research in Museum Baberini

The Barberini Museum's exhibition programme is based on the collection of the founder and patron Hasso Plattner. The collection ranges from the Old Masters to contemporary art and focuses on Impressionism. Impressionism is also a major research interest of the museum. Exhibitions, symposia and catalogues address these issues. The lectures of the symposia are published in the respective exhibition catalogues.

research
dates
December 05, 2018
Van Gogh: Still Lifes
Conference in preparation of the exhibition

The conference is dedicated to Van Gogh's development towards a freer, more intensive use of colour. From his first paintings to the colorful flower images of his later career, Vincent van Gogh (1853–1890) repeatedly painted still lifes. In this genre, he could try out various media and alternatives – from depicting space using light and shadow to experiments with color. The first exhibition on this theme will present more than 20 paintings and use them to analyze the key stages in van Gogh’s life and work.

With Sjraar van Heughten (Utrecht), Stefan Koldehoff (Cologne), Marije Vellekoop (Van Gogh Museum Amsterdam), Dr. Michael Philipp (Museum Barberini Potsdam)

In cooperation with the Kröller-Müller Museum, Otterlo, the Van Gogh Museum, Amsterdam, the Art Institute of Chicago and the National Gallery of Art, Washington, D.C.

Admission: 10€ / reduced 8€
Free admission for students (after prior registration, proof required)

Tickets

Vincent van Gogh: Still life with a plate of onions, 1889, Collection Kröller-Müller Museum, Otterlo

Vincent van Gogh: Still life with a plate of onions, 1889, Collection Kröller-Müller Museum, Otterlo

Conference in preparation of the exhibition

The conference is dedicated to Van Gogh's development towards a freer, more intensive use of colour. From his first paintings to the colorful flower images of his later career, Vincent van Gogh (1853–1890) repeatedly painted still lifes. In this genre, he could try out various media and alternatives – from depicting space using light and shadow to experiments with color. The first exhibition on this theme will present more than 20 paintings and use them to analyze the key stages in van Gogh’s life and work.

With Sjraar van Heughten (Utrecht), Stefan Koldehoff (Cologne), Marije Vellekoop (Van Gogh Museum Amsterdam), Dr. Michael Philipp (Museum Barberini Potsdam)

In cooperation with the Kröller-Müller Museum, Otterlo, the Van Gogh Museum, Amsterdam, the Art Institute of Chicago and the National Gallery of Art, Washington, D.C.

Admission: 10€ / reduced 8€
Free admission for students (after prior registration, proof required)

Vincent van Gogh: Still life with a plate of onions, 1889, Collection Kröller-Müller Museum, Otterlo

Vincent van Gogh: Still life with a plate of onions, 1889, Collection Kröller-Müller Museum, Otterlo

Tickets

January 16, 2019
Monet: Places
Conference in preparation of the exhibition

For his landscape paintings, Claude Monet revisited the same places over and over again and completed extensive series of works from a single location. During his travels he created numerous paintings at the coast of Normandy, in Zaandam in the Netherlands or in London and Venice. He was not interested in picturesque landmarks but in the changing light and weather conditions and the different effects they had on these particular places.

Admission: 10€ / reduced 8€
Free admission for students (after prior registration, proof required)

Claude Monet 1840-1926, Sous les peupliers, 1887, Unter den Pappeln / Under the Poplars, Öl auf Leinwand / Oil on canvas, 73 x 92 cm, Wildenstein 1136, Privatsammlung / Private Collection

Claude Monet 1840-1926, Sous les peupliers, 1887, Unter den Pappeln / Under the Poplars, Öl auf Leinwand / Oil on canvas, 73 x 92 cm, Wildenstein 1136, Privatsammlung / Private Collection

Conference in preparation of the exhibition

For his landscape paintings, Claude Monet revisited the same places over and over again and completed extensive series of works from a single location. During his travels he created numerous paintings at the coast of Normandy, in Zaandam in the Netherlands or in London and Venice. He was not interested in picturesque landmarks but in the changing light and weather conditions and the different effects they had on these particular places.

Admission: 10€ / reduced 8€
Free admission for students (after prior registration, proof required)

Claude Monet 1840-1926, Sous les peupliers, 1887, Unter den Pappeln / Under the Poplars, Öl auf Leinwand / Oil on canvas, 73 x 92 cm, Wildenstein 1136, Privatsammlung / Private Collection

Claude Monet 1840-1926, Sous les peupliers, 1887, Unter den Pappeln / Under the Poplars, Öl auf Leinwand / Oil on canvas, 73 x 92 cm, Wildenstein 1136, Privatsammlung / Private Collection

current exhibition

conference on the exhibition
Color and Light: The Neo-Impressionist Henri-Edmond Cross

In the 1880s a style of painting emerged from Impressionism. Known as Pointillism, it placed small brilliant dabs of paint next to each other, fragmenting reality into single bits of color. One of its most important representatives was Henri-Edmond Cross (1856–1910), who was a follower of anarchist principles promoting a Utopian society. In cooperation with the Musée des Impressionnismes Giverny, the Museum Barberini will be showing the first retrospective of this Neo-Impressionist’s work in Germany in the fall of 2018. Talks by Marina Ferretti, Annette Haudequet, Monique Nonne, and others will present this French artist in the context of European modernism.

Download program (pdf)

more about the exhibition

catalogue

Henri-Edmond Cross, The Beach at Saint-Clair, 1896, Private collection

Henri-Edmond Cross, The Beach at Saint-Clair, 1896, Private collection

In the 1880s a style of painting emerged from Impressionism. Known as Pointillism, it placed small brilliant dabs of paint next to each other, fragmenting reality into single bits of color. One of its most important representatives was Henri-Edmond Cross (1856–1910), who was a follower of anarchist principles promoting a Utopian society. In cooperation with the Musée des Impressionnismes Giverny, the Museum Barberini will be showing the first retrospective of this Neo-Impressionist’s work in Germany in the fall of 2018. Talks by Marina Ferretti, Annette Haudequet, Monique Nonne, and others will present this French artist in the context of European modernism.

Henri-Edmond Cross, The Beach at Saint-Clair, 1896, Private collection

Henri-Edmond Cross, The Beach at Saint-Clair, 1896, Private collection

Download program (pdf)

more about the exhibition

catalogue

upcoming exhibitions

conference on the exhibition
Baroque Pathways: The National Galleries Barberini Corsini in Rome

The conference sets the stage for the forthcoming exhibition The Baroque Path, which will bring masterpieces from the collections of the Barberini and Corsini palazzi in Rome to Potsdam in the summer of 2019. Rome was the cultural center of seventeenth century Europe not only for architecture, but also for the visual arts. Pope Urban VIII, a son of the Barberini family, was a patron to many of the painters and sculptors whose works will be presented in this exhibition.

With Maurizia Cicconi, Michele Di Monte, Inés Richter-Musso, Prof. Dr. Sebastian Schütze, Dr. Franziska Windt

Gallerie Nazionali

Barberini Corsini, Rome, in collaboration with the Museum Barberini, Potsdam

Download schedule

catalogue

Guido Reni (1575-1642), Magdalena, Gallerie Nazionali Barberini Corsini, Rome

Guido Reni (1575-1642), Magdalena, Gallerie Nazionali Barberini Corsini, Rome

Narcissus, Caravaggio, 1598/99. © Photo: Gallerie Nazionali di Arte Antica die Roma – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte / Enrico Fontolan

Narcissus, Caravaggio, 1598/99. © Photo: Gallerie Nazionali di Arte Antica die Roma – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte / Enrico Fontolan

The conference sets the stage for the forthcoming exhibition The Baroque Path, which will bring masterpieces from the collections of the Barberini and Corsini palazzi in Rome to Potsdam in the summer of 2019. Rome was the cultural center of seventeenth century Europe not only for architecture, but also for the visual arts. Pope Urban VIII, a son of the Barberini family, was a patron to many of the painters and sculptors whose works will be presented in this exhibition.

With Maurizia Cicconi, Michele Di Monte, Inés Richter-Musso, Prof. Dr. Sebastian Schütze, Dr. Franziska Windt

Gallerie Nazionali

Barberini Corsini, Rome, in collaboration with the Museum Barberini, Potsdam

Guido Reni (1575-1642), Magdalena, Gallerie Nazionali Barberini Corsini, Rome

Guido Reni (1575-1642), Magdalena, Gallerie Nazionali Barberini Corsini, Rome

Narcissus, Caravaggio, 1598/99. © Photo: Gallerie Nazionali di Arte Antica die Roma – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte / Enrico Fontolan

Narcissus, Caravaggio, 1598/99. © Photo: Gallerie Nazionali di Arte Antica die Roma – Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte / Enrico Fontolan

Download schedule

catalogue

retrospect

conference on the exhibition
Gerhard Richter: Abstraction

Inspired by a new acquisition, the Museum Barberini will present the exhibition Gerhard Richter: Abstraction (June 30 – Oct. 21, 2018) in summer 2018. It will follow the painter’s work from the 1960s to the present day. The exhibition explores the relationship and significance of abstraction and subject matter, photography and painting in color, overpainting and priming.

These topics will be addressed by Hubertus Butin, Dietmar Elger, Matthias Krüger, Ortrud Westheider, and Armin Zweite.
The conference on March 5, 2018, 10 am–6pm, has been organized on the occasion of the forthcoming exhibition.

more about the exhibition

catalogue

Gerhard Richter: A B, Quiet (612-4), 1986, Museum Barberini © Gerhard Richter 2018 (29062018)

Gerhard Richter: A B, Quiet (612-4), 1986, Museum Barberini © Gerhard Richter 2018 (29062018)

Inspired by a new acquisition, the Museum Barberini will present the exhibition Gerhard Richter: Abstraction (June 30 – Oct. 21, 2018) in summer 2018. It will follow the painter’s work from the 1960s to the present day. The exhibition explores the relationship and significance of abstraction and subject matter, photography and painting in color, overpainting and priming.

These topics will be addressed by Hubertus Butin, Dietmar Elger, Matthias Krüger, Ortrud Westheider, and Armin Zweite.
The conference on March 5, 2018, 10 am–6pm, has been organized on the occasion of the forthcoming exhibition.

Gerhard Richter: A B, Quiet (612-4), 1986, Museum Barberini © Gerhard Richter 2018 (29062018)

Gerhard Richter: A B, Quiet (612-4), 1986, Museum Barberini © Gerhard Richter 2018 (29062018)

more about the exhibition

catalogue

conference on the exhibition
Behind the Mask: Artists in the GDR

In East Germany, art was subject to political policy. Numerous exhibitions in the past years have examined this ideological aspect of art. But what did artists see when they turned their critical gaze on their own self-image and their relationship to their state-mandated role? The exhibition Behind the Mask: Artists in the GDR explores the various ways East German artists walked the fine line between their position as role models and their withdrawal from society, and between the collectivism prescribed by the state and their own creative individuality.

The museum invited to its forth conference on April 24, 2017. Lectures and discussions introduced the exhibition Behind the Mask: Artists in the GDR. The show can be seen at the Museum Barberini from October 28, 2017 to February 4, 2018.

more about the exhibition

catalogue

Wolfgang Mattheuer: The Gray Window, 1969, Museum Barberini, © VG BILD-KUNST, Bonn 2018

Wolfgang Mattheuer: The Gray Window, 1969, Museum Barberini, © VG BILD-KUNST, Bonn 2018

In East Germany, art was subject to political policy. Numerous exhibitions in the past years have examined this ideological aspect of art. But what did artists see when they turned their critical gaze on their own self-image and their relationship to their state-mandated role? The exhibition Behind the Mask: Artists in the GDR explores the various ways East German artists walked the fine line between their position as role models and their withdrawal from society, and between the collectivism prescribed by the state and their own creative individuality.

The museum invited to its forth conference on April 24, 2017. Lectures and discussions introduced the exhibition Behind the Mask: Artists in the GDR. The show can be seen at the Museum Barberini from October 28, 2017 to February 4, 2018.

Wolfgang Mattheuer: The Gray Window, 1969, Museum Barberini, © VG BILD-KUNST, Bonn 2018

Wolfgang Mattheuer: The Gray Window, 1969, Museum Barberini, © VG BILD-KUNST, Bonn 2018

more about the exhibition

catalogue

conference on the exhibition
Max Beckmann: The World as a Stage

The museum invited to its third conference on March 29, 2017. Lectures and discussions introduced the exhibition Max Beckmann: The World as a Stage. The conference had been organized in cooperation with the Kunsthalle Bremen where the exhibition will be on display from September 30, 2017 to February 4, 2018. The show can be seen at the Museum Barberini in Potsdam from February 24 to June 10, 2018.

Admission € 10
Students admitted free of charge

more about the exhibition

catalogue

Max Beckmann: Dance Apache, 1938, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, VG Bild-Kunst, Bonn 2017

Max Beckmann: Dance Apache, 1938, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, VG Bild-Kunst, Bonn 2017

The museum invited to its third conference on March 29, 2017. Lectures and discussions introduced the exhibition Max Beckmann: The World as a Stage. The conference had been organized in cooperation with the Kunsthalle Bremen where the exhibition will be on display from September 30, 2017 to February 4, 2018. The show can be seen at the Museum Barberini in Potsdam from February 24 to June 10, 2018.

Admission € 10
Students admitted free of charge

Max Beckmann: Dance Apache, 1938, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, VG Bild-Kunst, Bonn 2017

Max Beckmann: Dance Apache, 1938, Kunsthalle Bremen – Der Kunstverein in Bremen, Photo: Lars Lohrisch, VG Bild-Kunst, Bonn 2017

more about the exhibition

catalogue

conference on the exhibition
From Hopper to Rothko: America’s Road to Modern Art

The museum invited to its conference on November 21, 2016 in preparation for the exhibition From Hopper to Rothko: America’s Road to Modern Art (June 17 to October 3, 2017). Lectures and discussions focused on the development of American art from impressionism to abstract expressionism.

The spotlight was on The Phillips Collection (Washington D.C.), one of the most important private collections in the Unites States. The collector Duncan Phillips introduced artists such as Edward Hopper (1882–1967) and Georgia O’Keeffe (1887–1986) to a broader public.

Speakers were Susan Behrends Frank (The Phillips Collection, Washington, D.C.), Alexia Poth (Bauhaus-Archive, Dessau), Susanne Scharf (Universität Frankfurt), Ortrud Westheider (Museum Barberini, Potsdam), and Sylvia Yount (The Metropolitan Museum of Art, New York).

more about the exhibition

catalogue (german)

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

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

The museum invited to its conference on November 21, 2016 in preparation for the exhibition From Hopper to Rothko: America’s Road to Modern Art (June 17 to October 3, 2017). Lectures and discussions focused on the development of American art from impressionism to abstract expressionism.

The spotlight was on The Phillips Collection (Washington D.C.), one of the most important private collections in the Unites States. The collector Duncan Phillips introduced artists such as Edward Hopper (1882–1967) and Georgia O’Keeffe (1887–1986) to a broader public.

Speakers were Susan Behrends Frank (The Phillips Collection, Washington, D.C.), Alexia Poth (Bauhaus-Archive, Dessau), Susanne Scharf (Universität Frankfurt), Ortrud Westheider (Museum Barberini, Potsdam), and Sylvia Yount (The Metropolitan Museum of Art, New York).

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

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

more about the exhibition

catalogue (german)

conference on the exhibition
Impressionism: The Art of Landscape

Impressionist landscapes are often seen as spontaneous and unplanned. However, even the most abstract images captured precise depictions of the scenery—a telling argument that counters an interpretation of impressionist works as arbitrary mood paintings. The first Museum Barberini conference addressed this exciting area on June 28, 2016.

more about the exhibition

catalogue

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

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

Impressionist landscapes are often seen as spontaneous and unplanned. However, even the most abstract images captured precise depictions of the scenery—a telling argument that counters an interpretation of impressionist works as arbitrary mood paintings. The first Museum Barberini conference addressed this exciting area on June 28, 2016.

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

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

more about the exhibition

catalogue