BERLINISCHE GALERIE MUSEUM FÜR MODERNE KUNST [Gallery Walkthrough] скачать в хорошем качестве

BERLINISCHE GALERIE MUSEUM FÜR MODERNE KUNST [Gallery Walkthrough]

Embracing Modernism Celebrities from the Stadtmuseum Berlin The Berlin Secession pursued ambitious aims with its exhibitions from 1899. A pick of the best art of the day was clearly arranged in well-hung displays. The latest works by German artists took centre stage but there were also gems from the recent past and major paintings by European colleagues. They encompassed a wide spectrum of modernist styles including naturalism, symbolism, art nouveau, impressionism and pointillism. Most motifs were drawn from everyday life with a preference for portraits, interiors, landscapes and townscapes. In this room too, key works from the Stadtmuseum Berlin Foundation await discovery. They were painted by influential figures who enriched the city's art scene in the early 20th century. Canvases by Max Beckmann, Walter Leistikow, Theo von Brockhusen and Ernst Ludwig Kirchner illustrate the vitality and creativity of Berlin's avant-garde. The highlight here is a striking portrait of the industrialist and art collector Walther Rathenau painted in Berlin in 1907 by the Norwegian Edvard Munch. From 1910 to 1914 the artist Max Beckmann and his wife Minna Beckmann-Tube (1881-1964) spent the winter months on Berlin's Nollendorfplatz at no. 6. She had designed an out-of-town studio house at Hermsdorf but it was poorly heated. Beckmann's studio window overlooked the north-west of the square. His depiction of the place contrasts with the aggressively vibrant atmosphere in the work by Ernst Ludwig Kirchner (1880-1938) painted just a year later. Kirchner was a founding member of the group of artists known as Brücke. In 1911 the Expressionist moved from Dresden to Berlin, where he painted numerous street scenes reflecting his experience of the big city. Max Beckmann was 27 when he made this self-portrait. He was probably reacting to a negative exhibition review. One clue is the newspaper he is holding. In February 1910 the Berliner Tageblatt wrote that Beckmann had no style of his own and was at risk of "finding himself on the floor after falling between the academic and the 'modern' chairs. Which would be a pity given his doubtless very great talent." True enough, Beckmann's early work occupies a grey zone between conservative and late impressionist trends. The criticism hurt the artist badly but here he confronts the viewer with a derisive, self-assured smile.