Research in Museum Barberini

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.

At Present

Conference on the Exhibition
Rembrandt’s Orient: East-West Encounters in Dutch Art
Thursday, June 6, 2019, 10 a.m. - 7:00 p.m.

The exhibition Olympian Gods: From the Dresden Sculpture Collection presents masterpieces that will not have had a suitable home until they move into their new permanent location in the renovated Semperbau in the fall of 2019. The conference was held at the Museum Barberini to mark a new beginning for these works. It focussed on issues related to updating and revitalizing collections of works from classical antiquity. The conference also recognized the many years that Kordelia Knoll has served as director of the Dresden Collection of Antiquities.

With
Dr. Norbert Eschbach, Gießen
Dr. Stephan Koja, Dresden
Dr. Claudia Kryza-Gersch, Dresden
Dr. Joachim Raeder, Kiel
Prof. Dr. Andreas Scholl, Berlin
Mag. Saskia Wetzig, Dresden


In cooperation with the Staatliche Kunstsammlungen Dresden.

Tickets

Rembrandt van Rijn and studio (possibly Govaert Flinck), Man in oriental traditional dress (detail), ca. 1635, National Gallery of Art, Washington, Andrew W. Mellon Collection

Rembrandt van Rijn and studio (possibly Govaert Flinck), Man in oriental traditional dress (detail), ca. 1635, National Gallery of Art, Washington, Andrew W. Mellon Collection

Thursday, June 6, 2019, 10 a.m. - 7:00 p.m.

The exhibition Olympian Gods: From the Dresden Sculpture Collection presents masterpieces that will not have had a suitable home until they move into their new permanent location in the renovated Semperbau in the fall of 2019. The conference was held at the Museum Barberini to mark a new beginning for these works. It focussed on issues related to updating and revitalizing collections of works from classical antiquity. The conference also recognized the many years that Kordelia Knoll has served as director of the Dresden Collection of Antiquities.

With
Dr. Norbert Eschbach, Gießen
Dr. Stephan Koja, Dresden
Dr. Claudia Kryza-Gersch, Dresden
Dr. Joachim Raeder, Kiel
Prof. Dr. Andreas Scholl, Berlin
Mag. Saskia Wetzig, Dresden


In cooperation with the Staatliche Kunstsammlungen Dresden.

Rembrandt van Rijn and studio (possibly Govaert Flinck), Man in oriental traditional dress (detail), ca. 1635, National Gallery of Art, Washington, Andrew W. Mellon Collection

Rembrandt van Rijn and studio (possibly Govaert Flinck), Man in oriental traditional dress (detail), ca. 1635, National Gallery of Art, Washington, Andrew W. Mellon Collection

Tickets

Museum Barberini Publications

The Museum Barberini publishes an extensive catalog in English and German for each of its exhibitions. These are based on academic conferences that are held in the run-up to the exhibitions. International experts present and discuss the results of their research. The catalogues are richly illustrated.

Issues published

Picasso: The Late Work (Prestel), April 2019

Olympian Gods: From the Dresden Sculpture Collection (Prestel), November 2018

Color and Light: The Neo-Impressionist Henri-Edmond Cross (Prestel), October 2018

Are Communists Allowed to Dream? (Prestel), April 2018

Behind the Mask: Artists in the GDR (Prestel), December 2017

Max Beckmann: The World as a Stage (Prestel), October 2017

From Hopper to Rothko: Amerika's Road to Modern Art (Prestel), June 2017

Impressionism: The Art of Landscape (Prestel), January 2017

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

The Museum Barberini publishes an extensive catalog in English and German for each of its exhibitions. These are based on academic conferences that are held in the run-up to the exhibitions. International experts present and discuss the results of their research. The catalogues are richly illustrated.

Issues published

Picasso: The Late Work (Prestel), April 2019

Olympian Gods: From the Dresden Sculpture Collection (Prestel), November 2018

Color and Light: The Neo-Impressionist Henri-Edmond Cross (Prestel), October 2018

Are Communists Allowed to Dream? (Prestel), April 2018

Behind the Mask: Artists in the GDR (Prestel), December 2017

Max Beckmann: The World as a Stage (Prestel), October 2017

From Hopper to Rothko: Amerika's Road to Modern Art (Prestel), June 2017

Impressionism: The Art of Landscape (Prestel), January 2017

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

© Prestel Verlag

Retrospect

conference on the exhibition
Olympian Gods: From the Dresden Sculpture Collection

The exhibition Olympian Gods: From the Dresden Sculpture Collection presents masterpieces that will not have had a suitable home until they move into their new permanent location in the renovated Semperbau in the fall of 2019. The conference was held at the Museum Barberini to mark a new beginning for these works. It focussed on issues related to updating and revitalizing collections of works from classical antiquity. The conference also recognized the many years that Kordelia Knoll has served as director of the Dresden Collection of Antiquities.

With
Dr. Norbert Eschbach, Gießen
Dr. Stephan Koja, Dresden
Dr. Claudia Kryza-Gersch, Dresden
Dr. Joachim Raeder, Kiel
Prof. Dr. Andreas Scholl, Berlin
Mag. Saskia Wetzig, Dresden


In cooperation with the Staatliche Kunstsammlungen Dresden.

Exhibition

Catalog

Program (pdf)

Aphrodite, Second half 2nd century CE. © Staatliche Kunstsammlungen Dresden, Sculpture Collection, Photo: H.-P. Klut / E. Estel

Aphrodite, Second half 2nd century CE. © Staatliche Kunstsammlungen Dresden, Sculpture Collection, Photo: H.-P. Klut / E. Estel

The exhibition Olympian Gods: From the Dresden Sculpture Collection presents masterpieces that will not have had a suitable home until they move into their new permanent location in the renovated Semperbau in the fall of 2019. The conference was held at the Museum Barberini to mark a new beginning for these works. It focussed on issues related to updating and revitalizing collections of works from classical antiquity. The conference also recognized the many years that Kordelia Knoll has served as director of the Dresden Collection of Antiquities.

With
Dr. Norbert Eschbach, Gießen
Dr. Stephan Koja, Dresden
Dr. Claudia Kryza-Gersch, Dresden
Dr. Joachim Raeder, Kiel
Prof. Dr. Andreas Scholl, Berlin
Mag. Saskia Wetzig, Dresden


In cooperation with the Staatliche Kunstsammlungen Dresden.

Aphrodite, Second half 2nd century CE. © Staatliche Kunstsammlungen Dresden, Sculpture Collection, Photo: H.-P. Klut / E. Estel

Aphrodite, Second half 2nd century CE. © Staatliche Kunstsammlungen Dresden, Sculpture Collection, Photo: H.-P. Klut / E. Estel

Exhibition

Catalog

Program (pdf)

conference on the exhibition
Monet: Places

For his landscape paintings, Claude Monet (1840–1926) revisited the same places over and over again and completed extensive series of works at a single location. During his travels, he created numerous paintings at the Normandy coast, in Zaandam in the Netherlands, and in London and Venice. He was not interested in picturesque landmarks but in the changing light and weather conditions and the various effects they had on these 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


In cooperation with the Denver Art Museum, where the exhibition will be shown under the title Claude Monet: Truth of Nature (October 20, 2019 to February 2, 2020).

Exhibition

Program (pdf)

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

For his landscape paintings, Claude Monet (1840–1926) revisited the same places over and over again and completed extensive series of works at a single location. During his travels, he created numerous paintings at the Normandy coast, in Zaandam in the Netherlands, and in London and Venice. He was not interested in picturesque landmarks but in the changing light and weather conditions and the various effects they had on these 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


In cooperation with the Denver Art Museum, where the exhibition will be shown under the title Claude Monet: Truth of Nature (October 20, 2019 to February 2, 2020).

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

Exhibition

Program (pdf)

conference on the exhibition
Van Gogh: Still Lifes

The conference was 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.

Program (pdf)

Vincent van Gogh: Still Life: Drawing Board, Pipe, Onions and Sealing-Wax, 1889, Collection Kröller-Müller Museum, Otterlo

Vincent van Gogh: Still Life: Drawing Board, Pipe, Onions and Sealing-Wax, 1889, Collection Kröller-Müller Museum, Otterlo

The conference was 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.

Vincent van Gogh: Still Life: Drawing Board, Pipe, Onions and Sealing-Wax, 1889, Collection Kröller-Müller Museum, Otterlo

Vincent van Gogh: Still Life: Drawing Board, Pipe, Onions and Sealing-Wax, 1889, Collection Kröller-Müller Museum, Otterlo

Program (pdf)

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

The conference sat 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

Catalog

Program (pdf)

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 sat 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

Catalog

Program (pdf)

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 is currently showing the first retrospective of this Neo-Impressionist’s work in Germany. Talks by Marina Ferretti, Annette Haudequet, Monique Nonne, and others have presented this French artist in the context of European modernism.

Exhibition

Catalog

Program (pdf)

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 is currently showing the first retrospective of this Neo-Impressionist’s work in Germany. Talks by Marina Ferretti, Annette Haudequet, Monique Nonne, and others have presented 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

Exhibition

Catalog

Program (pdf)

conference on the exhibition
Gerhard Richter: Abstraction

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

These topics have been addressed by Hubertus Butin, Dietmar Elger, Matthias Krüger, Ortrud Westheider, and Armin Zweite.
The conference on March 5, 2018, has been organized on the occasion of the forthcoming exhibition.

Exhibition

Catalog

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 presented the exhibition Gerhard Richter: Abstraction (June 30 – Oct. 21, 2018) in summer 2018. It followed the painter’s work from the 1960s to the present day. The exhibition explored the relationship and significance of abstraction and subject matter, photography and painting in color, overpainting and priming.

These topics have been addressed by Hubertus Butin, Dietmar Elger, Matthias Krüger, Ortrud Westheider, and Armin Zweite.
The conference on March 5, 2018, 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)

Exhibition

Catalog

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 explored 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 could have been seen at the Museum Barberini from October 28, 2017 to February 4, 2018.

Exhibition

Barberini Collection

Catalog

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 explored 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 could have been 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

Exhibition

Barberini Collection

Catalog

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 could have been seen at the Museum Barberini in Potsdam from February 24 to June 10, 2018.

Exhibition

Catalog

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 could have been seen at the Museum Barberini in Potsdam from February 24 to June 10, 2018.

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

Exhibition

Catalog

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).

Exhibition

Catalog

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.

Exhibition

Catalog

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.

Exhibition

Catalog

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

Exhibition

Catalog