • November 11, 2019 | Press Release
    Impressionism in Russia: Dawn of the Avant-Garde (Nov 7, 2020–Feb 28, 2021)

    Even before 1900, Paris was a magnet for Russian artists. Here they encountered the works of Claude Monet and Auguste Renoir and were inspired by the themes and techniques of the French Impressionists. Back in Russia, they would paint outdoors and sense the fleeting nature of the moment as they depicted scenes of everyday Russian life. Artists who later joined the avant-garde likewise drew on Impressionist studies of light for their new art. This is the first exhibition to be devoted to the many facets of Impressionism in Russia. The show, a partnership with the State Tretyakov Gallery in Moscow and the Museum Frieder Burda in Baden-Baden, illustrates that the visual idiom around 1900 was international and integrates Russian artists into the modernist adventure in European art.

    The time these artists spent in Paris, the capital of European art, left its traces in Russian painting. The generation that followed Ilya Repin took their bearings from the west. The boulevards and cafés of Paris were a major theme around 1900. The artists studied not only the architecture, but also Impressionist urban views with their dramatic street fronts and bold perspectives. Nocturnal street lighting fascinated Konstantin Korovin and Nikolai Tarkhov, who popularised the motif.

    At home in Russia they put their memories of French Modernism to good use, painting en plein air and choreographing light on the canvas. It was a major impetus for landscape art and provided the first experimental arena for artists like Mikhail Larionov, Natalia Goncharova and Kazimir Malevich. They saw themselves as Impressionists before laying the foundations for Russian avant-garde art from 1910 onwards with their expressive Rayonism and non-representational Suprematism.

    The study of light in the landscape also had an impact on depictions of interiors. Rooms now became worthy of art as windows opened up vistas and let in sunlight to bring indoor spaces to life. Although interiors by French artists such as Edgar Degas and Édouard Manet had managed without daylight, Russian painters like Stanislav Zhukovsky and Valentin Serov tested the Impressionist effects of indoor light. Meanwhile, decidedly Impressionist themes such as walks through rural fields and meadows or still life with fruit and flowers were adopted into Russian art by painters like Ilya Repin, Igor Grabar and Alexei Jawlensky.

    The exhibition also shows how painters like Nikolai Tarkhov and David Burliuk built on Impressionist practice, rather like the Neo-Impressionists in France and the Expressionists in Germany, to construct planar surfaces of bright, powerful colours.

    Ultimately, the show features those works painted in Moscow before the First World War that transformed Impressionist light painting into the abstract metaphors of light that came to define the Russian avant-garde.

    On 14 November 2019 the 11th Symposium at the Museum Barberini will address the wide-ranging aspects of this theme. The presentations by such eminent experts as Olga Atroshchenko, State Tretyakov Gallery, Moscow; Rosalind Polly Blakesley, University of Cambridge; Maria Kokkori, The Art Institute of Chicago; Susanne Strätling, University of Potsdam; Irina Vakar, State Tretyakov Gallery, Moscow; Tatiana Yudenkova, State Tretyakov Gallery, Moscow, will be published in the exhibition catalogue. You will find the programme at www.museum-barberini.com.

    With the Hasso Plattner Collection, the Museum Barberini places a major focus on French Impressionism. Every year, one of our three exhibitions is therefore dedicated to Impressionism from an international perspective and in a framework of international partnership.

    The Museum Frieder Burda, domiciled in Baden-Baden close to Germany’s border with France, has been fostering relations between the two countries for many years at the express wish of founder Frieder Burda. From the 19th century Baden-Baden was a refreshing summer residence and meeting-place for the European – and especially Russian – aristocracy, soon attracting artists and writers in their wake. Even today, the Black Forest town remains a favourite destination for Russian tourists.

    The exhibition will run at the Museum Barberini in Potsdam from 7 November 2020 until 28 February 2021 and then at the Museum Frieder Burda in Baden-Baden.

    Impressionism in Russia
    7 November 2020 to 28 February 2021
    Museum Barberini, Alter Markt, Humboldtstr. 5–6, 14467 Potsdam
    In partnership with the State Tretyakov Gallery, Moscow, and the Museum Frieder Burda, Baden-Baden.

  • November 5, 2019 | Press Release
    Invitation to the Museum’s Eleventh Conference: "Impressionism in Russia: Dawn of the Avant-Garde" 

    Thursday, November 14, 2019, 10 am–7 pm

    In the late nineteenth century, many Russian artists were inspired by the painting techniques of the French impressionists. They painted en plein air to capture the fleeting moment. Painters like Natalia Goncharova, Mikhail Larionov, and Kazimir Malevich, who later became the avant-garde, developed their own new art from impressionist studies of light. The Museum Barberini will host this conference in preparation for the exhibition at the Museum Barberini from November 7, 2020 to February 28, 2021.
    In collaboration with the State Tretyakov Gallery, Moscow

    10:00
    Welcome
    Dr. Ortrud Westheider, Museum Barberini

    10:15
    Visiting France: Artists from Russia in the Country of Impressionism
    Dr. Tatiana Yudenkova, Staatliche Tretjakow-Galerie
    In Russian with German interpretation

    11:15
    Realist Impressions or Impressionist Realities: A Complex Boundary in Russian Art
    Prof. Dr. Rosalind Polly Blakesley, University of Cambridge
    In English

    12:15
    Russian Impressionism: A New Perspective
    Olga Atroshchenko, Staatliche Tretjakow-Galerie
    In Russian with German interpretation

    14:30
    Force Fields of Perception: Words and Images around 1900
    Prof. Dr. Susanne Strätling, Universität Potsdam
    In German

    15:30
    Light as Topic of Impressionism in Russia
    Maria Kokkori, PhD, The Art Institute of Chicago
    In English

    17:00
    Impressionist Traditions in the Russian Avant-Garde
    Irina Vakar, Staatliche Tretjakow-Galerie
    In Russian with German interpretation

    Museum Barberini
    Alter Markt
    Humboldtstr. 5–6
    14467 Potsdam, Germany

    Admission € 10
    Students admitted free of charge
    Tickets can be purchased at www.museum-barberini.com

  • October 24, 2019 | Press Release
    Van Gogh: Still Lifes

    ​“Painting still lifes is the beginning of everything,” Van Gogh remarked in the winter of 1884/85. The exhibition Van Gogh: Still Lifes examines the experimental, ground-breaking character that Vincent van Gogh (1853­–1890) attributed to his still lifes. Now, for the first time, tribute is paid to the significance of this genre in his œuvre. In still life the artist attained singularity: this was the right medium for his struggle with the expressive power of colour. His persistent experimentation with the genre reflects his artistic development. Here, he pre-empted modernism, but without forsaking the important role that still life had played in Dutch painting ever since the 17th century. The result is an emblematic, existential art that continues to radiate energy today.

    During the single decade he was active as a painter from 1881 until his death in 1890, Van Gogh executed over 170 still lifes. As a genre, still life was a rewarding gateway into painting as it offered him a framework to experiment with painterly techniques and options. The paintings reflect his reponse to impressionism, which Van Gogh witnessed first-hand in Paris between 1886 and 1888, but also the influence of colour woodcuts from Japan. The still lifes describe his journey towards an ever freer, more intensive use of paint.

    The exhibition Van Gogh: Still Lifes has been organized by Dr Michael Philipp, Chief Curator at the Museum Barberini. Overall, it presents 27 of these paintings in a representative selection, illustrating the painter’s artistic evolution. It traces the œuvre from the studies in sombre, earthy tones painted during Van Gogh’s early period between 1881 and 1885 to the still lifes with brightly coloured fruit and flowers that he produced during his last years in Arles, Saint-Rémy, and Auvers.

    In collaboration with the Kröller-Müller Museum in Otterlo and the Van Gogh Museum in Amsterdam. Under the patronage of H. E. Wepke Kingma, Ambassador of the Kingdom of the Netherlands to Germany.

    Chapters in the Exhibition

    The exhibition Van Gogh: Still Lifes traces the key stages in the painter’s life and work, illustrating the significant role, which still life played in his artistic development, with a representative selection of 27 paintings.

    The Hague and Nuenen, 1881–1885

    Vincent van Gogh had already reached the age of 27 when he turned to art in August 1880. After a year of self-study, during which he practised drawing, he began painting in oils in the winter of 1881. He took lessons in The Hague from a cousin by marriage, Anton Mauve, a reputed artist of the Hague School. “Mauve immediately installed me in front of a still life consisting of a couple of old clogs and other objects, and so I could set to work,” Van Gogh wrote to his brother Theo in early December 1881. Still life was a rewarding gateway to painting. Still Life with Cabbage and Clogs is one of Van Gogh’s first paintings. Unlike Dutch artists of the 17th century, who often celebrated grand and exotic items or conveyed a symbolic message with their still lifes, Van Gogh depicted simple, everyday items and country fruit and vegetables. He confined his palette to a few muted colours, mostly shades of brown, sometimes tinged with red or green. Initially he was concerned with the spatial relationships between the objects, with form and perspective, but soon he began to address the use of colour: deeply struck by the books Les Artistes de mon temps (1876) by Charles Blanc and, in particular Du dessin et de la couleur (1883) by Félix Bracquemond, which he read several times, he began in autumn 1885 to experiment with colour contrast and nuances as compositional devices. Studies such as Still Life with Apples and Pumpkins were an exercise in “modelling with different colours”, as Van Gogh wrote to his brother in late September 1885.

    The artist was a great nature-lover, and this also finds comes to the fore in his still lifes. Van Gogh had a collection of birds’ nests built by many different species and kept them, along with stuffed birds, at his studio in Nuenen. Nests had been a common motif in Dutch still life during the 17th and 18th centuries but always within a larger arrangement alongside a vase of flowers, and often accompanied by various kinds of animals. Van Gogh was the first painter to devote an entire work solely to a bird’s nest. These paintings bear a symbolic meaning. Few other motifs are such powerful metaphors for family and a personal sense of safety. This last thought was certainly on Van Gogh’s mind when he depicted these birds’ nests, as a letter to his brother testifies. He enclosed a sketch of a single nest on which he had noted: “I feel for la nichée et les nids [the brood and the nests] – particularly those human nests, those cottages on the heath and their inhabitants”.

    Paris, 1886–1888

    When he moved to Paris in late February 1886, Van Gogh put not only the Netherlands behind him but also a spectrum of colour dominated by earthy, sombre tones and themes he had encountered in the peasant world. During the two years he spent in the French capital he developed a brighter, richer palette and an individual style. The path to this artistic breakthrough was laid in his floral still lifes. Van Gogh painted over 30 of them in his first summer in Paris. The motifs also gave him an opportunity to maintain his close affinity with nature in the urban environment. Van Gogh drew ideas from floral still lifes by contemporary artists whose works he first witnessed in Paris. The one he admired most was Adolphe Monticelli, who inspired Van Gogh to experiment with backgrounds of dark colour and lashings of thick paint.

    At that time , Paris was not only the hub of European cultural activity but also a hot-spot of horticulture, where the passion for flowers was shared by every social class. Public parks such as the Jardin du Luxembourg and the Voyer d’Argenson in nearby Asnières were popular with Parisians, and Van Gogh painted views of both places, as well as in the gardens that then still existed in Montmartre. Roses and Peonies could have been prompted by a floral still life by Édouard Manet. It was painted in June 1886, the month when Van Gogh saw his Peonies in a Vase of 1864. Two years later he was still writing enthusiastically in a letter to Theo about Manet’s free brushwork “in solid, thick impasto”.

    Like the impressionists, whose eighth exhibition he visited in May 1886, Van Gogh read Charles Blanc’s book Grammaire des arts du dessin about the law of simultaneous contrast. This states that the impact of tones on opposite sides of the colour wheel is mutually reinforced when they are placed directly side by side. Flowers with their many-hued petals provided a natural trove of strong hues that could be combined easily and at will. The fleeting impressionist feel of Van Gogh’s Parisian still lifes is accompanied by an expressive element: by making his brushwork visible, he was also declaring an artistic style.

    The format of his Still Life with Meadow Flowers and Roses, on display at the Museum Barberini, is unusual: it measures 100 x 80 cm and is one of the largest still lifes that Van Gogh ever painted – even bigger than his Sunflowers. It is a homage to summer and perhaps also a traditional memento mori to remind us that all life is transient, for the lush splendour of the colours and petals of these meadow flowers is only short-lived. No doubt he was equally fascinated by the radiant hue of the poppies. Claude Monet had recently celebrated this flower in landscapes like Poppies (1873, Musée d’Orsay, Paris). The Vase with Poppies from the Wadsworth Atheneum in Hartford has only recently been certified as an authentic Van Gogh, following a thorough examination at the Van Gogh Museum in Amsterdam. It is on display here for the first time since this attribution and can be compared with the Still Life with Meadow Flowers and Roses, which features similar motifs.

    The significant artistic discoveries that Van Gogh made while living in Paris included, apart from coloured Japanese woodcuts, the work of the impressionists and neo-impressionists, which he witnessed in the early summer of 1886. Although he felt no allegiance to either of these movements, he derived important input from observing the latest trends.

    In spring 1887 he went painting in Asnières with Paul Signac, one of the pioneers of pointillism, and it was here that he painted the extended still life Interior of a Restaurant. From these pointillist efforts Van Gogh went on, by juxtaposing long, vigorous brushstrokes, to evolve the distinctive, dynamic technique that became a hallmark of his style.

    Van Gogh now began to animate the surroundings of the objects in his still lifes. At first, elaborate background wallpaper offered the chance to incorporate complementary contrasts of red and green, blue and orange. The paint in Carafe and Dish with Citrus Fruit is so thin in places that the canvas remains visible, reinforcing the picture’s delicate feel. Here Van Gogh used fine hatching to convey the volume of the lemons instead of modelling them out of the paint. In the still lifes with fruit that followed, the grounding that frames the loosely scattered objects draws vibrancy from the opposing angles of the hatching. In Grapes, Lemons, Pears, and Apples Van Gogh granted autonomy to the picture space by casting aside the illusion of three-dimensionality.

    In Paris Van Gogh remained aware of potentially emblematic readings and he transposed these into a modern form of art. The unusual combination of objects in Still Life with Plaster Statuette and the clearly legible book titles suggest that Van Gogh had a symbolic message to convey. The novels Germinie Lacerteux (1864) by the brothers Edmond and Jules de Goncourt and Bel-Ami (1885) by Guy de Maupassant, key works of literary naturalism, recount love affairs that bring ruin or social success. The statuette of Venus and the rose, her attribute since ancient times, are also references to the theme of love.

    Arles, 1888–1889

    After arriving in Arles in February 1888 Van Gogh, fascinated by the Southern spring in Provence, turned to landscapes. In rare still lifes he continued his formal experiments with colour and texture. For some years he had been eager to make a painting entirely in shades of yellow, and he did this in August 1888 with the Sunflowers. Today, these Sunflowers are the best-known still lifes in art history. Van Gogh painted four variations in August 1888 and three more the following January. The surviving versions are now in the Van Gogh Museum in Amsterdam, the National Gallery in London, the Neue Pinakothek (Bavarian State Painting Collections) in Munich, the Philadelphia Museum of Art, the Sompo Japan Nipponkoa Museum of Art in Tokyo as well as a private collection – no museum will ever send these icons of art out travelling.

    The exhibition Van Gogh: Still Lifes presents a number of works drawn from the same context of his still lifes with sunflowers. One of these is the Basket of Lemons and Bottle, an experiment in monochrome painting, a procedure he had been trying to master for some time. The surface of the tablecloth, the structure of the basket and the shapes of the lemons are modelled by using gradations of yellow. The Vase with Zinnias, executed around the same time, also laid the ground for his Sunflowers. As in so many floral still lifes painted back in his first summer in Paris, Van Gogh set this bouquet in front of a richly dark, monochrome background, making the radiant colours of the blossoms stand out all the more brightly. In its dense profusion and close-up perspective, the bouquet appears almost monumental. The formula behind the composition is similar to that of the Sunflowers.

    Van Gogh sought not simply to depict things but “to imbue nature and objects with so much passion” (Antonin Artaud). Often his motifs were proxies for the artist himself and illustrate his identification with his paintings. The Still Life with a Plate of Onions also fits into the context of the Sunflowers. In this oblique self-portrait, Van Gogh described his personal circumstances in January 1889. He painted it shortly after his release from hospital in Arles. He had spent two weeks there after cutting off part of his left ear following an argument with Paul Gauguin. This still life takes artistic stock and testifies to his unbroken desire to paint. As soon as he returned from hospital, Van Gogh was eager to return to work; he wrote to his brother that he wanted to begin by doing some still lifes to get back into the way of painting. The burning candle evokes Paul Gauguin, whose looming departure in December 1888, after only two months, put an end to their time together and to the dream of an artists’ community, and it plunged Van Gogh into a severe mental crisis. In the still life Gauguin’s Chair (National Gallery, London), painted in November 1888, Van Gogh had set this burning candle on the chair as a proxy for his absent friend. The pipe and tobacco represent the artist himself: he had painted this pipe and open tobacco pouch once before in Van Gogh’s Chair (Van Gogh Museum, Amsterdam), the counterpart to Gauguin’s Chair. There are onions in that still life too, in the wooden crate at the back to which he added his signature. Probably, then, these onions in the centre of the painting are yet another reference to himself. Onions are associated with tears and a sting of pain, but the green shoots also symbolize growth and self-expression.

    Still Life of Oranges and Lemons with Blue Gloves was painted a few days later, just before the repeats of the Sunflowers for Paul Gauguin. Perhaps the gloves left on this table are not only a winter accessory but also an expression of vulnerability and a desire for protection. Certainly, by placing his signature so visibly at the opening of one glove, Van Gogh was emphasising how important the garment was to him. Just a few months after he completed this painting, Van Gogh had himself admitted to the psychiatric clinic in Saint-Rémy.

    Saint-Rémy, 1889/90

    A Pair of Leather Clogs was painted in the seclusion of the clinic at Saint-Rémy-de-Provence, where Van Gogh produced about 140 works in the space of a year – although almost no still life. This painting consequently has a special significance. Shoes are an unusual motif for still life. Van Gogh first drew on it in 1881 in The Hague with the typical Dutch clogs, returning to it in Paris in 1886/87 with rows of boots and in August 1888 in Arles with the still life Shoes (Metropolitan Museum of Art, New York). He picked up the theme once more during his stay at the institute in Saint-Paul-de-Mausole. Here it symbolises a will to look ahead: with their openings turned to face the viewer, these shoes are an invitation to slip them on and walk away.

    Auvers, 1890

    In May 1890, after a year in the clinic at Saint-Rémy, Van Gogh moved to Auvers-sur-Oise near Paris. There the blossoming chestnut trees, the most powerful expression of the spring-time life force, must have imparted a sense of vitality to Van Gogh, always sensitive to nature’s signals. Within just two months – until his death on 29 July – he produced almost 80 paintings, including ten still lifes. In these pictures Van Gogh dismissed all impressionist notions of dissolving form. On 3 June 1890 the artist wrote to his brother: “And I also hope that I’ll continue to feel much surer of my brush than before I went to Arles”. This self-assurance comes across in the painting Blossoming Chestnut Branches. It was the biggest of Van Gogh’s later still lifes and the most expressive of them all. He continued to paint in bright colours, applying the technique he had forged in the South of France. Van Gogh breathed soul into the purportedly static genre of still life, as if the painter’s emotions were engrained within the things he depicted.

    www.museum-barberini.com/en/van-gogh

    While Van Gogh: Still Lifes runs in Potsdam, the Städel Museum in Frankfurt am Main will be presenting its large-scale exhibition Making Van Gogh: A German Love Story. With altogether 70 works by Van Gogh on display at these two shows, only once before has so much art by Van Gogh been seen in Germany at once: back in 1914 when Paul Cassirer’s gallery in Berlin staged its ground-breaking retrospective.

  • July 26, 2019 | Press release
    Conference Reviving the Archive: Material Records in the Digital Age

    Thursday, September 19, 2019, 10am – 7pm, Museum Barberini, Potsdam

    As guardians of the collective memory, archives are vital for the future of art historical research. Access to archival information is of crucial importance for restitution and provenance research as well as in regard to the preservation of cultural heritage and of an artist’s legacy. Following the formation of the Presidential Advisory Commission for Holocaust Assets in 1998, several conferences have been devoted to this subject. However,

    with increasing demand for information in the digital age, European archival repositories must confront the broader challenges of making their material accessible. By utilizing

    the possibilities of digitization today, archival information worldwide can be systematized and crosslinked, allowing greater accessibility to these indispensable materials for scholars and researchers.

    This international conference will provide case studies of archival re-discoveries, highlight archives that are under-utilized and therefore a priority for concentration, and underscore the resources currently available to archive holders.

    With:
    Dr. Ortrud Westheider, Museum Barberini
    Elizabeth Gorayeb, The Wildenstein Plattner Institute, New York
    Dr. Meike Hoffmann, Mosse Art Research Initiative, Freie Universität Berlin
    Agnes Peresztegi, Attorney, Looted Art Litigation, New York and Paris
    Dr. Victoria Noel-Johnson, Scholar and Historian, Rome
    Walter Feilchenfeldt, Dealer, Curator, and Scholar, Zurich
    Vivian Endicott Barnett, Curator and Scholar, New York
    Dr. Nadine Oberste-Hetbleck, Kunsthistorisches Institut, University of Cologne with
    Dr. Günter Herzog, Head of Archives, ZADIK, Cologne
    Jane Bramwell, Head of Library and Archive, Tate, London
    France Nerlich, Director, Département des études et de la recherche, INHA, Paris with
    Sophie Derrot, Curator, Service du Patrimoine, INHA, Paris
    Prof. Dr. Chris Stolwijk, General Director, RKD – Netherlands Institute for Art History, The Hague
    Christina Bartosh, PhD Candidate, University of Vienna
    Martin Lorenz, Director of Technology, Wildenstein Plattner Institute, Berlin
    Prof. Dr. Christoph Meinel, President & CEO, Hasso Plattner Institute, Potsdam
    Christian Bartz, Chair of Internet Technologies & Systems, Hasso Plattner Institute, Potsdam
    Prof. Dr. Ralf Krestel, Head of Web Science Research Group, Hasso Plattner Institute, Potsdam

    The panels and discussions will be conducted in English.

  • July 11, 2019 | Press Release
    Baroque Pathways: The National Galleries Barberini Corsini in Rome

    From July 13 to October 6, 2019, the Museum Barberini is presenting its first old master exhibition: Baroque Pathways: The National Galleries Barberini Corsini in Rome showcases 54 masterpieces from the collections of the Palazzo Barberini and the Galleria Corsini in Rome, among them an early work by Caravaggio, his painting Narcissus of 1597–1599. Tracing the birth of Roman Baroque painting in the wake of Caravaggio, its spread through Europe and development north of the Alps and in Naples, the exhibition explores the role of the Barberini as patrons of the arts and the Prussian kings’ yearning for Italy.

    The Barberini at the Barberini

    A selection of 54 masterpieces from the collections of the Palazzo Barberini and the Galleria Corsini has traveled from Rome to Potsdam. The Palazzo Barberini, the architectural inspiration for the Barberini Palace in Potsdam, holds one of the world’s most important collections of baroque paintings. Together with the Galleria Corsini, it is home to the Italian national galleries. Ortrud Westheider, Director of the Museum Barberini: “It is a great honor and a mark of recognition for the still young Museum Barberini to cooperate with the illustrious national galleries. It has always been our dream to collaborate on an exhibition with our renowned namesake in Rome.” Flaminia Gennari Santori, Director of the Gallerie Nazionali di Arte Antica, Rome: “We are delighted to present our museum and a part of our collection in Potsdam, a city with so many points of contact with the art and architecture of Rome.”

    Pietro da Cortona’s monumental ceiling fresco from the Gran Salone of the Palazzo Barberini welcomes visitors to the Potsdam exhibition in form of a ceiling projection. The famous painting celebrates the power of the Barberini, one of the most important families in seventeenth-century Rome. Virtues frame the Allegory of Divine Providence and present the papal tiara and the keys of Saint Peter’s. The fresco was commissioned by Maffeo Barberini, a patron of poets and men of letters who, as a young man, had his portrait painted by Caravaggio. Even before his election to the Holy See in 1623, he had surrounded himself with writers and scholars, and begun assembling an art collection. As Pope Urban VIII, he became one of the leading art patrons and transformed Rome into the capital of the Baroque. During his pontificate, the basilica of Saint Peter was completed and consecrated. New streets and squares were created that continue to shape the face of the city today. In the Thirty Years’ War (1618–1848), Urban VIII did not support any of the warring factions, preferring instead to remain neutral and to pursue his dream of initiating a Golden Age of painting, architecture, literature and music that would rival the Renaissance. Yet his pontificate was marked by the rise of violent assertion of religious dogma, which led to the Roman Inquisition. Galileo, a friend of Urban VIII, was investigated by the Inquisition and forced to recant his teachings.

    Caravaggio’s Narcissus

    Caravaggio’s focus on the decisive moment of a narrative brought about a new kind of art. His chiaroscuro effects broke with all accepted norms and made him one of the pioneers of baroque painting. His work was controversial: while his supporters praised his daring stylistic innovations, his detractors disparaged him as disrespectful and as an anarchist out to destroy the time-honored values of painting. Among the many outstanding works coming to Potsdam is an early work by Caravaggio, his Narcissus (1597–1599). Ortrud Westheider: “Caravaggio shows a young man looking at his reflection—Narcissus, whose vain infatuation with himself was his undoing. The painting is famous for its focus on the dramatic turning point. Its modernity, the way in which the painted image reflects the power and potential of painting, has lost none of its fascination.”

    Violence and Salvation: Caravaggio and his Circle

    Coinciding with the Counter-Reformation and religious wars across Europe, Caravaggio’s realism hit a nerve. The crusade against Protestantism, condemned as heretical, encouraged a new form of fervent piety and religious mysticism that is evident in Orazio Gentileschi’s emotionally charged painting Saint Francis Supported by an Angel (ca. 1612). At the same time, paintings like Giovanni Baglione’s Sacred and Profane Love (before 1603) testify to the violence of the period and to a new self-confidence on the part of the artists who responded to the tension between the artistic sophistication and strict clericalism of early seventeenth-century Rome.

    Like Caravaggio, the artists in his circle studied models who came from the poorest parts of Rome. This practice invested the monumental altarpieces and paintings of saints with an unprecedented poignancy. Devotional images came to life and were reinterpreted as scenes of everyday life. Thus Carlo Saraceni, another contemporary of Caravaggio, presents us with an unhappy Christ Child in his unglamorously domestic Madonna and Child with Saint Anne (ca. 1611).

    Dramas of the Demimonde: The Caravaggisti in Naples

    His involvement in a fatal brawl drove Caravaggio to flee Rome for Naples, then under Spanish rule. His style inspired numerous local artists. Luca Giordano and Battistello Caracciolo adopted not only his close focus and the monumentalization of his figures but also experimented with his dramatic lighting. They updated the stories of ancient philosophers and Christian saints and followed Caravaggio’s lead in presenting the historical events as if they unfolded on a stage. In Venus and Adonis (1637), Jusepe de Ribera chose the dramatic moment in which Venus lays eyes on her mortally wounded lover. The Spanish-born painter, who had seen Caravaggio’s works in Rome in 1615, admired his sense of drama and his consummate handling of implicit and explicit violence.

    Light and Shadow: The Caravaggisti in Northern Europe

    Painters from Flanders and France brought their artistic conventions to Rome and drew on the classically inspired style shaped by Raphael and Michelangelo. Simon Vouet and Matthias Stom adopted the strikingly lit interiors and nocturnal scenes popularized by Caravaggio and his circle. Their own treatment of light and shade—often symbolizing good and bad—became a new, highly specialized form of art that met with great acclaim in their home countries. Michael Sweerts’s The Artist at Work (mid-seventeenth century) similarly follows the chiaroscuro trend, but also mirrors the controversy about the competing styles of Caravaggio and Guido Reni, who had died in 1610 and 1642 respectively. Was art to depict reality, as Caravaggio contended, or was it, as Reni held, to emulate classical models and ideals? Playing with these opposing points of view, Sweerts defied the dogmas of the generations of artists before him.

    Allegories of the Arts: German Collector Preferences

    The Grand Tour, an educational journey which included an extensive sojourn in Italy and focused on antiquity, art and architecture, was an obligatory rite of passage for young European aristocrats. By the eighteenth century, private collections, like that of the Barberini, began to form an increasingly important part of the itinerary. For German princes, they became a model of their own collecting ambitions. They looked for classical subjects and had a penchant for allegories of the arts, epitomized in Rome by the work of Simon Vouet, Salvator Rosa, and Prospero Muti. The female figure holding a palette and paintbrush in Simon Vouet’s Allegory of Painting (Self-portrait) of the early 1620s is probably a portrait of Artemisia Gentileschi, the most famous female painter of the period. The exhibition presents two works by her from the collection of the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg (Prussian Palaces and Gardens Foundation Berlin Brandenburg).

    Gallery of Foolishness: Italian Baroque Paintings in the New Palace in Potsdam

    On loan from the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, the two paintings, Lucretia and Sextus Tarquinius (ca. 1630) and David and Bathsheba (ca. 1635), leave the New Palace in Potsdam for the first time in 250 years to exemplify the influence of Roman baroque painting on German collections. When Frederick II (Frederick the Great), King of Prussia, acquired the paintings for the New Palace, he did not know that they had been painted by a woman. In 1769 he set up an Italian gallery with works by Giordano Bruni and Guido Reni as well as the two paintings now attributed to Artemisia Gentileschi. With its emphasis on biblical and mythological subjects, the gallery explored the disastrous consequences of male desire. The Prussian king, whose Sanssouci Palace, Ruinenberg and Barberini Palace drew on imperial as well as bucolic models, confronted his successor, Frederick William II, with this “Gallery of Foolishness.”

    Palazzo Barberini: The Architectural Model for the Museum Barberini in Potsdam

    The Museum Barberini was named after the Barberini Palace, built by Frederick the Great in central Potsdam. Destroyed in the Second World War, it was reconstructed as a modern museum on the original site by the Hasso Plattner Foundation between 2013 and 2016. The Prussian king, Frederick the Great, wanted an Italian piazza in Potsdam and found inspiration in an engraving of the Palazzo Barberini in Rome by Giambattista Piranesi. With this reference to Pope Urban VIII, a great patron of the arts, Frederick II laid claim to being an equally astute collector and connoisseur of art. Frederick and his successor, Frederick William II, commissioned numerous Italianate buildings in Potsdam.

    Museum Barberini as a Starting Point for an Exploration of Italy in Potsdam

    Complementing the exhibition Baroque Pathways, the Museum Barberini invites visitors to explore the Italian influence on Potsdam’s cityscape. The audio tour Italy in Potsdam on the Barberini App directs visitors to 30 Italianate buildings and works of art of the eighteenth and nineteenth century. Available in three languages (German, English and Italian), the self-guided city tour draws intriguing visual comparisons between Potsdam and Italy.

    Italy in Potsdam

    To mark the exhibition Baroque Pathways, the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, the city of Potsdam and the Museum Barberini are turning the summer of 2019 into a citywide celebration of Italian art and culture. Guided tours, concerts, talks, film screenings, an open night at the Potsdam palaces, and many other events show Potsdam at it most Italianate. For more information on Italy in Potsdam, see (German only) https://www.potsdamtourismus.de/italien-in-potsdam/

  • June 17, 2019 | Press Release
    Picasso show draws 168,000 visitors to Potsdam

    The large-scale Picasso exhibition at the Museum Barberini, which attracted 168,300 visitors, came to an end yesterday. Ortrud Westheider, Director of the Museum Barberini, stated: “We are delighted that so many people came to see our exhibition dedicated to Picasso’s late work, making it the museum’s second most successful show after the opening exhibition dedicated to impressionism in 2017. This is all the more gratifying as the exhibition was open for just 87 days, eleven days less than last year’s Gerhard Richter show and 25 days less than the opening exhibition of the museum. We are immensely grateful to Catherine Hutin, daughter of Jacqueline Picasso, who parted with 136 works for Picasso: The Late Work. From the Collection of Jacqueline Picasso. With very few exceptions these were on display for the first time in Germany.” The selection for the Potsdam show was made by guest curator Bernardo Laniado-Romero.

    From July 13 to October 6, 2019, our new exhibition Baroque Pathways will showcase more than 50 masterworks from the National Galleries Barberini Corsini in Rome, including one of Caravaggio’s most important works, his painting Narcissus (1597–1599). This show is a central part of the Italy in Potsdam festival. Together with the Prussian Palaces and Gardens Foundation Berlin-Brandenburg, the Museum Barberini invites the public to extend their visit to explore Italianate architecture and art in the city and in Sanssouci Park—with the audio guide on the Barberini App, which is available in German, English, and Italian. The final exhibition of the year, Van Gogh: Still Lifes (October 26, 2019 to February 2, 2020) is the first show dedicated to this subject. With a careful selection of more than 25 paintings, it will explore the decisive stages in van Gogh’s life and work.

  • June 12, 2019 | Preannouncement
    Van Gogh: Still Lifes

    Van Gogh: Still Lifes is the first systematic exploration of this important theme in the artist’s work in an exhibition. Of the roughly 800 paintings that Vincent van Gogh (1853–1890) created during his ten-year career as an artist, some 170—about a fifth—are still lifes. It is therefore all the more remarkable that there has never been a monographic exhibition dedicated to the genre of the still life in Van Gogh’s work.

    With exhibitions showcasing Henri-Edmond Cross and Pablo Picasso, the Museum Barberini launched a series dedicated to French modernist artists. Aspects of their work that have been neglected until now have been approached from new angles in international symposia held by the museum. In the autumn of 2019, the Museum Barberini will continue this series with the first exhibition of Vincent van Gogh’s still lifes. The carefully chosen selection of 27 paintings traces the development of the artist’s work from the earthy tones and simple everyday objects of the early paintings and the floral still lifes of his time in Paris to his radiant, exuberant southern motifs.

    From his very first painting, Still Life with Cabbage and Clogs (Van Gogh Museum, Amsterdam)—created at the end of 1881 in The Hague—to the vibrant floral works painted in Auvers-sur-Oise in 1890, during the last months of the artist’s life, for example Blossoming Chestnut Branches (Foundation E. H. Bührle, Zürich), Van Gogh returned to still lifes time and again. He did so not just because he thought that floral paintings were easier to sell and would not require him to spend money on models, but above all to explore new pictorial means and possibilities in this genre. He drew on the work of Dutch masters of the seventeenth century—initially Rembrandt, later Jan Davidsz de Heem—but also tried to capture the play of light and shade on the canvas and conducted experiments with color. His choice of ordinary household objects around 1884 marks a break with the tradition of Dutch still life painting.

    Van Gogh: Still Lifes examines the artistic questions and decisive stages in Vincent van Gogh’s work and life. His still lifes reveal his response to impressionism, which he discovered in Paris between 1886 and 1888, but also show the influence of Japanese woodcuts. Many of his works are symbolically charged with personal references, from books to the recurring motif of a pair of shoes. His development towards an increasingly free, more vibrant handling of color, a central aspect of his work, can be reconstructed from his still lifes. In his letters, too, Van Gogh repeatedly stressed how crucial still lifes were for his artistic development, which shows the importance of this genre for his intensive self-reflection.

    The exhibition at the Museum Barberini was developed in cooperation with the Kröller-Müller Museum in Otterlo and the Van Gogh Museum Amsterdam and is also supported by international loans from museums including the Art Institute of Chicago and the National Gallery of Art in Washington.

    In preparation for the exhibition, the Museum Barberini held an international symposium on December 5, 2018. The proceedings will be published in the catalog accompanying the exhibition. Contributors include renowned Van Gogh scholars such as Sjaar van Heugten, Stefan Koldehoff, Eliza Rathbone, and Marije Vellekoop, as well as Oliver Tostmann, Michael F. Zimmermann, and Michael Philipp, chief curator of the Museum Barberini and curator of the exhibition. The exhibition catalog, to be published in German and English, will become the ninth volume in the Museum Barberini’s series of publications.

    The exhibition is under the patronage of S.E. Wepke Kingsma, the ambassador of the Kingdom of the Netherlands to Germany.

  • May 27, 2019 | Press Release
    One Million Visitors at the Museum Barberini

    Today the Museum Barberini was delighted to welcome its one millionth visitor. Sarah Robinson from London received a special gift from our director Ortrud Westheider to celebrate the occasion: a city break to Rome, the Eternal City, for two people, including flight, accommodation, and—as a highlight—a visit to the Palazzo Barberini, which in the eighteenth century was the architectural model for Frederick the Great’s Barberini Palace in Potsdam. This summer, the baroque masterworks of the Palazzo Barberini, which today houses Italy’s prestigious National Gallery of Ancient Art, will be shown in the Museum Barberini’s exhibition Baroque Pathways.Sarah Robinson will be able to see these baroque works in Rome in a special preview.

    “We have been overwhelmed by the enthusiastic response of our visitors and their interest in our museum, our exhibitions, events, guided tours, and digital resources,” says Ortrud Westheider, Director of the Museum Barberini. “Both the public and the media have responded very positively to our first eleven shows, from the opening exhibition dedicated to impressionism to Behind the Mask: Artists in the GDR, or the Gerhard Richter show. More than 70,000 Barberini Friends visit us regularly, and more than 100,000 visitors use the Barberini App to access audio guides and curated content such as videos and podcasts. And about a third of our visitors borrow the media players available at the museum to use the app.”

    The opening of the Museum Barberini in 2017, an initiative by the co-founder of SAP, Prof. Dr. h.c. mult. Hasso Plattner, is regarded as the most successful launch ever of an art museum in Germany. The current exhibition, on display until June 2019, is dedicated to Picasso, showing more than 130 late works from the rarely seen collection of Jacqueline Picasso. From July 13 to October 6, more than 50 masterpieces from the Barberini Corsini National Galleries in Rome, including one of Caravaggio’s most important paintings, his Narcissus(1597–1599), will be on display in the exhibition Pathways of Baroque. The final show of the year, Van Gogh: Still Lifes(October 26–February 2, 2020) will be the first exhibition to focus on this theme. Showcasing more than 20 paintings, it will explore the decisive stages in van Gogh’s life and work. In the spring of 2020, the Museum Barberini will dedicate a major retrospective to the French impressionist Claude Monet, bringing together 110 works from every stage of his career. Among the highlights are paintings of Monet’s garden and pond in Giverny near Paris, including some of his famous Water Lilies.

  • May 20, 2019 | Press Release
    Conference on the exhibition West Meets East: The Orient in the Work of Rembrandt and His Dutch Contemporaries

    Thanks to its extensive trade with Asia, Africa, and the Levant, the city of Amsterdam was a vast emporium of goods from the Near and Far East. Dutch writers and publishers added to these material objects an intellectual and historical context for a better understanding of the Orient. Rembrandt and other painters of the Dutch Golden Age drew freely from these sources to enrich their art. The conference explores the engagement of Dutch artists with non-European cultures and examines their view of the Orient. The Museum Barberini, in collaboration with the Kunstmuseum Basel, hosts this conference in preparation for the upcoming exhibition West Meets East: The Orient in the Work of Rembrandt and His Dutch Contemporaries, which will be shown in Potsdam (June 27 to October 11, 2020) and in the Kunstmuseum Basel (October 31, 2020 to February 14, 2021).

    Mit
    Jan de Hond, Rijksmuseum Amsterdam
    Michael Philipp, Museum Barberini
    Gary Schwartz, guest curator of the exhibition, Maarssen
    Erik Spaans, art historian, Amsterdam
    Arnoud Vrolijk, Leiden university libraries
    Roelof van Gelder, historian, Amsterdam

    All papers will be delivered in English.

    Thursday, June 6, 2019, 10am–7pm

  • May 15, 2019 | Preannouncement
    Baroque Pathways (July 13 – October 6, 2019)

    From 13 July to 6 October 2019, the Barberini Museum is showing the exhibition Baroque Pathways: The National Galleries Barberini Corsini in Rome. 56 masterpieces from the collections of the Palazzo Barberini and Galleria Corsini are on display in Potsdam, including one of Caravaggio's early works, his 1597–99 painting Narcissus.

    Focusing on a narrative’s decisive moment, Caravaggio (1571–1610) initiated a new kind of art. Like a spotlight on a stage, a strong source of light monumentalizes his figures. Spreading beyond its origins in Rome, this new pictorial treatment launched a European counter-movement, which spiritualized and transfigured baroque art and led to a realism whose starkness fascinates us to this day. With its theme of disappointed self-love, Carravagio’s Narcissus from the Palazzo Barberini, the centerpiece of the exhibition, exemplifies the relevance of this artistic style for the twenty-first century.

    The Palazzo Barberini in Rome holds one of the most important collections of Roman Baroque painting. Along with the Palazzo Corsini, it houses the Gallerie Nazionali, the Roman National Gallery of Antique Art. Baroque Pathways shows – for the first time in an exhibition – a representative selection of paintings from this period. It reconstructs the genesis of Roman Baroque painting inspired by Michelangelo Merisi da Caravaggio and through its impact on the rest of Europe, traces developments north of the Alps as well as in Naples. This European dimension is visualized by the reception in Germany, and highlighted by the avid collecting activities of Frederick II in particular, who, in his quest to decorate the Neues Palais in Potsdam, accumulated works by Artemisia Gentileschi, Guido Reni or Luca Giordano.

    Pope Urban VIII was the main patron of the Roman Baroque. Even before being elevated to cardinal and his election as pope, Maffeo Barberini had commissioned Caravaggio to paint his portrait (private collection, 1598). Barberini was a connoisseur of scholarly writings and his library included not only manuscripts of the clerical scholars but also major works of ancient literature. Following his ascent to the papal throne, he intended to launch a flourishing cultural epoch of painting, architecture, literature and music that could be compared with the Renaissance. His papacy saw the dedication of the Basilica of St. Peter in 1626, whose construction had begun during the reign of the Renaissance popes over a hundred years earlier.

    Urban VIII, with his favored architect Gian Lorenzo Bernini, completed the most important building of the Catholic Church. He commissioned Bernini to build a magnificent ciborium over the tomb of Saint Peter and affix there the insignia of the Barberini family, depicting the sun, bees and laurel.

    Meanwhile, the Florence-born family, together with Urban’s uncle Taddeo, his brother Francesco, and his nephews Francesco and Antonio, had settled in Rome and charged the most important architects of their time – Carlo Maderno, Francesco Borromini and Bernini – with building the Palazzo Barberini.

    Decisive stimuli for Baroque art originated in the Palazzo Barberini. The ceiling fresco in the Grand Salon and Bernini´s ciborium bear witness to Pope Urban´s high standards and ambition. Virtues flank the allegory of the Divine Providence of his papacy, and present the papal tiara and the keys of Saint Peter. Below them, personifications of faith, hope, and love form a laurel wreath surrounding the bees of the family crest. The ingenuity of Pietro da Cortona's ceiling fresco set new standards – with the staircases designed for the palazzo by the Bernini and Borromini, it became a signum of its epoch.

    Since the Museum Barberini in Potsdam opened in January 2017, there has been a desire to realize a joint project with the Palazzo Barberini in Rome. The Museum Barberini was named after the Palais Barberini which Frederick the Great had erected on the Alter Markt in Potsdam in the 1770s. Destroyed in the Second World, it was rebuilt in 2013–2016 by the Hasso Plattner Stiftung as a modern museum structure. The Prussian king, inspired by a copper engraving by Giovanni Battista Piranesi that portrayed the Palazzo Barberini in Rome, wanted an Italian piazza for Potsdam. Thus, Frederick II established a relationship with the family seat of the Barberini family and – quite ironically – with the most important “art pope” of the Baroque era.

    A symposium in Potsdam in October 2018 laid the groundwork for the exhibition catalogue. We wish as well to express our gratitude to the authors of the essays and the authors of the introductions and monographs. Our thanks go to Michael Philipp, the curator of the Museum Barberini and co-editor of its publications as well as to Museum Barberini research assistant Valerija Kuzema, for the careful editing of the texts. Like the exhibition, the catalogue essays bridge the gap between the Barberini family as patrons of the arts during the birth and expansion of the Roman Baroque and the Italiensehnsucht of the Prussian kings.

    The cooperation with the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg made possible the loan of two paintings by Artemisia Gentileschi acquired by Frederick II which have hung in the Neues Palais since 1769. After 250 years, they have been specially restored for the exhibition and leave their home for the first time.

    The exhibition is a key event of the summer festival Italy in Potsdam. Together with the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, the Museum Barberini invites all visitors to extend their museum visit to discover Italianate buildings and artworks in the city and in Sanssouci Park—with an audio tour on the Barberini App.

  • April 11, 2019 | Press Release
    Extended opening hours during the Picasso exhibition

    Since its opening, the exhibition "Picasso. The Late Work" in the Barberini Museum attracts around 1,700 visitors a day, and significantly more at weekends. In order to respond to the high number of visitors, especially at weekends, the museum now offers longer opening hours on Saturdays. Until the end of the exhibition (June 16, 2019), interested visitors have the opportunity to visit the museum until 9 p.m. on Saturday.

    "We are very pleased about the great interest in our Picasso show. It's great that our enthusiasm for Picasso's late work, his artistic metamorphoses and his ingenious creativity in the last years of his life has also spread to our visitors," says Ortrud Westheider, Director of the Barberini Museum. "We hope that many more visitors will take advantage of this unique opportunity: In the selection made by guest curator Bernardo Laniado-Romero - over 130 paintings, drawings, sculptures, ceramics and prints - there are numerous works that will be shown for the first time in Germany, as well as some that will be presented in a museum for the first time ever. We are deeply grateful to Catherine Hutin, Jacqueline Picasso's daughter, for this generous loan and her confidence in our house. You shouldn't miss the opportunity to experience the diversity and topicality of Picasso's oeuvre in our show from 1954 to 1973".

  • February 12, 2019 | Press Release
    Picasso: The Late Work (03/09–06/16/2019)

    Picasso: The Late Work

    From the collection of Jacqueline Picasso
    March 9 to June 16, 2019

    Pablo Picasso (1881–1973) is famous for shaking up art in the 20th century, for resetting the bar in painting, sculpture, printmaking, and ceramics. Not so well-known are the last two decades in his career, when Picasso produced more portraits of his wife Jacqueline than of any other model. The exhibition Picasso: The Late Work shows just how innovative Picasso remained until the end of his life. All the loans are from the collection of Jacqueline Picasso (1927–1986). Her daughter Catherine Hutin granted permission for the Museum Barberini to show these items rarely seen in public. The selection by guest curator Bernardo Laniado-Romero includes many works that are being displayed in Germany for the first time, and a few that have never been presented in a museum before.

    In May 1960, when Brassaï met Pablo Picasso again for the first time in almost fifteen years, he was hugely impressed by the artist’s recent work: “But never was I assaulted so brutally as in this villa of La Californie … Art and nature, creation and myth, knights and bullfighting, popular images, Olympus, Walpurgisnacht, all attract your attention … All these things begin to speak at once, competing with one another, pulling you right and left, knocking you over, skinning you alive, reducing you to raw nerves …” At the studio in Cannes, the photographer found himself surrounded by portraits of Picasso’s companion Jacqueline Roque. He could see sculptures and assemblages made of widely disparate materials. Sketches and works on paper using new techniques lay all around. The stylistic variety and the scale of these drafts no doubt contributed to his sense of being overwhelmed. Whereas Picasso’s output in the early years gave rise to distinctly different styles – the Blue Period quite unlike the Rose Period, the exploding shapes of Cubism unrelated to the closed contours of neo-Classicism –, the styles in Picasso’s late work form a synthesis. The media, too, merged: The graphic quality of a line became an expressive element in a painting. In the sculptures, painted surfaces unfold into space, straddling the boundaries between genres.

    During the last two decades of his life, Picasso’s work took stock of his past. Revisiting his own œuvre, he picked up familiar themes and revitalized them, but he did so in light of current developments and often in dialogue with other artistic works – from the Old Masters to pop art. Picasso developed ideas initiated by Henri Matisse in his cut-outs. The death of his friend and colleague Matisse in November 1954 unleashed a keen interest in his themes – or, as Picasso put it: “When Matisse died, he left me his odalisques as a legacy.” Picasso returned to the sketches he had made in the 1940s in response to Eugène Delacroix’s painting . In one of the women portrayed by Delacroix, Picasso recognized Jacqueline, with whom he had recently begun a relationship. The following year, he moved into the villa of La Californie with her and her daughter, Catherine. Jacqueline served as his muse and prompted many of Picasso’s depictions of their home’s interior. The rocking chair, her favorite spot, stands in for her constant presence wherever Picasso was working.

    Jacqueline Picasso inspired, orchestrated, and administered that overwhelming abundance in Picasso’s studio that Brassaï described. After Picasso’s death, she received an important part of his works when it was divided among his heirs. For the future Musée Picasso in Paris, the French state selected works from all of Picasso’s creative phases from his estates, showcasing the full array of his varied techniques. Works from the canonized periods of his oeuvre comprise the bulk of this collection. Picasso’s late work has been best preserved, both quantitatively and qualitatively, within the family – such as the Jacqueline Picasso Collection. It houses pieces which have rarely been seen in the original, although they are well known. They owe their reputation to widely circulated photographs taken by Lucien Clergue, David Douglas Duncan, and Edward Quinn, among others: Picasso and his wife in the studios at La Californie, in the workshop at Mougins to the north of Cannes, and at the family retreat of Château de Vauvenargues in Provence. While the paintings, drawings, sculptures, and ceramics chosen by the state after his death have been accessible to the public at the Musée Picasso in Paris since 1985 – and a representative selection of them were shown in Berlin in the 2005 exhibition Pablo: The Private Picasso, mounted by the city’s Neue Nationalgalerie – many of the treasures from the artist’s studios remained in the family’s possession.

    “We are very much looking forward to Picasso in Potsdam! We wish to thank Catherine Hutin, Jacqueline Picasso’s daughter, for agreeing to part with 136 works for the exhibition Picasso: The Late Work. From the Collection of Jacqueline Picasso at the Museum Barberini. Apart from a few exceptions, these are on display in Germany for the first time,” says Ortrud Westheider, director of the Museum Barberini. “In addition to paintings, the exhibition brings together drawings, sculptures, ceramics, and prints, reflecting the creative range of Picasso’s late work. The premiere made possible by this generous loan from her collection illustrates the diversity and enduring topicality of Picasso’s output in the years from 1954 until 1973.”

    Picasso’s break with cubism after the First World War puzzled the art world, for his new classicism ran counter to the triumphal march of abstraction. After World War II, which he survived in Nazi-occupied Paris, the artist rejuvenated his œuvre by experimenting with iron sculptures, monumental painting, ceramics, and print-making. In the 1950s and 1960s, Picasso was awarded numerous major commissions such as reliefs in Oslo and Barcelona, murals for the UNESCO building in Paris, a chapel in Vallauris, and the monumental steel sculpture at the Chicago Civic Center created in conjunction with the works on display in the exhibition.

    The works for this show in Potsdam were chosen by guest curator Bernardo Laniado-Romero, former director of the Picasso museums in Barcelona and Málaga, who was responsible for devising the concept, exhibition and catalog. His curatorial approach is to focus on investigating the artist within his own time, in the decades from the 1950s through the early 1970s. “Picasso continued to reinvent himself all his life. Juxtaposing works from different dates reveals the breadth of stylistic expression that makes this period as dynamic as any other,” comments Bernardo Laniado-Romero. “This exhibition offers for the first time the opportunity to see how Picasso moved towards a raw, loosely defined representation of the figure. It is but one indication of the metamorphosis that took place and of the creative energy manifested during the last years of his artistic career. Picasso’s production displays a strength and an inventiveness that the artist preserved until the very end.”
    The exhibition is accompanied by a broad program of events and information with lectures, guided tours, concerts, and videos. The Museum Barberini will be working with the Berggruen Collection at the Staatliche Museen zu Berlin to focus on Picasso in Berlin and Potsdam.

    The exhibition patron is the Ambassador of the Kingdom of Spain in Germany, H. E. Ricardo Martínez.

    Picasso: The Late Work. From the collection of Jacqueline Picasso
    Exhibition dates: March 9 to June 16, 2019
    Press conference: March 7, 2019, 11 a.m.

    Address and admission:
    Museum Barberini, Alter Markt, Humboldtstrasse 5–6, 14467 Potsdam
    Daily except Tuesdays 10 a.m. – 7 p.m., every first Thursday in the month 10 a.m. – 9 p.m.
    Mon–Fri (except Tue) schools and kindergartens by prior arrangement 9 – 11 a.m.
    Tickets: € 14 / concessions € 10 / children and under 18s free
    Annual membership € 30 individual / € 50 couple / Young Friend (under 35) € 20
    Time tickets online at www.museum-barberini.com

  • February 5, 2019 | Press Release
    Announcement Monet: Places (02/22/–2020/01/06)

    From February 22 to June 1, 2020, the Museum Barberini in Potsdam will host a large-scale retrospective on French Impressionist artist Claude Monet (1840– 1926). Assembling around 110 paintings from all phases of his long career, the exhibition Monet: Places explores his approach towards the depiction of sites and topographies that influenced his stylistic development, including Paris and London, the Seine villages of Argenteuil, Vétheuil and Giverny, the coasts of Normandy and Brittany as well as Southern travel destinations such as Bordighera, Venice and Antibes. Amongst the show’s many highlights are numerous depictions of Monet’s garden and pond in Giverny, including several variations of his world-famous waterlilies.

    In the second half of the nineteenth century, the rise of Impressionism dramatically changed the evolution of European landscape painting. One of the movement’s most influential practitioners was Claude Monet, whose exceptionally prolific career spanned more than six decades. Although he was a highly versatile artist, Monet’s key interest lay on depictions of the natural world, characterized by a relentlessly experimental exploration of color, movement, and light. Inspired by the artistic exchange with his colleagues Eugène Boudin and Johan Barthold Jongkind, Monet’s early Impressionist compositions radicalized the practice of plein-air painting, as he largely rejected the studio in favor of working in open nature and directly in front of the motif.

    More than any of his fellow Impressionists, he was deeply attracted to exploring the character of specific sites and locations in situ, from the sundrenched Riviera or the wind-swept, rugged coastline of the Belle-Île in Brittany to the picturesque banks of the river Seine. At the very heart of Monet’s artistic practice lay a keen interest in capturing the impression of a fleeting moment, as he tried to translate the most evanescent effects of the atmosphere into the material structure of paint. “For me, a landscape does not exist in its own right, since its appearance changes at every moment”, Monet explained in 1891. “But its surroundings bring it to life – the air and light, which vary continually (…). For me, it is only the surrounding atmosphere which gives objects their real value.”

    The Museum Barberini is currently organizing a large-scale Monet retrospective in collaboration with the Denver Art Museum, exploring the role of the places that inspired him as well as his approach to rendering their specific topography, atmosphere, and light. From his very first documented composition through to the late depictions of his farmhouse and water-garden in Giverny, the show Monet: Places offers a rich overview of his entire career, demonstrating his unique place within the French avantgarde of his time. The show engages with some of the major questions that were already touched upon by the museum’s opening exhibition Impressionism: The Art of Landscape, which attracted over 320,000 visitors in its three-month run in 2017.

    Daniel Zamani, curator at the Museum Barberini, explains: “Monet’s career has been the subject of intense scholarly scrutiny, but our focus on the places that inspired him offers new insights into his artistic interests and methods. Our aim is to demonstrate just how significant specific topographies were at key junctures in Monet’s career and to look more deeply into how and why these places influenced his development as a painter.” To this, the Barberini’s director Ortrud Westheider, adds: “Monet was not just an incredibly gifted landscape painter, but one of the most radical and progressive artists of his generation. Compositions such as his iconic depictions of the waterlilies and pond at Giverny are powerful gestures towards abstraction whose visual force and expressive qualities continue to baffle and amaze.”

    In Potsdam, the wide-ranging exhibition brings together around 110 Monet paintings, including key loans from internationally important collections such as the Musée d’Orsay and the Musée Marmottan Monet in Paris, the National Gallery in London, the Museo Thyssen-Bornemisza in Madrid, the Metropolitan Museum of Art in New York, the Van Gogh Museum in Amsterdam and the National Gallery of Art in Washington. These works will be shown alongside numerous masterpieces from international private collections which are not usually accessible to the public, including a significant amount of loans from the US-based German entrepreneur Hasso Plattner, the Museum Barberini’s founder and benefactor. “As a collector, Impressionist landscapes are Hasso Plattner’s great passion”, Ortrud Westheider points out. “I am therefore absolutely thrilled that he has made this exhibition possible with such a generous amount of loans. In light of his close personal links to the US and the country’s great tradition of public patronage, it is particularly fitting that we can realize this show as a collaboration with our esteemed colleagues at the Denver Art Museum.”

    Catalog:
    The exhibition will be accompanied by a lavishly illustrated 280-page catalog, including contributions by some of the leading scholars on Impressionist painting, amongst them Marianne Mathieu, James Rubin, George T. M. Shackelford, Richard Thomson, and Paul Tucker. All of the catalog essays have been prepared through an international Monet conference that took place at the Museum Barberini in January 2019.

    Press Images:
    www.museum-barberini.com/en/press

    Interviews with the Monet conference participants Christoph Heinrich, Marianne Mathieu, James Rubin, George T. M. Shackelford, Richard Thomson, Paul Tucker, Ortrud Westheider, and Daniel Zamani: We are pleased to make these interviews in HD quality available to you free of charge for your current editorial reporting.
    www.museum-barberini.com/en/monet

  • January 17, 2019 | Press Release
    Barberini Friends Day

    On 20 January 2019, the Barberini Museum will celebrate its two-year anniversary with its Barberini Friends and those who will become on this day.

    This Sunday, the Barberini Museum celebrates its two-year anniversary together with its annual ticket holders, the Barberini Friends. All current Friends, former Friends who renew their tickets for one year on this day and all visitors who become new Friends on this day and purchase an annual ticket are invited to a glass of sparkling wine in the foyer. From 11 a.m. to 6 p.m. there will also be free hourly guided tours of the current Colour and Light show. The Neo-Impressionist Henri-Edmond Cross is offered exclusively for the Friends. The number of participants per tour is limited to 20 persons, registration is not necessary.

    "Over 500,000 visitors in the opening year, over 150,000 visitors and over 1,200 guided tours at the Richter Show last year alone - it's overwhelming numbers that make us happy," explains Ortrud Westheider, Director of the Barberini Museum. "We are very pleased that our exhibition programme, which is based on international cooperation, and the extensive range of information and events on offer have been so well received. And we are enthusiastic about the response to our annual tickets: almost 70,000 Barberini Friends have taken advantage of this offer so far - our annual ticket costs 30 euros for individuals, 50 euros for couples and 20 euros for visitors under 35. We see many Friends several times a week in the exhibition rooms, in the lunch break or in the evening for a short visit after work, immersed in a work of art, wonderful! The Barberini Friends Day on the occasion of our two-year anniversary is our "Thank you" for our loyal fans".

    With an annual pass, you can visit the museum's exhibitions for a year, as often as you like - with immediate admission and no queues. The Barberini Friends also receive invitations to special events or the first tour of a new exhibition.

    The founding of the Barberini Museum, an initiative of SAP co-founder Prof. Dr. h.c. mult. Hasso Plattner, is considered the most successful start of an art museum in Germany. This year the Barberini Museum is showing the retrospective of the Neo-Impressionist Henri-Edmond Cross until 17 February 2019. From March 9 to June 16, 2019, a major Picasso show with over 130 works, including paintings, drawings, collages, sculptures, ceramics, will be devoted to the late work of the painter, the Jacqueline Picasso Collection, which has hardly been shown publicly to date. From 13 July to 6 October 2019, over 50 masterpieces from the national galleries of Barberini Corsini in Rome, including one of Caravaggio's most important works, his painting "Narziss", created in 1589/99, will be on show in the show Wege des Barock. The last exhibition of the year, Van Gogh. Still Life (26 October 2019 to 2 February 2020) is the first exhibition on this theme, analysing the decisive stages in van Gogh's work and life with more than 20 paintings.

  • January 11, 2019 | Press Release
    Symposia on the Exhibitions Monet and Olympian Gods

    Two international symposia with renowned experts will address issues related to the current Olympian Godsexhibition and the major Monet show to be held next year.

    Rendering fleeting impressions of nature played a major role in Claude Monet’s art. More than any other Impressionist painter, he examined in depth the scenery and light at a given moment at very different places, ranging from the city of Paris to the remote villages of Vétheuil and Giverny on the Seine River. In cooperation with the Denver Art Museum, the Museum Barberini will be presenting the show Monet: Places next year (February 29 – June 1, 2020). To prepare for the exhibition in Potsdam, a symposium with renowned experts will held on January 16, 2019 to explore the development of Monet’s art from the 1850s to the 1920s, focusing on the places – both in his native country and during his travels – that inspired his painting.

    The current show Olympian Gods: From the Dresden Sculpture Collection at the Museum Barberini presents masterpieces that will not have had a suitable exhibition space for many years until they move into their new permanent location in the renovated Semperbau in the fall of 2019. To mark a new encounter with these works, a symposium will be held on January 25, 2019 focusing on issues related to updating and revitalizing collections of works from classical antiquity. The symposium, which is held in cooperation with the Staatliche Kunstsammlungen Dresden, will also honor Kordelia Knoll for the many years she has served as director of the Dresden Collection of Antiquities.

    Wednesday, January 16, 2019, 10 a.m. – 7 p.m.
    Symposium, Monet: Places
    With Marianne Mathieu, Musée Marmottan Monet, Paris; Dr. James H. Rubin, Stony Brook University, New York; George T. M. Shackelford, Kimbell Art Museum, Fort Worth; Prof. Dr. Richard Thomson, The University of Edinburgh, Edinburgh College of Art; Prof. Paul Tucker, University of Massachusetts, Boston; Dr. Daniel Zamani, Museum Barberini, Potsdam
    All presentations will be in English.
    € 10 / reduced € 8, free admission for students, please register in advance

    Friday, January 25, 2019, 10 a.m. – 6 p.m.
    Symposium, Olympian Gods: From the Dresden Sculpture Collection
    With Dr. Norbert Eschbach, Gießen; Dr. Stephan Koja, Dresden; Dr. Claudia Kryza-Gersch, Dresden; Dr. Joachim Raeder, Kiel; Prof. Dr. Andreas Scholl, Berlin; Saskia Wetzig, Dresden
    € 10 / reduced € 8, free admission for students, please register in advance

    Pressekontakt
    Achim Klapp, Marte Kräher
    Kommunikation Museum Barberini
    T +49 331 236014 305/308
    E presse@museum-barberini.com
    Pressephotos: www.museum-barberini.com/presse
    www.museum-barberini.com

  • November 29, 2018 | Press Release
    Conference Van Gogh: Still Lifes

    International van Gogh experts explore the still life genre in the artist’s work

    Vincent van Gogh (1853–1890) repeatedly painted still lifes, from his first painting to the colorful flower pictures of his later years. Using this genre, he was able to test out with painterly means and possibilities from the august Dutch tradition of the seventeenth century – first looking to Rembrandt, later to Jan Davidsz de Heem – to the use of light and shadow to capture a space and experiments with color. Van Gogh’s reactions to impressionism can be observed in his still lifes as well as in his processing of the influence of Japanese woodblock prints. In his letters, too, van Gogh repeatedly referred to the significance of still lifes for the development of his oeuvre. Of the 800 or so paintings he produced over the course of his career, 167 are still lifes. It is therefore all the more astonishing that no monographic exhibition has ever been devoted to the genre of the still life in van Gogh’s work.

    The first exhibition on this subject, to be shown from October 26, 2019 to February 2, 2020 at the Museum Barberini, Potsdam, analyses the decisive stages in van Gogh’s work and life using over 20 paintings. The show is a collaboration with the Kröller-Müller Museum, Otterlo, and the Van Gogh Museum, Amsterdam, with loans from the Art Institute of Chicago and the National Gallery of Art, Washington, D.C. The patron of the exhibition is H.E. Wepke Kingma, ambassador of the Kingdom of the Netherlands to Germany.

    During the symposium on December 5, 2018, international van Gogh experts including Sjraar van Heugten, Stefan Koldehoff, and Marije Vellekoop will explore the exhibition’s central questions. Their lectures will be published in the exhibition catalog in autumn 2019.

    Symposium on the exhibition Van Gogh: Still Lifes
    Wednesday, December 5, 2018, 10am to 7pm
    Museum Barberini, Humboldtstr. 5–6, 14467 Potsdam
    With Sjraar van Heugten, Utrecht; Stefan Koldehoff, Cologne; Dr. Michael Philipp, Museum Barberini, Potsdam; Eliza Rathbone, Washington, DC; Dr. Oliver Tostmann, Wadsworth Atheneum Museum of Art, Hartford, CT; Marije Vellekoop, Van Gogh Museum, Amsterdam; Prof. Dr. Michael F. Zimmermann, Catholic University of Eichstätt
    € 10 / reduced € 8, free admission for students, registration required

    Van Gogh: Still Lifesexhibition
    October 26, 2019 – February 2, 2020
    Museum Barberini, Humboldtstr. 5–6, 14467 Potsdam, Germany

  • November 22, 2018 | Press Release
    When and why does art touch us? Event and information programme on the current exhibitions with author Florian Illies

    When and why does art touch us?

    Kick-off of the event and information programme on the current exhibitions with bestselling author Florian Illies


    An extensive programme of events and information with lectures, guided tours, discussions, concerts and films accompanies the two current exhibitions Colour and Light: The Neo-Impressionist Henri-Edmond Cross and Olympian Gods. The first will be the journalist and author Florian Illies. On November 26, 2018 he will discuss the seductive power of art with Christoph Amend, editor-in-chief of ZEITmagazin and publisher of WELTKUNST. What does (good) art do with us? When and why does art touch us? Which works accompany us all our lives? Florian Illies can say it for himself: During a visit to Frankfurt's Städel, the then 10-year-old was enraptured by a large, colorful painting: Afternoon in the Garden by Henri-Edmond Cross. The re-encounter 36 years later with the work now exhibited in Potsdam becomes the occasion for a fundamental discussion, intensified by a short reading from his current bestseller 1913.

    On the occasion of the presentation Olympian Gods, the literary scholar and president of the German Academy for Language and Poetry Ernst Osterkamp portrays the legendary founder of art history Johann Joachim Winckelmann (1717-1768) a few days later on 29 November 2018. Winckelmann was fascinated by the beauty and presence of the body representations of the ancient sculptures. In an entertaining way, Ernst Osterkamp illustrates in his lecture how his idealized view of the statues of heroes and gods lives on in today's notions of beauty.

    Art Seduces
    Florian Illies, journalist, art historian, and author, Berlin
    Christoph Amend, editor-in-chief of ZEITmagazin and publisher of WELTKUNST, Berlin

    Monday, November 26, 2018, 7 p.m.
    € 10 / reduced € 8

    Noble Simplicity, Quiet Grandeur. Travel with Winckelmann to Visit Ancient Gods
    Prof. Dr. Ernst Osterkamp, Humboldt University of Berlin

    Thursday, November 29, 2018, 7 p.m.
    € 10 / reduced € 8

    More information and schedule: www.museum-barberini.com/en/events/

    About the exhibitions Colour and Light: The Neo-Impressionist Henri-Edmond Cross and Olympian Gods

    Last Saturday, the Potsdam Museum Barberini opened with the retrospective Color and Light. The Neo-Impressionist Henri-Edmond Cross is another exhibition dedicated to Classical Modernism in France. Around 1900 Cross was regarded as one of the most important representatives of the French avant-garde and was known for his light-flooded depictions of the Riviera. On the first two days after the opening, around 2.200 visitors flocked into the house to marvel at his colorful dream landscapes. The large-scale retrospective includes numerous Neo-Impressionist masterpieces from some of the world's most important museums, including loans from the Musée d'Orsay in Paris, the National Gallery of Art in Washington, the Museo Nacional Thyssen-Bornemisza in Madrid, the Museum of Fine Arts in Houston, and the Ny Carlsberg Glyptotek in Copenhagen. They are complemented by selected key works from international private collections that are otherwise not accessible to the public. Parallel to the cross exhibition, the Museum Barberini is presenting Olympian Gods in the exhibition of masterpieces from the Antikensammlungen of the Staatliche Kunstsammlungen Dresden.

    More informations:
    www.museum-barberini.com/en/henri-edmond-cross
    www.museum-barberini.com/en/olympian-gods/

  • November 16, 2018 | Press Information
    Three presentations parallel to the exhibition Colour and Light: Neo-Impressionist Henri-Edmond Cross at the Museum Barberini

    Götter des Olymp. Aus der Dresdner Skulpturensammlung
    17. November 2018 bis 17. Februar 2019

    Für die Menschen im antiken Griechenland verwiesen eindrucksvoll ausgearbeitete Statuen auf die Anwesenheit der Götter und symbolisierten Machtfülle oder ideale Schönheit. In der römischen Kaiserzeit, als Bildhauer die griechischen Vorbilder kopierten, vermittelten die Skulpturen eine Aura von Bildung und Gelehrsamkeit. Noch heute strahlen diese Werke Würde und Anmut aus. Die Staatlichen Kunstsammlungen Dresden bewahren einen der bedeutendsten Bestände antiker Skulpturen in Deutschland. Aus dieser umfangreichen Sammlung präsentiert das Museum Barberini antike Bildwerke, die die wichtigsten Götter des griechischen Olymp darstellen – darunter Statuen, die so prominent sind, dass sie nach ihrem Standort benannt sind wie etwa der „Dresdner Zeus“.

    Die Meisterwerke zeigen die Entwicklung griechischer Bildhauerkunst und veranschaulichen die antike Mythologie mit ihren Göttergeschichten und den Konventionen ihrer Darstellung. Die Ausstellung Götter des Olymp. Aus der Dresdner Skulpturensammlung stellt sie ins Zentrum, um mit ihrer Präsenz die Mythen für unsere Zeit zu vergegenwärtigen.

    August der Starke, Kurfürst von Sachsen, König von Polen und Großfürst von Litauen, hat die Dresdner Skulpturensammlung begründet, und mit den Göttern hat er die Helden und Tugendvorbilder am Hof versammelt. Die Büste des Ares und die Hermes-Herme erhielt er als Geschenk des Königs in Preußen, Friedrich Wilhelm I. Nach fast 300 Jahren finden diese Werke ihren Weg zurück nach Potsdam, bevor sie im renovierten Semperbau in Dresden ihre dauerhafte Aufstellung finden werden. Die in Kooperation mit den Staatlichen Kunstsammlungen Dresden entstandene Ausstellung setzt die Zusammenarbeit fort, die mit Leihgaben zur Ausstellung Hinter der Maske. Künstler in der DDR (2017/18) begann und einer Ko-Kuratorenschaft zwischen dem Gerhard Richter Archiv und dem Museum Barberini für die Ausstellung Gerhard Richter. Abstraktion (2018) fortgesetzt wurde.



    Barberini Collection
    Künstler aus der DDR. Werke aus der Sammlung des Museum Barberini
    17. November 2018 bis 2. Februar 2020

    Die Sammlung des Museums Barberini hat einen Schwerpunkt in der Malerei von Künstlerinnen und Künstlern aus der DDR. In der Reihe Barberini Collection werden im Laufe eines Jahres vier thematische Präsentationen eröffnet. Im Herbst 2019 werden alle Werke aus diesem Sammlungsschwerpunkt zu sehen sein. Die Themen sind: Aspekte des Malerischen (ab 17. November 2018), Moderne Historienmalerei (ab 9. März 2019), Melancholie und Malerei (ab 26. Oktober 2019) und Landschaft (ab 26. Oktober 2019). Die erste Präsentation Aspekte des Malerischen konzentriert sich in zwei Ausstellungsräumen auf Gemälde aus den 1980er Jahren und stellt vier Künstler vor, denen die Malerei als Mittel zur Selbstbefragung und zur Reflexion diente: Hartwig Ebersbach (*1940), Günter Firit (1947–2010), Stefan Plenkers (*1945) und Erika Stürmer-Alex (*1938). Auf der Suche nach einem individuellen künstlerischen Ausdruck erweiterten die Künstlerinnen und Künstler unabhängig von offiziellen Vorgaben die Malerei um eine Dimension des Expressiven, oftmals Rätselhaften.


    Kunstgeschichten
    Nolde, Feininger, Nay. Vom Expressionismus zum Informel
    9. Juni 2018 bis 10. Februar 2019

    Bereits seit 9. Juni 2018 sind Werke von Willi Baumeister, Lyonel Feininger, Wassily Kandinsky, Ernst Wilhelm Nay, Emil Nolde, Max Pechstein, Karl Schmidt-Rottluff und Fritz Winter zu sehen. Zu Beginn des 20. Jahrhunderts entwickelten sich in der Kunst in Deutschland zahlreiche avantgardistische Strömungen. Die Maler der Brücke waren die Ersten, die auf die Kraft der Farbe setzten. Das Bauhaus arbeitete an einer Farbtheorie der Moderne. Spätestens nach dem Zweiten Weltkrieg galt die Farbe als Mittel des künstlerischen Selbstausdrucks. In der Zeit des Nationalsozialismus wurden diese Künstler verfemt, aber ihre Werke prägten die Kunstgeschichte des 20. Jahrhunderts. Eine Auswahl präsentiert das Museum Barberini in einer konzentrierten Schau von 26 Werken.

  • October 19, 2018 | Press Release
    More than 150,000 visitors to the Gerhard Richter exhibition

    On Sunday, October 21, 2018, the exhibition "Gerhard Richter: Abstraction" ends. Over 150,000 visitors will have seen the show in Potsdam over the past three and a half months. It was the first solo exhibition of a contemporary artist in the Museum Barberini. "Gerhard Richter: Abstraction" brought together works from five decades of the artist's various creative phases from the 1960s to new works that had not yet been exhibited. In contrast to the retrospectives of past years at the Museum of Modern Art in New York, Tate Modern, London, the New National Gallery of the National Museums in Berlin, and the Centre Pompidou in Paris, the exhibition at the Museum Barberini concentrated on the central theme of abstraction in Richter's painting.

    "Abstraction is a red thread through Richter's painting. It is Richter's method because it leads him away from seen reality and creates a new reality that art is his means of discovering. In 2016, the Hasso Plattner Foundation acquired the abstract painting A B, Still from 1986, which gave the artist the opportunity to propose the exhibition theme of abstraction. To our great pleasure, Gerhard Richter had agreed to the project, supported it with numerous loans, some of which had never been shown before, and repeatedly reflected on the concept of our exhibition, adding to it and celebrating the opening together with us in June," explains Ortrud Westheider, Director of the Barberini Museum. "This close collaboration and engagement came at a time of intense preparation for his exhibition at the Metropolitan Museum of Art in New York next year. With Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden and co-curator of the Potsdam exhibition, I would like to thank the artist very much for this gift".

    Following the Richter Show, the Barberini Museum will be showing the first retrospective dedicated to Henri-Edmond Cross (1856-1910) at a German museum from 17 November 2018 to 17 February 2019. Together with his friend and artist colleague Paul Signac, Cross, considered one of the most important representatives of French Neo-Impressionism, discovered the Côte d'Azur for painting. Between the Impressionists around Claude Monet and the pioneers of Expressionism around Henri Matisse, his oeuvre marked a decisive stage on the way to the appreciation of color as an autonomous means of design and thus towards abstraction. In Germany, he was celebrated early on as a pioneer of modernism. In addition to his outstanding role within the Neo-Impressionist movement, it also focuses on his influence on the later development of the French avant-garde and illuminates Cross's importance as one of the great pioneers of 20th-century painting.

  • July 26, 2018
    Color and Light: The Neo-Impressionist Henri-Edmond Cross

    Color and Light: The Neo-Impressionist Henri-Edmond Cross
    November 17, 2018 until February 17, 2019

    Henri-Edmond Delacroix was born in Douai in northern France in 1856. His artistic formation began in 1866 with Carolus Duran, followed by lessons at the Écoles Académiques de Dessin et d’Architecture in Lille, as well as with the Parisian painters François Bonvin and Émile Dupont-Zipcy. Keen to preclude any associations with the famous painter Eugène Delacroix, he began exhibiting under the pseudonym of Cross in 1883. During the following year, he was among the founding members of the Salon des Indépendants, where he became acquainted with Paul Signac, and where he was represented prominently (with rare exceptions) until 1910. In the early 1890s, he began to experiment with the new painting technique known as Pointillism or Divisionism. Heralded by Georges Seurat, this method consisted in the juxtaposition of luminous colors applied in small, dotted brushstrokes. Cross’s early Neo-Impressionist paintings such as Bullfight (ca. 1891–92, private collection) or Hair (ca. 1892, Musée d’Orsay, Paris) may well be considered as an homage to the movement’s great originator.

    Decisive for the development of Cross’s oeuvre was his move to the French Riviera, whose natural beauty became his key source of inspiration. In 1891, he took a house on the shore in Cabasson, relocating slightly later to the coastal town of Saint-Clair. Although Cross kept an eye on the metropolitan art scene and maintained contact with his fellow Néos, his style evolved under these new living and working conditions: the dark, earthy colors of his early work were supplanted by a brighter palette and striking tonal contrasts. Characteristic of Cross’s works of this time are landscapes and genre paintings which reflect a romanticized, blissful view of rural life along the coastline (cf. The Farm [Morning], 1893, Musée des Beaux-Arts, Nancy; The Farm [Evening], 1893, private collection; The Washerwoman, 1895, private collection). In his late works, he often endowed his natural idylls with allegorical or mythological overtones, ultimately reminiscent of an idealized Golden Age (cf. Joyful Bathing, 1899–1902, private collection; Faun, 1905–06, private collection). “I would like to paint happiness, the happy beings who men can be in a few centuries (?) when pure anarchy will be realized,” he wrote to Signac in June 1893, inserting a question mark after “centuries.” In a forward to Cross’s 1905 solo exhibition at the Galerie Druet in Paris, the Belgian poet Émile Verhaeren perceived his art as a “glorification of nature” as well as a “glorification of an inner vision” that he saw characterized by a “pantheistic ardor.” Such reverberations of the idea of an earthly paradise are reflected in Cross’s depictions of the light-flooded Riviera, among them Beach at Saint-Clair (1901, private collection) and A Pine Wood (1906, private collection).

    At the beginning of the 20th century, Cross was regarded as one of the most important representatives of French painting, and served as a model and mentor for aspiring avant-garde artists such as Henri Matisse and Albert Marquet, who maintained lively exchanges with him. During these years, Cross’s works were also regularly exhibited at national and international shows. In Germany, his paintings were frequently shown and avidly discussed, significantly contributing to his early reputation as a key player in the development of modern art. Among his most fervent admirers was the collector Count Harry Kessler, who purchased numerous works by the artist, among them Landscape at Bormes (1907, private collection), Pardigon, Coast in Provence, Evening (1907, The Kasser Mochary Foundation, Montclair, New Jersey) and Pink Spring (1909, private collection). Even before their counterparts in France, German museum founders and directors such as Karl Ernst Osthaus and Georg Swarzenski purchase works by Cross, among them the large-format canvas Afternoon in the Garden (1904, Städel Museum, Frankfurt am Main). The groundbreaking exhibition at the Sonderbund in Cologne in 1912 celebrated Cross as a leading figure of the French avant-garde, alongside Paul Cézanne, Pablo Picasso, and Vincent van Gogh

    The exhibition at the Museum Barberini is the first show devoted to this artist at a German museum. Approximately 20 years after the last Cross retrospective (Musée de la Chartreuse, Douai, 1998/99), it surveys the entirety of his artistic career, presenting his innovative handling of color and light in the wider context of the avant-garde of his time. At the same time, the exhibition sheds light on Cross’s fascination with the tenets of anarchism, exploring the sociopolitical thrust of his painted utopias. “Cross’s early reception in Germany was a decisive factor in our conception of this project. Many works that were in German hands at the beginning of the 20th century, or were shown in German exhibitions, are returning in the context of this retrospective,” explains Ortrud Westheider, Director of the Museum Barberini. Daniel Zamani, curator of the exhibition in Potsdam, adds: “Many of the paintings listed in the catalogue raisonné of Cross’s works published in 1964 are either lost or in private collections. We are therefore thrilled to have won the support of so many private collectors. It is largely due to their generous support that we can present our public with a representative cross-section of Cross’s oeuvre, including many of his most ambitious Neo-Impressionist paintings.”

    Overall, the retrospective includes around 100 paintings, watercolors, and drawings from all phases of the artist’s career, among them loans from the Musée d’Orsay in Paris, the Museo Nacional Thyssen-Bornemisza in Madrid, the Ny Carlsberg Glyptotek in Copenhagen, the Museum of Fine Arts in Houston, the Toledo Museum of Art in Ohio, the Chrysler Museum of Art in Norfolk, as well as numerous works from international private collections. Among the highlights of the show are two of Cross’s earliest Neo-Impressionist seascapes, Calanque des Antibois (1891–92) and Plage de la Vignasse (ca. 1891–92), which are on loan from the National Gallery of Art in Washington and the Musée d’art moderne André Malraux in Le Havre. A further highlight are Cross’s as yet largely unknown black-and-white drawings, which were executed with charcoal or Conté crayon and which attest to his intimate dialogue with Georges Seurat’s works on paper.

  • June 28, 2018 | press release
    Gerhard Richter: Abstraction – First exhibition of a contemporary artist in Museum Barberini

    press release

    Gerhard Richter: Abstraction

    June 30 – October 21, 2018

    Gerhard Richter's work has been honored in major retrospectives: in 2002 the Museum of Modern Art, New York, dedicated a solo exhibition to him. In 2011, the Tate Modern, London, the New National Gallery of the National Museums in Berlin, and the Centre Pompidou, Paris, showed a presentation that in its title Panorama already named the broad view of Richter's life's work. Like these exhibitions, Gerhard Richter also beats. Abstraction in the Barberini Museum, she covers the great arc from the 1960s to new works. For the first time, it is devoted to a central theme for Richter's painting: abstract strategies and procedures in the artist's oeuvre as a whole.

    The show is based on a work from the collection of the Barberini Museum and brings together over 90 works, some of which have not yet been exhibited, from international museum and private collections. It shows Richter's development from the black-and-white photographic images and color plates to the cut-outs, the grey images, and the painting on to the abstract images, as Richter often called his paintings from the late 1970s with their brush, squeegee, and spatula traces in the application of paint. In the range of variations of the most diverse groups of works, elements become recognizable that run through the entire work.

    "Abstraction is a red thread through Richter's painting. As erratic and multiform as it seemed to some contemporaries when switching between different work phases, his work developed consistently as a constant continuation and transformation of abstraction," explains Ortrud Westheider, director of the Museum Barberini. "Through the calculated inclusion of chance, Richter takes back the conscious control of the painting process. He works with raster structures, behind which the creative takes a backseat, or he uses a squeegee to move across the entire picture surface. He avoids creative pathos and meanings that lie outside the realm of art; the pictures thus work through themselves.

    The exhibition, curated by Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden, was created in close collaboration with Gerhard Richter. The exhibition is accompanied by an extensive programme of events and information, including lectures, guided tours, concerts and films.

  • June 27, 2018 | Press Release
    Museum Barberini presents masterpieces from the collections of the palazzi Barberini and Corsini Rome

    Museum Barberini presents masterpieces from the collections of Palazzo Barberini and Corsini Rome next year

    From July, 13, until October, 6, 2019, the Barberini Museum will be presenting the exhibition Paths of the Baroque. The National Galleries Barberini Corsini in Rome. 54 masterpieces from the collections of the Palazzi Barberini and Corsini are shown in Potsdam, including one of the most important works of Caravaggio, his 1589/99 created painting Narcissus.

    Flaminia Gennari Santori, Director of the National Galleries Barberini Corsini in Rome: "We are pleased to present our museum and part of its collection in Potsdam, a city with so many links to the art and architecture of Rome." During his pontificate as Pope Urban VIII. in the 17th century, Maffeo Barberini collected pictures and commissioned paintings that are now among the major works of Italian baroque. The exhibition, the first project of the Museum Barberini within the Old Masters, will highlight the themes and stylistic developments of the Baroque in Rome. In the 17th century the city was the cultural center of Europe, not only in architecture but also in fine arts.

    Ortrud Westheider, director of the Barberini Museum: "It is a great honor for us and the recognition of the still young Barberini Museum to be able to cooperate with the renowned National Gallery. From the beginning, it was our wish to realize an exhibition with the collection bearing the same name as our building. I'm especially pleased that this is possible with the spectacular loan from Caravaggio's Narziss."

    The Barberini Museum on the Old Market of Potsdam is a reconstruction of the Palais Barberini, built by Frederick the Great in 1771/72, modeled after the Palazzo Barberini. The architects Georg Christian Unger and Carl von Gontard adapted the Baroque façade built by Gian Lorenzo Bernini with others on behalf of Taddeo and Francesco Barberini in Potsdam between 1627 and 1638, and varied it. Today, Palazzo Barberini is home to one of the most important collections of Italian painting. Together with the collections of the Galleria Corsini they form the Gallery Nazionali Barberini Corsini.

    The Foundation Prussian Palaces and Gardens Berlin Brandenburg (SPSG) and the City of Potsdam take the exhibition as an opportunity to let the Barberini Museum turn the summer of 2019 into a celebration of Italian art and culture. Dr. Franziska Windt, curator of the French and Italian paintings of the SPSG: "The palaces and gardens of Potsdam testify to countless inspirations that Frederick II and Frederick William IV received from Roman models. We invite our visitors to follow in the footsteps of these suggestions. "An app designed as a walking route to the Roman monuments in Potsdam aims to open up the artworks. Other partners of the city, among them the Potsdam Museum - Forum for Art and History, the Film Museum and the Potsdam Chamber Academy, the Potsdam Education Forum, the Friends of Potsdam-Perugia and the PMSG Potsdam Marketing and Service GmbH are also dedicated to the subject of Italy in Potsdam. Jann Jakobs, Mayor of Potsdam: "We look forward to numerous initiatives. 'Italy in Potsdam promises an inspiring summer of culture.'


    Paths of the Baroque. The National Galleries Barberini Corsini in Rome
    Exhibition at the Museum Barberini, Humboldtstraße 5-6, 14467 Potsdam
    July 13 to October 6, 2019

    Symposium on the exhibition: October 17, 2018, Museum Barberini
    With lectures by Maurizia Cicconi, Michele Di Monte, Inés Richter-Musso, Prof. Dr. med. Sebastian Sagittarius, dr. Franziska Windt. 10 Euro / reduced 8 Euro, free admission for students, registration required.

  • June 27, 2018 | Press Release
    Museum Barberini presents masterpieces from the collections of the palazzi Barberini and Corsini Rome

    Museum Barberini presents masterpieces from the collections of Palazzo Barberini and Corsini Rome next year

    From July, 13, until October, 6, 2019, the Barberini Museum will be presenting the exhibition Baroque Pathways. The National Galleries Barberini Corsini in Rome. 54 masterpieces from the collections of the Palazzi Barberini and Corsini are shown in Potsdam, including one of the most important works of Caravaggio, his 1589/99 created painting Narcissus.

    Flaminia Gennari Santori, Director of the National Galleries Barberini Corsini in Rome: "We are pleased to present our museum and part of its collection in Potsdam, a city with so many links to the art and architecture of Rome." During his pontificate as Pope Urban VIII. in the 17th century, Maffeo Barberini collected pictures and commissioned paintings that are now among the major works of Italian baroque. The exhibition, the first project of the Museum Barberini within the Old Masters, will highlight the themes and stylistic developments of the Baroque in Rome. In the 17th century the city was the cultural center of Europe, not only in architecture but also in fine arts.

    Ortrud Westheider, director of the Barberini Museum: "It is a great honor for us and the recognition of the still young Barberini Museum to be able to cooperate with the renowned National Gallery. From the beginning, it was our wish to realize an exhibition with the collection bearing the same name as our building. I'm especially pleased that this is possible with the spectacular loan from Caravaggio's Narziss."

    The Barberini Museum on the Old Market of Potsdam is a reconstruction of the Palais Barberini, built by Frederick the Great in 1771/72, modeled after the Palazzo Barberini. The architects Georg Christian Unger and Carl von Gontard adapted the Baroque façade built by Gian Lorenzo Bernini with others on behalf of Taddeo and Francesco Barberini in Potsdam between 1627 and 1638, and varied it. Today, Palazzo Barberini is home to one of the most important collections of Italian painting. Together with the collections of the Galleria Corsini they form the Gallery Nazionali Barberini Corsini.

    The Foundation Prussian Palaces and Gardens Berlin Brandenburg (SPSG) and the City of Potsdam take the exhibition as an opportunity to let the Barberini Museum turn the summer of 2019 into a celebration of Italian art and culture. Dr. Franziska Windt, curator of the French and Italian paintings of the SPSG: "The palaces and gardens of Potsdam testify to countless inspirations that Frederick II and Frederick William IV received from Roman models. We invite our visitors to follow in the footsteps of these suggestions. "An app designed as a walking route to the Roman monuments in Potsdam aims to open up the artworks. Other partners of the city, among them the Potsdam Museum - Forum for Art and History, the Film Museum and the Potsdam Chamber Academy, the Potsdam Education Forum, the Friends of Potsdam-Perugia and the PMSG Potsdam Marketing and Service GmbH are also dedicated to the subject of Italy in Potsdam. Jann Jakobs, Mayor of Potsdam: "We look forward to numerous initiatives. 'Italy in Potsdam promises an inspiring summer of culture.'


    Baroque Pathways. The National Galleries Barberini Corsini in Rome
    Exhibition at the Museum Barberini, Humboldtstraße 5-6, 14467 Potsdam
    July 13 to October 6, 2019

    Symposium on the exhibition: October 17, 2018, Museum Barberini
    With lectures by Maurizia Cicconi, Michele Di Monte, Inés Richter-Musso, Prof. Dr. med. Sebastian Sagittarius, dr. Franziska Windt. 10 Euro / reduced 8 Euro, free admission for students, registration required.

  • June 8, 2018 | Press Release
    Exhibition Max Beckmann. World Theater ends successfully with around 90,000 visitors

    On Sunday, 10th June 2018, the exhibition Max Beckmann: World Theater with 112 partly barely shown masterpieces from major international and national museums and private collections will end. Around 90,000 visitors have visited the exhibition during the past four months at the Museum Barberini.

    "Our desire to inspire our visitors with a very clear narrative for the often cumbersome Beckmann has come true. Since our brilliant start last year, the Beckmann show has now been the fourth major exhibition in a row with continuously high visitor numbers and outstanding audience and media feedback, "explains Ortrud Westheider, director of the Museum Barberini. "I am particularly pleased that our versatile side program - with thematic tours, a film program, a tango evening, meditation and children's circus acrobatics in the museum, not to mention the wonderful talks with Bundestag President a. D. Norbert Lammert, Ulrich Matthes, Cem Özdemir, Klaus Staeck, Harald Welzer and many other prominent guests - were able to establish us as an important event and cultural event in the Berlin-Brandenburg region. "

    The Beckmann show was realized in cooperation with the Kunsthalle Bremen, a first station of the exhibition in Bremen had previously attracted around 70,000 visitors. At the end of June, the next big exhibition will start in the Museum Barberini: Gerhard Richter. For the first time abstraction is dedicated to a theme central to Richter's painting, the abstract strategies and procedures in the artist's oeuvre. The show is based on a work from the collection of the Barberini Museum and brings together over 90 works, some of them not yet exhibited, from international museum and private collections. In autumn, the Museum Barberini presents the first retrospective of the French neo-Impressionist Henri-Edmond Cross in Germany. In the spring of 2019 follows Picasso. The late work. All loans for this show are from the Jacqueline Picasso collection. Jacqueline Picasso's daughter Catherine Hutin has made this collection, which until now has hardly been publicly exhibited, available for the exhibition in Potsdam.

    SERVICE DATA & ENTRIES
    Museum Barberini, Alter Markt, Humboldtstraße 5-6, 14467 Potsdam
    Mon & Wed-Sun 10-19, every first Thu in the month 10-21 o'clock, Tue closed
    Mon-Fri (except Tue) for kindergartens and schools after registration 9-11 o'clock
    Admission: € 14 / concessions € 10 / children under 18 years free
    Annual Pass Individual € 30 / Annual Pass € 50 /
    Young Friend (under 35 years) € 20
    Online time slot tickets at www.museum-barberini.com

  • May 23, 2018 | press release
    Masterpieces by Nolde, Feininger, Nay and an Oral Culture Project Accompany the Gerhard Richter Show

    Nolde, Feininger, Nay: From Expressionism to Art Informel, June 9, 2018 – Feb. 10, 2019
    Congo Tales: Told by the People of Mbomo, June 30 – Oct. 21, 2018

    Alongside the exhibition Gerhard Richter: Abstraction, the Museum is presenting two other shows: the art historical Nolde, Feininger, Nay: From Expressionism to Art Informel and the oral culture project Congo Tales: Stories from Mbomo.

    Beginning June 9, 2018 visitors to the museum can see works by Willi Baumeister, Lyonel Feininger, Wassily Kandinsky, Ernst Wilhelm Nay, Emil Nolde, Max Pechstein, Karl Schmidt-Rottluff, and Fritz Winter. Numerous avant-garde art movements emerged in Germany at the beginning of the twentieth century. Painters of Die Brücke (The Bridge) were the first to focus on the power of color. The Bauhaus developed a color theory for modern art. Later, following World War II, color was seen as a means of artistic self-expression. During the Third Reich, these artists were ostracized, but despite this their work shaped the history of art in the twentieth century.

    The Congo Tales project explores the theme of how we tell stories. Orally transmitting stories and cultural practices is the basis of a cultural community. Collective identities form through regional narratives. Initiated by Stefanie Plattner and Eva Vonk, this year-long project visualizes fables and stories from the Mbomo region of the Odzala Kokoua National Park in the Republic of Congo with photographs by the New Yorker Pieter Henket. Our program of events includes a documentary by the Pulitzer grant winning photographer Jasper Rischen. A publication provides insight into the wide-ranging tradition of oral folklore which encompasses fables, stories, myths, and the landscape of a unique region that is home to almost a quarter of the world’s rainforests. This presentation in Potsdam, which is supplemented by an educational program and events for children, is the second stop for this long-term oral culture project. Congo Tales will be launched on May 28, 2018 by a photography exhibition in Mbomo, Congo.

    For more information and press photos, please visit: www.museum-barberini.com/en/presse and www.talesofus.net

  • May 18, 2018 | press release
    prior notice: Gerhard Richter: Abstraction, June 30 to October 21, 2018, Museum Barberini Potsdam

    The first survey devoted to abstraction in the artist's oeuvre / Illuminates Richter’s ideas and techniques from the 1960s to the present day

    June 30 – Oct. 21, 2018

    Potsdam, May 17, 2018

    Gerhard Richter’s work has already been honored in major retrospectives. In 2002, the Museum of Modern Art in New York devoted a solo show to the artist. In 2011, Tate Modern in London, the Neue Nationalgalerie in Berlin, and the Centre Pompidou in Paris mounted an exhibition that took a wide-ranging view of Richter’s life work, as encapsulated in its title, Panorama. Our exhibition, Gerhard Richter: Abstraction, also traces a broad arc from the 1960s to the artist’s more recent works. Unlike the retrospectives, however, the exhibition at the Museum Barberini concentrates upon a theme crucial to Richter’s painting: the abstract strategies and techniques employed across the artist’s oeuvre.

    The exhibition was inspired by a work held by the Museum Barberini and brings together over ninety artworks from international museums and private collections, some of which will be on display for the first time. It follows Richter’s development from the black-and-white Photo paintings and Color Charts to the Detail paintings, the Gray paintings, the Inpaintings, and the Abstract paintings, as Richter often titled his works from the late 1970s onward. The works in this last series retain traces of the tools used in the artist’s working process: brushes, squeegees, and spatulas. Through the broad range of the diverse groups of works on display, viewers will be able to identify elements that recur throughout Richter’s entire oeuvre.

    “Abstraction runs like a golden thread through Richter’s painting. As volatile and diverse as his changes from one phase to the next may have seemed to some of his contemporaries, Richter’s work has nonetheless resolutely furthered and transformed abstraction,” explains Ortrud Westheider, director of the Museum Barberini. “By deliberately incorporating chance, he minimizes the artist’s conscious control of the painting process. Richter emphasizes a grid structure over spontaneous creativity and draws a squeegee across entire canvases. He eschews subjectivity and references outside of art. These abstract works function on their own terms.”

    The exhibition, curated by Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden, has been developed in close collaboration with Gerhard Richter. The exhibition is accompanied by an extensive program of workshops and events including talks, guided tours, concerts, and film screenings.

    Gerhard Richter: Abstraction
    Museum Barberini, Humboldtstr. 5–6, 14467 Potsdam, Germany
    June 30 to October 21, 2018
    Press Conference: June 28, 2018, 11 am (Please accredit here)
    Press photos: www.museum-barberini.com/presse

    PR contact
    Achim Klapp
    Press and PR, Museum Barberini
    T +49 331 236014 305
    E presse@museum-barberini.com
    www.museum-barberini.com

  • April 26, 2018 | press release
    Accompanying program to the exhibition "Max Beckmann. World Theater"

    Talks, lectures, themed tours, films and actions make the cosmos Beckmann and its topicality tangible

    Potsdam, April 26, 2018 - For Max Beckmann, the world of variety and fairground artists, acrobats, clowns and actors was a metaphor for human relations and world affairs. Until June 10, 2018, the Museum Barberini will be showing "Max Beckmann. Welttheater "is still the first exhibition on this central theme in the work of the painter, which is of the utmost topicality in view of the current media development. An extensive accompanying program with lectures, talks, theme and children tours, films and actions conveys Beckmann's idea of the world as a stage and makes it tangible in a challenging and playful way.

    Jo Schück, moderator of the ZDF cultural magazine Aspects, will be inviting actress and director Feo Aladag ("The Stranger"), politician Cem Özdemir, actor Ulrich Matthes and social psychologist Harald Welzer to the Barberini Museum on 30 May. His topic is "The World as a Stage". How up-to-date is Beckmann's metaphor of world theater in view of the rapid developments in the media world, which often make world events appear as a spectacle? Are we currently experiencing tragedy, comedy or real satire?

    Theater-maker Thomas Oberender, director of the Berliner Festspiele, is interested in Beckmann's specific way of staging his characters in the picture. In his lecture on May 17, he reflects on the extent to which theater metaphor in the medium of painting corresponds to the development of modern theater.

    A wide range of many events - from themed tours to film program in the Filmmuseum Potsdam to yoga and meditation in the museum, children's tours and acrobatics in the exhibition round off the accompanying program in May and June and underline the ambition of the Museum Barberini to experience the cosmos Beckmann for everyone and in a new way.

    More information and tickets for all events:

    www.museum-barberini.com

  • March 21, 2018 | Press Release
    The Barberini Museum congratulates the North German painter Klaus Fußmann on his 80th birthday.

    The Barberini Museum congratulates the North German painter Klaus Fußmann on his 80th birthday.

    Am 24. März 2018 feiert der Künstler Klaus Fußmann seinen 80. Geburtstag. Aus diesem Anlass zeigt das Museum Barberini noch bis zum 3. Juni eine Ausstellung mit 39 großformatigen Gemälden des Malers. Seit den Anfängen seiner Sammeltätigkeit begleiten den Museumsstifter Hasso Plattner die Werke Klaus Fußmanns, der in Berlin und Gelting an der Ostsee lebt.

    Es ist die erste Ausstellung, die sich dem in seinem Werk zentralen Thema von Menschen in Landschaften widmet. Menschen und Räume beschäftigen Klaus Fußmann in seiner Malerei seit den siebziger Jahren. Waren es zunächst einzelne Figuren, die sich im kargen Innenraum seines Ateliers abzeichneten, zeigte er die Zeugen seines Werkprozesses schon bald vor dem Gegenlicht des Fensters. Seine Modelle – Freunde und Verwandte – stehen mit dem Rücken vor dem Raster des Fensterkreuzes, markieren die Schwelle zwischen dem Innen und Außen, den Blick auf den Betrachter gerichtet. Sie wirken monumental in der Vereinzelung und doch fragil wie eine Erscheinung. Darin sind sie mit den Skulpturen Alberto Giacomettis vergleichbar, der seinen Portraits die Aura der Unerreichbarkeit verlieh. Dieses Erscheinungshafte und zugleich Konkrete in der menschlichen Figur ist ein zentrales Thema in Fußmanns Werk.

    Das Museum Barberini gratuliert Klaus Fußmann zum 80. Geburtstag mit einer Sonderführung durch die Ausstellung am 24.03.2017, 15 Uhr

    Link Pressemappe Ausstellungen Max Beckmann und Klaus Fußmann


    SERVICEDATEN & EINTRITTE
    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam
    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen
    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Eintritt: € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahren frei
    Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 /
    Young Friend (unter 35 Jahre) € 20
    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • March 19, 2018 | Press Release
    Politics as theatre - How entertaining can democracy be?

    Politics as theatre - How entertaining can democracy be?

    Wortwechsel, eine Sendung von Deutschlandfunk Kultur, live aus dem Museum Barberini am Freitag, 23. März 2018, 17.30 Uhr

    Das muss man US-Präsident Trump lassen: Ein Langweiler ist er nicht. Doch bedeutet maximale Medienwirksamkeit automatisch gute Politik? Sicher müssen in einer Demokratie die Wähler umworben werden, und dabei zählt auch die Verpackung. Aber wenn alles Inszenierung ist, wer trifft dann Ent­scheidungen, die nicht sexy sind? Politik als Theater – wie viel Unterhaltung kann Demokratie sich leisten, und wie viel Ehrlichkeit braucht sie? Darüber diskutieren die Spin-Doctorin Verena Köttker, Cicero-Redakteur Alexander Kissler, Theaterintendant Holger Schultze und der Grafikdesigner und Künstler Klaus Staeck am 23. März im Museum Barberini. Die Diskussion wird live aufgezeichnet für die Sendung „Wortwechsel“ des Deutschlandfunk Kultur und findet im Rahmen der Ausstellung Max Beckmann. Welttheater im Museum Barberini statt.

    Wortwechsel „Politik als Theater – Wie unterhaltsam darf Demokratie sein?“
    in Kooperation mit Deutschlandfunk Kultur
    23. März 2018, 17.30 Uhr (Live-Sendung 18–19 Uhr)
    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam
    € 10 / ermäßigt € 8


    Mit:

    Klaus Staeck, Grafikdesigner, Karikaturist und Jurist. Von April 2006 bis Mai 2015 war Staeck Präsident der Akademie der Künste in Berlin. Als politischer Künstler und jahrzehntelanger Beobachter hat er den politischen Diskurs in Deutschland maßgeblich mitgestaltet.

    Holger Schultze, Intendant des Theaters und Orchesters Heidelberg, der u.a. in der aktuellen Spielzeit das Stück „Ich bin das Volk“ von Frans Xaver Kroetz inszeniert, bei dem es um die allmähliche Durchdringung der Gesellschaft mit rechtem Denken geht. Schultze war von 1992-1994 Spielleiter am Hans-Otto-Theater in Potsdam.

    Verena Köttker, Agenturinhaberin von koetter kommunikation im Berliner Regierungsviertel, kennt sowohl das Mediengeschäft in allen Formaten als auch die Anforderungen von Unternehmen an Politik- und Kommunikationsarbeit aus eigener, über 25jähriger Erfahrung.

    Alexander Kissler, Ressortleiter Salon beim Magazin Cicero, mit Theatervergangenheit. Er verfasste zahlreiche Sachbücher, u.a. „Dummgeglotzt. Wie das Fernsehen uns verblödet“, „Keine Toleranz den Intoleranten. Warum der Westen seine Werte verteidigen muss“

    Moderation: Susanne Führer
    Begrüßung: Ortrud Westheider, Direktorin Museum Barberini und Kuratorin der Ausstellung Max Beckmann. Welttheater


    SERVICEDATEN & EINTRITTE

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam
    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen
    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Eintritt: € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahren frei
    Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 /

    Young Friend (unter 35 Jahre) € 20

    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • March 1, 2018 | Press release
    Exhibition Schedule Museum Barberini, Potsdam 2018 / 2019

    Exhibition Schedule Museum Barberini, Potsdam 2018 / 2019

    The Museum Barberini in Potsdam, which opened in January 2017, cooperates with museums and private collections from around the world to present individual themes, artists, and eras. The museum is launching the 2018 exhibition year with a show on Max Beckmann.


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

    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.


    June 30 to Oktober 21, 2018
    Gerhard Richter. Abstraction

    The exhibition Gerhard Richter: Abstraction examines for the first time the abstract strategies and processes found throughout the artist’s entire oeuvre. 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.


    November 17, 2018 to Februar 17, 2019
    Color and Light. The Neoimpressionist Henri-Edmond Cross

    In the 1880s, impressionism developed into a new kind of painting that applied luminous colors side-by-side with short brushstrokes. Henri-Edmond Cross (1856–1910) broke reality down into individual bits of chromatic information. He advocated anarchism’s utopian vision of society.In collaboration with the Musée des impressionnismes Giverny, the Museum Barberini presents the first retrospective in Germany of one of neo-impressionism’s most important figures.


    March 9 to June 16, 2019
    Picasso: The Late Work
    From the collection of Jacqueline Picasso

    Pablo Picasso (1881-1973) is considered to be the reinventor of art in the twentieth century. He set new standards in painting, sculpture, the graphic arts, and ceramics. Less well known are the works Picasso created in the final two decades of his life when he painted more portraits of his wife Jacqueline than any of his other models. Through the exhibition Picasso: The Late Work, it will be evident how Picasso keep being an innovator until the very end of his artistic production. All loans come from the collection of Jacqueline Picasso (1927-1986). Her daughter Catherine Hutin has made this rarely-seen collection available to the Museum Barberini show. The works were selected by guest curator Bernardo Laniado-Romero and include numerous pieces which have never before been exhibited in Germany as well as some presented for the first time.


    SERVICE INFORMATION & ADMISSION

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany
    Mon & Wed–Sun: 10 a.m.–7 p.m., first Thu of every month: 10 a.m.–9 p.m.,
    closed Tue
    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9–11 a.m.
    Admission: € 14 / reduced: € 10 / children and teens under 18: free
    Annual Membership Individual / Annual Membership Dual € 50 /
    Annual Membership ages 35 and under € 20
    Timed tickets available online at www.museum-barberini.com

  • February 5, 2018 | Press Release
    Exhibition Behind the Mask: Artists in the GDR ended successfully with 110,000 visitors.

    Exhibition Behind the Mask: Artists in the GDR ended successfully with 110,000 visitors.

    Die Schau Hinter der Maske. Künstler in der DDR war noch bis zum 4.2. zu sehen. Sie widmete sich der Inszenierung des Künstlerindividuums von 1945 bis 1989. Das Thema wurde durch vier Generationen in Gemälden, Photographie, Graphik, Collage, Skulptur und Aktionen vorgestellt. Der Katalog ist in der deutschen Ausgabe restlos ausverkauft, es gibt noch einige Exemplare der englischen Ausgabe.

    Frau Westheider, die Direktorin des Museum Barberini resümierte: „Nach den Impressionisten und der amerikanischen Moderne haben wir einen prägnanten Überblick über Kunst in der DDR gegeben. Unsere Schau hat sich eines so großen Zuspruchs erfreut, weil sie bei den Menschen Fragen der Identität aufrief.“

    Das Ausstellungsjahr 2018 startet am 24.2. mit einer Schau zu einem der großen Ausnahmekünstler des 20. Jahrhunderts: Max Beckmann. Welttheater. Viele Gemälde Max Beckmanns (1884–1950) zeigen die Welt des Theaters, Zirkus und Varietés. Motive des Zurschaustellens prägten das Werk Max Beckmanns (1884–1950) seit den frühen 1920er Jahren: Varieté- und Jahrmarktkünstler, Akrobaten, Clowns und Schauspieler. Beckmann sah diesen Themenkreis als Ausdruck des Welttheaters. Damit stellte er sein Schaffen in die Tradition der barocken Idee, die das Weltgeschehen als scheinhaftes Spiel begreift, das auf eine dahinterliegende Macht verweist.

    SERVICEDATEN & EINTRITTE

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen
    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Eintritt: € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahren frei

    Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 /

    Young Friend (unter 35 Jahre) € 20


    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • January 25, 2018 | Press Release
    In 2019 Museum Barberini exhibits Picasso‘s Late Work

    Potsdam, January 25, 2018

    In 2019 Museum Barberini exhibits Picasso‘s Late Work

    Picasso: The Late Work

    From the collection of Jacqueline Picasso

    March 9 to June 16, 2019

    Pablo Picasso (1881-1973) is considered to be the reinventor of art in the twentieth century. He set new standards in painting, sculpture, the graphic arts, and ceramics. Less well known are the works Picasso created in the final two decades of his life when he painted more portraits of his wife Jacqueline than any of his other models. Through the exhibition Picasso: The Late Work, it will be evident how Picasso keep being an innovator until the very end of his artistic production.

    All loans come from the collection of Jacqueline Picasso (1927-1986). Her daughter Catherine Hutin has made this rarely-seen collection available to the Museum Barberini show. The works were selected by guest curator Bernardo Laniado-Romero and include numerous pieces which have never before been exhibited in Germany as well as some presented for the first time.

    SERVICE INFORMATION & ADMISSION

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun: 10 a.m. – 7 p.m., first Thu of every month: 10 a.m. – 9 p.m., closed Tue

    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9 – 11 a.m.

    Admission: € 14 / reduced: € 10 / children and teens under 18: free

    Timed tickets available online at www.museum-barberini.com

  • January 15, 2018 | Press Release
    Barberini Museum celebrates its first anniversary as Barberini Friends Day

    Barberini Museum celebrates its first anniversary as Barberini Friends Day

    Die Neugründung des Museums Barberini, eine Initiative des SAP-Mitbegründers Prof. Dr. h.c. mult. Hasso Plattner, gilt als erfolgreichster Start eines Kunstmuseums in Deutschland. Mitte Dezember 2017 wurde der 500.000 Besucher im Museum Barberini begrüßt. Mit den Ausstellungen Klassische Moderne und Impressionismus. Die Kunst der Landschaft, Von Hopper bis Rothko. Amerikas Weg in die Moderne sowie die laufende Schau Hinter der Maske. Künstler der DDR nahm das Museum sein auf internationalen Kooperationen beruhendes Ausstellungsprogramm auf.

    Am Sonntag, den 21. Januar 2018 findet anlässlich des einjährigen Bestehens des Museums ein besonderes Programm für die Barberini Friends statt, denn ab 2018 wird nun jährlich an diesem Datum der Barberini Friends Day gefeiert. Alle bisherigen Friends, die an diesem Tag ihre Karte um ein Jahr verlängern oder neue Friends werden und eine Barberini Friends oder Barberini Young Friends Karte erwerben, sind zu einem Glas Sekt ins Foyer eingeladen. Zudem werden von 11 bis 18 Uhr stündlich zusätzlich zwei kostenlose Führungen durch die Schau Hinter der Maske. Kunst in der DDR ausschließlich für die Friends angeboten. Die Anzahl der Teilnehmer ist pro Führung auf 20 Personen begrenzt, eine Anmeldung ist nicht erforderlich. Der Ausstellungskatalog Von Hopper bis Rothko. Amerikas Weg in die Moderne ist am Jubiläumstag mit einem Preisnachlass von 30% erhältlich.

    Mit der Jahreskarte kann man die Ausstellungen des Museums ein Jahr lang besuchen, so oft man möchte – mit sofortigem Einlass ohne Schlange stehen. Außerdem erhalten die Barberini Friends Einladungen zu speziellen Veranstaltungen oder den ersten Rundgang durch eine neue Ausstellung. Aktuell sind schon mehr als 37.000 Barberini Friend Karten verkauft worden.

    Die Direktorin Ortrud Westheider freut sich im Hinblick auf die Zahl der bisher verkauften Jahreskarten über den positiven Zuspruch: „Die Rückmeldungen zur Barberini Friends und Young Friends Karte sind sehr positiv und wir sprechen viele Besucher an, die sich unserem Haus, dem Ausstellungsprogramm und Veranstaltungen verbunden fühlen und einfach gern regelmäßig ins Museum kommen.“

    SERVICEDATEN & EINTRITTE

    Hinter der Maske. Künstler der DDR, 29. Oktober 2017 bis 4. Februar 2018

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen

    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr

    Eintritt: € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahren frei

    Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 /
    Young Friend (unter 35 Jahre) € 20

    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • January 15, 2018 | Press Release
    Max Beckmann: The World as a Stage 

    January 15, 2018

    February 24 to June 10, 2018

    Max Beckmann: The World as a Stage

    From the early 1920s the work of Max Beckmann (1884–1950) was characterized by motifs dealing with performers: vaudeville and fun fair acts, acrobats, clowns, and actors. Beckmann viewed this thematic area as an expression of the metaphorical concept of the world as a stage, thereby positioning his work in line with the Baroque tradition that viewed world events as a play directed by a higher power. Max Beckmann: The World as a Stage is the first exhibition to focus on this central theme in the work of the painter.

    Max Beckmann is one of the exceptional painters of Modern Art. In the 1920s he was associated with New Objectivity. Later, he was classified as an Expressionist, a movement that received early international notice, through his use of black contours and glowing colors. Many of his famous triptychs are held in museums in the USA. Among others this includes the Actors triptych from the Fogg Museum at Harvard University, which is a centerpiece of the new exhibition at the Museum Barberini.

    Max Beckmann’s paintings, sculptures, and prints frequently depict scenes that occur on stage or behind the scenes. These include vaudeville and circus acts, actors in their dressing rooms, or showmen at fun fairs. In addition, Beckmann created self-portraits showing himself in the guise of a clown or performer. Picasso also placed artists among travelling performers to demonstrate how they were able to turn their unerring gaze on humanity from the margins of society.

    For Beckmann, the role of spectator was also an opportunity to comment on world events and process his own personal experiences. The painter felt obligated to be a fair-minded commentator, a contemporary who aspired to illustrate life on the streets and reveal social discrepancies. He had observed great suffering as a medic in the First World War. He belonged to a generation that had lost its belief in the governing order. They called into question personal sovereignty, which Beckmann expressed in the figure of the fool. With this comparison, he captured the essence of a generation that had experienced little choice in their fate and who questioned the notion of free will.

    In light of his personal experiences and the dramatic events taking place on the world stage – in 1933 he was dismissed from his teaching position at the Städelschule in Frankfurt, in 1937 he went into exile in Amsterdam – Beckmann viewed the world as a stage that symbolized current events. He searched for truth behind the masquerade. Circuses and the theater provided him with a template: Life is a balancing act for everyone – not just trapeze artists, and actors are not the only ones who play various roles.

    In addition to Beckmann’s motifs, his composition and painting techniques are evidence of his pageantry. In the 1920s, he began to construct his images like proscenium arch theaters. Figures and objects protruded out toward the viewer against a flat plane. The more brilliant the colors and the freer the painting style, the more planar and modern the images. He highlighted the physical in his expressive paintings. Through the sculptural, modelled forms, the motifs speak directly to the viewer’s senses. Beckmann developed his own way of addressing his audience through the use of various gestures and provocative themes. They challenge the viewer, retaining their relevance to the present day.

    The exhibition brings together 112 loans from museums and private collections in Germany and abroad including the Nationalgalerie in Berlin, the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Museum Ludwig, Cologne, the Tate, London, and the Saint Louis Art Museum. Among the works on display are also two large triptychs from American collections which have rarely been shown in Europe.

    The exhibition is held in cooperation with the Kunsthalle Bremen, which has one of the largest Beckmann collections in Germany. The exhibition can be seen there from Sept. 30, 2017 to Feb. 4, 2018.

    Exhibition curators are Dr. Eva Fischer-Hausdorf, Curator of the Kunsthalle Bremen and Dr. Ortrud Westheider, Director of the Museum Barberini.

    The catalogue is based on an academic conference which was held on March 29, 2017 at the Museum Barberini. It was published by Prestel Verlag and includes 224 pages with essays by Dr. Eva Fischer-Hausdorf, Dr. Sebastian Karnatz, Prof. Dr. Irene Pieper, Dr. Lynette Roth, Dr. Ortrud Westheider, and Dr. Christiane Zeiller among others. The catalogue is available at the museum shop for € 29.00 and from regular booksellers for € 39.95.

    SERVICE INFORMATION & ADMISSION

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun 10 am – 7 pm, first Thu of every month: 10 am – 9 pm, closed Tue Mon–Fri (except Tue) for kindergartens and schools upon prior arrangement: 9 – 11 am

    Admission: € 14 / reduced: € 10 / children and teens under 18: free

    Annual membership, individual: € 30 / annual membership, dual: € 50 / Young Friend (ages 35 and under): € 20

    Timed tickets available online at www.museum-barberini.com

  • December 14, 2017 | Press release
    Over 500,000 Visitors in the First Year. Museum Barberini Continues its Success Story

    Potsdam, December 14, 2017

    Over 500,000 Visitors in the First Year

    Museum Barberini Continues its Success Story

    Last week, the Museum Barberini welcomed its 500,000th visitor. Since its opening at the beginning of 2017, the museum’s popularity has grown steadily. This trend is also reflected in the third exhibition on artists in the GDR. With its conceptual approach of combining dynamic exhibitions with international partnerships, modern education methods, and digital access, the museum reflects the spirit of the times. “The ongoing enthusiasm of visitors from Potsdam and Berlin and all our guests from Germany and abroad is a great pleasure and it promotes the recognition of our work. I’m looking forward to providing our visitors with brilliant exhibitions in the coming year,” says museum director Dr. Ortrud Westheider.

    The launch of the Museum Barberini, an initiative by SAP co-founder Prof. Dr. h.c. mult. Hasso Plattner, was the most successful start of any art museum in Germany. The special exhibitions on Impressionism and modern art classics were seen by more than 320,000 visitors; over 140,000 people came to the exhibition From Hopper to Rothko: America’s Road to Modern Art. The current show, Behind the Mask: Artists in the GDR, was seen by around 40,000 guests in the first weeks.

    The Bremen institute markt.forschung.kultur, confirms that museum adds a major attraction to Potsdam. A recent survey of visitors carried out in November 2017 shows that the Museum Barberini draws visitors who may otherwise not have come to Potsdam. Around 45 percent of the guests came from Berlin, another 21 were tourists who were staying in Berlin and came to Potsdam for the day. Other guests came from the German states of Bavaria, Baden-Württemberg, North Rhine-Westphalia, Lower Saxony, and Hamburg. 76 of non-residents came to Potsdam solely because of the museum; one out of every ten visitors had never been to Potsdam before.

    According to an estimate by markt.forschung.kultur, the exhibition From Hopper to Rothko: America’s Road to Modern Art added 7.3 million euros to the regional economy.

    “We have met our goal of encouraging people from Potsdam and Berlin to become regular visitors. This is demonstrated by the large number of annual memberships that we have issued and the many positive responses in our digital guest book,” says Westheider. 30,000 people have become Barberini Friends. The award-winning Barberini app has been downloaded 50,000 times.

    In just a short time, the Museum Barberini has gained an international reputation which allows it to present individual themes, artists, and eras in cooperation with museums from around the world.

    The 2018 exhibition calendar will kick off with the show Max Beckmann: The World as a Stage in cooperation with the Kunsthalle Bremen. From February 24 to June 10, 2018, it will present numerous paintings by Beckmann that show the world of the theater, circus, and music halls. From June 30 to October 21, 2018 the exhibition Gerhard Richter: Abstraction in cooperation with the Gerhard Richter Archive of the Dresden State Art Collections will examine for the first time the abstract strategies and processes found in the artist’s complete works. From November 17, 2018 to February 17, 2019, the Museum Barberini will present the first retrospective in Germany of works by Neo-Impressionist Henri-Edmond Cross (1856–1910) in cooperation with the Musée des impressionnismes in Giverny.

    INFORMATION & ADMISSION

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & We–Su 10 a.m. – 7 p.m., every first Th in the month 10 a.m. – 9 p.m., closed Tu

    Mo–Fr (except Tu) for kindergartens and schools upon prior arrangement 9–11 a.m.

    Admission: € 14 / reduced € 10 / children and teens under 18 free

    Annual membership: individual € 30 / couples € 50 /
    Young Friend (under 35): € 20

    Timed tickets available online at www.museum-barberini.com

  • December 5, 2017 | Press release
    Exhibition Schedule Museum Barberini 2018

    Potsdam, December 11, 2017

    Exhibition Schedule Museum Barberini, Potsdam 2018

    Current exhibition
    October 29, 2017 to February 4, 2018

    Behind the Mask: Artists in the GDR

    For its first exhibition built around its core collection of East German art, the Museum Barberini looks at how artists present themselves. The show illustrates the diversity of artistic self-affirmation and the room for creative maneuver in a state that gave artists political and educational functions and sought to regulate them. The exhibition not only explores specific ways in which art in the GDR drew on Western iconographic traditions; it also refrains from using political conditions as a springboard, focusing instead on the artist as an individual.

    February 24, 2018 to June 10, 2018

    Max Beckmann. The World as a Stage

    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.

    June 30 to Oktober 21, 2018

    Gerhard Richter. Abstraction

    The exhibition Gerhard Richter: Abstraction examines for the first time the abstract strategies and processes found throughout the artist’s entire oeuvre. 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.

    November 17, 2018 to Februar 17, 2019

    Henri-Edmond Cross. Painting Happiness

    In the 1880s, impressionism developed into a new kind of painting that applied luminous colors side-by-side with short brushstrokes. Henri-Edmond Cross (1856–1910) broke reality down into individual bits of chromatic information. He advocated anarchism’s utopian vision of society.In collaboration with the Musée des impressionnismes Giverny, the Museum Barberini presents the first retrospective in Germany of one of neo-impressionism’s most important figures.

    SERVICE INFORMATION & ADMISSION

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun: 10 a.m.–7 p.m., first Thu of every month: 10 a.m.–9 p.m.,
    closed Tue

    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9–11 a.m.

    Admission: € 14 / reduced: € 10 / children and teens under 18: free

    Annual Membership Individual € 30 / Annual Membership Dual € 50 /
    Annual Membership ages 35 and under € 20

    Timed tickets available online at www.museum-barberini.com

  • December 4, 2017 | Press Release
    Invitation to the 5th Symposium at the Museum Barberini: Henri-Edmond Cross. Painter of Happiness

    Invitation to the 5th Symposium at the Museum Barberini: Henri-Edmond Cross. Painter of Happiness

    Aus dem Impressionismus entwickelte sich in den 1880er Jahren eine Malerei, bei der leuchtende Farbe in kurzen Pinselstrichen nebeneinandergesetzt wurde. Henri-Edmond Cross (1856–1910) zerlegte die Wirklichkeit in einzelne Farbinformationen. Er hing dem utopischen Gesellschaftsentwurf des Anarchismus an. In Zusammenarbeit mit dem Musée des impressionnismes Giverny zeigt das Museum Barberini die erste Retrospektive eines der bedeutendsten Neoimpressionisten in Deutschland. In Giverny wird die Ausstellung vom 27. Juli bis zum 4. November 2018, in Potsdam vom 17. November 2018 bis zum 17. Februar 2019 gezeigt. Die Vorträge des Symposiums widmen sich den Themen des Malers im Kontext der europäischen Moderne. Sie werden im Katalog zur Ausstellung abgedruckt.

    Vorträge:

    10:00: Begrüßung Ortrud Westheider, Museum Barberini & Frédéric Frank, Musée des impressionnismes Giverny

    10:15: Henri-Edmond Cross et l’Allemagne, Marina Ferretti, Musée des impressionnismes Giverny

    11:15: La collection d’Olivier Senn, contribution à l’étude des oeuvres graphiques d’Henri-Edmond Cross, Annette Haudiquet, Musée d’Art Moderne André Malraux, Le Havre

    14:00: Henri-Edmond Cross et la Belgique, Monique Nonne, Paris

    15:00: Utopie der Moderne. Zu den Landschaftsdarstellungen von Henri-Edmond Cross, Daniel Zamani, Museum Barberini

    16:30: Anarchism and Ambiguity: Contrasting Pissarro, Signac, and Cross, Richard Thomson, History of Art, The University of Edinburgh

    Kosten: € 10,– / Freier Eintritt für Studierende

    Online-Tickets können unter www.museum-barberini.com gebucht werden. Tickets sind zudem am Tag des Symposiums an der Museumskasse erhältlich.

    Die Veranstaltung findet auf Französisch, Englisch und Deutsch statt. Die Beiträge auf Französisch werden ins Deutsche übersetzt.

  • November 8, 2017 | Press Release
    Supporting programme for the exhibition "Behind the Mask: Artists in the GDR"

    Potsdam, 8. November 2017

    Zur Ausstellung Hinter der Maske. Künstler in der DDR im Museum Barberini vom 29. Oktober 2017 bis zum 4. Februar 2018 wird ein umfangreiches Rahmenprogramm veranstaltet, u.a.:

    Lesung: Mittwoch, 15.11.2017, 19 Uhr

    Die Lüge, Uwe Kolbe

    Uwe Kolbes Roman handelt von Verrat: Ein Vater schöpft im Rahmen seiner Tätigkeit für den Staat diverse Quellen im Bereich der Kultur ab – darunter seinen eigenen Sohn. Die Geschichte einer maßlosen und erschreckenden Verstrickung. Vater und Sohn beginnen einander zu umkreisen. Nur langsam ahnt man, welchen Kampf sie miteinander führen und dass er lebenslang dauern wird.

    In Kooperation mit der Stadt- und Landesbibliothek Potsdam

    € 10 / ermäßigt € 8

    Auditorium


    Lesung: Mittwoch, 22.11.2017, 19 Uhr

    Stierblutjahre. Die Boheme des Ostens, Jutta Voigt

    Jutta Voigt erzählt von der Sehnsucht nach einem anderen Leben in der DDR. Im Vorwort ihres Buches schreibt sie: „Die Geschichte der Boheme des Ostens ist eine von Aufbruch und Enttäuschung, von Avantgarde und Gleichgültigkeit. Aber auch eine von der Lust des Spiels und der Macht des Übermuts. Die Boheme des Ostens rauchte Kette und trank Rotwein, am liebsten Stierblut, das Beste was es gab, Egri Bikavér aus Ungarn.“ Jutta Voigt studierte in den 1960er Jahren Philosophie an der Humboldt-Universität zu Berlin und war Teil der Boheme im Prenzlauer Berg.

    In Kooperation mit der Stadt- und Landesbibliothek Potsdam

    Eintritt frei

    Gefördert von der Bundesstiftung zur Aufarbeitung der SED-Diktatur

    Reservierung empfohlen:

    T + 49 331 289 6600, www.bibliothek.potsdam.de

    Ort der Lesung: Stadt- und Landesbibliothek Potsdam, Am Kanal 47, 14467 Potsdam


    Vortrag: Donnerstag, 16.11.2017, 16–19 Uhr

    Harald Metzkes im Museum Barberini und im Potsdam Museum

    Geführter Rundgang durch die Ausstellung Hinter der Maske. Künstler in der DDR im Museum Barberini und anschließender Vortrag von Dr. Jutta Götzmann:
    Harald Metzkes – Ich verfasse mich selbst

    Harald Metzkes hat an der Hochschule für Bildende Künste Dresden studiert, war an der Deutschen Akademie der Künste zu Berlin Meisterschüler von Otto Nagel und zählt zu den Wegbereitern der Berliner Schule. Für sein Lebenswerk, das aus tausenden Ölgemälden, Aquarellen, Zeichnungen und druckgraphischen Arbeiten besteht, erhielt er 2012 den Ehrenpreis des Brandenburgischen Ministerpräsidenten. Mit vier Werken ist er in der Ausstellung Hinter der Maske. Künstler in der DDR vertreten. Einer Führung durch die Ausstellung im Museum Barberini von 16.30 bis 17.30 Uhr schließt sich ein Vortrag von Dr. Jutta Götzmann, Direktorin des Potsdam Museums, unter dem Titel Harald Metzkes – Ich verfasse mich selbst an. Sie nähert sich der Selbstsicht und der Weltsicht des Künstlers. Im Fokus stehen zwei Gemälde, die Harald Metzkes als Schenkung an die Kunstsammlung des Potsdam Museums übergibt. Sie werden im Vortragsraum erstmalig präsentiert.

    In Kooperation mit dem Potsdam Museum – Forum für Kunst und Geschichte

    € 10 / ermäßigt € 8

    Führung: Foyer Museum Barberini

    Vortrag: Potsdam Museum, Am Alten Markt 9, 14467 Potsdam

  • October 4, 2017 | Press Release
    More than 140,000 visitors: Barberini Museum closes second exhibition again with outstanding visitor numbers

    More than 140,000 visitors: Barberini Museum closes second exhibition again with outstanding visitor numbers​

    Seit Eröffnung des Museums Barberini zu Beginn dieses Jahres hält der Besucherandrang unvermindert an. Die ersten Sonderausstellungen zum Impressionismus und zur Klassischen Moderne sahen mehr als 320.000 Besucher, die am 3. Oktober zu Ende gegangene Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne mehr als 140.000 Besucher.

    Bei einer Laufzeit von 90 Tagen wurden rund 960 Führungen und Workshops durchgeführt, davon mehr als 100 für Schulklassen- und Kindergartengruppen sowie 300 öffentliche Führungen. Darüber hinaus sind insgesamt über 35.000 Jahreskarten verkauft worden. Die preisgekrönte Museums-App wurde zwischenzeitlich 52.000 Mal heruntergeladen und die Social Media Portale des Museums verzeichnen weiterhin stetig wachsende Followerzahlen.

    Bislang schauten sich seit Eröffnung des Museums Barberini in Potsdam 460.000 Gäste die Ausstellungen an. Damit übersteigt der große Zuspruch alle Erwartungen. Die Neugründung des Hauses, eine Initiative des SAP-Mitbegründers Prof. Dr. h.c. mult. Hasso Plattner, gilt als erfolgreichster Start eines Museums in Deutschland.

    Mit der kommenden Ausstellung Hinter der Maske. Künstler in der DDR beginnt das Museum Barberini die Erforschung der eigenen Sammlung zur Kunst in der DDR, die in der deutschen Kunstgeschichte immer noch eine marginalisierte Position einnimmt. Ausgehend vom eigenen Bestand, von dem zehn Werke gezeigt werden, versammelt die Schau über 100 Arbeiten von rund 80 Künstlern (darunter 20 Künstlerinnen) aus den Bereichen Malerei, Photographie, Graphik, Collage und Skulptur.

    Nach dem Ende der Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne wird bis 28.10. die Ausstellung Hinter der Maske. Künstler in der DDR aufgebaut. Aus diesem Grund hat das Museum vom 4.10. bis 6.10. und vom 24.10. bis 28.10. geschlossen. Vom 7.10. bis 23.10. gibt es eine Teilöffnung. So ist ein Ausstellungsraum im Erdgeschoss zur Abstraktion in den USA und Mexico mit Werken von Harold Joe Waldrum, Dan Namingha und Rufino Tamayo zugänglich. In dieser Zeit wird ein ermäßigter Eintritt von € 2 erhoben. Täglich, um 11 Uhr, bietet das Museum Barberini eine öffentliche Führung zum Thema Das Museum Barberini. Architektur und Kunst an.

  • September 28, 2017 | Press Release
    Last exhibition days and children's art events on American Modernism in Potsdam - until October 3.

    Von Hopper bis Rothko. Amerikas Weg in die Moderne
    17. Juni–3. Oktober 2017
    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Letzte Ausstellungstage und Kinderkunstaktionen zur Amerikanischen Moderne in Potsdam – noch bis zum 3.10.

    Nur noch bis einschließlich 3.10. gibt es die Gelegenheit, die Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne im Museum Barberini zu besuchen – dann reisen die Werke zurück in die USA. Die Phillips Collection in Washington, D. C., schickte für die Ausstellung erstmals 68 Werke der frühen amerikanischen Moderne nach Deutschland.

    Bereits über 120.000 Besucher zählte die Ausstellung seit ihrer Eröffnung. Am Wochenende sowie am Tag der deutschen Einheit ist das Potsdamer Museum von jeweils 10 bis 19 Uhr geöffnet. Um 11, 12 und 15 Uhr werden öffentliche Führungen zur Sonderausstellung angeboten. Für die kleinsten Besucher gibt es am Sonntag, den 1.10. um 15 Uhr die Veranstaltung Kinder führen Kinder, bei der die Kids-Guides anderen Kindern ihre Lieblingsbilder zeigen. Außerdem können am Samstag, den 30.9. um 11 Uhr, zeitgleich zur öffentlichen Führung die Kleinen bei der Kinderkunstaktion selbst kreativ werden.

    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • September 21, 2017 | Press Release
    Federal President Frank-Walter Steinmeier assumes patronage of the exhibition Hinter der Maske. Artists in the GDR

    Potsdam, 21. September 2017

    Bundespräsident Frank-Walter Steinmeier übernimmt Schirmherrschaft über die Ausstellung Hinter der Maske. Künstler in der DDR

    Bundespräsident Frank-Walter Steinmeier hat die Schirmherrschaft für die große Ausstellung Hinter der Maske. Künstler in der DDR im Museum Barberini übernommen, die vom 29. Oktober 2017 bis zum 4. Februar 2018 in Potsdam gezeigt wird. Damit erfährt die erste Ausstellung des Museums Barberini zu seinem Sammlungsschwerpunkt Kunst in der DDR eine herausragende Würdigung. Die Schau zeigt die Vielgestaltigkeit der künstlerischen Selbstbehauptung, die Künstler in einem Staat fanden, der Kunst eine politische und erzieherische Funktion zuschrieb und sie reglementierte. Mit Hinter der Maske. Künstler in der DDR widmet sich das Museum Barberini der Künstlerpersönlichkeit in der DDR und ihrer Selbstinszenierung im Spannungsfeld von Rollenbild und Rückzug, verordnetem Kollektivismus und schöpferischer Individualität.

    Mit dieser Ausstellung beginnt das Museum Barberini die Erforschung der eigenen Sammlung zur Kunst in der DDR, die in der deutschen Kunstgeschichte immer noch eine marginalisierte Position einnimmt. Ausgehend vom eigenen Bestand, von dem zehn Werke gezeigt werden, versammelt die Ausstellung über 100 Arbeiten von rund 80 Künstlern (darunter 20 Künstlerinnen) aus den Bereichen Malerei, Photographie, Graphik, Collage und Skulptur.

    Bundespräsident Frank-Walter Steinmeier wird die Ausstellung am 28. Oktober 2017 feierlich im Museum Barberini eröffnen.

  • September 6, 2017 | Press Release
    The Artist’s View: Museum Barberini shows East German art Over 100 works by some 80 artists from the GDR’s whole history

    Press Release

    The Artist’s View: Museum Barberini shows East German art
    Over 100 works by some 80 artists from the GDR’s whole history


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

    For its first exhibition built around its core collection of East German art, the Museum Barberini looks at how artists present themselves. The show illustrates the diversity of artistic self-affirmation and the room for creative maneuver in a state that gave artists political and educational functions and sought to regulate them. The exhibition not only explores specific ways in which art in the GDR drew on Western iconographic traditions; it also refrains from using political conditions as a springboard, focusing instead on the artist as an individual.

    In the GDR, the fine arts were seen as supporting the state. Yet artists had their own ideas, defining roles for themselves that far exceeded this function. The Museum Barberini has dedicated Behind the Mask: Artists in the GDR to artistic personalities operating on the spectrum between acting out a public role and withdrawing into a private sphere, between producing within a prescribed collective and pursuing creative individuality.

    Artists depict how they see themselves in self- and group portraits and in projections of role models. These genres have been handed down through Western art since the Renaissance, and East German artists likewise picked up on this tradition, as well as on the genre of studio painting. Alongside these time-honored motifs and themes, the exhibition traces an interest in the abstract as an artistic rebuttal of social relevance, and in the use of the artist’s own body in performative works during the late 1980s.

    There have been many exhibitions about GDR art since 1989. Most have shone the limelight on political aspects – from the thorny issue of state-commissioned art (Berlin, 1995) via a comparison of dictatorships (Weimar, 1999) to the potential for dissent (Berlin, 2016). After these political and sociological perspectives, Behind the Mask: Artists in the GDR considers how artists turned their critical gaze upon themselves, reflecting on their own way of seeing things and on their response to the tasks required of them, and identifying space for artistic creativity despite the official mission. This thematic approach shifts the focus away from sociological and ideological aspects toward the works themselves, but without decontextualizing the art.

    Through this exhibition, the Museum Barberini has begun to investigate its collection of East German art, which still plays a marginal role in German art history. Building on in-house holdings, from which ten exhibits have been selected, the show brings together more than 100 works by about 80 artists (20 of them women), including paintings, photographs, prints, drawings, collage and sculpture.

    The loans have been provided by a number of museums, galleries and private collections, among them the Lindenau Museum in Altenburg; the Nationalgalerie in Berlin; Brandenburg’s Landesmuseum für moderne Kunst in Cottbus & Frankfurt (Oder); the Staatliche Kunstsammlungen in Dresden; the Kunstmuseum Moritzburg in Halle; the Museum der bildenden Künste in Leipzig; the Tübke Foundation in Leipzig, and Galerie Eigen + Art Leipzig/Berlin.

    The selection includes works by Karl-Heinz Adler (*1927), Gerhard Altenbourg (1926–1989), Strawalde (Jürgen Böttcher) (*1931), Hartwig Ebersbach (*1940), Hermann Glöckner (1889–1987), Hans-Hendrik Grimmling (*1947), Ulrich Hachulla (*1943), Bernhard Heisig (1925–2011), Wolfgang Mattheuer (1927–2004), Harald Metzkes (*1929), Michael Morgner (*1942), A. R. Penck (1939–2017), Stefan Plenkers (*1945), Evelyn Richter (*1930), Arno Rink (*1940), Theodor Rosenhauer (1901–1996), Willi Sitte (1921–2013), Werner Tübke (1929–2004), Elisabeth Voigt (1893–1977), Dieter Weidenbach (*1945), Trak Wendisch (*1958) and the group Clara Mosch.

    The curators are Valerie Hortolani and Michael Philipp.

    The exhibition is accompanied by a catalog of about 270 pages published by Prestel Verlag. The catalog can be purchased for € 29.95 in the museum shop and for € 39.95 from the book trade. It contains essays by Valerie Hortolani, Museum Barberini, Potsdam; Petra Lange-Berndt, University of Hamburg; Michael Philipp, Museum Barberini, Potsdam; Carolin Quermann, Städtische Galerie Dresden, and Martin Schieder, University of Leipzig.

    Parallel to the exhibition Behind the Mask: Artists in the GDR, the Museum Barberini is showing a documentary presentation entitled “Gallery from the Palace of the Republic”. These 16 large-format paintings might be read as a testimony to the state policy guideline “Breadth and Diversity” issued in 1971. Against this backdrop of ostentatious officialdom, it is easier to appreciate the rich landscape of East German art that unfolded beyond this domain, and which can be viewed at the show Behind the Mask.

    The Palace Gallery presentation is accompanied by a 96-page documentation with texts by Michael Philipp, Museum Barberini, available from the museum shop and from the book trade.

  • July 31, 2017 | Press Release
    Museum Barberini shows the Palast-Galerie: For the first time in more than 20 years.

    Potsdam, 31. Juli 2017

    Museum Barberini zeigt die Palast-Galerie: Seit über 20 Jahren zum ersten Mal wieder zu sehen.

    Flankierend zur Ausstellung Hinter der Maske. Künstler in der DDR ist im Museum Barberini vom 28. Oktober 2017 bis zum 4. Februar 2018 die Galerie aus dem Palast der Republik zu sehen.

    Zum Palast der Republik, dem zentralen Repräsentationsbau der DDR, gehörten 16 großformatige Bilder, die im Hauptfoyer installiert waren. Die sogenannte Palast-Galerie entstand 1975 zum Thema „Dürfen Kommunisten träumen?“ Künstler wie Bernhard Heisig, Wolfgang Mattheuer, Willi Sitte, Werner Tübke, Walter Womacka und Hans Vent steuerten Werke bei, die von 1976 bis 1990 hier ausgestellt wurden.

    Bereits wenige Wochen nach der Eröffnung hatten mehrere Hunderttausend Besucher den Palast der Republik und die Galerie gesehen, die Gemälde wurden vielfach in der DDR in Publikationen abgebildet, einige Gemälde wurden auch als Briefmarkenmotive verbreitet.

    Zuletzt war die Palast-Galerie 1995 bei der Ausstellung Auftrag: Kunst im Deutschen Historischen Museum zu sehen, seitdem lagern die Bilder im Depot. Lediglich einzelne Werke waren zwischenzeitlich und für kurze Zeit für Ausstellungen entliehen.

    Im gemeinsamen Engagement des Deutschen Historischen Museums, des Bundesverwaltungsamts und des Museums Barberini werden die Werke derzeit restauriert. Dies umfasst die Reinigung der Bildfläche – insgesamt über 200 Quadratmeter –, die Neuinstallation von Aufhängevorrichtungen und Ergänzungen der Rahmen.

    Die Definition des Themas und die Einladung der Künstler oblag 1975 Fritz Cremer, Leiter des künstlerischen Planungsstabs des Palasts der Republik. Einzige konkrete Vorgabe war aus architektonischen Gründen die Höhe der Bilder: Sie musste 280 cm betragen, die Breite durfte bis zu sechs Meter erreichen. Die Künstler stellten unterschiedliche Motive dar, die sie frei auswählten. Außer beim Werk von Walter Womacka, Wenn Kommunisten träumen..., waren die Bezüge zum ausgeschriebenen Thema eher lose. Die Künstler malten in ihrem jeweiligen eigenen Stil, blieben jedoch durchweg im Figürlichen und damit in der Tradition der realistischen Malerei in der DDR.

    Mit dieser dokumentarischen Präsentation zeigt das Museum Barberini ein Zeitzeugnis aus dem Zenit der Staatskunst der DDR, die das offizielle Verständnis von Kunst nach der 1971 ausgerufenen Leitlinie der „Weite und Vielfalt“ widerspiegelt. Vor dem Hintergrund dieser staatlichen Repräsentationskunst wird umso deutlicher, wie reich das Kunstleben in der DDR war, dass sich jenseits davon entfaltete. Dies zeigt die Ausstellung Hinter der Maske. Künstler in der DDR vom 28. Oktober 2017 bis zum 4. Februar 2018 im Museum Barberini.

    Zur Palast-Galerie im Palast der Republik

    Der Palast der Republik wurde 1973–1976 nach Plänen von Heinz Graffunder auf dem Gelände des Berliner Stadtschlosses erbaut, das derzeit als Humboldtforum wiederaufgebaut wird. Er war Sitz des Parlaments, Repräsentationsgebäude und Kulturhaus. Bis zu seiner Schließung im Jahr 1990 fanden hier Kulturveranstaltungen, Konzerte und Theateraufführungen statt und es gab verschiedene gastronomische Angebote.

    Zum Gesamtkonzept des Baus gehörte auch die umfangreiche Ausstattung mit Kunstwerken, darunter eine Marx-Engels-Plastik auf dem Vorplatz und, als prominentestes Element, die Palast-Galerie im Hauptfoyer. Fritz Cremer, Bildhauer und Vizepräsident der Akademie der Künste, wurde 1974 zum Leiter des künstlerischen Planungsstabs des Palasts der Republik ernannt. Ihm oblag es, Künstler zu gewinnen, die Auftragsarbeiten zum Thema Dürfen Kommunisten Träumen? erstellten. Von den 19 angefragten Künstlern nahmen 16 den Auftrag an. Im Dezember 1975 waren alle Arbeiten fertiggestellt, so dass sie mit der Eröffnung des Gebäudes im April 1976 präsentiert werden konnten und bis zur Schließung dort verblieben.

    Künstler und Werke:

    Günter Brendel (*1930): Großes Stillleben, 1975/76,
    Dispersion auf Hartfaser, 280 x 368 cm

    René Graetz (1908–1974) / Arno Mohr (1910–2001): Krieg und Frieden, 1975,
    Tempera auf Hartfaser, 280 x 368 cm

    Erhard Großmann (*1936): Tadschikistan, 1975, Tempera auf Hartfaser, 280 x 600 cm

    Bernhard Heisig (1925–2011): Ikarus, 1975, Öl auf Hartfaser, 280 x 450 cm

    Wolfgang Mattheuer (1927–2004): Guten Tag, 1975, Öl auf Hartfaser, 280 x 281 cm

    Arno Mohr (1910–2001): Forscht, bis ihr wißt, 1975,
    Mischtechnik auf Hartfaser, 280 x 552 cm

    Willi Neubert (1920–2011): Gestern – Heute, 1975,
    Mischtechnik auf Hartfaser, 280 x 345 cm

    Ronald Paris (*1933): Unser die Welt – trotz alledem, 1975/76,
    Dispersion auf Hartfaser, 280 x 600 cm

    Kurt Robbel (1909–1986): Die schaffenden Kräfte, 1975/76,
    Mischtechnik auf Hartfaser, 280 x 160 / 272 / 160 cm

    Wolfram Schubert (*1926): Brot für alle, 1975, Tempera auf Hartfaser, 280 x 368 cm

    Willi Sitte (1921–2013): Die rote Fahne – Kampf, Leid und Sieg, 1975/76,
    Öl auf Hartfaser, 280 x 300 cm

    Werner Tübke (1929–2004): Mensch – Maß aller Dinge, 1975, Mischtechnik auf Hartfaser in fünf Einzelteilen:

    Familie, 170 x170 cm; Liebespaar, 170 x170 cm; Kampf der Zentauren und Lapithen, 85 x 170 cm; Totenklage, 85 x 170 cm; Der Tanz um das goldene Kalb, 85 x 170 cm

    Hans Vent (*1934): Menschen am Strand, 1975, Dispersion auf Hartfaser, 280 x 552 cm

    Matthias Wegehaupt (*1938): Raum für Neues, 1975,
    Mischtechnik auf Hartfaser, 280 x 552 cm

    Walter Womacka (1925–2010): Wenn Kommunisten träumen..., 1975,
    Öl auf Hartfaser, 280 x 552 cm

    Lothar Zitzmann (1924–1977): Weltjugendlied, 1975, Öl auf Hartfaser, 280 x 552 cm

    SERVICEDATEN & EINTRITTE

    Hinter der Maske. Künstler der DDR

    28. Oktober 2017 bis 04. Februar 2018

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen

    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr

    Eintritt: € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahren frei

    Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 /

    Young Friend (unter 35 Jahre) € 20

    Online-Zeitfenster-Tickets unter www.museum-barberini.com

  • July 3, 2017 | Press release
    Museum Barberini exhibits abstract works by Gerhard Richter from the 1960s to the present in 2018

    Potsdam, July 3, 2017

    Museum Barberini exhibits abstract works by Gerhard Richter from the 1960s to the present in 2018

    Exhibition
    Gerhard Richter: Abstraction
    June 30 to October 7, 2018

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

    Since the 1960s, Gerhard Richter has understood painting to be a continuum, a framework to hold together the disruptions of the 20th century. Abstraction and realism divided East and West during the Cold War. Richter, who was confronted with the parameters set by Social Realism during his studies in Dresden, became acquainted with the tradition of abstract painting and the renunciation of painting in the Fluxus movement and performance art at the Düsseldorf art academy after moving to West Germany.

    Already in his early work during the 1960s, Gerhard Richter had begun to call painting into question, an exploration that continues to occupy him to this day. He transformed documents from his family history, as well as contemporary documents and the latest newspaper images into black and white paintings. In his series of gray paintings in the 1970s, he reacted to the rejection of painting in monochromatic works. He viewed the color gray also as an opportunity to address political themes without depicting them in an idealized manner.

    In his “Inpainting” series from the 1970s, Richter made the application of paint and brushstrokes the subject of his images. In other works, he photographed small details from his palette and transferred them in a photorealist manner to large canvases. In his color charts from the 1970s he left the proximity of the colors to chance and subjected painting to an objective process. Since 1976, Richter has created a group of abstract works by applying paint with brush, scraper, and palette knife in an alternating process of conscious decision-making and random chance. These works now form the majority of his oeuvre.

    This exhibition is being held in cooperation with the Gerhard Richter Archive of the Dresden State Art Collections. Exhibition curators are Dietmar Elger, Gerhard Richter Archive, and Ortrud Westheider, Museum Barberini.

    On November 29, 2017 the Museum Barberini will hold its fifth conference to prepare the exhibition catalogue. Contributors include Hubertus Butin, Dietmar Elger, and Ortrud Westheider.

    Museum Barberini
    The Museum Barberini opened in January 2017 to major public interest. By May 28, 2017, 320,000 visitors had viewed the opening exhibitions on Impressionism and Modern Art Classics.
    From 2013 to 2016, the Hasso Plattner Stiftung reconstructed the Barberini Palace, which houses the museum, in the historic center of Potsdam.
    Under its director Dr. Ortrud Westheider, the Museum Barberini shows exhibitions which focus on individual themes, artists, and eras in cooperation with international art institutes.
    The point of departure for presentations ranging from the Old Masters into the 21st century is the collection of SAP co-founder Prof. Dr. h.c. mult. Hasso Plattner. The collection consists of art from the former East Germany and painting after 1989, as well as art historical masterpieces. Impressionist works by Claude Monet and Pierre-Auguste Renoir are represented alongside modern art classics and American abstract art, with paintings by artists such as Max Liebermann, Edward Munch, Joan Mitchell, and Gerhard Richter.

    Current exhibition

    From Hopper to Rothko: America’s Road to Modern Art

    In cooperation with The Phillips Collection, Washington, D. C. the Museum Barberini is presenting its first international project, which is on display through October 3, 2017. The exhibition From Hopper to Rothko: America’s Road to Modern Art examines the development of American art from Impressionism to Abstract Expressionism. For this exhibition, The Phillips Collection has sent 68 works of early American modernism to Germany for the first time.

    SERVICE INFORMATION & ADMISSION
    From Hopper to Rothko: America’s Road to Modern Art
    June 17–October 3, 2017
    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun: 10 a.m. – 7 p.m., first Thu of every month: 10 a.m. – 9 p.m., closed Tue
    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9 – 11 a.m.
    Admission: € 14 / reduced: € 10 / children and teens under 18: free

    Timed tickets available online at www.museum-barberini.com

  • June 15, 2017 | Press Release
    From Hopper to Rothko: America's Road to Modern Art

    Potsdam, June 15, 2017

    How American art became abstract: The Museum Barberini brings American modern art to Potsdam

    From Hopper to Rothko: America’s Road to Modern Art

    June 17–October 3, 2017

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Following its opening exhibition, the Museum Barberini will present its first international cooperation project with the exhibition From Hopper to Rothko: America’s Road to Modern Art from June 17 to October 3, 2017. For this, The Phillips Collection in Washington, D.C., is sending 68 works of early American modern art to Germany for the first time.

    American art from the first half of the twentieth century is still relatively unknown in Europe. The three central themes of the exhibition – landscapes, portraits, and cityscapes – present a cross-section of American painting. The show will trace the beginnings of abstract painting, which also developed during this time. After 1945, this culminated in Abstract Expressionism, and New York City became the new center of the art world. Works from The Phillips Collection highlight all of these developments.

    The exhibition From Hopper to Rothko: America’s Road to Modern Art will provide a panorama of subjects and styles ranging from Impressionism to Abstract Expressionism – taking visitors on a journey through landscape art, portrait painting, and cityscapes to Color Field Painting, with works along the way by George Inness (1825–1894), Marsden Hartley (1877–1943), Georgia O’Keeffe (1887–1986), Richard Diebenkorn (1922–1993), and more.

    With this joint project, Dr. Ortrud Westheider, Director of the Museum Barberini, continues the Museum Barberini’s programmatic approach to showing world-famous works of art in thematic exhibitions. Following her 2009 Hamburg exhibition Modern Life: Edward Hopper and His Time, she now presents the diversity of American modern art in eight thematic galleries. “America’s road to modern art is exemplified by works from The Phillips Collection. This partnership is a great honor for the Museum Barberini.”

    Dr. Dorothy M. Kosinski, Director of The Phillips Collection, Washington, D.C.: “We are pleased to send major works from our collection to Potsdam in order to present American modern art to Europe. The newly opened Museum Barberini is an excellent place to showcase these objects.”

    How American art became abstract

    The first American landscape painters were motivated by the settlement of the American frontier, surveys of the country, and the preservation of natural wonders in national parks. Influenced by European Impressionism, the heroic and religious content of these early landscape paintings was succeeded by personal observations of light and atmospheric phenomena in nature. The epic transformation of the United States from an agrarian to an urban society increased the influence of cities. In art, this process was characterized by a move toward figure painting. However, the countryside retained its importance and for many artists it became the point of departure for creating abstract compositions. The manufacturing power and architectural transformation of the cities inspired painters like Charles Sheeler (1883–1965) and Ralston Crawford (1906–1978) to create paintings in the style that came to be known as Precisionism, which reflected the optimistic economic outlook of the times. After the Second World War, abstraction provided artists with the basis for an ethical and philosophical new beginning.

    In Abstract Expressionism, colors were given a life of their own, an approach that differed from European Expressionism. Artists created color spaces in which viewers could immerse themselves. Artists saw their paintings as fields that continued beyond the edges. In these fields, each dot was of equal value and each spot served as an entry point into the painting. Painters attempted to create images that were not straightforward and could not be understood or taken in at a single glance. The purpose was to develop each individual viewer’s ability to encounter art and make his or her own decisions regarding it.

    Duncan Phillips, collector

    Through his activity as a collector, Duncan Phillips (1886–1966), an art critic and patron of the arts, and founder of The Phillips Collection in Washington, D.C., championed and supported America’s modern artists, especially between the world wars, and thus helped shape the canon of 20th century American art. The early deaths of his father and brother prompted him to transform the family’s small collection of American art into the seedbed for a museum in their honor in the nation’s capital dedicated to modern art and its sources. Opening in 1921, The Phillips Collection, thus, predated the founding of the Museum of Modern Art (1929) and the Whitney Museum of American Art (1931). Phillips’s view of art as a universal language that transcends national schools and eras endures to this day as an inspiration to others. This commitment to individual artistic positions remains of great importance.

    Phillips believed that “the spirit shared by artists from different parts of the world and different periods demonstrates that art is a universal language.” He collected 19th-century French paintings, such as those of Honoré Daumier (1808–1879), Pierre-Auguste Renoir (1841–1919), and the 20th century French master Pierre Bonnard (1867–1947), and he also championed American artists who were indebted to their European role models. In the interwar years, conservative circles in the United States were suspicious of work that was abstract, independent, and infused with European avantgarde styles. The bridge between these two was the birth of modern art in America – which has been an integral part of The Phillips Collection’s mission ever since the collection was established.

    Like Duncan Phillips, the Museum Barberini’s founder, Hasso Plattner, collected French Impressionists along with contemporary American paintings. Our cooperation project between this major historical private collection and the Museum Barberini thus also brings together two like-minded partners.

    The exhibition catalog is being published by Prestel Verlag. Its 248 pages with 200 illustrations can be purchased for € 29.90 at the museum shop and for € 39.95 at regular booksellers. The essays are based on an international conference held on November 21, 2016, at the Museum Barberini. Two essays single out two major works from The Phillips Collection, while others examine the many and diverse links between American art and Europe.

    SERVICE INFORMATION & ADMISSION

    The Phillips Collection, Washington, D.C., in cooperation with the Museum Barberini, Potsdam.

    From Hopper to Rothko: America’s Road to Modern Art

    June 17–October 3, 2017

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun: 10 a.m. – 7 p.m., first Thu of every month: 10 a.m. – 9 p.m., closed Tue

    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9 – 11 a.m.

    Admission: € 14 / reduced: € 10 / children and teens under 18: free

    Timed tickets available online at www.museum-barberini.com

  • May 28, 2017 | Press Release 
    320.000 Visitors: Opening Exhibitions at Museum Barberini Closes with Outstanding Visitor Numbers

    Potsdam, May 28, 2017

    320.000 Visitors: Opening Exhibitions at Museum Barberini Closes with Outstanding Visitor Numbers

    Opening in June: New Special Exhibition of American Modern Art

    Since the Museum Barberini opened at the beginning of this year, the rush of visitors continues unabated. The special exhibitions on Impressionism and Modern Art Classics with over 170 works on display attracted more than 320,000 visitors by May 28, 2017.

    During the first 112 days, around 220 school classes and kindergarten groups visited and 1,070 other group tours or workshops and 190 public tours were held. In addition, almost 30,300 annual memberships were sold. The award-winning museum app was downloaded 37,800 times and the museum’s social media portals have been registering a steadily growing number of followers. All of the timed tickets for the final weeks of the exhibition sold out quickly despite the extended opening hours. With over 320,000 visitors in four months, the new Museum Barberini is a milestone in the museum landscape.

    This amazing reception exceeds all expectations of the museum’s management team. The foundation of this new Potsdam museum is an initiative by SAP cofounder Prof. Dr. h.c. mult. Hasso Plattner and presents exhibitions with international partners under the direction of Dr. Ortrud Westheider.

    “We were expecting many visitors, but we didn't anticipate such large numbers. It's the best welcome that we could have possibly received here in Potsdam," said Dr. Ortrud Westheider at the conclusion of the current exhibition.

    From June 17 to October 3, 2017, the museum is presenting its first international cooperation project with The Phillips Collection, Washington, D.C. The show From Hopper to Rothko: America’s Road to Modern Art follows the development of American art from Impressionism to Abstract Expressionism. For this exhibition, The Phillips Collection is sending 68 works of early American Modern Art to Germany for the first time.

    Due to the dismantling and mounting of the exhibition From Hopper to Rothko: America’s Road to Modern Art, the museum will be closed on May 29 and 30, and from June 14 to 16, 2017. Between May 31 and June 13, 2017 certain exhibition galleries will be closed. Admission to the museum during this period costs € 4.

    From Hopper to Rothko: America’s Road to Modern Art

    June 17 to October 3, 2017

    Museum Barberini, Alter Markt, Humboldtstr. 5–6, 14467 Potsdam

    Mon & Wed–Sun: 10 a.m. – 7 p.m., first Thu of every month: 10 a.m. – 9 p.m., closed Tue

    Mon–Fri (except Tue) for kindergartens and schools upon prior registration: 9–11 a.m.

    Timed tickets: www.museum-barberini.com

  • May 16, 2017 | Press Release
    Mattheuers Jahrhundertschritt is undamaged

    Potsdam, 16. Mai 2017

    Mattheuers Der Jahrhundertschritt ist unbeschädigt

    Berichterstattung zum Vorfall an Mattheuers Der Jahrhundertschritt im Hof des Museums Barberini vom Samstag, den 16. Mai 2017

    Entgegen anderslautender Meldungen ist die Bronzestatue Der Jahrhundertschritt (Wolfang Mattheuer) im Außenbereich des Museums Barberini nicht beschädigt worden. 
Durch das Auslaufen der roten Farbe aus dem Kreppband sind lediglich der Sockel der Statue sowie die angrenzenden Steinplatten leicht rot verfärbt worden. Ein Großteil der Verfärbungen konnte direkt durch Museumspersonal und den Verursacher selbst bereinigt werden.

    Die Restauratorin des Museums Barberini konnte den Schaden am Montag eingehend prüfen und feststellen, dass derzeit noch verbleibende leicht rötliche Verfärbungen in den Bodenplatten durch Wettereinwirkung zeitnah gänzlich verschwunden sein werden. Die Plastik selbst hat keinerlei Schäden davongetragen.

    Das Museum Barberini zieht den vorbehaltlich gestellten Strafantrag gegen den Verursacher zurück.

    Zum Vorfall:

    Ein 74-jähriger Mann hat am Samstag ein circa 20 Meter langes rotes Kreppband ausgehend von der Skulptur Der Jahrhundertschritt von Wolfgang Mattheuer über die die Statue umgebenen Steinplatten gelegt. Trotz des unverzüglichen Eingreifens der Museumsaufsichten, konnte das Auslaufen der Farbe aus dem Kreppband durch einsetzenden Regen nicht verhindert werden.

    Der Mann wollte an dem Kunstwerk eine „Kunstaktion“ vollführen, die sich jedoch nicht gegen das Kunstwerk richtete, sondern den roten Streifen auf der Plinte mit dem Kreppband verlängerte. Die Verfärbung der Bodenplatten hatte er dabei nicht beabsichtigt.

    Zum Jahrhundertschritt von Wolfang Mattheuer:

    Wolfgang Mattheuers Plastik Der Jahrhundertschritt (Erstanfertigung 1984) existiert Deutschlandweit in sechs bzgl. Größe, Ausführung und Materialität unterschiedlichen Fassungen. Standorte finden sich in Berlin, Potsdam, Bonn, Leipzig, Halle und Aachen.

    Mit der eindrücklichen Gestik in Form der zur Hitlergruß erhobenen rechten Hand und der zur Faust geballten Linken vereint die Plastik Anspielungen auf zwei totalitäre Regime: Den Nationalsozialismus und den Kommunismus. Das Auseinanderstreben der Gliedmaßen, das sich bis hin zu einem Riss durch den Brustkorb der Figur manifestiert, zeigt die Zerrissenheit des 20. Jahrhunderts. Das sich im Ausfallschritt befindliche unnatürlich lange Bein im Zusammenspiel mit dem hinterherhinkenden Rechten deutet zusätzlich symbolhaft auf die Instabilität der Zeit hin. Mattheuers Der Jahrhundertschritt gehört zu den bedeutendsten Skulpturen des vergangenen Jahrhunderts.

  • May 12, 2017 | Press Release
    How American art became abstract: The Museum Barberini brings American modern art to Potsdam

    Potsdam, May 12, 2017

    From Hopper to Rothko: America’s Road to Modern Art

    June 17–October 3, 2017

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Press conference:

    June 15, 2017, 11 a.m.

    Following its opening exhibition, the Museum Barberini will present its first international cooperation project with the exhibition From Hopper to Rothko: America’s Road to Modern Art from June 17 to October 3, 2017. For this, The Phillips Collection in Washington, D.C., is sending 68 works of early American modern art to Germany for the first time.

    American art from the first half of the twentieth century is still relatively unknown in Europe. The three central themes of the exhibition – landscapes, portraits, and cityscapes – present a cross-section of American painting. The show will trace the beginnings of abstract painting, which also developed during this time. After 1945, this culminated in Abstract Expressionism, and New York City became the new center of the art world. Works from The Phillips Collection highlight all of these developments.

    The exhibition From Hopper to Rothko: America’s Road to Modern Art will provide a panorama of subjects and styles ranging from Impressionism to Abstract Expressionism – taking visitors on a journey through landscape art, portrait painting, and cityscapes to Color Field Painting, with works along the way by George Inness (1825–1894), Marsden Hartley (1877–1943), Georgia O’Keeffe (1887–1986), Richard Diebenkorn (1922–1993), and more.

    With this joint project, Dr. Ortrud Westheider, Director of the Museum Barberini, continues the Museum Barberini’s programmatic approach to showing world-famous works of art in thematic exhibitions. Following her 2009 Hamburg exhibition Modern Life: Edward Hopper and His Time, she now presents the diversity of American modern art in eight thematic galleries. “America’s road to modern art is exemplified by works from The Phillips Collection. This partnership is a great honor for the Museum Barberini.”

    Dr. Dorothy M. Kosinski, Director of The Phillips Collection, Washington, D.C.: “We are pleased to send major works from our collection to Potsdam in order to present American modern art to Europe. The newly opened Museum Barberini is an excellent place to showcase these objects.”

    The Phillips Collection

    Through his activity as a collector, Duncan Phillips (1886–1966), an art critic and patron of the arts, and founder of The Phillips Collection in Washington, D.C., championed and supported America’s modern artists, especially between the world wars, and thus helped shape the canon of 20th century American art. The early deaths of his father and brother prompted him to transform the family’s small collection of American art into the seedbed for a museum in their honor in the nation’s capital dedicated to modern art and its sources. Opening in 1921, The Phillips Collection, thus, predated the founding of the Museum of Modern Art (1929) and the Whitney Museum of American Art (1931). Phillips’s view of art as a universal language that transcends national schools and eras endures to this day as an inspiration to others.

    The exhibition catalog is being published by Prestel Verlag. Its 248 pages with 200 illustrations can be purchased for € 29.90 at the museum shop and for € 39.95 at regular booksellers. The essays are based on an international conference held on November 21, 2016, at the Museum Barberini. Two essays single out two major works from The Phillips Collection, while others examine the many and diverse links between American art and Europe.

    SERVICE INFORMATION & ADMISSION

    The Phillips Collection, Washington, D.C., in cooperation with the Museum Barberini, Potsdam.

    From Hopper to Rothko: America’s Road to Modern Art

    June 17–October 3, 2017

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam, Germany

    Mon & Wed–Sun: 10 a.m. – 7 p.m., first Thu of every month: 10 a.m. – 9 p.m., closed Tue
    Mon–Fri (except Tue) for kindergartens and schools with reservations: 9 – 11 a.m.
    Admission: € 14 / reduced: € 10 / children and teens under 18: free
    Timed tickets available online at www.museum-barberini.com

  • May 5, 2017 | Pressemeldung
    The 250,000 visitors were welcomed to the Barberini Museum

    Museum Barberini öffnet bis 28. Mai 2017 zusätzlich auch dienstags 10–19 Uhr.

    Heute, am 5. Mai 2017, wurde der 250.000 Besucher im Museum Barberini begrüßt. Der Besucherandrang hält mit den beiden Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky unvermindert an.

    In den ersten 100 Tagen des Museumsbetriebs wurden außerdem 132 Schulklassen- und Kindergartengruppen sowie 685 weitere Gruppenführungen und 148 Öffentliche Führungen angeboten. Es wurden darüber hinaus 23.372 Jahreskarten verkauft und die App wurde 30.648 heruntergeladen. Die Social Media Portale des Museums können bereits eine hohe Reichweite vorweisen und verzeichnen stetig wachsende Followerzahlen: Der Facebookkanal kann sich mit 7700 Fans bereits mit solchen von anderen renommierten Museen messen.

    Aufgrund des starken Interesses öffnet das Museum Barberini nun dauerhaft bereits ab
    10 Uhr. Außerdem entfällt im Zeitraum vom 1. bis 28. Mai 2017 der Schließtag am Dienstag, sodass die Eröffnungsausstellungen täglich von 10 bis 19 Uhr zu besuchen sind.

    Alle zusätzlichen Zeiten sind als Online-Zeitfenstertickets buchbar: www.museum-barberini.com.

    Vom 17. Juni bis zum 3. Oktober 2017 präsentiert das Museum in Zusammenarbeit mit der Phillips Collection, Washington, D. C. sein erstes internationales Kooperationsprojekt. Die Ausstellung: Von Hopper bis Rothko. Amerikas Weg in die Moderne. widmet sich der Entwicklung der amerikanischen Kunst vom Impressionismus bis zum Abstrakten Expressionismus. Die Phillips Collection schickt dafür erstmals 68 Werke der frühen amerikanischen Moderne nach Deutschland.

    SERVICEDATEN

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen
    1. Mai bis 28. Mai 2017: Mo–So 10–19 Uhr, kein Schließtag
    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Online-Tickets unter www.museum-barberini.com

  • April 27, 2017 | Pressemeldung
    Museum Barberini opens permanently from Wednesday to Monday from 10 a.m.

    Potsdam, 27. April 2017

    220.000 Ticketverkäufe in drei Monaten.

    Museum Barberini öffnet dauerhaft mittwochs bis montags ab 10 Uhr.

    Nur im Mai 2017 zusätzlich dienstags 10–19 Uhr geöffnet.

    Der Besucherandrang auf das Museum Barberini hält seit seiner Eröffnung am 23. Januar 2017 unvermindert an. Bis Ende April 2017 wurden mehr als 220.000 Tickets verkauft.

    Aufgrund des starken Interesses öffnet das Museum Barberini nun dauerhaft bereits ab
    10 Uhr. Außerdem entfällt im Zeitraum vom 1. bis 28. Mai 2017 der Schließtag am Dienstag, sodass die Eröffnungsausstellungen täglich von 10 bis 19 Uhr zu besuchen sind.

    Für die letzte Zeitschiene, von 18 bis 19 Uhr, gibt es ab sofort das ermäßigte Evening Special Ticket für € 8 und ermäßigt € 6.

    Alle zusätzlichen Zeiten sind als Online-Zeitfenstertickets buchbar: www.museum-barberini.com.

    Noch bis zum 28. Mai 2017 zeigt das Museum Barberini die Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky und gewährt Einblicke in seine Sammlung mit insgesamt über 170 Werken in 17 Ausstellungssälen.

    Ab dem 17. Juni 2017 bis zum 3. Oktober widmet sich das Museum Barberini mit der Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne in Kooperation mit der Philipps Collection, Washington D. C. der Entwicklung der amerikanischen Kunst vom Impressionismus bis zum Abstrakten Expressionismus.

    Vom 28. Oktober 2017 bis zum 4. Februar 2018 zeigt das Museum Barberini die Ausstellung Hinter der Maske. Künstler in der DDR und vom 23. Februar bis zum 10. Juni 2018 in Kooperation mit der Kunsthalle Bremen die Schau Max Beckmann. Welttheater.

    SERVICEDATEN & EINTRITT

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen

    1. Mai bis 28. Mai 2017: Mo–So 10–19 Uhr, Do 4. Mai 2017 10–21 Uhr

    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr

    Eintritt € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahre frei.

    Jahreskarte Barberini Friend (Einzelperson) € 30, Barberini Friends (Paare) € 50,
    Barberini Young Friend (Einzelperson < 35 Jahre) € 20

    Online-Tickets unter www.museum-barberini.com.

  • April 19, 2017 | Veranstaltungshinweis
    Invitation to the 4th Symposium Behind the Mask. Artists in the GDR

    Potsdam, 19. April 2017

    Einladung zum 4. Symposium

    Hinter der Maske. Künstler in der DDR

    24. April 2017, 10–18 Uhr im Museum Barberini

    In der DDR gab es eine offizielle Staatskunst; sie sollte politisch wirken. Diese ideologischen Verflechtungen wurden in den vergangenen Jahren in zahlreichen Ausstellungen untersucht. Wie aber reflektierten die Künstler im kritischen Blick nach innen ihr Selbstverständnis und ihr Verhältnis zur vorgeschriebenen staatstragenden Funktion? Die Ausstellung Hinter der Maske. Künstler in der DDR widmet sich den Spielarten künstlerischer Selbstinszenierung in der DDR zwischen Rollenbild und Rückzug, verordnetem Kollektivismus und schöpferischer Individualität.

    Das Symposium bereitet die Ausstellung vor, die vom 28. Oktober 2017 bis zum 4. Februar 2018 im Museum Barberini in Potsdam zu sehen ist. Die Vorträge des Symposiums werden im Ausstellungskatalog veröffentlicht.

    Kostenbeitrag € 10,- / Freier Eintritt für Studierende

    Online-Tickets sind unter www.museum-barberini.com buchbar.

    Tickets sind zudem am Tag des Symposiums an der Museumskasse erhältlich.

    Veranstaltungsort: Museum Barberini, Alter Markt, Humboldtstr. 5–6, 14467 Potsdam

    Programm

    10:00
    Begrüßung
    Dr. Ortrud Westheider, Museum Barberini

    10:15
    „Dürfen Kommunisten träumen?“. Staatliche Vorgaben und künstlerische Freiheit in der DDR
    Dr. Michael Philipp, Museum Barberini

    11:15
    Selbstbildnis und Alter Ego. Die Inszenierung des Künstlers in der DDR
    Valerie Hortolani, Berlin

    12:15
    Mittagspause

    14:00
    Kunstproduktion im Plural. Kollektive und Kollektivität in der DDR
    Prof. Dr. Petra Lange-Berndt, Universität Hamburg

    15:00
    Abstraction: Autonomy by Withdrawal
    Hannah Klemm, St. Louis Art Museum

    16:00
    Kaffeepause

    16:30
    Der Blick auf Alte Meister. Verweise und Anverwandlungen
    Dr. Carolin Quermann, Städtische Galerie Dresden

    17:30
    „Drinnen, draußen und ich“. Zum Künstleratelier in der DDR
    Prof. Dr. Martin Schieder, Universität Leipzig

    18:30
    Empfang

  • March 21, 2017 | Press Release
    Barberini Museum extends opening hours

    Potsdam, 21. März 2017

    Museum Barberini verlängert die Öffnungszeiten
    Vom 1. April bis 28. Mai 2017 schon ab 10 Uhr geöffnet. Im Mai 2017 auch dienstags 10–19 Uhr geöffnet

    Das Museum Barberini reagiert auf den großen Besucherandrang zu seinen Eröffnungsausstellungen mit einer Verlängerung der Öffnungszeiten. Vom 1. April bis zum 28. Mai 2017 wird das Museum schon um 10 Uhr, anstatt wie bisher, um 11 Uhr öffnen. Außerdem öffnet das Museum vom 1. bis 28. Mai 2017 auch dienstags von 10 bis 19 Uhr, dienstags gibt es keine Führungsangebote. Alle zusätzlichen Zeiten sind ab sofort als Onlinetickets buchbar: www.museum-barberini.com.

    Seit Eröffnung des Museums Barberini Ende Januar 2017 hält der Besucherandrang unvermindert an. Um die 15.000 Besucher zählt das Museum wöchentlich bei seinen Eröffnungsausstellungen Impressionismus. Die Kunst der Landschaft und Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky. Insgesamt wurden bereits ca. 130.000 Tickets verkauft.

    Noch bis zum 28. Mai 2017 zeigt das Museum Barberini die Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky und gewährt Einblicke in seine Sammlung mit insgesamt über 170 Werken in 17 Ausstellungssälen.
    Ab dem 17. Juni 2017 widmet sich das Museum Barberini mit der Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne in Kooperation mit der Philipps Collection, Washington D. C. der Entwicklung der amerikanischen Kunst vom Impressionismus bis zum Abstrakten Expressionismus.

    SERVICEDATEN & EINTRITT

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    ab 1. April 2017: Mo & Mi–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr, Di geschlossen
    1. Mai bis 28. Mai 2017: Mo–So 10–19 Uhr, jeder erste Do im Monat 10–21 Uhr
    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Eintritt € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahre frei.
    Jahreskarte Barberini Friend (Einzelperson) € 30, Barberini Friends (Paare) € 50, Barberini Young Friend (Einzelperson < 35 Jahre) € 20

    page1image17640

    Online-Tickets unter www.museum-barberini.com.

  • February 24, 2017 | Event announcement
    Invitation to the 3rd Conference Max Beckmann: The World as a Stage

    Potsdam, February 24, 2017

    Invitation to the 3rd Conference

    Max Beckmann: The World as a Stage

    March 29, 2017, 10 a.m. – 6:30 p.m.

    Max Beckmann was fascinated by the world of the theater, the circus, carnivals, vaudeville acts, and cafés as metaphorical arenas of human relationships and world affairs. He took on the role of a spectator and presented life as a stage in his paintings.

    Over 100 works with a direct reference to this subject area can be found in his oeuvre, including depictions of acrobats, portraits of actors, and backstage and dressing room scenes. The Kunsthalle Bremen and the Museum Barberini will hold an exhibition examining the concept of Welttheater that was associated with Beckmann’s work in the 1930s. This academic conference, which will be held on March 29 at the Museum Barberini, will present new research on Beckmann and his idea of the world as a stage. The lectures will be published as essays in the exhibition catalogue.

    In cooperation with the Kunsthalle Bremen where the exhibition Max Beckmann: The World as a Stage will be on display from September 30, 2017 to February 4, 2018. The show can be seen at the Museum Barberini from February 24 to June 10, 2018.

    Admission €10 / Students admitted free of charge

    Online tickets can be purchased at www.museum-barberini.com

    Tickets may be purchased on the day of the conference at the museum’s ticket counter.

    Location: Museum Barberini, Alter Markt, Humboldtstr. 5–6, 14467 Potsdam

    Program

    10:00

    Welcome

    Dr. Ortrud Westheider, Museum Barberini

    Prof. Dr. Christoph Grunenberg, Kunsthalle Bremen

    10:15

    Vom Theatrum mundi zur Schaubude. Beckmanns Idee des Welttheaters
    Dr. Eva Fischer-Hausdorf, Kunsthalle Bremen

    11:15

    Max Beckmanns Malerei als Zurschaustellung
    Dr. Ortrud Westheider, Museum Barberini

    12:15

    Lunch

    14:00

    Clowns, Tiere und Artisten. Beckmanns Passion für den Zirkus im Spiegel seiner Skizzenbücher
    Dr. Christiane Zeiller, Max Beckmann Archive, Munich

    15:00

    Max Beckmanns Triptychen als Bühnen-Bilder

    Dr. Lynette Roth, Busch-Reisinger Museum, Harvard Art Museums, Cambridge (USA)

    16:00

    Coffee break

    16:30

    Zwischen Katastrophenerfahrung und Weltanschauung. Zum Welttheater in der Literatur
    Prof. Dr. Irene Pieper, University of Hildesheim

    17:30

    Parodie, Experiment und Selbstbehauptung. Die Dramen Max Beckmanns
    Dr. Sebastian Karnatz, Bavarian Department of State-Owned Palaces, Gardens and Lakes, Munich

    18:30

    Get Together

    The conference language is German.

  • February 23, 2017 | Press Release
    60,000 visitors in the first month: Barberini Museum exceeds all expectations

    Potsdam, 22. Februar 2017

    60.000 Besucher im ersten Monat: Museum Barberini übertrifft alle Erwartungen

    Seitdem das Museum Barberini vor einem Monat, am 23. Januar 2017, für das Publikum öffnete, ist das Interesse der nationalen und internationalen Gäste ungebrochen. In den letzten vier Wochen besuchten bis zu 15.000 Kunstinteressierte pro Woche das neue Kunstmuseum in Potsdam. Besonders groß ist der Ansturm während der Woche bis zum frühen Nachmittag sowie an den Wochenenden. Es wurden 48.000 Zeitfenster-Tickets und 12.000 Jahreskarten verkauft.

    Auch digital erfreut sich das Angebot einer großen Beliebtheit. Die kostenfreie Barberini-App wurde schon 12.500 Mal heruntergeladen. Mit der App haben die Besucher die Möglichkeit, sich über die Ausstellungen und die Hintergründe des rekonstruierten Palais zu informieren. Sie enthält Audioguide-Touren mit unterschiedlichen Schwerpunkten für Erwachsene und Kinder. Die App bietet neben 360°-Panoramen eine Anmeldung zum Newsletter und die Weiterleitung zum Online-Ticket-Shop. Auch die Social Media Profile des Museums haben großen Zulauf. So können auf Facebook bereits über 6.600 Fans gezählt werden.

    Unter den zahlreichen Gästen konnten der Stifter des Museums Hasso Plattner und die Direktorin Ortrud Westheider bei der Eröffnung neben Bundeskanzlerin Angela Merkel, Brandenburgs Ministerpräsident Dietmar Woidke, Potsdams Oberbürgermeister Jann Jakobs auch die Ehrengäste Bill Gates, Botschafter, Museumsdirektoren, Sammler, Schauspieler, Künstler sowie Persönlichkeiten aus Unternehmen und öffentlichen Einrichtungen begrüßen.

    Noch bis zum 28. Mai 2017 zeigt das Museum Barberini die Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky und gewährt Einblicke in seine Sammlung mit insgesamt über 170 Werken in 17 Ausstellungssälen. Ab dem 17. Juni 2017 widmet sich das Museum Barberini mit der Ausstellung Von Hopper bis Rothko. Amerikas Weg in die Moderne in Kooperation mit der Philipps Collection, Washington D. C. der Entwicklung der amerikanischen Kunst vom Impressionismus bis zum Abstrakten Expressionismus.

    SERVICEDATEN & EINTRITTE

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 11–19 Uhr, jeder erste Do im Monat 11–21 Uhr, Di geschlossen

    Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr

    Eintritt € 14 / ermäßigt € 10 / Kinder und Jugendliche unter 18 Jahre frei.

    Jahreskarte Barberini Friend (Einzelperson) € 30, Barberini Friends (Paare) € 50,
    Barberini Young Friend (Einzelperson < 35 Jahre) € 20

    Online-Tickets unter www.museum-barberini.com

  • January 27, 2017 | Pressemeldung
    The Barberini Museum's supporting programme kicks off with a lecture / Visitors can enter without waiting with time window tickets

    Potsdam, 27. Januar 2017

    Auftakt Rahmenprogramm des Museums Barberini mit Vortrag

    Mit Zeitfenstertickets erhalten Besucher Einlass ohne Wartezeiten

    Seit das Museum Barberini am 23. Januar 2017 für das Publikum öffnete, bleibt das Besucherinteresse ungebrochen groß. Täglich haben in der Eröffnungswoche 1500 bis 2000 Kunstliebhaber das wiederaufgebaute Palais Barberini besucht und die Ausstellungen mit Werken von Claude Monet, Auguste Renoir, Gustave Caillebotte, Camille Pissarro, Alfred Sisley und Auguste Rodin sowie Werke der Amerikanischen Moderne und Kunst der DDR bestaunt. Mit den Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky und Einblicken in seine Sammlung zeigt das neue Kunstmuseum bis zum 28. Mai 2017 insgesamt über 170 Werke in 17 Ausstellungssälen.

    Neben regelmäßigen Führungen bietet das Museum Barberini auch ein Begleitprogramm an. Der erste Vortrag anlässlich der Ausstellung Impressionismus. Die Kunst der Landschaft wird durch den renommierten Kunsthistoriker James Rubin zum Thema Monet’s Water Lilies: Seeing with the Body in englischer Sprache am 30. Januar 2017 um 18 Uhr gehalten. Prof. Dr. James Rubin, einer der weltweit bekanntesten Spezialisten in Geschichte, Theorie und Kritik der europäischen Avantgardekunst des 19. Jahrhunderts mit Schwerpunkt vor allem in der französischen Kunst, lehrt an der State University of New York at Stony Brook.

    Vortrag

    Monet’s Water Lilies: Seeing with the Body

    30. Januar 2017, 18 Uhr
    Prof. Dr. James Rubin ist Kunsthistoriker an der State University of New York at Stony Brook.
    In englischer Sprache € 10 / ermäßigt € 8

    SERVICEDATEN & EINTRITTE

    Museum Barberini, Alter Markt, Humboldtstraße 5–6, 14467 Potsdam

    Mo & Mi–So 11–19 Uhr, jeder erste Do im Monat 11–21 Uhr, Di geschlossen Mo–Fr (außer Di) für Kindergärten und Schulen nach Anmeldung 9–11 Uhr
    Eintritt € 14 / erm. € 10 / Kinder und Jugendliche unter 18 Jahre frei Jahreskarte Einzelperson € 30 / Jahreskarte Paare € 50 / Young Friend (unter 35 Jahre) € 20

    Online-Tickets unter www.museum-barberini.com

  • January 20, 2017 | Press Release
    Today's opening of the Barberini Museum with Federal Chancellor Angela Merkel

    Heutige Eröffnung des Museums Barberini mit Bundeskanzlerin Angela Merkel

    Heute Abend wird das Museum Barberini zusammen mit Bundeskanzlerin Angela Merkel feierlich in Potsdam eröffnet. Rund 650 geladene Gäste aus dem In- und Ausland nehmen an dem Festakt teil. Im Anschluss an die Eröffnung des neuen Kunstmuseums lädt Hasso Plattner zu einem Konzert mit der Rocklegende John Fogerty ein. Die Ansprachen des Abends halten Prof. Dr. Hasso Plattner, der Potsdamer Oberbürgermeister Jann Jakobs, der Ministerpräsident von Brandenburg, Dietmar Woidke sowie die Bundeskanzlerin Angela Merkel.

    Unter den Gästen des Abends befinden sich viele bekannte Namen und hochrangige Persönlichkeiten, darunter Bill Gates, Günter Jauch und Wolfgang Joop.

    Auszug aus der Gästeliste:

    Stifter & Mäzen

    Prof. Dr. Hasso

    Plattner

    Founder and CEO SAO and HPI

    Potsdam, USA

    Dr. Angela

    Merkel

    Chancellor, Federal Republic of Germany

    Berlin

    Dr. Dietmar

    Woidke

    Federal State Prime Minister of Brandenburg

    Potsdam

    Jann

    Jakobs

    Lord Mayor of Potsdam

    Potsdam

    Ehrengäste

    Bill

    Gates

    Melinda and Bill Gates Foundation, Microsoft

    USA

    Matthias

    Platzeck

    Former Federal State Prime Minister of Brandenburg

    Potsdam

    Manfred

    Stolpe

    Former Federal State Prime Minister of Brandenburg

    Potsdam

    Botschafter

    Philippe

    Etienne

    Ambassador, France

    Wladimir M.

    Grinin

    Ambassador, Russian Federation

    Berlin

    Kent D.

    Logsdon

    Chargé d'affaires of the Embassy of the United States of America

    Berlin

    Prof. Dr. Dr. Hermann

    Parzinger

    Stiftung Preußischer Kulturbesitz

    Berlin

    Prof. Dr. Peter

    Schäfer

    Jüdisches Museum

    Berlin

    Eske

    Nannen

    Kunsthalle Emden

    Emden

    Dr. Philipp

    Demandt

    Städel Museum - Städelsches Kunstinstitut und Städtische Galerie

    Frankfurt / Main

    Prof. Dr. Hartmut

    Dorgerloh

    Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg

    Potsdam

    Axel

    Rüger

    Van Gogh Museum

    Amsterdam

    Dr. Christoph

    Becker

    Kunsthaus Zürich

    Zurich

    Privatsammler

    Christian und Karen

    Boros

    Berlin

    Julia

    Stoschek

    Düsseldorf

    Heiner und Ulla

    Pietzsch

    Berlin

    Medien

    Dr. Mathias

    Doepfner

    Axel Springer SE

    Berlin

    Friede

    Springer

    Friede Springer Stiftung

    Berlin

    Anja

    Zimmer

    Medienanstalt Berlin-Brandenburg (MABB)

    Berlin

    Kultur

    Mayen

    Beckmann

    Estate Max Beckmann

    Köln

    David

    Chipperfield

    Architect

    Berlin

    Chris

    Dercon

    Volksbühne Berlin, former Tate, London

    Berlin

    Günther

    Jauch

    TV Presenter

    Potsdam

    Max

    Raabe

    Vocalist

    Berlin

    Christina

    Rau

    Foundation Zukunft Berlin

    Berlin

    Dr. Dr. h.c. Ulrich

    Raulff

    Deutsches Literaturarchiv Marbach

    Marbach

    Volker

    Schloendorff

    Europäisches Filmzentrum Babelsberg

    Potsdam

    Business

    Catherine von

    Fürstenberg-Dussmann

    Dussmann Stiftung & Co KGAa

    Berlin

    Karen

    Heumann

    Thjnk AG

    Hamburg

    Dr. Florian

    Langenscheidt

    Publisher and author

    Berlin

    Bill

    McDermott

    SAP America, Inc.

    USA

    Nathalie von

    Siemens

    Siemens AG

    Berlin

    Wissenschaft

    Prof. Paul

    Tucker

    University of Massachusetts Boston

    Boston / USA

    Prof. Dr. Ulrich

    Weinberg

    Hasso-Plattner-Institut at the University of Potsdam

    Potsdam

    Künstler

    Burghardt Klaussner

    Axel Milberg

    Wolfgang Joop

    Igor Levit

    Das Museum Barberini eröffnet mit den Ausstellungen Impressionismus. Die Kunst der Landschaft sowie Klassiker der Moderne. Liebermann, Munch, Nolde, Kandinsky und gibt Einblicke in seine Sammlung. Insgesamt werden über 170 Werke gezeigt (23.1.–28.5.17).

    Der erste reguläre Ausstellungstag des neuen Museums Barberini ist am 23.1.2017 schon

    Online-Tickets unter www.museum-barberini.com

  • January 9, 2017 | Press Release
    New art museum in Potsdam: Museum Barberini opens

    Potsdam, January 11, 2017

    New art museum in Potsdam: Museum Barberini opens

    Press conference
    Thursday, January 19, 2017, 11 a.m.
    Alter Markt, Humboldtstr. 5–6, 14467 Potsdam

    Panel speakers:
    Prof. Dr. h.c. mult Hasso Plattner, Donor and Patron
    Dr. Ortrud Westheider, Director, Museum Barberini

    To be followed by a tour of the Museum Barberini

    In the past three years a piece of cultural history has been reconstructed in the heart of Potsdam. On January 23, 2017, the Museum Barberini, Potsdam's new art museum, will open on Alter Markt, the historic center of the city. Under the direction of Dr. Ortrud Westheider, the museum shows exhibitions in international partnerships, presenting individual themes, artists and eras. The collection of Hasso Plattner is the point of departure for these presentations, which range from the Old Masters to works from the 21st century. The collection focuses on Impressionism, American Modern Art, Art from the former East Germany, and painting after 1989.

    The Museum Barberini is opening with the exhibitions Impressionism: The Art of Landscape, and Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky. A total of over 170 works will be on display (Jan. 23 – May 28, 2017).

    The Museum Barberini was founded on the initiative of SAP cofounder Prof. Dr. h.c. mult. Hasso Plattner. In the past 20 years, he has gathered a collection of East German art and painting after 1989 as well as art historical masterpieces. Impressionist works by Claude Monet and Pierre-Auguste Renoir are represented alongside classic works of American modernism and American abstract art, such as paintings by Max Liebermann, Edward Munch, Joan Mitchel and Gerhard Richter. The collection reflects Hasso Plattner's interest in landscape and abstraction and the ability of art to address all the viewer's senses.

    The Museum Barberini presents the donor and patron with a place to display his collection to the public, to make it available for exhibitions, and to promote an exhibition program featuring international partnerships. He has given the responsibility of carrying this out to art historian Ortrud Westheider, who has excellent international contacts. She is planning to hold three rotating shows each year with works from the collection, supplemented by loans from private collections and museums in German and abroad. The collection of the Hasso Plattner Stiftung, with art from the former East Germany and paintings created after 1989, will be shown in dynamic rotating exhibitions.

    Furthermore, the work at the Museum Barberini is distinguished by academic exchanges, discussions, events, and digital art education. Regarding the opening of the Museum Barberini, Ortrud Westheider remarked: "I look forward to filling this new place with life. We would like to enable visitors to experience an intense encounter with original artworks, and establish Potsdam as a new center for art history."

    Opening exhibition (Jan. 23 May 28, 2017)
    The Museum Barberini opens with two exhibitions that are distinguished by their connection to each other. They position the collection of Hasso Plattner in the context of works from international museums and private collections. The 170 works include international loans from museums such as the Denver Art Museum, the Städel Museum in Frankfurt, the Hermitage in Saint Petersburg, the Israel Museum in Jerusalem and the National Gallery in Washington D.C. as well as international private loans from the USA, France, Switzerland, Great Britain, and the Netherlands.

    Impressionism: The Art of Landscape

    In the 19th century, Impressionist painters developed an awareness of the present that revolutionized art and continues to permeate events in painting in our time. Although their audience was in Paris and the city itself contained many motifs, landscapes provided the most important subject matter for Claude Monet, Alfred Sisley, Camille Pissarro, and Gustave Caillebotte. Against this backdrop they were able to test new artistic techniques. The exhibition Impressionism: The Art of Landscape examines for the first time the experimental domains found in Impressionist landscapes. Artists depicted the sea, forest paths, meadows, gardens, snowy landscapes, and reflections on the surface of water, addressing all the viewer's senses. The show presents masterpieces in the context of 92 paintings which come from 32 international museums and private collections. They are displayed in thematic sections, showing series of the most important motifs. The exhibition sheds new light on Impressionist artists and their obsession with their own individual perception of light and nature.

    Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky

    The exhibition Modern Art Classics: Liebermann, Munch, Nolde, Kandinsky focuses on upheavals in painting from modernism to the present day. With 60 paintings and sculptures from a period of 100 years, the show examines issues related to artistic and social emancipation in six sections. Today these works are considered classics of modern art. The exhibition begins in the 1890s and spans the period from German Impressionism through the Fauves to abstract painting after 1945 und highlights the development of painting in the 20th century.

    For the exhibition Impressionism: The Art of Landscape a catalog has been published in German and English by Prestel Verlag, Munich. It contains a preface by the museum's founder and patron Hasso Plattner. Essays by Stephen F. Eisenman, Christoph Heinrich, Nancy Ireson, Stefan Koldehoff, Richard Schiff and Ortrud Westheider are based on the first conference held by the Museum Barberini, which took place on June 28, 2016 in Potsdam. 252 pages, € 29.90 (at the museum), € 39.9 (in bookstores).

    Museum Barberini in the Barberini Palace

    The Hasso Plattner Stiftung is the supporting entity of the non-profit Museum Barberini GmbH. The foundation reconstructed the palace, which was destroyed during the Second World War, as a museum that combines traditional craftsmanship with the latest technology. Under its director Ortrud Westheider, the Museum Barberini shows exhibitions with international partners, and dynamic, rotating presentations of the collection in 17 galleries. The building also houses a shop, a café & restaurant with outdoor seating, and an auditorium for readings, concerts and lectures.