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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July 26, 2019 | Press release
Conference Reviving the Archive: Material Records in the Digital Age
ConferenceReviving 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.
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 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 25 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).
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 (02/29/–01/06/2020)
From February 29 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.”
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.
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.
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
Achim Klapp, Marte Kräher
Kommunikation Museum Barberini
T +49 331 236014 305/308
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For copyright reasons, some images must be deposited in a password-protected area. More extensive legal provisions apply in particular to works by artists that are represented by VG Bild-Kunst (exhibitions Picasso. The Late Work and Artists from the GDR). 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 email@example.com.
Baroque Pathways: The National Galleries Barberini Corsini in Rome (07/13–10/06/2019)
Caravaggio (1571–1610), Narcissus, 1597–1599, Oil on canvas, 113 x 94 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica, Rome, Photo: Mauro Coen
Giovanni Baglione (1566–1644), Sacred and Profane Love, before 1603, Oil on canvas, 240 x 143 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Attributed to Simon Vouet (1590–1649) , Allegory of Painting (Self-Portrait), early 1620s, Oil on canvas, 98 x 74,5 cm, Gallerie Nazionali di Arte Antica, Rome, © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Guido Reni (1575–1642), Penitent Mary Magdalene, before 1633, Oil on canvas, 234 x 151 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Jusepe de Ribera (Lo Spagnoletto) (1591–1652), Venus and the Dying Adonis, 1637, Oil on canvas, 179 x 240 cm, Gallerie Nazionali di Arte Antica, Rome © Ministero per beni e le attività culturali – Gallerie Nazionali di Arte Antica
Carlo Saraceni (1579–1620), Madonna and Child with Saint Anne, c. 1611, Oil on canvas, 154 x 130 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Instituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Simon Vouet (1590–1649), Salome (Judith?), c. 1625, Oil on canvas, 82 x 112 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Salvator Rosa (1615–1673), The Art of Poetry, early 1640s, Oil on canvas, 73 x 59 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Michael Sweerts (1618–1664), The Artist at Work, mid 17th century, Oil on canvas, 97 x 135 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Matthias Stom (1589/90–1650), Samson and Delilah, first half of the 17th century, Oil on canvas, 99 x 125 cm, Gallerie Nazionali di Arte Antica, Rome © Gallerie Nazionali di Arte Antica – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte, Photo: Enrico Fontolan
Artemisia Gentileschi (1593–1654), Bathsheba at her Bath, c. 1635, oil on canvas, 262 x 223,8 cm, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, © Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Photo: Daniel Lindner
Van Gogh: Still Lifes (10/26/2019 – 2/2/2020)
Vincent van Gogh (1853-1890), Still Life with a Plate of Onions, 1889, Oil on canvas, 49,6 x 64,4 cm, Kröller-Müller Museum, Otterlo, The Netherlands
Vincent van Gogh (1853-1890), Vase with Poppies, 1886, Oil on canvas, 56 x 46,5 cm, Wadsworth Atheneum Museum of Art, Hartford, CT. Bequest of Anne Parrish Titzell
Vincent van Gogh (1853-1890), Birds' Nest, Oil on canvas, 33,3 x 43,3 cm, Kröller-Müller Museum, Otterlo, The Netherlands
Vincent van Gogh (1853-1890), Grapes, Lemon, Pears and Apples, 1887, Oil on canvas, 46,5 x 55,2 cm, The Art Institute of Chicago, Gift of Kate L. Brewster. Photo: © The Art Institute of Chicago
Vincent van Gogh (1853-1890), Basket of Lemons and Bottle, 1888, Oil on canvas, 53,9 x 64,3 cm, Kröller-Müller Museum, Otterlo, The Netherlands
Vincent van Gogh (1853-1890), Still Life of Oranges and Lemons with Blue Gloves, 1889, Oil on canvas, 48 x 62 cm, National Gallery of Art, Washington D.C., Collection of Mr. and Mrs. Paul Mellon. Photo: © National Gallery of Art, Washington D.C.
Vincent van Gogh (1853-1890), Still Life with Five Bottles, 1884, Oil on canvas, 49,5 x 57,5 cm, Belvedere Wien. Photo: © Belvedere Wien
Vincent van Gogh (1853-1890), Blossoming Chestnut Branches, 1890, Oil on canvas, 72 x 91 cm, Sammlung Emil Bührle, Zürich, Photo: © SIK-ISEA, Zürich (J.-P. Kuhn)
Monet: Places (02/29/–06/01/2020)
Claude Monet, View from Rouelles, 1858, oil on canvas, Marunuma Art Park, Asaka.
Claude Monet, The Tuileries, 1876, Musée Marmottan Monet, Paris. © Musée Marmottan Monet, Paris / Bridgeman Images
Claude Monet, The Parc Monceau, 1878, oil on canvas, The Metropolitan Museum of Art.
Claude Monet, Windmills near Zaandam, 1871, oil on canvas, Van Gogh Museum, Amsterdam.
Claude Monet, The Gare Saint-Lazare, 1877, National Gallery, London. © The National Gallery, London 2019
Claude Monet, Landscape in Ile Saint-Martin, 1881, oil on canvas, private collection.
Claude Monet, Charing Cross Bridge, Reflections on the Thames, 1899-1904, The Baltimore Museum of Art, The Helen and Abram Eisenberg Collection.
Claude Monet, Under the Poplars, 1887, oil on canvas, private collection.
Claude Monet, Coming into Giverny in Winter, 1885, private collection.
Claude Monet: The Cliff and the Porte d'Aval, 1885, private collection.
Claude Monet, Villas at Bordighera, 1884, oil on canvas, private collection.
Claude Monet, Grainstack, Sunlight, Snow Effect, 1891, private collection
Claude Monet, The Palazzo Contarini, 1908, private collection.
Claude Monet, Floes in Bennecourt, 1893, private collection.
Claude Monet, The Water-Lily Pond, c. 1918, private collection
Claude Monet, Water Lilies, 1903, oil on canvas, The Dayton Art Institute, Dayton, Ohio.
Claude Monet, Waterlilies or The Water Lily Pond (Nymphéas), 1904, Denver Art Museum.
Claude Monet, Water Lilies, 1914–1917, private collection, Scan: RECOM ART
Museum Barberini, general images
Museum Barberini Front, Photo: Helge Mundt, © Museum BarberiniDownload
Museum Barberini on the Alter Markt, photo: Helge Mundt, © Museum BarberiniDownload
View of Potsdam’s historic center with the Museum Barberini, photo: Helge Mundt, © Museum BarberiniDownload
View of Potsdam’s historic center with the Museum Barberini, photo: Helge Mundt, © Museum BarberiniDownload
Front of the Museum Barberini from Alter Markt, photo: Helge Mundt, © Museum BarberiniDownload
Front of the Museum Barberini from Alter Markt, photo: Stefan Müller, Berlin, © Museum BarberiniDownload
Barberini Palace, close-up of the facadeDownload
Rear view of the Museum Barberini, photo: Helge Mundt, © Museum BarberiniDownload
Rear view of the Museum Barberini from Alte Fahrt, photo: Helge Mundt, © Museum BarberiniDownload
Alter Markt in Potsdam with the Museum Barberini, © Museum BarberiniDownload
Museum Barberini, foyer, photo: Helge Mundt, © Museum BarberiniDownload
Smart Wall at Museum Barberini, © Museum BarberiniDownload
Staircase at Museum Barberini, photo: Helge Mundt, © Museum BarberiniDownload
Museum Barberini, staircase, photo: Helge Mundt, © Museum BarberiniDownload
Café at Museum Barberini, Photo: Stefan Müller, © Museum BarberiniDownload
Café at Museum Barberini, Photo: Stefan Müller, © Museum BarberiniDownload
Prof. Hasso Plattner, benefactor and patron of the Museum BarberiniDownload
Benefactor and Patron Prof. Hasso Plattner (druckfähig) © SAP AG / Wolfram ScheibleDownload
Dr. Ortrud Westheider, Director of the Museum Barberini, Photo: Sergej Glanze, © Museum BarberiniDownload
Dr. Ortrud Westheider, Director of the Museum Barberini, © Museum BarberiniDownload
Opening of Museum Barberini
Prof. Hasso Plattner, Press Conference 1/19/2017Download
Prof. Hasso Plattner and Dr. Ortrud Westheider in front of Claude Monet's Water Lilies, 1914–1917, at Museum BarberiniDownload
Chancellor Dr. Angela Merkel, Opening Museum Barberini, Photo: Franziska KrugDownload
Prof. Hasso Plattner and Dr. Angela Merkel, Museum Barberini, Photo: Franziska KrugDownload
Prof. Hasso Plattner, Opening Museum Barberini, Photo: Franziska KrugDownload
Dietmar Woidke, Opening Museum Barberini, Photo: Franziska KrugDownload
Jann Jakobs, Opening Museum Barberini, Photo: Franziska KrugDownload
Angela Merkel, Jann Jakobs, Friede Springer, Dietmar Woidke and Matthias Platzeck, Opening Museum Barberini, Photo: Franziska KrugDownload
Bill Gates, Opening Museum Barberini, Photo: Franziska KrugDownload
Friede Springer and Günther Jauch, Museum Barberini, Photo: Franziska KrugDownload
Bill McDermott, Jann Jakobs, Hasso Plattner, Angela Merkel, Dietmar Woidke, Bill Gates and Christoph Meinel at Museum BarberiniDownload
Hasso Plattner and Angela Merkel in front of Edvard Munchs "Girls on the Bridge" at Museum Barberini, Photo: Franziska KrugDownload
Bill Gates and Bill McDermott, Opening Museum Barberini, Photo: Franziska KrugDownload
Bill Gates, Matthias Platzeck and Günther Jauch, Opening Museum Barberini, Photo: Franziska KrugDownload
Hasso Plattner, Christoph Meinel, Ortrud Westheider, Dietmar Woidke, Bill Gates, Jann Jakobs, Opening Museum Barberini, Photo: Franziska KrugDownload
Ortrud Westheider, Christoph Meinel, Hasso Plattner, Angela Merkel, Opening Museum Barberini, Photo: Franziska KrugDownload
Photography and Filming Permits
Please be aware that taking photographs or filming for professional purposes and/or publication must first be approved by the Museum Barberini. Please arrange an appointment to photograph or film on our premises in a timely manner.