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
T +49 331 236014-305/308
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Press conference Picasso. The Late Work
March 7 2019, 11 am
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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
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.
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.
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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 or product advertising is subject to licensing conditions and fees and any agreements regarding this must be arranged directly with VG Bild-Kunst: firstname.lastname@example.org.
Picasso: The Late Work. From the collection of Jacqueline Picasso (03/09–06/16/2019)
Pablo Picasso, Madame Z (Jacqueline with Flowers), 1954, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Jacqueline, 1957, Collage, charcoal on paper and industrially produced wrapping paper, metal ribbon and adhesive, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Jacqueline in a Rocking-Chair, 1954, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, La Californie, 1956, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Standing Woman, 1958, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Jacqueline in a Turkish Costume, 1955, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Jacqueline seated with a cat, 1964, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, The Matador, 1970, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Reclinig Nude with a Crown of Flowers, 1970, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Head of a Man, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Man, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Pablo Picasso, Seated Woman, 1971, oil on canvas, Collection Catherine Hutin © Succession Picasso/VG Bild-Kunst, Bonn 2019. Photo: Claude Germain
Baroque Pathways: The National Galleries Barberini Corsini in Rome (07/13–10/06/2019)
Caravaggio, Narcissus, 1598/99. © Photo: Gallerie Nazionali di Arte Antica die Roma – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte / Enrico Fontolan
Van Gogh: Still Lifes (10/26/2019 – 2/2/2020)
Vincent van Gogh: Still Life: Drawing Board, Pipe, Onions and Sealing-Wax, 1889, Collection Kröller-Müller Museum, Otterlo
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.