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:

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Press Releases

Click below to download the press releases and press kits for our current exhibitions: Gerhard Richter: Abstraction (June 30 to October 21, 2018), Nolde, Feininger, Nay: From Expressionism to Art Informel (June 9, 2018 to February 17, 2019), and Congo Tales: Told by the People of Mbomo (June 30 to October 21, 2018).

Press releases
  • 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 | Pressemitteilung
    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 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.

  • 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 and 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.

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