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Ab den 1860er Jahren arbeiteten sie in einem Netzwerk aus Freunden, Förderern und Sammlern, das ihre Gemälde schätzte und verbreitete.\n\nIn den folgenden Jahren unterstützten die wichtigsten Schriftsteller die Impressionisten mit Rezensionen. Neue Käuferschichten identifizierten sich mit dem Aufbruch in der Malerei. Risikofreudige Sammler begannen, impressionistische Kunst zu kaufen. Die Weltausstellungen sowie Galerien in Paris, New York und Berlin verliehen der Bewegung internationale Resonanz.\n\nDie Ausstellung Die Impressionisten. Monet, Morisot, Renoir und ihr Netzwerk zeichnet das Beziehungsgeflecht nach, das diese Kunst durchsetzte. Sie entstand zum zehnjährigen Jubiläum des Museums Barberini und erzählt anhand von zehn Episoden wesentliche Momente der Geschichte des Impressionismus. Ausgangspunkt sind zehn Gemälde der Sammlung Hasso Plattner.\n\nMit großzügiger Unterstützung der Académie des Beaux-Arts und des Musée Marmottan Monet, Paris","en":"How did the work of a group of radical painters in Paris become the most popular movement in modern art? Claude Monet, Berthe Morisot, Pierre-Auguste Renoir, and their Impressionist comrades-in-arms not only changed our view of light and color, but from the 1860s on developed a network of friends, supporters, and collectors who appreciated and disseminated their work.\n\nIn the years that followed, the most important writers of the day wrote reviews championing the Impressionists. New groups of buyers resonated with the revolution in painting, while enterprising collectors began purchasing Impressionist art. World’s fairs as well as galleries in Paris, New York, and Berlin provided the movement with international exposure.\n\nThe exhibition The Impressionists: Monet, Morisot, Renoir, and Their Network traces the web of relationships that helped this art achieve its breakthrough. Presented in honor of the tenth anniversary of the Museum Barberini, it narrates key moments in the story of Impressionism in ten episodes based on ten paintings from the Hasso Plattner Collection.\n\nWith the generous support of the Académie des Beaux-Arts and the Musée Marmottan Monet, 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Freunde geht es nicht","en":"Friends are Everything"},"subtitle":{"de":"Pierre-Auguste Renoir und der Wald von Fontainebleau","en":"Pierre-Auguste Renoir and the Forest of Fontainebleau"},"description":{"de":"Die impressionistische Malweise entstand in Freundschaft und Zusammenarbeit. Anfang der 1860er Jahre lernten sich die Kunststudenten Pierre-Auguste Renoir, Claude Monet, Alfred Sisley und Frédéric Bazille in Paris kennen. Gemeinsam entwickelten die jungen Künstler eine neue Malerei. Seite an Seite arbeiteten sie im Wald von Fontainebleau, der bereits ein bedeutender Ort für Landschaftsmaler war.\n\nDie dunkle akademische Farbpalette wich helleren Tönen, die glatte Oberfläche sichtbaren Pinselstrichen. Beim Malen unter freiem Himmel verglichen die Künstler ihre Gemälde und dienten einander als Modell. Die Freilichtmalerei war mehr als das Arbeiten in einer Landschaft. Sie bedeutete, Licht und Atmosphäre mit allen Sinnen aufzunehmen, um sie malerisch wiederzugeben.\n\nRenoirs Bild Waldweg von 1874–1877 entstand zu einer Zeit, in der sich der Impressionismus dem modernen Leben der Großstadt zuwandte. So wirkt das Motiv wie ein Rückblick auf die Anfänge der Bewegung.","en":"The Impressionist style grew out of friendship and collaboration. In the early 1860s, Pierre-Auguste Renoir, Claude Monet, Alfred Sisley, and Frédéric Bazille met as students in Paris. Together, the young artists developed a new approach to painting, working side by side in the forest of Fontainebleau, already an important location for landscape painters.\n\nThe dark academic palette gave way to lighter hues, while smooth, finished surfaces were replaced by visible brushstrokes. Painting in the open air, the artists compared their works and served as each other’s models. Plein air painting was more than just rendering a landscape: it meant using all the senses to take in the effects of light and atmosphere and reproduce them on the canvas.\n\nRenoir’s painting Path in the Forest from 1874–77 was created at a time when Impressionism had turned its gaze to modern urban life. Against this backdrop, the motif seems like a retrospective echo of the early days of the movement."},"3dModels":[{"glbFile":"6af5343032c35ef3ad781fd2","id":"6af57d87809465000132098c"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab5e","coverImage":"6af533ab641a367ffc482822","3dModel":"6af5343032c35ef3ad781fd2"},{"3dModels":[{"glbFile":"6af5343632c35ef3ad781fde","id":"6af57d87809465000132098d"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6af533677582fd4e943eff4f","hall":"0A1_2","title":{"de":"Erste Mäzene des Impressionismus","en":"First Patrons of Impressionism"},"subtitle":{"de":"Alice und Ernest Hoschedé als Förderer von Claude Monet","en":"Alice and Ernest Hoschedé as Supporters of Claude Monet"},"description":{"de":"Bevor der Impressionismus zur Erfolgsgeschichte wurde, stellte er für Sammler ein Risiko dar. Zu denen, die es eingingen, gehörten Alice und Ernest Hoschedé. Auf ihrem Schloss Rottembourg südlich von Paris empfingen und förderten sie Künstler. Früh schon kauften sie Werke von Claude Monet, Edgar Degas und Camille Pissarro. 1874 erwarben sie mit Monets Impression. Sonnenaufgang jenes Bild, das dem Impressionismus seinen Namen gab.\n\nDie Räume ihres Schlosses wollten die Hoschedés mit Kunstwerken ausstatten. 1876 luden sie Édouard Manet und Claude Monet ein. Letzterer schuf vier großformatige Gemälde, die für den Grand Salon und das Raucherzimmer bestimmt waren. Dafür erarbeitete er Studien, die eigenständige Werke sind, darunter das Gemälde Die Rosensträucher im Garten von Montgeron.\n\nFür kurze Zeit wurde Schloss Rottembourg zu einem Treffpunkt der neuen Kunstbewegung. Aber bereits 1877 ging Ernest Hoschedé bankrott. Schloss und Sammlung wurden versteigert, Monets Bilder zu Spottpreisen verkauft. Doch die Verbindung blieb, und nach dem Tod von Ernest 1891 heirateten Alice Hoschedé und Claude Monet.","en":"Before Impressionism was a success story, it was a risky investment. Among the collectors willing to take that risk were Alice and Ernest Hoschedé, who hosted and supported artists at the Château de Rottembourg south of Paris. They purchased works von Claude Monet, Edgar Degas, and Camille Pissarro early on and in 1874 acquired Monet’s Impression, Sunrise—the painting that gave Impressionism its name.\n\nThe Hoschedés wanted to decorate the rooms of their château with works of art. In 1876, they invited Édouard Manet and Claude Monet to spend time at their estate. Monet created four large-scale paintings for the grand salon and smoking room. In preparation, he made studies that also stand as independent works, including the painting The Rose Bushes in the Garden at Montgeron.\n\nFor a short time, the Château de Rottembourg became a hub for the new movement in art. In 1877, however, Ernest Hoschedé was forced into bankruptcy. The château and art collection were auctioned, and Monet’s paintings sold far below their value. But the connection remained: after Ernest’s death in 1891, Alice Hoschedé married Claude Monet."},"coverImage":"6af533b1641a367ffc48282e","3dModel":"6af5343632c35ef3ad781fde"},{"hall":"0A2","title":{"de":"Der Weg einer Impressionistin","en":"The Path of an Impressionist"},"subtitle":{"de":"Berthe Morisot und ihr Kreis","en":"Berthe Morisot and Her Circle"},"description":{"de":"Den gesellschaftlichen Beschränkungen ihrer Zeit zum Trotz etablierte sich Berthe Morisot als impressionistische Malerin. Ihr Interesse an der Freilichtmalerei führte sie zum Studium bei dem Landschaftsmaler Camille Corot. Über Édouard Manet fand sie Anschluss an den Kreis der neuen Malerei.\n\nBereits früh wurden ihre Werke regelmäßig zum Pariser Salon zugelassen. Dennoch entschied sie sich 1874 – gegen den Rat Manets – für die Teilnahme an der ersten Ausstellung der Impressionisten. Dieses Bekenntnis zu der noch umstrittenen Bewegung entsprach ihrer künstlerischen Überzeugung.\n\nIm Jahr darauf reiste Morisot nach England, wo sie Hafen- und Flussansichten malte, manchmal vom Boot aus. Das Gemälde Die Themse vergegenwärtigt Morisots impressionistische Bildauffassung. Statt einer erkennbaren Stadtansicht zeigt sie einen flüchtigen Eindruck von Wasser, Licht und Atmosphäre.","en":"Despite the social constraints of her time, Berthe Morisot established herself as an Impressionist artist. Her interest in working en plein air led her to study with the landscape painter Camille Corot. Through Édouard Manet, she was introduced to the artistic circles associated with the new painting.\n\nHer works were regularly accepted into the Paris Salon early on. Still, in 1874 she decided—against Manet’s advice—to participate in the first Impression exhibition. This gesture of allegiance to the still controversial movement reflected her artistic convictions.\n\nThe following year Morisot traveled to England, where she painted port and river scenes, sometimes from a boat. The painting The Thames shows her affinity with Impressionism: instead of a recognizable cityscape, she evokes a fleeting impression of water, light, and atmosphere."},"3dModels":[{"glbFile":"6af5343c32c35ef3ad781fea","id":"6af57d87809465000132098e"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab5f","coverImage":"6af533b7641a367ffc48283a","3dModel":"6af5343c32c35ef3ad781fea"},{"hall":"1A3_1","title":{"de":"Wie Claude Monets Konzept der Serie nach Amerika kam","en":"How Claude Monet’s Serial Concept Came to America"},"subtitle":{"de":"Die Kuratorin Sara Tyson Hallowell und die Sammlerin Bertha Palmer","en":"The Curator Sara Tyson Hallowell and the Collector Bertha Palmer"},"description":{"de":"Im Spätsommer 1890 widmete sich Claude Monet in zahlreichen Gemälden ausschließlich einem Motiv: Aus den gewöhnlichen Getreideschobern auf den Feldern nahe seinem Haus machte er einen spektakulären Bildgegenstand. In warmen Farben leuchtend, scheinen sich die Konturen von Monets Getreideschobern im Licht aufzulösen. Die flüchtige Atmosphäre wird auf der Leinwand festgehalten.\n\nIm Jahr darauf stellte der Pariser Kunsthändler Paul Durand-Ruel fünfzehn der Getreideschober-Bilder aus. Im Zusammenspiel entfalteten die Gemälde ihre Wirkung: Änderungen der Witterung und die unterschiedlichen Tageszeiten ließen dasselbe Motiv immer wieder neu erscheinen.\n\nZu den frühesten Bewunderinnen der Serie gehörte die Sammlerin Bertha Palmer aus Chicago. Auf Anregung der Kuratorin Sara Tyson Hallowell erwarb sie innerhalb von zwei Jahren neun der Gemälde – die größte Gruppe, die jemals aus einer Serie Monets in eine Sammlung fand. Palmer und Hallowell trugen dazu bei, Monet in den USA bekannt zu machen.","en":"In the late summer of 1890, Claude Monet began painting numerous images of a single motif, transforming the ordinary grainstacks in the fields around his home into a spectacular pictorial theme. Glowing in warm colors, the contours of Monet’s grainstacks seem to dissolve in the light, capturing a fleeting atmosphere on the canvas.\n\nThe following year, the Paris art dealer Paul Durand-Ruel showed an exhibition of fifteen of Monet’s grainstack paintings. Displayed alongside each other, the works exerted a powerful effect: a single motif, endowed with an ever-new appearance by changes of weather and light.\n\nOne of the earliest admirers of the series was the Chicago collector Bertha Palmer. At the recommendation of the curator Sara Tyson Hallowell, Palmer acquired nine of the paintings within two years—the largest group from a Monet series ever to enter a single collection. Palmer and Hallowell helped introduce Monet’s painting to audiences in the United States."},"3dModels":[{"glbFile":"6af5344132c35ef3ad781ff6","id":"6af57d87809465000132098f"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab60","coverImage":"6af533bd641a367ffc482846","3dModel":"6af5344132c35ef3ad781ff6"},{"3dModels":[{"glbFile":"6af5344732c35ef3ad782002","id":"6af57d878094650001320990"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6af533677582fd4e943eff50","hall":"1A3_2","title":{"de":"Im Hörsaal der Moderne","en":"In the Lecture Hall of Modernity"},"subtitle":{"de":"Emil Heilbut und die frühe Monet-Rezeption in Deutschland","en":"Emil Heilbut and the Early Reception of Monet in Germany"},"description":{"de":"Als der Kunstkritiker Emil Heilbut Anfang 1889 drei Gemälde von Claude Monet nach Weimar brachte, war der Impressionismus in Deutschland noch unbekannt. Im Hörsaal der dortigen Kunstschule präsentierte er die Werke den Studierenden. Eines der Gemälde zeigt eine Biegung der Seine bei Jeufosse. Es ist Teil einer Werkgruppe, zu der auch Herbst in Jeufosse gehört, in der Monet mit der Darstellung herbstlicher Licht- und Farbstimmungen nahe seines Wohnortes Giverny experimentierte.\n\nMit ihren hellen Farben und sichtbaren Pinselstrichen forderten die Gemälde die gewohnten Vorstellungen von Landschaftsmalerei heraus. Einige der damaligen Studenten wurden Teil der Avantgarde. Christian Rohlfs erinnerte sich später an das Aufsehen, das Monets „Fleckentechnik“ erregte.\n\nHeilbut gehörte zu den frühesten Vermittlern des Impressionismus in Deutschland. Durch seine Kontakte zu Pariser Kunsthändlern wie Paul Durand-Ruel war er mit Monets Werk vertraut. 1890 veröffentlichte er den ersten deutschen Text über Monet.","en":"When the art critic Emil Heilbut brought three paintings by Claude Monet to Weimar in early 1889, Impressionism was still unknown in Germany. He showed the works to the students while lecturing at the art school there. One of the paintings depicts a bend in the Seine River near Jeufosse; along with Autumn at Jeufosse, it is part of a group of works in which Monet experimented with the effects of autumn light and color near his home in Giverny.\n\nWith their bright colors and visible brushstrokes, the paintings challenged conventional ways of representing the landscape. Some of the students went on to become part of the avant-garde, and Christian Rohlfs later recalled the stir caused by Monet’s “blotchy technique.”\n\nHeilbut was among the earliest supporters of Impressionism in Germany. Through his contacts with art dealers such as Paul Durand-Ruel in Paris, he became familiar with Monet’s work. In 1890, he published the first German text on Monet."},"coverImage":"6af533c2641a367ffc482852","3dModel":"6af5344732c35ef3ad782002"},{"hall":"1A4","title":{"de":"Vom Skandal zur Moderne","en":"From Scandal to Modernity"},"subtitle":{"de":"Berlin kauft Impressionismus","en":"Berlin Buys Impressionism"},"description":{"de":"1906 kam eine spektakuläre Ausstellung von Werken Édouard Manets und Claude Monets nach Berlin: die Sammlung von Jean-Baptiste Faure. Der wohlhabende Pariser Opernsänger, einer der ersten Sammler des Impressionismus, verkaufte seinen Kunstbesitz – darunter Werke wie Monets Steilküste von Aval.\n\nDer Galerist Paul Durand-Ruel, der bedeutendste Händler der Impressionisten, organisierte eine Verkaufsausstellung. Sie stieß in Paris und danach in London auf wenig Interesse. Erst bei der anschließenden Präsentation im Berliner Kunstsalon Paul Cassirer fanden sich einige Käufer. Bilder aus Faures Besitz gelangten in mehrere deutsche Privatsammlungen und in die Nationalgalerie in Berlin sowie Museen in München, Stuttgart und Hamburg.\n\nWar der Impressionismus wenige Jahre zuvor noch skandalumwittert, galt er nun als Inbegriff der künstlerischen Moderne.","en":"In 1906, a spectacular exhibition of works by Édouard Manet and Claude Monet came to Berlin: the collection of Jean-Baptiste Faure. The wealthy Paris opera singer, one of the first collectors of Impressionist paintings, was selling his holdings—including Monet’s The Cliff and the Porte d’ Aval.\n\nThe sales exhibition was organized by the gallerist Paul Durand-Ruel, the most important dealer of Impressionist art. It met with little interest in Paris and London; only afterwards when it was presented at the gallery of Paul Cassirer in Berlin did a number of buyers come forward. Paintings from Faure’s holdings found their way into various German private collections as well as the Nationalgalerie in Berlin and museums in Munich, Stuttgart, and Hamburg.\n\nOnly a few years earlier, Impressionism had been considered scandalous; now, it was viewed as the epitome of artistic modernity."},"3dModels":[{"glbFile":"6af5344c32c35ef3ad78200e","id":"6af57d878094650001320991"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab61","coverImage":"6af533c8641a367ffc48285e","3dModel":"6af5344c32c35ef3ad78200e"},{"hall":"1A5","title":{"de":"Motive an der Seine","en":"Motifs on the Seine"},"subtitle":{"de":"Gustave Caillebotte Lebenswelt","en":"The World of Gustave Caillebotte"},"description":{"de":"1881 erwarb Gustave Caillebotte ein Anwesen in Petit Gennevilliers an der Seine in der Nähe von Paris. Nach seinen gewagten Ansichten der Hauptstadt wurde die Flusslandschaft mit Segelbooten und Regatten jetzt zu seinem wichtigsten Bildthema.\n\nIm gegenüberliegenden Argenteuil hatte Claude Monet ein Jahrzehnt zuvor gelebt. Die von Industrie und Segelsport geprägte Gegend bot den Impressionisten Motive des modernen Freizeitlebens. Einige davon gehörten zu Caillebottes Sammlung. Der aus wohlhabendem Haus stammende Künstler war einer der wichtigsten Mäzene des Impressionismus. Er unterstützte seine Malerfreunde durch den Ankauf ihrer Werke.\n\nWährend Monet die Seine als Beobachter gemalt hatte, schilderte Caillebotte seine Lebenswelt. Er war leidenschaftlicher Segler, der sogar Yachten entwarf und bauen ließ. Viele seiner Gemälde gelangten in die Sammlungen seiner Freunde. Die Brücke von Argenteuil und die Seine gehörte zunächst Émile Lamy, Caillebottes Nachbar und Segelpartner.","en":"In 1881, Gustave Caillebotte acquired an estate at Petit Gennevilliers on the Seine near Paris. After his daring views of the capital city, the river landscape with its sailboats and regattas now became his most important pictorial theme.\n\nA decade earlier, Claude Monet had lived across the river in Argenteuil. Defined by industry and recreational sailing, the region provided the Impressionists with motifs of modern leisure. Caillebotte owned a number of their paintings: as the son of a wealthy family, he was one of the most important patrons of Impressionism and supported his artist friends by purchasing their works.\n\nWhile Monet had depicted the Seine as an observer, Caillebotte portrayed his own world. He was a passionate sailor who even designed and built yachts. Many of his paintings found their way into the collections of his friends. The Argenteuil Bridge and the Seine first belonged to Émile Lamy, Caillebotte’s neighbor and sailing partner."},"3dModels":[{"glbFile":"6af5345132c35ef3ad78201a","id":"6af57d878094650001320992"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab62","coverImage":"6af533cc641a367ffc48286a","3dModel":"6af5345132c35ef3ad78201a"},{"hall":"Lel_1","title":{"de":"Eine Amerikanerin in Venedig","en":"An American in Venice"},"subtitle":{"de":"Die Malerin und Mäzenin Winnaretta Singer","en":"The Painter and Patron Winnaretta Singer"},"description":{"de":"Der repräsentative Palazzo Contarini am Canal Grande gehörte der amerikanischen Mäzenin Winnaretta Singer. In ihrem Salon empfing sie Schriftsteller, Tänzerinnen und Musiker. Sie bot den wichtigsten Komponistinnen und Komponisten ihrer Zeit eine Bühne. Mit Konzerten, Lesungen und Gesprächen war ihr Salon ein Treffpunkt der künstlerischen Avantgarde. Dort scharte sie auch einen Kreis queerer Kunstschaffender um sich.\n\nClaude Monet verbrachte den Herbst 1908 in Venedig, wo er zahlreiche Ansichten der Stadt malte, oft vom Wasser aus. Er arbeitete nach festen Routinen und suchte je nach Tageszeit unterschiedliche Standorte auf, um wechselnde Stimmungen festzuhalten.\n\nSingers Palazzo nahm er sich am frühen Nachmittag vor. Das ungewöhnliche Farbschema im Gemälde Der Palazzo Contarini ruft eine traumartige Atmosphäre hervor. Singer, die auch Malerin war, lud ihn den Künstler in ihren Salon ein. In ihrer Sammlung befanden sich sieben seiner Werke.","en":"The monumental Palazzo Contarini on the Grand Canal belonged to the American patron Winnaretta Singer. In her salon she hosted writers, dancers, and musicians, providing the most important composers of her day with opportunities to perform. With concerts, readings, and discussions, her salon served as a gathering place for the artistic avant-garde, where she also surrounded herself with a circle of queer artists.\n\nClaude Monet spent the autumn of 1908 in Venice. There he painted numerous city views, often from the water. Following a daily routine, he sought out different locations at different times of day to capture the changing effects of light.\n\nSinger’s palazzo was the focus of his attention in the early afternoon hours. The unusual color scheme of the painting The Palazzo Contarini evokes a dreamlike atmosphere. Singer, who was also a painter, invited Monet to attend her salon and acquired seven of his works for her collection."},"3dModels":[{"glbFile":"6af5345632c35ef3ad782026","id":"6af57d878094650001320993"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab63","coverImage":"6af533d2641a367ffc482876","3dModel":"6af5345632c35ef3ad782026"},{"3dModels":[{"glbFile":"6af5345b32c35ef3ad782032","id":"6af57d878094650001320994"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6af533677582fd4e943eff51","hall":"Lel_2","title":{"de":"Das Ende einer Sammlung im Nationalsozialismus","en":"The End of a Collection under National Socialism"},"subtitle":{"de":"Jakob Goldschmidts impressionistische Gemälde in Potsdam und Berlin","en":"Jakob Goldschmidt’s Impressionist Paintings in Potsdam and Berlin"},"description":{"de":"Der Bankier, Mäzen und Kunstsammler Jakob Goldschmidt besaß in den 1920er Jahren eine der bedeutendsten Sammlungen des französischen Impressionismus in Deutschland. In seinen Häusern in Potsdam-Babelsberg und Berlin hingen Werke von Claude Monet, Édouard Manet, Pierre-Auguste Renoir und Paul Cézanne. Dazu gehörte auch Monets Bild Der Palazzo Ducale. Es zeigt den Regierungssitz Venedigs in atmosphärischen Farbabstufungen.\n\nAls jüdischer Bankier wurde Goldschmidt nach dem Machtantritt der Nationalsozialisten verfolgt. Er emigrierte 1933 zunächst in die Schweiz, später in die USA. Einige seiner Gemälde konnte er ins Ausland bringen, andere jedoch verblieben im Machtbereich der Nationalsozialisten und wurden 1941 versteigert.\n\nNach dem Zweiten Weltkrieg kämpfte Goldschmidt um die Rückgabe seiner Kunstwerke. Manche erhielt er noch zu Lebzeiten zurück, andere wurden erst Jahrzehnte später restituiert. Die Suche nach Werken seiner Sammlung und die Aufarbeitung ihrer Provenienzgeschichte dauern bis heute an.","en":"In the 1920s, the banker, patron, and art collector Jakob Goldschmidt owned one of the most important collections of French Impressionism in Germany. Works by Claude Monet, Édouard Manet, Pierre-Auguste Renoir and Paul Cézanne hung in his homes in Potsdam-Babelsberg and Berlin. His collection included Monet’s painting The Palazzo Ducale, which shows the seat of Venetian government in atmospheric gradations of color.\n\nAs a Jewish banker, Goldschmidt was persecuted when the Nazis came to power. In 1933 he emigrated first to Switzerland and then to the United States. He was able to take some of his paintings with him, but others remained in Nazi-controlled areas and were auctioned in 1941.\n\nAfter World War II, Goldschmidt fought for the return of his art. Some pieces were returned to him during his lifetime, while others were restituted only decades later. The search for works from his collection and the reappraisal of their provenance history continues to this day."},"coverImage":"6af533d7641a367ffc482882","3dModel":"6af5345b32c35ef3ad782032"},{"hall":"1B5","title":{"de":"Vor der Kamera","en":"On Camera"},"subtitle":{"de":"Claude Monet im Film","en":"Claude Monet in Film"},"description":{"de":"1915 nahm der Dramatiker und Filmemacher Sacha Guitry bedeutende Persönlichkeiten der französischen Kultur auf. Sarah Bernhardt, Auguste Rodin, Pierre-Auguste Renoir, Claude Monet und andere traten in dem damals noch jungen Medium auf. Sie sollten die kulturelle Größe Frankreichs bezeugen. Der Film Ceux de chez nous (Die Unsrigen) ist Ausdruck der kulturellen Propaganda während des Ersten Weltkriegs.\n\nGuitry besuchte die Berühmtheiten bei sich zuhause und zeigte sie bei der Arbeit. Monet nahm er in Giverny auf: im Gespräch, beim Gang durch seinen Garten und beim Malen des Seerosen-Bildes, das sich heute in der Sammlung Hasso Plattner befindet. Diese wenigen Minuten sind die einzigen bekannten Filmaufnahmen des Künstlers beim Malen.\n\nDoch Guitry verstand Ceux de chez nous nicht als Film im heutigen Sinn. Bei der Premiere 1915 war der Stummfilm Teil einer Live-Aufführung. Guitry und die Schauspielerin Charlotte Lysès sprachen die Dialoge zu den Bildern und ergänzten sie durch Kommentare und Anekdoten.","en":"In 1915, the playwright and cinematographer Sacha Guitry made a film showcasing important personalities in French culture. Sarah Bernhardt, Auguste Rodin, Pierre-Auguste Renoir, Claude Monet, and others were featured in the still-young cinematic medium as testimony to the cultural greatness of France. Entitled Ceux de chez nous (Those of Our Land), the film was an expression of cultural propaganda during World War I.\n\nGuitry visited the celebrities at home and showed them at work. He filmed Monet in Giverny—in conversation, strolling through his garden, and working on the painting Water Lilies, now in the Hasso Plattner Collection. Those few minutes are the only known film footage of the artist at work.\n\nBut Guitry did not conceive of Ceux de chez nous as a movie in the contemporary sense. At the premiere in 1915, the silent film was part of a live performance: Guitry and the actress Charlotte Lysès spoke the dialogue along with the moving images and supplemented them with commentary and anecdotes."},"3dModels":[{"glbFile":"6af5346132c35ef3ad78203e","id":"6af57d878094650001320995"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6aec99358cf35dfa793dab64","coverImage":"6af533dd641a367ffc48288e","3dModel":"6af5346132c35ef3ad78203e"},{"3dModels":[{"glbFile":"6af56fbf2236dd94a525abbd","id":"6af57d878094650001320996"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6af533677582fd4e943eff52","hall":"0B2","title":{"de":"FRAGMENTS","en":"FRAGMENTS"},"subtitle":{"de":"Medieninstallation von ART+COM Studios","en":"Media installation by ART+COM Studios"},"description":{"de":"Die von ART+COM Studios, Berlin, entwickelte Medieninstallation FRAGMENTS im Museum Barberini lässt aus Fragmenten impressionistischer Gemälde neue visuelle Kompositionen entstehen.","en":"Developed by ART+COM Studios, Berlin, the media installation FRAGMENTS at Museum Barberini generates new visual compositions from fragments of Impressionist paintings."},"coverImage":"6af533e3641a367ffc48289a","3dModel":"6af56fbf2236dd94a525abbd"}],"guides":[{"guide":{"createdAt":"2026-11-05T14:57:55.195Z","updatedAt":"2026-11-05T14:57:55.235Z","type":"audioKids","cover":"6acc4506051e2c1b613498a1","exhibition":"6acc4503051e2c1b61349898","duration":51,"name":{"de":"Die Impressionisten audioKids","en":"The Impressionists audioKids"},"title":{"de":"Die Impressionisten","en":"The Impressionists"},"subtitle":{"de":"Monet, Morisot, Renoir und ihr Netzwerk","en":"Monet, Morisot, Renoir, and Their Network"},"id":"6aec99735f60aee3f28ba944"},"id":"6aec9973dbb30233352f7f8a"}],"cover":{"createdAt":"2026-10-12T02:25:10.013Z","updatedAt":"2026-10-12T02:25:10.361Z","alt":"Édouard Manet: Berthe Morisot étendue, 1873","exhibition":"6acc4503051e2c1b61349898","type":"exhibition-cover-image","url":"/cms/api/media/file/Manet_Berthe_Morisot_lying_down_1873.jpg","filename":"Manet_Berthe_Morisot_lying_down_1873.jpg","mimeType":"image/jpeg","filesize":958768,"width":1920,"height":1445,"focalX":50,"focalY":50,"thumbnailURL":null,"id":"6acc4506051e2c1b613498a1"},"prologue":{"de":"Wie wurde aus einer kleinen Gruppe junger Künstlerinnen und Künstler, deren Malerei zunächst auf Ablehnung stieß, die vielleicht populärste Kunstrichtung der Moderne? Zum zehnjährigen Bestehen des Museums Barberini erzählt die große Jubiläumsausstellung Die Impressionisten. Monet, Morisot, Renoir und ihr Netzwerk die Geschichte des Impressionismus neu: als Geschichte von Freundschaften und Förderern, mutigen Sammlerinnen und Sammlern, einflussreichen Kunsthändlern und Kritikern – und von persönlichen Beziehungen, die eine künstlerische Revolution von Paris in die Welt trugen.","en":"How did a small group of young artists, whose paintings were initially met with rejection, come to be known as perhaps the most popular art movement of the modern era? To mark the Museums Barberini's tenth anniversary, the major anniversary exhibition The Impressionists: Monet, Morisot, Renoir, and Their Network retells the story of Impressionism: as a story of friendships and patrons, courageous collectors, influential art dealers and critics—and of personal relationships that carried an artistic revolution from Paris out into the world."},"id":"6acc4503051e2c1b61349898"},{"createdAt":"2026-07-05T12:55:04.098Z","updatedAt":"2026-07-12T12:35:06.881Z","slug":"signac","type":"temporary","onDisplay":false,"fullName":{"de":"Symphonie der Farben. Paul Signac und der Neoimpressionismus","en":"Symphony of Colors. Paul Signac and Neo-Impressionism"},"title":{"de":"Symphonie der Farben","en":"Symphony of Colors"},"subtitle":{"de":"Paul Signac und der Neoimpressionismus","en":"Paul Signac and Neo-Impressionism"},"startDate":"2026-07-04T12:00:00.000Z","endDate":"2026-10-11T12:00:00.000Z","entryInfoWall":{"description":{"de":"Den höchsten Grad an Leuchtkraft und Harmonie zu erreichen – diesem Ziel verschrieb sich Paul Signac, als er Mitte der 1880er Jahre mit Georges Seurat eine neue Malweise in die Kunst einführte. Die Landschaftsmotive ähnelten jenen ihrer impressionistischen Vorbilder. Doch ersetzten sie deren duftige Atmosphäre und spontane Malerei durch seriell aufgetragene Pinseltupfen in den Farben des Prismas. Die Farbtöne wurden nicht mehr auf der Palette gemischt. Sie sollten sich optisch im Auge der Betrachtenden verbinden. Diese Malweise erhielt den Namen Neoimpressionismus. Zahlreiche Künstlerinnen und Künstler griffen die neue Technik auf und verbreiteten sie in Europa. Innerhalb der Bewegung nahm Signac eine führende Rolle ein, als Theoretiker und Sammler ebenso wie als Netzwerker, Lehrer und Ausstellungsorganisator. Er und die anderen Malerinnen und Maler des Neoimpressionismus verbanden ihre auf Harmonie und Ausgleich ausgerichtete Kunst mit der Utopie von einem gesellschaftlichen Aufbruch in ein freiheitliches Leben.","en":"To achieve the highest degree of luminosity and harmony—this was Paul Signac’s goal when he and Georges Seurat introduced a new painting technique to the art world in the mid-1880s. While their landscape motifs resembled those of their Impressionist role models, they replaced the latter’s hazy atmosphere and spontaneous brushwork with serially applied dots in prismatic hues. The colors would no longer be mixed on the palette but would optically combine in the eye of the beholder. This new painterly technique, which came to be known as Neo-Impressionism, was adopted by numerous artists and spread throughout Europe. Signac played a leading role in the movement not only as a theorist and collector but also as a networker, teacher, and exhibition organizer. For him and other Neo-Impressionist painters, an art characterized by harmony and balance was associated with the utopia of social transformation and a liberated 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Er hatte sich aktuelle Erkenntnisse der Optik und Farbtheorie zu eigen gemacht und experimentierte mit der Zerlegung von Farben. Signac griff die neue Technik auf und inspirierte Seurat zum Arbeiten mit reinen, unvermischten Farben. Bei der letzten Impressionisten-Ausstellung 1886 in Paris präsentierten Seurat, Signac und Camille Pissarro erstmals Gemälde in der neuen Punkttechnik. Ein Kunstkritiker prägte dafür den Begriff Neoimpressionismus. Signac und Seurat gründeten mit weiteren Malern die Vereinigung unabhängiger Künstler (Société des Artistes Indépendants) und organisierten in Eigenregie Ausstellungen.","en":"In the early stages of his career, Paul Signac’s work was informed by Impressionism. In 1884 he met Georges Seurat, the slightly older artist who had pioneered a fundamentally new approach to painting. On the basis of current discoveries in optics and color theory, Seurat experimented with the division of color. Signac adopted the new technique and inspired Seurat to work in pure, unmixed hues. Seurat, Signac, and Camille Pissarro first showed paintings created with the new dot technique at the final Impressionist exhibition in Paris in 1886, prompting an art critic to coin the term Neo-Impressionism. 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The genre of portraiture posed a challenge for Neo-Impressionism, since the naturalistic accuracy required of a portrait stood in tension with the decorative pictorial effect to which many artists aspired. In his portraits, Paul Signac stylized the subject’s clothing and environment to produce a harmonious and decorative impression, while other French painters emulated the strictness of Georges Seurat’s figures. A number of early twentieth-century portraits were painted using broader, shorter strokes. As a result, the hues no longer mixed in the eye, even when the work was viewed from a distance. 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Their intensive exchange included reciprocal visits and shared trips that inspired Neo-Impressionist landscape paintings."},"3dModel":"6a5291eea7a812ed70ed82f6","3dModels":[{"glbFile":"6a5291eea7a812ed70ed82f6","id":"6a5389fa40d957001bcd457c"}],"startPoint":{"sweepId":"4dc8540300cd44348e0d6df8e2f50926","rotation":{"x":-3.7017343093843005,"y":-91.41527116522907}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.1,"y":1.5,"z":1.58},"position":{"x":26.67773760869106,"y":1.7428065870275884,"z":3.6954377135680985,"exhibitionDependent":[]}},"insideView":{"sweepId":"292dc83bd9854f93a7abc3eef7c3f022","rotation":{"x":2.226460672276747,"y":90.13263859135004}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d663585b","coverImage":"6acaf64cbbb624b7f019a52e"},{"hall":"1A5","title":{"de":"Gesellschaftliche Ideale","en":"Social Ideals"},"subtitle":{"de":"Die Neoimpressionisten und der Anarchismus","en":"Neo-Impressionism and Anarchism"},"description":{"de":"In einer Zeit gesellschaftlicher Umbrüche hatten die meisten Neoimpressionisten Sympathien für die Ideen des Anarchismus. Sie unterstützten anarchistische Zeitschriften mit Illustrationen und schufen Idealbilder eines gemeinschaftlichen Lebens, in dem sich das Individuum frei entfalten und einer erfüllenden Tätigkeit nachgehen kann. Für Paul Signac waren soziale Gerechtigkeit und Harmonie in der Kunst identisch. Maximilien Luce erhob Arbeiter in ihrem Alltag und bei der Tätigkeit im Stahlwerk zu bildwürdigen Sujets. Andere Künstler veranschaulichten ihre utopischen Gesellschaftsideen in arkadischen Szenen des ländlichen Lebens oder feierten den Rhythmus bäuerlicher Arbeit im Einklang mit der Natur.","en":"In a period of social upheaval, most of the Neo-Impressionists were sympathetic to the ideas of anarchism. They supported anarchist journals by contributing illustrations and created idealized images of a communal life in which the individual could develop freely and pursue fulfilling work. For Paul Signac, social justice and harmony in art were one and the same. Maximilien Luce elevated motifs of workers in their homes or laboring in the steel mills to image-worthy status, while other artists visualized their utopian social ideals in Arcadian rural scenes or celebrated the rhythm of agricultural work in harmony with nature."},"3dModel":"6a5291efa7a812ed70ed830a","3dModels":[{"glbFile":"6a5291efa7a812ed70ed830a","id":"6a5389fa40d957001bcd457d"}],"startPoint":{"sweepId":"42042826881947d28dfa6e63f2a68f57","rotation":{"x":-2.693113552297008,"y":89.71998261514095}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.5,"z":0.1},"position":{"x":-8.290730341170667,"y":1.7595898775086163,"z":-8.92028050177949,"exhibitionDependent":[]}},"insideView":{"sweepId":"b78b2687cfb144dfa279c1f8b8ec5820","rotation":{"x":5.406624624456636,"y":-0.1526377025479262}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d663585c","coverImage":"6acaf64fbbb624b7f019a53a"},{"hall":"Lel","title":{"de":"Im Licht des Südens","en":"The Light of the South"},"subtitle":{"de":"Mediterrane Landschaften als anarchistische Utopie","en":"The Mediterranean Landscape as Anarchist Utopia"},"description":{"de":"An der Côte d’Azur suchten Künstler ihr Arkadien. Paul Signac folgte Henri-Edmond Cross in den Süden und ließ sich in Saint-Tropez nieder. Die Landschaft des Mittelmeers, die damals noch kaum vom Tourismus erschlossen war, diente als paradiesischer Gegenentwurf zum industrialisierten Paris. Für die anarchistischen Maler und Schriftsteller war sie Projektionsraum einer Zukunft in gesellschaftlicher Harmonie. In Darstellungen von Fischerorten und Booten klingt das Ideal gemeinschaftlicher Arbeit an. Auch die Stilisierung der Landschaft und harmonische Kompositionen in prismatischen Farben vermitteln ein utopisches Moment. Die südliche Sonne eröffnete den Künstlern einen neuen Umgang mit dem Kolorit. Durch das Nebeneinandersetzen von Punkten in leuchtenden, komplementären Tönen erzeugten sie den Effekt farbigen Lichts.","en":"In search of Arcadia, artists went to the Côte d’Azur. Paul Signac followed Henri-Edmond Cross to the South of France and settled in Saint-Tropez. The Mediterranean landscape, at that time still largely untouched by tourism, stood in paradisical contrast to the industrialized metropolis of Paris. For anarchist painters and writers, the region was a projection space for a socially harmonious future. Images of fishing villages and boats evoke the ideal of communal work. The stylization of the landscape and harmonious compositions in prismatic colors also convey a utopian quality. The sunlight of the South prompted artists to approach color in a new way. By juxtaposing dots in luminous, complementary hues, they produced the effect of colored light."},"3dModel":"6a5291f1a7a812ed70ed8332","3dModels":[{"glbFile":"6a5291f1a7a812ed70ed8332","id":"6a5389fa40d957001bcd457e"}],"startPoint":{"sweepId":"657ed2f83d9540b991b8c0b8d4359dca","rotation":{"x":-0.2059287040558792,"y":177.65210264441598}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.5,"z":0.1},"position":{"x":-14.993807186287478,"y":1.7563580180903007,"z":6.498746017565133,"exhibitionDependent":[]}},"insideView":{"sweepId":"8c079ca9e6d94eefbf0be66dd4c26e8c","rotation":{"x":0.6491324311662775,"y":0.46982886311916283}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d663585d","coverImage":"6acaf653bbb624b7f019a546"},{"hall":"1B5","title":{"de":"Die Kunst der Farbe","en":"The Art of Color"},"subtitle":{"de":"Der Neoimpressionismus in Deutschland","en":"Neo-Impressionism in Germany"},"description":{"de":"Als Künstler wie als Kunsttheoretiker prägte Paul Signac den Einzug des Neoimpressionismus in Deutschland. Seine zentrale Schrift verortet die Strömung in einer Malereitradition, die der Farbe den Vorrang gibt. Sie erschien 1903 auf Deutsch unter dem Titel Von Eugen Delacroix zum Neo-Impressionismus und wurde bald im fortschrittlichen Bürgertum des deutschen Kaiserreichs aufgenommen. Zu den bedeutendsten Unterstützern des Neoimpressionismus zählten der Sammler und Publizist Harry Graf Kessler, der Architekt Henry van de Velde, der viele seiner Auftraggeber zum Erwerb neoimpressionistischer Bilder anregte, und der Maler Curt Herrmann. Dieser griff wie andere Künstler die neue Technik in seiner Malerei auf. In Deutschland verstärkten gesellschaftliche Debatten über das Sehen und Wahrnehmen sowie die Reformbewegung im Kunstgewerbe das Interesse am neuen Umgang mit Farbe.","en":"As an artist and art theorist, Paul Signac played a key role in introducing Neo-Impressionism to Germany. His major treatise, which situated the movement within a painterly tradition that gave precedence to color, was published in German in 1903 under the title Von Eugen Delacroix zum Neo-Impressionismus (From Eugène Delacroix to Neo-Impressionism). It soon found resonance among the progressive bourgeoisie of the German Empire. Among the most important supporters of Neo-Impressionism were collector and journalist Count Harry Kessler and architect Henry van de Velde, who encouraged many of his clients to acquire Neo-Impressionist paintings. Painter Curt Herrmann, who like other artists adopted the new technique in his own work, also belonged to their number. In Germany, interest in the new approach to color was intensified by social debates on vision and perception as well as the related concerns of the reform movement in the applied arts."},"3dModel":"6a5291f0a7a812ed70ed831e","3dModels":[{"glbFile":"6a5291f0a7a812ed70ed831e","id":"6a5389fa40d957001bcd457f"}],"startPoint":{"sweepId":"943d75c59c304284bdba978aaf939cd6","rotation":{"x":-7.417961039838472,"y":-157.50095429427435}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.5,"z":0.1},"position":{"x":-8.24766845528069,"y":1.7086390335640975,"z":25.863123994697464,"exhibitionDependent":[]}},"insideView":{"sweepId":"42889f698dfd407b809017c05c5b71ae","rotation":{"x":-1.9459874685580671,"y":-0.09035807015872042}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d663585e","coverImage":"6acaf656bbb624b7f019a552"}],"guides":[{"guide":{"createdAt":"2026-07-05T14:12:19.607Z","updatedAt":"2026-07-05T14:12:19.933Z","type":"audioKids","exhibition":"6a4a542818d42df607da7bf3","duration":33,"name":{"de":"Symphonie der Farben audioKids","en":"Symphony of Colors audioKids"},"title":{"de":"Symphonie der Farben","en":"Symphony of Colors"},"subtitle":{"de":"Paul Signac und der Neoimpressionismus","en":"Paul Signac and Neo-Impressionism"},"description":{"de":null,"en":null},"id":"6a4a66433aacf61fab55c43a"},"id":"6a4e5e5327e89687b8e2374c"},{"guide":{"createdAt":"2026-07-08T14:27:30.638Z","updatedAt":"2026-07-08T14:27:31.346Z","type":"audioAdults","exhibition":"6a4a542818d42df607da7bf3","duration":45,"name":{"de":"Symphonie der Farben audioAdults","en":"Symphony of Colors audioAdults"},"title":{"de":"Symphonie der Farben","en":"Symphony of Colors"},"subtitle":{"de":"Paul Signac und der Neoimpressionismus","en":"Paul Signac and Neo-Impressionism"},"description":{"de":null,"en":null},"id":"6a4e5e520e837b01d5d1e16a"},"id":"6a4e5e5327e89687b8e2374d"}],"cover":{"createdAt":"2026-07-05T12:55:04.676Z","updatedAt":"2026-07-05T12:55:06.506Z","alt":"Paul Signac: Voiliers et pins, 1896","exhibition":"6a4a542818d42df607da7bf3","type":"exhibition-cover-image","url":"/cms/api/media/file/Signac_Voiliers_et_pins_1896.jpg","filename":"Signac_Voiliers_et_pins_1896.jpg","mimeType":"image/jpeg","filesize":1762665,"width":2000,"height":2764,"focalX":50,"focalY":50,"thumbnailURL":null,"id":"6a4a542818d42df607da7c0a"},"id":"6a4a542818d42df607da7bf3"},{"createdAt":"2026-02-23T13:32:35.930Z","updatedAt":"2026-04-16T08:56:48.120Z","slug":"avantgarde","onDisplay":true,"entryInfoWall":{"description":{"de":"Impressionistische Malerei aus Frankreich stieß die erste künstlerische Avantgardebewegung in Deutschland an. Max Liebermann engagierte sich als Künstler, Sammler, Mentor und Ausstellungsmacher für diese Malerei des modernen Lebens. Sie erreichte Deutschland in den Umbruchsjahren nach dem Deutsch-Französischen Krieg 1870/71. Der preußische König Wilhelm I. hatte sich im Schloss von Versailles zum deutschen Kaiser krönen lassen – eine Demütigung für Frankreich, die das deutsch-französische Verhältnis über Jahrzehnte belastete und den künstlerischen Austausch zunächst bremste. Das Wirtschaftswachstum der Gründerzeit in Deutschland führte zu einem Erstarken des Bürgertums, dessen Aufgeschlossenheit für die neue Malerei aus Frankreich wuchs. In den deutschen Residenz- und ehemaligen Reichsstädten entstanden Museen, von denen wichtige Impulse ausgingen. Seit 1892 zeigte die Münchener Secession Impressionisten, 1898 folgte die Berliner Secession. Malerinnen und Maler bezogen seither Inspirationen aus Paris und malten pulsierende Stadtansichten, Momentaufnahmen moderner Freizeitaktivitäten, lebhafte Kinderportraits und dramatische Theaterszenen. Neben bekannten Künstlern wie Max Liebermann, Lovis Corinth oder Max Slevogt schlossen sich viele weitere Künstlerinnen und Künstler der impressionistischen Avantgarde an, deren Werk es in diesem Zusammenhang neu zu entdecken gilt – etwa Dora Hitz, Gotthardt Kuehl, Sabine Lepsius, Heinrich Eduard Linde-Walther, Christian Rohlfs, Maria Slavona und Lesser Ury. Die Ausstellung steht unter der Schirmherrschaft von Bundespräsident Frank-Walter Steinmeier. Sie entstand in Zusammenarbeit mit dem Museum Frieder Burda in Baden-Baden.","en":"The impetus for the first avant garde art movement in Germany came from Impressionist painting in France. As an artist, collector, mentor, and exhibition organizer, Max Liebermann actively promoted the Impressionist painting of modern life, which reached Germany in the tumultuous years following the Franco-Prussian War of 1870-71. King Wilhelm I of Prussia had been crowned emperor of Germany in the palace of Versailles, a humiliation that strained German-French relations for decades and initially hindered artistic exchange. Economic growth in late nineteenth-century Germany led to the rise of a bourgeoisie increasingly open to the new painting style from France. In the former residential and imperial cities of Germany newly founded museums took important steps in this direction. Impressionist works were first exhibited at the Munich Secession in 1892, and in 1898 the Berlin Secession followed suit. From then on, painters looked to Paris for inspiration, creating pulsating images of the city, snapshot-like views of modern leisure activities, lively portraits of children, and dramatic theater scenes. Along with well-known painters such as Max Liebermann, Lovis Corinth, and Max Slevogt, many other artists were also associated with the Impressionist avant-garde—figures including Dora Hitz, Gotthardt Kuehl, Sabine Lepsius, Heinrich Eduard Linde-Walther, Christian Rohlfs, Maria Slavona, and Lesser Ury, whose works are well worth rediscovering. The exhibition is held under the patronage of Federal President Frank-Walter Steinmeier and was organized in cooperation with the Museum Frieder Burda in Baden-Baden."},"guides":[{"guide":"699cad18c2b692a515e02a98","fileGroup":{"fileNumber":"200","file":{"de":"699cad9abab706a9c9e9ff79","en":"699cad9bbab706a9c9e9ff90"}},"id":"699cad9cac824e155569b094"}],"modelData":{"infoCollisionBox":{"geometry":{"x":2.799999999999998,"y":1.7300000000000002,"z":0.1},"position":{"x":9.563583680383694,"y":-5.901093548292007,"z":-6.668238833540182,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":9.563583680383694,"y":-5.901093548292007,"z":-6.668238833540182},"id":"69a9cba3b366e7001bdbe932"}]}},"insideView":{"sweepId":"faed3f2bec3043e5b6ab492fa6c99420","rotation":{"x":2.7697442550513984,"y":0.7390439302945533}}}},"guides":[{"guide":{"createdAt":"2026-02-23T19:40:08.053Z","updatedAt":"2026-02-23T19:40:08.293Z","type":"audioAdults","exhibition":"699c56f3870053377ae01aa0","duration":53,"name":{"de":"Avantgarde audioAdults","en":"Avant-garde audioAdults"},"title":{"de":"Avantgarde","en":"Avant-garde"},"subtitle":{"de":"Max Liebermann und der Impressionismus in Deutschland","en":"Max Liebermann and Impressionism in Germany"},"description":{"de":null,"en":null},"id":"699cad18c2b692a515e02a98"},"id":"699cad1869833f108942d80c"}],"galleries":[{"hall":"0A1","description":{"de":"Im Kaiserreich der 1870er Jahre blieb die moderne Kunst von einer akademischen, dunkeltonigen Ateliermalerei geprägt. Der französische Impressionismus wurde zunächst kaum zur Kenntnis genommen. Künstlerinnen und Künstler orientierten sich an Vorbildern aus der Schule von Barbizon mit ihren Szenen des bäuerlichen Lebens. Weitere Anregungen kamen aus Holland vom naturalistischen Ansatz der Haager Schule. Aber in ihrer Genremalerei thematisierten deutsche Maler bereits den Alltag der einfachen Bevölkerung. In dieser realitätsnahen, erzählerischen Form stellten sie fortschrittliche soziale Einrichtungen wie Altersheime oder Waisenhäuser dar. Erst ab den 1890er Jahren setzte sich die impressionistische Freilichtmalerei durch und entwickelte sich in verschiedenen Zentren – etwa in Berlin, Weimar, München und Dresden.","en":"In the German Empire of the 1870s, modern art was initially dominated by academic, dark-toned studio painting, with scant attention paid to French Impressionism. Artists emulated the painters of the Barbizon School with their scenes of rural life; further inspiration came from the Naturalist approach of the Hague School in Holland. In their genre painting, however, German artists had already focused on the everyday life of simple people, depicting progressive social institutions such as homes for the elderly or orphanages in realistic, narrative form. Not until the 1890s did Impressionist plein-air painting begin to gain ascendancy and develop in various centers such as Berlin, Weimar, Munich, and Dresden."},"coverImage":"69ac78e38097165e80978076","3dModel":"69abe1738097165e80972b9e","3dModels":[{"glbFile":"69abe1738097165e80972b9e","id":"69d2682902142f001b7bbafd"}],"startPoint":{"sweepId":"a825051634504d47bfa08ede513c9e16","rotation":{"x":-0.18290301007447793,"y":-91.59095658303293}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.61,"y":1.5,"z":0.1},"position":{"x":16.1849431558635,"y":-5.753971432758682,"z":2.7140947209338986,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":16.1849431558635,"y":-5.753971432758682,"z":2.7140947209338986},"id":"69a9c6d4b366e7001bdbe92a"}]}},"insideView":{"sweepId":"418c4358a1c94b8d98522389d3189adf","rotation":{"x":1.3821167751173435,"y":-179.95304653467497}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c59c0c8462c590418ebda","title":{"de":"Impressionismus in Deutschland","en":"Impressionism in Germany"},"subtitle":{"de":"Erste Schritte","en":"First Steps"}},{"hall":"0A2","description":{"de":"Bei Aufenthalten in Frankreich entdeckten Malerinnen und Maler aus Deutschland neue Motive – beleuchtete Cafés und Brücken, flanierende Bürger in Parks, ein mondänes Opernpublikum oder Spaziergängerinnen in weißen Kleidern an den Stränden der Normandie. Mit ihrem subjektiven Ausdruck sei die impressionistische Lichtmalerei der geeignete Stil, das moderne Leben auf die Leinwand zu bringen, befand der Kunsthistoriker Julius Meier-Graefe in seinem Buch Entwicklungsgeschichte der modernen Kunst von 1904. Um die Jahrhundertwende stellten die Berliner Secession und die Galerie Paul Cassirer regelmäßig Gemälde von Claude Monet oder Édouard Manet aus, die wegen ihrer Modernität kurz zuvor in Frankreich noch als skandalös empfunden worden waren. In Deutschland mobilisierten diese Ausstellungen die Opposition gegen die vom Kaiser erwünschte nationale Kunst.","en":"Painters from Germany discovered new motifs during visits to France: illuminated cafés and bridges, middleclass citizens strolling in the park, fashionable operagoers, and women in white dresses walking on the beaches of Normandy. In his 1904 book The Development of Modern Art, art historian Julius Meier-Graefe asserted that with its quality of subjective expression, the Impressionist painting of light was the style best suited to capturing modern life on canvas. Around the turn of the century, paintings by Claude Monet and Édouard Manet— whose modernity had provoked scandal in France only shortly before—were regularly shown at the Berlin Secession and the gallery of Paul Cassirer. In Germany, such exhibitions mobilized opposition against the nationalist art favored by the emperor."},"coverImage":"69ac78fb8097165e809780ab","3dModel":"69abe1908097165e80972bcd","3dModels":[{"glbFile":"69abe1908097165e80972bcd","id":"69d2682902142f001b7bbafe"}],"startPoint":{"sweepId":"806ea65bdc7d44f8a9a233266e61c9f8","rotation":{"x":-0.31363119887476254,"y":-90.78922355324279}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.1,"y":1.51,"z":1.58},"position":{"x":28.810409009016883,"y":-5.6670751489359095,"z":-5.520094712712668,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":28.810409009016883,"y":-5.6670751489359095,"z":-5.475964966364144},"id":"69a9c744b366e7001bdbe92b"}]}},"insideView":{"sweepId":"a778ae629f5e4975a121cd4e790cf66c","rotation":{"x":0.5807506007366604,"y":90.38991315020537}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5a25c8462c590418ebdb","title":{"de":"Motive des modernen Lebens","en":"Motifs of Modern Life"},"subtitle":{"de":"Anregungen aus Frankreich","en":"Impulses from France"}},{"hall":"1A3","description":{"de":"Mit der rapiden Stadterweiterung entwickelte sich Berlin bereits vor 1871 zur modernen Metropole. Breite Boulevards und künstliche Beleuchtung entstanden. Straßenansichten und nächtliche Szenen wurden zum Bildthema. Auch Gartenlokale und Biergärten fanden Eingang in das Motivrepertoire, ebenso die neuen bürgerlichen Freizeitvergnügen wie Reit- und Ruderausflüge, Schlittschuhlaufen und Segelpartien. Fasziniert von der rasanten Entwicklung hielten die Maler das geschäftige Treiben der Metropole mit dynamischer Pinselführung fest. Sie thematisierten die Sehnsucht des Großstadtmenschen nach Erholung im Grünen, aber auch die Anonymität urbaner Zentren. Die Gemälde zeigen eine ambivalente Sicht auf die Stadt als pulsierenden Kulturraum und zugleich als Ort emotionaler Überforderung.","en":"Even before 1871, the rapidly expanding city of Berlin had already developed into a modern metropolis. With the advent of broad boulevards and artificial lighting, street views and nocturnal scenes became subject matter for painting. Outdoor pubs and beer gardens also found entrance into the repertoire of motifs, as did new bourgeois leisure activities such as riding and rowing excursions, ice skating, and sailing parties. Fascinated by this rapid development, artists captured the hustle and bustle of the metropolis in dynamic brushstrokes, exploring city dwellers’ longing for recreation in nature as well as the anonymity of the urban centers. Their paintings show the metropolis in an ambivalent light, as both a pulsating cultural hub and an emotionally draining environment."},"coverImage":"69ac79128097165e809780dd","3dModel":"69abe1a48097165e80972bfb","3dModels":[{"glbFile":"69abe1a48097165e80972bfb","id":"69d2682902142f001b7bbaff"}],"startPoint":{"sweepId":"7b3c364118dc492fb5f7ef4b34dcf215","rotation":{"x":-0.06937142870633313,"y":-90.60562589642487}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.51,"z":0.12},"position":{"x":10.216923896945767,"y":1.8040132021720545,"z":-6.67663334610434,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":10.216923896945767,"y":1.8040132021720545,"z":-6.67663334610434},"id":"69a9c789b366e7001bdbe92c"}]}},"insideView":{"sweepId":"9cbe37ff676248ef89b42607b352e601","rotation":{"x":1.0020398149256033,"y":0.5271364769352488}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5a90c8462c590418ebdc","title":{"de":"Die Moderne im Blick","en":"Looking at Modernity"},"subtitle":{"de":"Stadtbilder","en":"Images of the City"}},{"hall":"1A4","description":{"de":"Im 19. Jahrhundert entstand in Europa eine neue Kultur der Kur- und Badeorte. Der Ausbau der Eisenbahn seit den 1840er Jahren machte die Küste auch für breitere Bevölkerungsschichten zugänglich. Die Popularität des Badeurlaubs gab auch der Freilichtmalerei neue Motive. Ihre Bilder zeigen Strandpromenaden und reitende Urlauber an der holländischen Küste ebenso wie badende Kinder an heimischen Seen. Die skizzenhafte Malweise und das leuchtende Kolorit verleihen den Gemälden eine unbeschwerte Heiterkeit. Die impressionistische Malerei vereinte die neue Naturverbundenheit mit dem Freizeitvergnügen am Wasser und schuf Wunschbilder, die dem modernen Zeitgeist entsprachen.","en":"The nineteenth century saw the rise of a new culture of spas and seaside resorts in Europe. Beginning in the 1840s, the expansion of the railroad enabled broader segments of the population to travel to the coast. The popularity of holidays on the water also offered new motifs for plein-air painters: Artists depicted beach promenades and horseback rides on the Dutch coast, as well as children swimming in local lakes. The loose brushwork and brilliant colors lend their images an atmosphere of carefree pleasure. Impressionist painting combined the new interest in nature with leisure activity on the water, creating idealized images that reflected the modern zeitgeist."},"coverImage":"69ac79228097165e8097810d","3dModel":"69abe1c68097165e80972c29","3dModels":[{"glbFile":"69abe1c68097165e80972c29","id":"69d2682902142f001b7bbb00"}],"startPoint":{"sweepId":"d6dabd6d03a941639ae909490a213d52","rotation":{"x":-5.973735766689567,"y":-88.43333351429997}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.13,"y":1.51,"z":1.58},"position":{"x":28.82785708098857,"y":1.7594022610747229,"z":-4.640620257265184,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":28.82785708098857,"y":1.7594022610747229,"z":-4.640620257265184},"id":"69a9c7d2b366e7001bdbe92d"}]}},"insideView":{"sweepId":"eced14a6192548a2801325190d510285","rotation":{"x":5.033653328230904,"y":89.81821936978946}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5ac5c8462c590418ebdd","title":{"de":"Frische und Dynamik","en":"Fresh Air and Movement"},"subtitle":{"de":"Draußen am Wasser","en":"Holiday on the Water"}},{"hall":"1A5","description":{"de":"Die Gründerzeit rief im deutschen Bürgertum den Wunsch hervor, die Generation der Erben im Portrait festzuhalten. 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Their vision was modeled on the contemporary portraits of children by Mary Cassatt and Pierre- Auguste Renoir, produced for French and American patrons who had founded bourgeois dynasties in the wake of the economic boom. Such families had great expectations for their progeny and devoted tremendous care to their education. Yet the free brushwork and evocation of sunlight in Impressionist painting also evoked a feeling of carefree childlikeness and the spirit of new beginnings. The portraits of children reflect the liberated spirit of educational reform, which leveled criticism at religious training and militarism and sought to transform the school into a place of inspiration."},"coverImage":"69ac79388097165e8097813d","3dModel":"69abe1d88097165e80972c57","3dModels":[{"glbFile":"69abe1d88097165e80972c57","id":"69d2682902142f001b7bbb01"}],"startPoint":{"sweepId":"b2b66f7ed5e24dea80a83b2c0911a324","rotation":{"x":-1.5252843618039569,"y":90.69407103992197}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.13,"y":1.51,"z":1.59},"position":{"x":-4.499463071851816,"y":1.7134630553079016,"z":0.3947824570230657,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":-4.499463071851816,"y":1.7134630553079016,"z":0.3947824570230657},"id":"69a9c825b366e7001bdbe92e"}]}},"insideView":{"sweepId":"b9b05d7b53b446939bd305e3c01b768c","rotation":{"x":5.892904223755567,"y":-89.66791985659655}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5b32c8462c590418ebde","title":{"de":"Voller Erwartung","en":"Great Expectations"},"subtitle":{"de":"Kinderbilder","en":"Images of Children"}},{"hall":"Lel_1","description":{"de":"Neben Szenen des modernen Lebens Malerinnen und Maler auch den Blick auf Haus und Garten im impressionistischen Stil fest. Die Gemälde geben Einblicke in das Familienleben und feiern das Zuhause als Rückzugsort. Oft wirken die Darstellungen als Wunschbilder, die zur Identifikation einladen. Private Szenen spiegeln die Souveränität des aufstrebenden Bürgertums, das seine Erfahrungswelt für bildwürdig hielt. Bei den im häuslichen Raum ent- standenen Stillleben ging es nicht mehr wie in vergangenen Jahrhunderten um allegorische Bedeutungen, sondern um die Malerei an sich. Hier verleihen Pinselführung und Oberflächengestaltung den Bildern häufig bereits einen abstrakt anmutenden Charakter.","en":"Along with scenes of modern life in public spaces, painters also embraced the Impressionist style for views of homes and gardens. Their paintings portray glimpses of family life and celebrate the domestic sphere as a place of retreat. The depictions often seem like idealized images, inviting the viewer to identify with them. Private scenes reflect the independence of the rising bourgeoisie, who considered their own experiential world to be appropriate subject matter for painting. Still lifes in a domestic context were no longer intended to convey allegorical meaning as in past centuries but rather to draw attention to the medium of painting itself. Here, brushwork and surface quality often lend the pictures an almost abstract character."},"coverImage":"69ac79eb8097165e809781d7","3dModel":"69abe2078097165e80972cb0","3dModels":[{"glbFile":"69abe2078097165e80972cb0","id":"69d2682902142f001b7bbb02"}],"startPoint":{"sweepId":"42e00d6e051e4a4e81482c302a463cf0","rotation":{"x":-3.1779078416771616,"y":177.46440315362986}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.59,"y":1.51,"z":0.15000000000000002},"position":{"x":-7.805337473018424,"y":1.6745706021853002,"z":4.4251227905240365,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":-7.805337473018424,"y":1.6745706021853002,"z":4.4251227905240365},"id":"69a9c877b366e7001bdbe92f"}]}},"insideView":{"sweepId":"39d181e3ef0c452e82b9bf322bf25c39","rotation":{"x":4.25617330354263,"y":0.8666807142645168}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5e63c8462c590418ebe0","title":{"de":"Intime Welten","en":"Intimate Worlds"},"subtitle":{"de":"Haus und Garten","en":"Homes and Gardens"}},{"hall":"Lel_2","description":{"de":"Die prägende Bedeutung des Theaters um 1900 als Erlebnisraum von Emotionen spiegelte sich auch in der Malerei. Künstler brachten mit Motiven aus der Welt der Oper große Gefühle auf die Leinwand. Max Liebermann, Max Slevogt und Lovis Corinth setzten den impressionistischen Pinselduktus ein, um ihren Bildern eine vibrierende Dramatik zu verleihen. Ihre Kompositionen waren ein Resonanzraum der zeitgleichen Neuerungen im Theater und im modernen Tanz. Nach dem Vorbild Édouard Manets malte Slevogt Rollenportraits des Baritons Francisco d’Andrade. Daneben inszenierten die Maler biblische Geschichten wie Simson und Delila als Ausdruck des Geschlechterkampfs, der im Zug der Emanzipationsbewegung an Brisanz gewann.","en":"Around 1900, the importance of theater as an arena for emotional experience left its mark on painting as well. Artists turned to motifs from the world of opera to capture strong feelings on canvas. Max Liebermann, Max Slevogt, and Lovis Corinth used the Impressionist brushstroke to lend vibrating dynamism to their pictures, while contemporary innovations in theater and modern dance also resonate in their compositions. Inspired by Édouard Manet, Slevogt painted role portraits of baritone Francisco d’Andrade. He also presented biblical stories such as that of Samson and Delilah as an expression of the battle between the sexes, a theme that gained explosive effect in the wake of the emancipation movement."},"coverImage":"69ac79518097165e80978174","3dModel":"69abe1eb8097165e80972c82","3dModels":[{"glbFile":"69abe1eb8097165e80972c82","id":"69d2682902142f001b7bbb03"}],"startPoint":{"sweepId":"9f6c64e4b5aa445da11c0e2f9d5b5d65","rotation":{"x":-3.960745563761768,"y":160.94346344964777}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.16000000000000003,"y":1.51,"z":1.59},"position":{"x":-15.131959996781916,"y":1.7840799148523092,"z":14.62161710677593,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":-15.131959996781916,"y":1.7840799148523092,"z":14.675420861993592},"id":"69a9c8acb366e7001bdbe930"}]}},"insideView":{"sweepId":"2d3cc0ae2de34d488b3f063aa0936e6b","rotation":{"x":6.17261471442415,"y":90.51804913158877}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5ea9f98a598161227a5e","title":{"de":"Theatralität","en":"Theatricality"},"subtitle":{"de":"Große Gefühle auf Bühne und Leinwand","en":"Strong Emotions on Stage and Canvas"}},{"hall":"1B5","description":{"de":"Im Jahr 1909 erwarb Max Liebermann ein Anwesen am Wannsee, auf dem er einen prächtigen Garten anlegte. Ab 1915 widmete er sich überwiegend dessen Darstellung. Die unterschiedlichen Bereiche – Blumengarten, Nutzgarten, Gärtnerhäuschen, Wannseeterrasse und Birkenwäldchen – nahm er in nahezu zweihundert Gemälden in den Blick. Die Serien einzelner Motive und die Konzentration auf den eigenen Garten erinnern an Claude Monets Fokus auf seinen Seerosenteich in Giverny zur selben Zeit. Für Liebermann bedeutete sein Garten mehr als ornamentale Blütenpracht oder Inspiration zur Malerei. Vom wachsenden Antisemitismus in Deutschland verbittert, fand der Künstler hier seit den 1920er Jahren einen Rückzugsraum.","en":"In 1909 Max Liebermann purchased an estate in Wannsee. The magnificent garden he planted there became the primary subject of his art from 1915 on. In nearly two hundred paintings, he turned his gaze to different areas of the grounds—flowerbeds, vegetable garden, gardener’s hut, Wannsee terrace, and birch groves. The series of individual motifs and interest in his own garden recall Claude Monet’s focus on his water-lily pond in Giverny at around the same time. 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The exhibition explores the multifaceted meaning of the unicorn through the ages and documents its artistic representation from its origins to the present. Like no other creature, the unicorn has sparked the imagination of artists.   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Each culture assigned it different meanings.  Artistic representations were influenced by local visual conventions and regional fauna. Gazelles or ibexes could be shown with a single horn. This did not always refer to the mythical unicorn.  In Christian Europe, the image of the mythical beast first arrived after an unknown author from the second or third century had described the unicorn in his treatise the Physiologus. 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Biblical stories of this kind were the Creation, the Garden of Eden, and the Flood. One theme from classical antiquity is the myth of Orpheus, who tamed the wild animals. Though none of these stories explicitly mentioned the unicorn.  The unicorn appears as an animal among animals, indicating that its presence was taken for granted. The charm of the unfamiliar and the unicorn’s mythical appearance also appealed to artists, who often placed it in a prominent position to attract the viewer’s eye."},"coverImage":"69171a1d8c90c86166e3cb8b","3dModel":"691ca460fe97058bca30ca5b","startPoint":{"sweepId":"c06c9fa4cbf941b6b47b0ee1249dd7f8","rotation":{"x":-3.67,"y":-87.33}},"infoWall":{"modelData":{"insideView":{"sweepId":"608ebf463b0a4df09e46f19675f7a427","rotation":{"x":6.58,"y":0.46}},"infoCollisionBox":{"geometry":{"x":1.95,"y":2.04,"z":0.2},"position":{"x":20.34,"y":-5.51,"z":-6.7,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b371a06b5a0566961b2f","3dModels":[{"glbFile":"691ca460fe97058bca30ca5b","id":"6af57d878094650001320998"}],"title":{"de":"Tier unter Tieren","en":"An Animal Among Animals"},"subtitle":{"de":"Illustrationen zu Bibel, Heiligenlegenden und Mythen","en":"Illustrations for the Bible, Saints’ Legends, and Myths"}},{"hall":"0A2","description":{"de":"Über viele Jahrhunderte war das Einhorn ein christliches Symbol. Seine Bedeutung ging von der Schrift Physiologus aus. Sie fügte den antiken Quellen über das Einhorn eine Legende hinzu: Das wilde Tier könne nur durch eine Jungfrau gefangen werden. Das Einhorn stehe für Jesus, die Jungfrau für Maria. So erhob der Physiologus das Einhorn zu einer Allegorie des zentralen christlichen Mysteriums, der Menschwerdung Gottes.  Diese Vorstellung war Ausgangspunkt für die Darstellungen des Einhorns in Gebetbüchern und auf Altarbildern. Am häufigsten gezeigt ist die Szene der Verkündigung, die Botschaft an Maria von der Empfängnis Jesu.","en":"The unicorn was a Christian symbol for many centuries. Its meaning was derived from the text Physiologus. It added a legend to the antique sources about the unicorn: the wild animal could only be captured by a virgin. The unicorn represented Christ, while the virgin symbolized Mary. In this way, the Physiologus elevated the unicorn to an allegory of the Incarnation, the central mystery of the Christian faith.  This idea served as the point of departure for countless unicorn images in prayer books and altarpieces. The scene most often shown is the Annunciation, where Mary receives the message of Jesus’ conception.  With changes in religious iconography after about 1550, the motif of the unicorn lost its significance. Its presence persisted, however, on altarpieces that continued be displayed."},"coverImage":"69171b028c90c86166e3cbe7","3dModel":"691ca49dfe97058bca30cad1","startPoint":{"sweepId":"a9fa979022e944b0b78e96baa8cc14f6","rotation":{"x":-4.26,"y":-88.68}},"infoWall":{"modelData":{"insideView":{"sweepId":"8f02326a65d04639bc8a04f905dec9ce","rotation":{"x":1.88,"y":90.12}},"infoCollisionBox":{"geometry":{"x":0.2,"y":2.04,"z":1.95},"position":{"x":29.07,"y":-5.51,"z":0.32,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b3b4a06b5a0566961b30","3dModels":[{"glbFile":"691ca49dfe97058bca30cad1","id":"6af57d878094650001320999"}],"title":{"de":"Von der Verkündigung bis zur Auferstehung","en":"From Annunciation to Resurrection"},"subtitle":{"de":"Das Einhorn in der christlichen Bildwelt","en":"The Unicorn in Christian Iconography"}},{"hall":"1A3_1","description":{"de":"Noch während die religiöse Deutung von Jungfrau und Einhorn vorherrschte, etablierte sich das Thema auch im weltlichen Bereich. Im 15. Jahrhundert zeigten Kunstwerke das enge Miteinander von Frau und Tier. Sie bewegen sich im Spannungsfeld zwischen mütterlicher Fürsorge und Verführung.  Die Künstler gingen von der christlichen Ikonographie aus, die den Zeitgenossen präsent war. Nun jedoch konnte das Einhorn für die Mahnung zu ehelicher Treue, das Ideal der Triebbeherrschung oder die Liebesverfallenheit des Minnesängers stehen. Dabei war die Legende von der Besänftigung des Einhorns durch die Jungfrau stets mitgedacht.  Zeitgleich mit dem Nachlassen der christlichen Wertschätzung des Einhorns klang auch die weltliche Darstellung von Frau und Einhorn am Ende des 16. Jahrhunderts aus.","en":"At a time when virgin and unicorn still conveyed a predominantly religious meaning, the theme also established itself outside the ecclesiastical realm. In the fifteenth century works of art showed the close companionship of a woman and the animal. They suggested associations ranging from maternal care to seduction.  Artists drew upon the familiar Christian iconography, well known to contemporaries. Now, however, the unicorn could symbolize marital fidelity, the ideal of self-control, or the amorous passion of the lovesick troubadour. The legend of the taming of the unicorn by a virgin also resonated in such scenes.  During the same period as the waning of the Christian interpretation of the unicorn, the secular iconography of woman and unicorn also declined at the end of the sixteenth century."},"coverImage":"69171ba88c90c86166e3cc36","3dModel":"691ca4b5fe97058bca30cb1c","startPoint":{"sweepId":"2efc479f77a648edb229219be812fba9","rotation":{"x":-0.98,"y":-90.9}},"infoWall":{"modelData":{"insideView":{"sweepId":"79d0b2a68cd04dc592f9c3cf3dbaf3c6","rotation":{"x":8.99,"y":179.59}},"infoCollisionBox":{"geometry":{"x":1.95,"y":2.04,"z":0.2},"position":{"x":11.72,"y":1.86,"z":2.73,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b4f8a06b5a0566961b35","3dModels":[{"glbFile":"691ca4b5fe97058bca30cb1c","id":"6af57d87809465000132099a"}],"title":{"de":"Innige Gemeinschaft","en":"Intimate Companionship"},"subtitle":{"de":"Die Jungfrau und das Einhorn","en":"The Unicorn and the Virgin"}},{"hall":"1A3_2_1","description":{"de":"Niemals hatte jemand in Europa das Einhorn gesehen, von dem die antiken Texte berichten. Aber die in Kirchenschätzen und Kunstkammern aufbewahrten Narwalzähne, als Horn des Einhorns angesehen, galten als Beweis seiner Existenz. Reiseberichte aus fernen Gebieten erwähnten Einhorn-Vorkommen, Illustrationen beglaubigten die Schilderungen.  Die Wissenschaft des 16. Jahrhunderts forderte die Überprüfbarkeit von Wissen und hinterfragte die Quellen. Sie begann, am Bestehen des Einhorns zu zweifeln. Naturforscher des 17. Jahrhunderts bewiesen die tatsächliche Herkunft des „Einhorn-Horns“ vom Narwal. Diese Erkenntnis erschütterte das überlieferte Bild vom Aussehen des Einhorns und damit den Glauben an sein Dasein. Dennoch blieb seine Gestalt Teil des Bildgedächtnisses.","en":"The unicorn described by the ancient authors had never been seen in Europe. Yet the narwhal tusks preserved in church treasuries and princely cabinets of curiosities, believed to be unicorn horns, were considered proof of the animal’s existence. Travel reports from distant lands mentioned unicorn sightings, illustrations authenticated the descriptions.  Sixteenth-century science demanded the verification of knowledge and questioned the reliability of sources. It cast doubt on the reality of the unicorn. Seventeenth-century naturalists demonstrated that “unicorn horn” came from the narwhal. This discovery undermined the traditional image of the unicorn’s appearance and, with it, the belief in its existence. Yet its figure remained present in visual memory."},"coverImage":"69171d198c90c86166e3cd6c","3dModel":"691ca4cdfe97058bca30cb5a","startPoint":{"sweepId":"13f4c65b743b48469b006a1480bda8fc","rotation":{"x":-4.33,"y":-88.18}},"infoWall":{"modelData":{"insideView":{"sweepId":"071b03a6ffa74fc880b71395fbdcc46b","rotation":{"x":10.93,"y":-179.21}},"infoCollisionBox":{"geometry":{"x":1.95,"y":2.04,"z":0.2},"position":{"x":18.8,"y":1.91,"z":2.67,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b3f4a06b5a0566961b31","3dModels":[{"glbFile":"691ca4cdfe97058bca30cb5a","id":"6af57d87809465000132099b"}],"title":{"de":"Augenzeugen und Naturforscher","en":"Eyewitnesses and Naturalists"},"subtitle":{"de":"Das Einhorn in Reisebericht und Tierkunde","en":"The Unicorn in Travel Reports and Animal Lore"}},{"hall":"1A3_2_2","description":{"de":"Bereits die frühesten Quellen sprachen dem Horn des Einhorns medizinische Eigenschaften zu. Wer aus einem Gefäß trinke, das daraus gefertigt ist, sei gefeit gegen Krampf und Epilepsie. In einer christlichen Legende hieß es, das Einhorn könne einen See vom Gift einer Schlange reinigen.  Auf dieser Überlieferung gründete im Mittelalter der Glaube an die heilende Wirkung des Einhorn-Horns. Fürsten ließen sich daraus Trinkpokale anfertigen und überprüften ihre Speisen mit Stücken dieses Horns. In Pulverform war es ein begehrtes Heilmittel gegen nahezu alle Krankheiten.  Im 16. Jahrhundert begannen Ärzte, den Nutzen des Hornpulvers zu bezweifeln. Doch blieb es weiterhin Teil von Arzneirezepturen. Der anhaltende Glaube an seine kurierende Kraft spiegelt sich auch im Namen der Einhorn-Apotheken.","en":"Medicinal properties were ascribed to unicorn horn already in the earliest sources. Drinking from a vessel made from it was said to protect against convulsions and epilepsy. According to a Christian legend, the unicorn could rid a lake of snake venom.  This tradition formed the basis for medieval belief in the healing power of unicorn horn. Princes had drinking goblets fashioned from the horn and used pieces of it to test their food. In powdered form, it was a sought-after cure for nearly every ailment.  In the sixteenth-century physicians began to question the effectiveness of the powdered horn. Yet it continued to be included in medicinal recipes. The persistent belief in its healing power is also reflected in the use of the name “Einhorn” (unicorn) for apothecaries."},"coverImage":"69171e9b8c90c86166e3cded","3dModel":"691ca4effe97058bca30cb9f","startPoint":{"sweepId":"2f051b60f2a147e29405c8c863c81c7b","rotation":{"x":-2.12,"y":-122.67}},"infoWall":{"modelData":{"insideView":{"sweepId":"72e07e496cab4122b631b98ab32046c3","rotation":{"x":11.04,"y":179.41}},"infoCollisionBox":{"geometry":{"x":1.95,"y":2.04,"z":0.2},"position":{"x":22.61,"y":2.05,"z":2.6,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b433a06b5a0566961b32","3dModels":[{"glbFile":"691ca4effe97058bca30cb9f","id":"6af57d87809465000132099c"}],"title":{"de":"Sagenhafte Kraft gegen Gift","en":"A Legendary Antidote"},"subtitle":{"de":"Das Einhorn in der Heilkunde","en":"The Unicorn in Medicine"}},{"hall":"1A4","description":{"de":"Seit dem 16. Jahrhundert sammelten Fürsten und wohlhabende Bürger kostbare und seltene Objekte in Kunst- und Wunderkammern. Das Horn des Einhorns – tatsächlich der Zahn des Narwals – war überaus begehrt. Das lag nicht nur an seiner Stellung zwischen Phantastik und Wirklichkeit, sondern auch an seinem besonderen Erscheinungsbild sowie seiner kulturellen Bedeutung. Das mythische Einhorn erschien in den Kunstkabinetten auch als anmutige Kleinplastik in Elfenbein oder Silber ausgeführt.  Das Einhorn war das Kunstkammerstück schlechthin – ein edles Rarissimum, das Staunen erregte und seinen Besitzer adelte. Die Zeit der Kunst- und Wunderkammern begann in der Renaissance und reichte bis ins 18. Jahrhundert. Diese Sammlungen bildeten im Kleinen die ganze Welt ab – zu der gehörte auch das Einhorn.","en":"From the sixteenth century on, princes and wealthy citizens collected precious, rare, or unusual objects in Kunst- and Wunderkammern (chambers of art and curiosities). Unicorn horn—in actuality the tusk of the narwhal—was highly coveted not only for its mingling of fantasy and reality, but also for its unusual appearance and cultural meaning. The mystic unicorn appeared in chambers of art in the form of elegant figurines fashioned of ivory or silver.  The unicorn was the Kunstkammer piece par excellence, a noble rarissimum that provoked astonishment and enhanced its owner’s prestige. The era of art and curiosity chambers began in the late Renaissance and continued into the eighteenth century. Such collections were microcosms of the entire world—a world to which the unicorn also belonged."},"coverImage":"69171ebd8c90c86166e3ce24","3dModel":"691ca50efe97058bca30cbde","startPoint":{"sweepId":"5b8c9b809a904810a918275ad499e827","rotation":{"x":0.14,"y":-90}},"infoWall":{"modelData":{"insideView":{"sweepId":"70180a4d0fd8434f9bf7f6150076fc6e","rotation":{"x":8.31,"y":137.79}},"infoCollisionBox":{"geometry":{"x":1.95,"y":2.04,"z":1.4},"position":{"x":30.17,"y":1.93,"z":0.68,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b4bba06b5a0566961b34","3dModels":[{"glbFile":"691ca50efe97058bca30cbde","id":"6af57d87809465000132099d"}],"title":{"de":"Kostbar, selten, staunenswert","en":"Precious, Rare, Astonishing"},"subtitle":{"de":"Glanzstück der Kunst- und Wunderkammer","en":"Showpiece of the Kunst- and Wunderkammer"}},{"hall":"1A5","description":{"de":"Neben der Bedeutung, die das Einhorn über Jahrhunderte im Christentum, in Naturkunde, Medizin und Kunstkammer hatte, erscheint es seit dem späten Mittelalter in den unterschiedlichsten Zusammenhängen. Das Einhorn war im Bildgedächtnis fest verankert und wurde zum frei verfügbaren Kulturgut.  So fand es als Allegorie der Keuschheit Verwendung, es diente im politischen Bereich als herrschaftliches Signum, in der Heraldik der persönlichen Identifikation. Lehrhafte Embleme betonten Eigenschaften wie Kostbarkeit und Schnelligkeit – an die noch Handelsmarken im 20. Jahrhundert anknüpften.  Jede dieser Inanspruchnahmen konnte auf die ästhetische Besonderheit des Einhorns bauen, sein ansprechendes Äußeres garantierte Aufmerksamkeit. Das hervorstehende Horn wirkt wie ein Ausrufezeichen.","en":"In addition to the significance the unicorn held for centuries in Christianity, natural science, medicine, and Kunstkammer, it appeared in a wide range of iconographic contexts from the late Middle Ages onward. Firmly anchored in visual memory, the unicorn became a freely adaptable cultural element.  It was employed as an allegory of chastity, appeared as an insignia of rulership in the political realm, and was used in heraldry as a marker of personal identity. Didactic emblems emphasized specific qualities such as preciousness and speed—associations that even found an echo in twentieth-century trademarks.  Each of these uses relied on the unicorn’s distinctive aesthetic appeal, as its attractive appearance was sure to draw attention. The prominent horn even resembles an exclamation point."},"coverImage":"69171f248c90c86166e3ce67","3dModel":"691ca523fe97058bca30cc28","startPoint":{"sweepId":"78ada544dcea41799552142881f5a9be","rotation":{"x":-1.82,"y":87.76}},"infoWall":{"modelData":{"insideView":{"sweepId":"765e63c44f3a4241a48090130be36301","rotation":{"x":5.38,"y":-91}},"infoCollisionBox":{"geometry":{"x":0.23,"y":1.86,"z":1.95},"position":{"x":-4.22,"y":1.96,"z":0.34,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b52fa06b5a0566961b36","3dModels":[{"glbFile":"691ca523fe97058bca30cc28","id":"6af57d87809465000132099e"}],"title":{"de":"Viele Eigenschaften, viele Bedeutungen","en":"Many Qualities, Many Meanings"},"subtitle":{"de":"Das Einhorn als Symbol","en":"The Unicorn as Symbol"}},{"hall":"Lel","description":{"de":"Zu den wichtigsten Eigenschaften des Einhorns zählten die frühen Autoren seine Wildheit, Angriffslust und Stärke. Diese Einschätzung beruhte auch auf einer Vermischung mit Berichten über das Nashorn. Das späte Mittelalter sah das Einhorn in Gesellschaft der Wilden Leute, dem Gegenbild zur Zivilisation.  Gegenüber allen Lebewesen verhielt sich das Einhorn aggressiv. Es attackierte andere Tiere, etwa Drachen und Löwen sowie seinen Lieblingsfeind, den Elefanten. Aber auch Menschen waren vor ihm nicht sicher. In persischen wie europäischen Heldenerzählungen musste ein mutiger Kämpfer gegen ein böses Einhorn antreten.  Diesen unheimlichen und bedrohlichen Aspekt des Einhorns thematisierten Künstler bis ins 16. Jahrhundert. Auch die zeitgenössische Kunst kennt die kämpferische Natur des Einhorns.","en":"According to early authors, the wildness, belligerence, and strength of the unicorn were among its most important characteristics. This assessment was also based on a conflation with reports about the rhinoceros. In the late Middle Ages, the unicorn was envisioned in the company of the Wild People, the antithesis of civilization.  The unicorn behaved aggressively toward all living creatures. It attacked other animals such as the dragon and the lion, as well as its archenemy, the elephant. Nor were human beings exempt from its threat. In heroic epics from Persia and Europe a courageous warrior confronted a malevolent unicorn.  This uncanny and menacing aspect of the unicorn was a theme for artists into the sixteenth century. Contemporary art also reflects the combative nature of the unicorn."},"coverImage":"691720298c90c86166e3cf03","3dModel":"691ca538fe97058bca30cc71","startPoint":{"sweepId":"bc9109a0dcd6463a913891a23e9292cd","rotation":{"x":-1.12,"y":-179.18}},"infoWall":{"modelData":{"insideView":{"sweepId":"1e1f07594dc0422ab58cc711cfb3dfb9","rotation":{"x":3.82,"y":0.85}},"infoCollisionBox":{"geometry":{"x":1.95,"y":1.86,"z":0.23},"position":{"x":-12.47,"y":2,"z":4.36,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b47aa06b5a0566961b33","3dModels":[{"glbFile":"691ca538fe97058bca30cc71","id":"6af57d87809465000132099f"}],"title":{"de":"Wehrhaft und streitbar","en":"Defiant and Combative"},"subtitle":{"de":"Das Einhorn bei den Wilden Leuten und im Kampf gegen Tiere und Menschen","en":"The Unicorn Among the Wild People and in Battle with Animals and Men"}},{"hall":"1B5","description":{"de":"Bevor das Einhorn um 1600 aus der Malerei verschwand, war es in der europäischen Kunst allgegenwärtig, seine Bedeutung als Symbol festgelegt. Das war anders, als sich am Ende des 19. Jahrhunderts Künstler – und im 20./21. Jahrhundert auch Künstlerinnen – dem Einhorn zuwandten. Bei solchen Aneignungen konnten Elemente der Überlieferung eine Rolle spielen oder aber neue Bezüge entstehen. Als neues Medium eröffnete der Film im 20. Jahrhundert die Möglichkeit, das Erscheinen des Tieres zu thematisieren. Das Einhorn war und ist flexibel genug, sich in ironischer oder sakraler, symbolistischer oder surrealer, magischer oder träumerischer, selbst abstrakter Verwendung zu behaupten. In einer von Rationalismus dominierten Welt ist sein Refugium die künstlerische Phantasie.","en":"Before the unicorn disappeared from painting around 1600, it was ubiquitous in European art and was firmly established as a symbol. The situation changed when, at the end of the nineteenth century, artists—and, in the twentieth and twenty-first centuries, also women artists—turned their attention to the unicorn. Such appropriations could be informed by elements of tradition, or new associations could emerge. In the twentieth century, the new medium of film opened up possibilities for exploring manifestations of the animal.  The unicorn was and is flexible enough to assert itself in an ironic or sacral, Symbolist or Surrealist, magical, dreamlike, or even abstract form. In a world dominated by rationalism, it finds its refuge in the imagination of the artist."},"coverImage":"6917207d8c90c86166e3cf3e","3dModel":"691ca555fe97058bca30ccaf","startPoint":{"sweepId":"33e309971a27424c83a1d5b0bd11aa14","rotation":{"x":-1.96,"y":-171.91}},"infoWall":{"modelData":{"insideView":{"sweepId":"e514a9ba56e1415e9042951465581fa6","rotation":{"x":8.68,"y":89.21}},"infoCollisionBox":{"geometry":{"x":0.23,"y":1.5,"z":1.5},"position":{"x":-11.53,"y":2.07,"z":33.12,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f8b569a06b5a0566961b37","3dModels":[{"glbFile":"691ca555fe97058bca30ccaf","id":"6af57d8780946500013209a0"}],"title":{"de":"Aneignung, Identifikation, Verwendung","en":"Appropriation, Identification, Utilization"},"subtitle":{"de":"Das Einhorn in der Kunst seit dem 19. Jahrhundert","en":"The Unicorn in Art Since the Nineteenth Century"}},{"hall":"0B1","description":{"de":"Das Medium Film kann die Abfolge von Erscheinen, Präsenz und Entfernen des Einhorns zeigen. Anders als im überlieferten Bildschema verschmelzen Frau und Einhorn zu einer Figur. Das Auftreten des Fabeltiers bleibt unbegründet und rätselhaft. Seine Gegenwärtigkeit ist unverfügbar.","en":"Das Medium Film kann die Abfolge von Erscheinen, Präsenz und Entfernen des Einhorns zeigen. Anders als im überlieferten Bildschema verschmelzen Frau und Einhorn zu einer Figur. Das Auftreten des Fabeltiers bleibt unbegründet und rätselhaft. 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These roots and his Jewish origins were combined with a painterly interest in everyday rural scenes and a sympathy for anarchism."},"subtitle":{"de":"Der Impressionist Pissarro","en":"Camille Pissarro's Impressionism"},"title":{"de":"Mit offenem Blick.","en":"The Honest Eye."},"id":"685d564171f13d6f5913d07f"},"id":"685f90ad385bd807f6560824"}],"galleries":[{"hall":"0A1_1","description":{"de":"Lichtdurchflutete Uferlandschaften mit Palmen, einfache Hütten in tropischer Natur, einheimische Frauen im Gespräch – solche Motive prägen die frühesten Werke Camille Pissarros. Die künstlerischen Ursprünge des Malers liegen nicht in Frankreich, sondern auf der Karibikinsel Saint Thomas, seinem Geburtsort, und in Venezuela, wo er von 1852 bis 1854 lebte. Bereits in seinen ersten Gemälden und Zeichnungen zeigt sich Pissarros Interesse an der Freilichtmalerei und atmosphärischen Landschaften sowie dem Leben der einfachen Bevölkerung. Der Sohn einer jüdischen Kaufmannsfamilie wuchs in einer Umgebung kultureller Vielfalt auf und erlebte als junger Mann die Abschaffung der Sklaverei mit. In die Gruppe der Impressionisten in Frankreich brachte er eine internationale Perspektive ein.","en":"Sun-drenched shore landscapes with palms, simple huts in a tropical setting and local women engaged in conversation—such motifs shape the earliest works of Camille Pissarro. His artistic origins were not in France but on the island of Saint Thomas in the Caribbean, where he was born, and in Venezuela, where he lived from 1852 to 1854. Pissarro’s interest in plein-air painting and atmospheric landscapes as well as the life of ordinary people is already evident in his first paintings and drawings. The son of a Jewish merchant family, he grew up in a culturally diverse environment and experienced the abolition of slavery as a young man. In France, Pissarro introduced an international perspective to the Impressionist group."},"coverImage":"685ad1559dc10a47245076db","3dModel":"685f9f92f5c4cef12a03a8a9","startPoint":{"sweepId":"2939ee276db748de8462a7207069d99a","rotation":{"x":-5.09,"y":-89.95}},"infoWall":{"modelData":{"insideView":{"sweepId":"9f3fbfc64fe84bfabe352cfdb9268c6d","rotation":{"x":4.32,"y":90.95}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.71,"z":1.38},"position":{"x":6.36,"y":-5.52,"z":0.5,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592873ef4a7e11c6cf2959","3dModels":[{"glbFile":"685f9f92f5c4cef12a03a8a9","id":"6af57d8780946500013209a3"}],"title":{"de":"Unter Palmen und am Hafen","en":"Under Palm Trees and at the Port"},"subtitle":{"de":"Künstlerische Anfänge in der Karibik","en":"Artistic Beginnings in the Caribbean"}},{"hall":"0A1_2","description":{"de":"Camille Pissarro ließ sich 1855 in Frankreich nieder, wo er bereits einen Teil seiner Schulzeit verbracht hatte. Der Realismus seiner frühen Landschaftsbilder ist von Künstlern der Schule von Barbizon wie Camille Corot und Gustave Courbet beeinflusst. Oft malte er die Nutzgärten, Felder und Straßen in seinen Wohnorten Pontoise und Louveciennes. Manche kritisierten diese Motive als banal, andere feierten sie als echt und ehrlich. Neben seinem Interesse für das bäuerliche Leben gehörte Pissarro zu den ersten Impressionisten, die die industrialisierten Pariser Vororte als moderne Landschaft bildwürdig machten. Er begann den Wandel eines Motivs zu unterschiedlichen Jahres- und Tageszeiten zu erkunden. Während des Deutsch-Französischen Krieges 1870/71 floh er nach London, wo er seinen Galeristen Paul Durand-Ruel kennenlernte.","en":"Camille Pissarro moved to France in 1855, having already spent part of his school years there. The realistic style of his early landscape paintings was influenced by artists of the Barbizon School such as Camille Corot and Gustave Courbet. Pissarro often painted the vegetable gardens, fields, and roads in the towns of Pontoise and Louveciennes, where he lived. Many viewers criticized these motifs as banal, while others celebrated them as genuine and honest. In addition to his interest in rural life, Pissarro was one of the first Impressionists to embrace the industrialized suburbs of Paris as a worthy subject for modern landscape painting. He began to explore the transformation of motifs at different times of day and year. During the Franco-Prussian War of 1870–71, he fled to London, where he met art dealer Paul Durand-Ruel."},"coverImage":"685ad1659dc10a472450770e","3dModel":"685ac8119dc10a4724507240","startPoint":{"sweepId":"8c76a75a1b894461b55b5ebff1e214c0","rotation":{"x":-1.34,"y":-89.45}},"infoWall":{"modelData":{"insideView":{"sweepId":"dec7639f5b86430c8fb3499c1ca6288b","rotation":{"x":11.38,"y":0.74}},"infoCollisionBox":{"geometry":{"x":1.36,"y":1.79,"z":0.05},"position":{"x":15.24,"y":-5.53,"z":-6.74,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"685928ceef4a7e11c6cf295a","3dModels":[{"glbFile":"685ac8119dc10a4724507240","id":"6af57d8780946500013209a4"}],"title":{"de":"Der Weg zum Impressionismus","en":"The Path to Impressionism"},"subtitle":{"de":"Moderne Landschaften","en":"Modern Landscapes"}},{"hall":"0A2","description":{"de":"Camille Pissarros große Familie spielte in seinem Leben eine wichtige Rolle. Gegen den elterlichen Willen heiratete er eine katholische französische Winzertocher, Julie Vellay, die er als Bedienstete in seinem Elternhaus kennengelernt hatte. Das Paar hatte acht Kinder, von denen ein Sohn als junger Erwachsener und zwei Mädchen als Kinder starben. Verglichen mit seinen zahlreichen Landschaften malte Pissarro nur wenige Portraits seiner Familienmitglieder. Sie haben eher privaten Charakter. Die Stärke und Lebenserfahrung seiner Frau brachte er mit pastosen, kräftigen Pinselstrichen zum Ausdruck, die Zartheit seiner jungen Tochter Jeanne-Rachel mit gedeckten Tönen und transparenterem Farbauftrag. Pissarro regte auch seine Kinder an, sich künstlerisch zu schulen – fünf von ihnen ergriffen den Beruf des Vaters.","en":"Camille Pissarro’s large family played an important role in his life. Against his parents’ will, he married Julie Vellay, a French Catholic winegrower’s daughter who had been employed as a maid in his family home. The couple had eight children, three of whom died: one son as a young adult and two daughters during childhood. Compared to the many landscapes he painted, Pissarro created only a few portraits of his family members. These works tend to be private in character. He used powerful, impasto brushstrokes to express his wife’s strength and life experience and evoked the frail constitution of his young daughter Jeanne-Rachel with muted tones and a more transparent application of paint. Pissarro also encouraged his children to acquire artistic training, and five of them followed in his professional footsteps."},"coverImage":"685ad20c9dc10a4724507a3f","3dModel":"685ac8579dc10a472450729b","startPoint":{"sweepId":"892b273ec94b43c19de80862f2024c63","rotation":{"x":0.65,"y":-89.7}},"infoWall":{"modelData":{"insideView":{"sweepId":"f2a4ab29480d4b3ab3948b76fa406feb","rotation":{"x":5.37,"y":-0.58}},"infoCollisionBox":{"geometry":{"x":1.42,"y":1.76,"z":0.15},"position":{"x":30.48,"y":-5.63,"z":-6.94,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592905ef4a7e11c6cf295b","3dModels":[{"glbFile":"685ac8579dc10a472450729b","id":"6af57d8780946500013209a5"}],"title":{"de":"Familienbilder","en":"Family Pictures"},"subtitle":{"de":"Portraits und Stillleben","en":"Portraits and Still Lifes"}},{"hall":"1A3_1","description":{"de":"Seit den frühen 1870er Jahren verwendete Camille Pissarro zunehmend eine hellere Farbpalette und einen gebrochenen Pinselstrich – beides sind zentrale Merkmale des Impressionismus. Die Jury des Pariser Salons lehnte seine unkonventionelle, skizzenhafte Freilichtmalerei mehrfach ab. Um sich von den staatlichen Ausstellungen unabhängig zu machen, gründete Pissarro 1873 mit Kollegen wie Claude Monet und Edgar Degas die Société anonyme des artistes peintres, sculpteurs, graveurs, etc. Als Einziger nahm er an allen acht Ausstellungen teil, die die Gruppe zwischen 1874 und 1886 veranstaltete. In den ersten Jahren befasste er sich mit der Darstellung von Landschaften zu verschiedenen Jahres- und Tageszeiten, die häufig von Staffagefiguren bevölkert sind. So betont Pissarro das Wechselverhältnis von Mensch und Natur.","en":"From the early 1870s on, Camille Pissarro increasingly adopted a lighter color palette and a broken brushstroke—both central characteristics of Impressionism. His unconventional, sketch-like plein-air painting was repeatedly rejected by the jury of the Paris Salon. To gain independence from these state-sponsored exhibitions, he helped found the Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs, etc. in 1873 with fellow painters, including Claude Monet and Edgar Degas. Pissarro was the only artist to participate in all eight of the exhibitions organized by the group between 1874 and 1886. In the early years, he concentrated on landscapes painted at different times of day and year, often populated with small figures. In doing so, Pissarro emphasized the reciprocal relationship between humans and nature."},"coverImage":"685ad2209dc10a4724507a76","3dModel":"685ac8719dc10a47245072db","startPoint":{"sweepId":"c798c75b48bc4fa5b9d46cfdaf0113ca","rotation":{"x":-3.38,"y":-90.66}},"infoWall":{"modelData":{"insideView":{"sweepId":"3de947fcb31d4912a6282d580757a015","rotation":{"x":10.78,"y":-0.14}},"infoCollisionBox":{"geometry":{"x":1.4,"y":1.83,"z":0.05},"position":{"x":11.62,"y":1.91,"z":-6.74,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"685929aeef4a7e11c6cf295c","3dModels":[{"glbFile":"685ac8719dc10a47245072db","id":"6af57d8780946500013209a6"}],"title":{"de":"Malerei unter freiem Himmel","en":"Painting Outdoors"},"subtitle":{"de":"Pissarros Impressionismus","en":"Pissarro’s Impressionism"}},{"hall":"1A3_2","description":{"de":"Von 1880 an verschob sich Camille Pissarros Interesse auf bäuerliche Figurenbilder, mit denen er in unterschiedlichsten Medien sein Ideal des ländlichen Lebens zum Ausdruck brachte. Den Frauen, die er bei der Heuernte oder der Weinlese zeigt, geht die Arbeit leicht und rhythmisch von der Hand, fast wie in einer Choreographie. Momente des Innehaltens zeugen von einer ruhigen, erfüllenden Tätigkeit. Durch die Stilisierung der Figuren, die ihnen eine überzeitliche Qualität verleiht, weist Pissarro seinen sorgfältig vorbereiteten Kompositionen universale Bedeutung zu. Inhaltlich fortgeführt werden die Erntebilder in lebhaften Marktszenen, in denen Frauen ihre landwirtschaftlichen Erzeugnisse anbieten. Wie das Ideal des Landlebens entsprach das ausgewogene Verhältnis von Produktion und Konsum Pissarros anarchistischen Überzeugungen.","en":"From 1880 on, Camille Pissarro turned his attention to rural figure scenes, with which he expressed his ideal of country life in a wide variety of media. He shows women harvesting hay or picking grapes, performing their work easily and rhythmically, as if it were choreographed. At times, they pause for a moment, suggesting the peaceful, fulfilling nature of their activity. Pissarro’s stylization of the figures lends them a timeless quality and imbues his carefully developed compositions with universal meaning. The themes evoked by the harvest pictures are continued in lively market scenes in which women offer their agricultural produce for sale. Like the ideal of rural life, the balanced relationship between production and consumption corresponds to Pissarro’s anarchist convictions."},"coverImage":"685ad2489dc10a4724507b04","3dModel":"685ac8889dc10a472450731b","startPoint":{"sweepId":"2f18e44203a8442aa9d0f99737de7467","rotation":{"x":-0.22,"y":-92.1}},"infoWall":{"modelData":{"insideView":{"sweepId":"c279288a3d4b429cadafd09233d767be","rotation":{"x":4.89,"y":90.49}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.79,"z":1.33},"position":{"x":13.62,"y":1.87,"z":-5.23,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"685929faef4a7e11c6cf295d","3dModels":[{"glbFile":"685ac8889dc10a472450731b","id":"6af57d8780946500013209a7"}],"title":{"de":"Gemeinschaft auf dem Land","en":"Rural Community"},"subtitle":{"de":"Ernte- und Marktszenen","en":"Harvest and Market Scenes"}},{"hall":"1A4","description":{"de":"1884 bezog Camille Pissarro mit seiner Familie ein Haus in Éragny-sur-Epte, wo neben Bildern der unmittelbaren Umgebung und der Nachbarorte zahlreiche Ansichten seines Gartens entstanden. Der von seiner Frau Julie bewirtschaftete Nutzgarten war jahrelang Existenzgrundlage der Familie, bis diese von den Gemäldeverkäufen Pissarros leben konnte. In den Bildern, die der Künstler ab dem 1893 erfolgten Umbau der Scheune zum Atelier oft vom Fenster aus malte, ist vielfach Julie Pissarro bei der Gartenarbeit zu sehen. Die Wiedergabe der aktiven Gestaltung der Natur unterscheidet Pissarros Szenen von Motiven anderer Impressionisten, die Landschaft vor allem als Freizeitraum des Bürgertums und Objekt ästhetischen Genusses darstellten. Pissarros Arbeit im Atelier stellte einen wichtigen Schritt im künstlerischen Prozess dar, in dem er en plein air festgehaltene Motive auf das Wesentliche reduzierte und zu dekorativen Kompositionen entwickelte.","en":"In 1884, Camille Pissarro and his family moved into a house in Éragny-sur-Epte, where he painted not only the surrounding landscape and the neighboring villages but also numerous views of his garden. For years, the vegetable garden cultivated by his wife, Julie Pissarro, was essential to the family’s support until they could live from the sale of Pissarro’s paintings. After converting the barn into a studio in 1893, the artist frequently painted the garden from the window, often depicting Julie at work. Pissarro’s portrayal of the active shaping of nature distinguishes his scenes from the motifs of other Impressionists, who showed the landscape primarily as the site of bourgeois leisure activities and as an object of aesthetic enjoyment. Pissarro’s studio work marked an important stage in his artistic process, during which he reduced motifs captured en plein air to their essentials and developed them into decorative compositions."},"coverImage":"685ad2599dc10a4724507b46","3dModel":"685ac8a29dc10a472450735d","startPoint":{"sweepId":"e3ae5269457d43fda2f73a406969878d","rotation":{"x":-0.29,"y":-89.85}},"infoWall":{"modelData":{"insideView":{"sweepId":"34d42cadb2054b908903276a263f3b04","rotation":{"x":8.86,"y":89.82}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.91,"z":1.4},"position":{"x":28.82,"y":1.87,"z":1.81,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592a6cef4a7e11c6cf295e","3dModels":[{"glbFile":"685ac8a29dc10a472450735d","id":"6af57d8780946500013209a8"}],"title":{"de":"Blick in den Garten","en":"Garden Views"},"subtitle":{"de":"Das Atelier in Éragny-sur-Epte","en":"The Studio in Éragny-sur-Epte"}},{"hall":"1A5","description":{"de":"Nachdem Camille Pissarro 1885 die jüngeren Kollegen Georges Seurat und Paul Signac kennengelernt hatte, griff er ihre auf neuesten Entwicklungen der Farbtheorie basierende Technik des Divisionismus auf: In kleinen Tupfen auf die Leinwand aufgebracht, sollten sich die Farben nicht mehr auf der Palette, sondern im Auge des Betrachters mischen, um eine stärkere Leuchtkraft zu erzeugen. Pissarro zielte darauf, in seinen Bildern Gegensätze wie Wärme und Kälte oder Licht und Schatten zu einem harmonischen Ganzen zu verbinden. Die Neoimpressionisten strebten „die moderne Synthese“ an. Die Technik war allerdings sehr aufwendig, sodass sich damit weniger Bilder produzieren ließen, und eignete sich nicht für das rasche Festhalten eines unmittelbaren Eindrucks. Daher gab der Künstler ihre strenge Anwendung um 1890 wieder auf. Der Übergang war jedoch fließend – ein Farbauftrag in kurzen Strichen findet sich auch in späteren Werken.","en":"After the encounter with his younger fellow painters Georges Seurat and Paul Signac in 1885, Camille Pissarro adopted their technique, which was based on the newest developments in color theory. The paint was applied to the canvas in small dots, allowing the colors to mix not on the palette but in the eye of the beholder, thereby evoking a greater sense of luminosity. In his paintings, Pissarro sought to unite opposites such as warmth and cold or light and shadow into a harmonious whole in accord with the Neo-Impressionist quest for “a modern synthesis.” The technique was very laborious, limiting the number of pictures that could be produced and making it unsuitable for quickly capturing fleeting impressions. Pissarro therefore abandoned its strict use around 1890. However, the transition was gradual—short brushstrokes continued to appear in his later works."},"coverImage":"685ad26d9dc10a4724507b7e","3dModel":"685fa495f5c4cef12a03b13f","startPoint":{"sweepId":"beac69856c984b6ba9e3a9c26b188efd","rotation":{"x":-0.2,"y":65.75}},"infoWall":{"modelData":{"insideView":{"sweepId":"e317e089ecb1466e82a30bbdb40d11cd","rotation":{"x":9.2,"y":-89.34}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.91,"z":1.4},"position":{"x":-4.5,"y":1.9,"z":-3.89,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592acdef4a7e11c6cf295f","3dModels":[{"glbFile":"685fa495f5c4cef12a03b13f","id":"6af57d8780946500013209a9"}],"title":{"de":"Harmonie der Gegensätze","en":"A Harmony of Opposites"},"subtitle":{"de":"Neoimpressionistische Bilder","en":"Neo-Impressionist Paintings"}},{"hall":"Lel","description":{"de":"Alles fließt in Camille Pissarros Bildern von Paris: Menschen verschiedener sozialer Schichten, die sich zu Fuß und in Fuhrwerken fortbewegen, sind zentraler Bestandteil seiner Stadtlandschaften. Seinen anarchistischen Überzeugungen entsprechend, stellte Pissarro sowohl die Menge als auch das Individuum im modernen Gefüge der Metropole dar. Die Serien, die der Künstler zwischen 1893 und 1903 in der Hauptstadt schuf, zeigen Panoramen aus anonymer Distanz. Pissarro verstand sich als Beobachter, nicht als Bewohner der Metropole. In unterschiedlichen Lichtstimmungen malte er Motive wie den Boulevard Montmartre, den Pont Neuf, die Place du Théâtre Français – die anderen als hässlich galt, für Pissarro aber der Inbegriff von Modernität war – sowie die Seine und den Louvre. Sein Galerist Paul Durand-Ruel ermunterte ihn zu solchen Darstellungen, für die sich progressive Sammler begeistern ließen.","en":"In Camille Pissarro’s images of Paris, all is in flux: crowds of people of different social classes, moving along on foot and in carriages, are a central element of his cityscapes. In line with his anarchist convictions, Pissarro depicted both the crowd and the individual within the fabric of the modern metropolis. The series the artist created in the capital city between 1893 and 1903 show panoramas viewed from an anonymous distance. Pissarro understood himself as an observer of the metropolis, not as an inhabitant. In varying atmospheres of light, he depicted motifs such as the Boulevard Montmartre, the Pont Neuf, and the Place du Théâtre Français—which some considered ugly, but which for Pissarro was the epitome of modernity—as well as the Seine and the Louvre. His dealer Paul Durand-Ruel encouraged him to paint such scenes, which became popular among progressive collectors."},"coverImage":"685ad28f9dc10a4724507bc5","3dModel":"685ad29e9dc10a4724507bfb","startPoint":{"sweepId":"a668b34dbf6147e18a330f11ba72ee27","rotation":{"x":1.21,"y":-179.9}},"infoWall":{"modelData":{"insideView":{"sweepId":"d41ec7b0cee3497a8b7de13d4b27c1b1","rotation":{"x":-2.81,"y":-1.4}},"infoCollisionBox":{"geometry":{"x":1.44,"y":1.63,"z":0.05},"position":{"x":-7.1,"y":1.68,"z":4.39,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592b3aef4a7e11c6cf2960","3dModels":[{"glbFile":"685ad29e9dc10a4724507bfb","id":"6af57d8780946500013209aa"}],"title":{"de":"Menschen in der Stadt","en":"City People"},"subtitle":{"de":"Paris-Serien","en":"Paris Series"}},{"hall":"1B5","description":{"de":"In seinen letzten Lebensjahren schuf Pissarro mehrere Bilderserien von Hafenstädten in der Normandie. In Rouen, Dieppe und Le Havre mietete er sich in Hotels am Hafen ein, um vom Fenster aus das geschäftige Treiben der Reisenden und Schaulustigen sowie der Arbeiter beim Be- und Entladen der Schiffe festzuhalten. Unter wechselnden Wetterbedingungen fing Pissarro die lebhafte Atmosphäre und die durchaus poetischen Qualitäten der modernen Industrielandschaften ein. Dabei zielte er darauf, das Verhältnis von Himmel, Boden und Wasser in einer harmonischen Form zu erfassen. Mit diesen Szenen, in denen das Thema des internationalen Handels anklingt, schließt sich der Kreis zu Pissarros künstlerischen Anfängen auf Saint Thomas, wo die doppelte Perspektive des Kaufmannssohns und des angehenden Malers seinen spezifischen Blick auf den Ort des Hafens formte.","en":"In the final years of his life, Pissarro painted multiple series showing ports in Normandy. In Rouen, Dieppe, and Le Havre, he rented rooms in portside hotels in order to paint the bustle of travelers and sightseers from the window, as well as the workers loading and unloading the ships. Under changing weather conditions, Pissarro captured the lively atmosphere and distinctly poetic qualities of the modern industrial landscape. In doing so, he sought to capture the connection between sky, ground and water in a harmonious form. The theme of international trade resonates in these images, bringing us full circle to Pissarro’s artistic beginnings on Saint Thomas, where his double perspective as a merchant’s son and aspiring painter formed his unique awareness of the harbor as a place."},"coverImage":"685ad2b09dc10a4724507c30","3dModel":"685ac8ef9dc10a472450741c","startPoint":{"sweepId":"05fc27f0682645b391b5c539d5d415c9","rotation":{"x":-0.68,"y":-174.66}},"infoWall":{"modelData":{"insideView":{"sweepId":"81fc6695f56c4dfcaa10abcc73ab4dcd","rotation":{"x":3.73,"y":90.78}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.82,"z":1.44},"position":{"x":-11.79,"y":1.9,"z":33.12,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68592b73ef4a7e11c6cf2961","3dModels":[{"glbFile":"685ac8ef9dc10a472450741c","id":"6af57d8780946500013209ab"}],"title":{"de":"Motoren des Fortschritts","en":"Motors of Progress"},"subtitle":{"de":"Serien von Hafenstädten in der Normandie","en":"Normandy Port 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There, he joined the group Abstraction-Création, an international forum for abstract art. Many artists fled to Paris to escape political persecution. Under the influence of the Surrealists, Kandinsky began incorporating biomorphic forms into his works. The dominance of the Surrealists, who focused on the unconscious, led to a shift among many members of Abstraction-Création: rigid grid structures gave way to playful compositions and organic shapes. Kandinsky remained in France until his death in 1944. Despite the turmoil of World War II, he continued to explore the spiritual through his art. Many of his colleagues who fled Europe never returned to Paris. 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Die Metropole London, in der etwa Mondrian, Moholy-Nagy und Gabo Exil fanden, bevor sie in die USA emigrierten, wurde zu einem Zentrum der geometrischen Abstraktion. Kontakte zu britischen Künstlern wie Hepworth und Nicholson bestanden bereits durch die Pariser Gruppe Abstraction-Création. Noch vor den Bombenangriffen auf London 1940 zogen Hepworth und Nicholson zur Künstlerkolonie von St. Ives in Cornwall. Sie setzten ihre Arbeit an Reliefs und Skulpturen fort, mit denen sie die geometrische Abstraktion in die Räumlichkeit überführten. Farben und Formen der Küstenland-schaft inspirierten sie. Nach Kriegsende gründete sich in London die Gruppe der Constructionists. In ihren Reliefs, die wie Objekte der Industrieproduktion der 1950er Jahre wirken, verwendeten sie auch neue, synthetische Materialien. Sie reflektieren Optimismus und Modernisierung des Wiederaufbaus.","en":"In the late 1930s, as the threat of war loomed many artists fled to Great Britain. London became a center for geometric abstraction, with exiled artists such as Mondrian, Moholy-Nagy, and Gabo finding refuge there before emigrating to the United States. Connections to British artists like Hepworth and Nicholson had already been established through the Paris-based group Abstraction-Création. Even before the bombing of London in 1940, Hepworth and Nicholson moved to the artist colony in St. Ives, Cornwall. There, they continued their work on reliefs and sculptures, adapting geometric abstraction into three-dimensional forms. They were inspired by the colors and shapes of the coastal landscape. After the war, the Constructionists group formed in London. Their reliefs, which resemble industrial objects of the 1950s, incorporated new synthetic materials. These works reflected the optimism and modernization of postwar reconstruction."},"coverImage":"67b6f6085c358fca3f060244","3dModel":"67ca36a1727202766076e6a2","startPoint":{"sweepId":"1ccb4385d7e941329a07d7ac1d498b44","rotation":{"x":-4.16,"y":57.6}},"infoWall":{"modelData":{"insideView":{"sweepId":"289ab6990a8743beb5beba01bd127d5c","rotation":{"x":12.44,"y":-88.94}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.54,"z":1.95},"position":{"x":-8.93,"y":9.43,"z":2.73,"exhibitionDependent":[]}}}},"id":"67b5dc24b8ecad4268b416d9","3dModels":[{"glbFile":"67ca36a1727202766076e6a2","id":"6af57d8780946500013209b0"}],"title":{"de":"Harmonie der Kräfte","en":"Balanced Forces"},"subtitle":{"de":"Konstruktivistische Utopien in der britischen Kunst","en":"Constructivist Utopias in British Art"},"exhibitionDependentArtworkOffsetArray":[]},{"hall":"Lel","description":{"de":"In den 1960er Jahren wandte sich die geometrische Abstraktion in den USA dem monumentalen Format zu. Sie setzte auf klare Grundformen, scharfe Konturen und leuchtende Farben. Damit entfernten sich Künstlerinnen und Künstler von der expressiven Malweise, die in den 1950er Jahren die amerikanische Kunstszene dominiert hatte. In Washington entwickelte eine Gruppe um Kenneth Noland besondere Techniken: Sie gossen oder zogen verdünnte Farben großflächig über die Leinwand. Dabei experimentierten sie mit der psychologischen Wirkung von Farben und ihren Kombinationen. New Yorker Künstler wie Al Held und Frank Stella mieden expressiven Farbauftrag. In ihrem Hard Edge genannten Stil beziehen sich Farbe und Form nur auf sich selbst. Sie reflektierten die geometrische Abstraktion der Vorkriegszeit, jedoch ohne utopische Ideen zu verfolgen. Trotz der Ablehnung narrativer Elemente deuten Titel, Kompositionen und Farbkontraste oft auf kulturelle oder persönliche Kontexte hin.","en":"In the 1960s, geometric abstraction in the United States turned to monumental formats. Artists focused on basic shapes, sharp contours, and vibrant colors, moving away from the expressive painting that had dominated the American art scene in the 1950s. In Washington, a group around Kenneth Noland developed special techniques: they poured or dragged diluted paints over large areas of the canvas, experimenting with the psychological effects of colors and their combinations. New York artists like Al Held and Frank Stella avoided expressive brushwork. In their style, known as Hard Edge, color and form refer only to themselves. They reflected the geometric abstraction of the prewar era but without pursuing utopian ideas. Despite the rejection of narrative elements, often titles, compositions, and color contrasts hint at cultural or personal contexts."},"coverImage":"67b6f66a5c358fca3f0602e0","3dModel":"67ca36b5727202766076e6e3","startPoint":{"sweepId":"9cd9c40f56e04c91a211b6aba3ab484f","rotation":{"x":-2.13,"y":179.07}},"infoWall":{"modelData":{"insideView":{"sweepId":"9c3ae8adbe0042ed8bf90e81de8900b2","rotation":{"x":17.88,"y":-0.17}},"infoCollisionBox":{"geometry":{"x":1.71,"y":1.2,"z":0.05},"position":{"x":-17.24,"y":9.4,"z":6.66,"exhibitionDependent":[]}}}},"id":"67b5dc61b8ecad4268b416db","3dModels":[{"glbFile":"67ca36b5727202766076e6e3","id":"6af57d8780946500013209b1"}],"title":{"de":"Kraft der Farbe","en":"The Power of Color"},"subtitle":{"de":"Hard-Edge-Malerei","en":"Hard Edge Painting"},"exhibitionDependentArtworkOffsetArray":[]},{"hall":"1B5","description":{"de":"Klare Linien, industrielle Materialien und eine reduzierte Farbigkeit prägen den Minimalismus. Die Formulierung seiner Merkmale in Donald Judds Text „Spezifische Objekte\" von 1964 machte den neuen Stil greifbar. In den 1970er Jahren folgten zahlreiche Künstlerinnen und Künstler in den USA und Europa dem Minimalismus. Statt auf Emotion oder Symbolik zu setzen, fordern minimalistische Werke dazu auf, Nuancen wahrzunehmen: das subtile Zusammenspiel von Licht und Schatten auf einer Oberfläche, die Textur der Materialien oder die veränderliche Beziehung zwischen Objekt und Raum, wenn der Betrachter sich bewegt. Der Minimalismus distanzierte sich von der Idee der Einzigartigkeit des Kunstwerks und verbarg die Spuren handwerklicher Bearbeitung. Manche Künstler ließen ihre Werke sogar industriell produzieren. Leinwände wurden nicht als Bildträger, sondern als Objekte behandelt - Nägel erzeugen plastische Strukturen, Gitter überlagern sich, Kanten sind bemalt.","en":"Clear lines, industrial materials, and a reduced color palette define Minimalism. In his 1964 text \"Specific Objects,\" Donald Judd articulated the characteristics of this new style. Throughout the 1970s, numerous artists in the United States and Europe embraced Minimalism. Rather than focusing on emotion or symbolism, Minimalist works invite viewers to perceive subtle nuances: the interplay of light and shadow on a surface, the texture of materials, or the shifting relationship between object and space as the observer moves. Minimalism distanced itself from the notion of the artwork's uniqueness and concealed traces of manual craftsmanship. Some artists even opted for industrial production of their works. Canvases were treated not as image carriers but as objects-nails form three-dimensional structures, grids overlap, and edges are painted."},"coverImage":"67b6f6ad5c358fca3f060338","3dModel":"67ca36c8727202766076e724","startPoint":{"sweepId":"9d3674e8005a49e59c38b1b3e45d41c3","rotation":{"x":-4.15,"y":178.27}},"infoWall":{"modelData":{"insideView":{"sweepId":"ee560ed447c84f76af286387891615e7","rotation":{"x":13.49,"y":90.05}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.39,"z":1.57},"position":{"x":-16.22,"y":9.48,"z":35.46,"exhibitionDependent":[]}}}},"id":"67b5dcb1b8ecad4268b416dd","3dModels":[{"glbFile":"67ca36c8727202766076e724","id":"6af57d8780946500013209b2"}],"title":{"de":"Essenz der Form","en":"The Essence of Form"},"subtitle":{"de":"Transatlantischer Minimalismus","en":"Transatlantic Minimalism"},"exhibitionDependentArtworkOffsetArray":[]},{"hall":"0B1","description":{"de":"Die Kunst der Optical Art - kurz Op-Art - fordert die visuelle Wahrnehmung heraus. Muster auf einer zweidimensionalen Bildfläche scheinen sich zu bewegen oder räumlich hervorzutreten. Dieser Illusionismus macht das Sehen zu einem aktiven Erlebnis. Bereits Malewitsch und Kandinsky hatten in den 1910er und 1920er Jahren in ihren Gemälden mit geometrischen Elementen experimentiert, die schwebend oder dynamisch erscheinen. Die Op-Art knüpfte daran an. Sie nutzte die am Bauhaus erarbeiteten Erkenntnisse der Wirkung von Farben und Formen und überführte sie in die von Technologie, Raumfahrt und dem Flimmern des Fernsehbildschirms geprägte Ästhetik der 1960er Jahre. Kunst, die mit optischen Effekten spielte, entstand unabhängig an verschiedenen Orten. Als Stil wurde sie erst 1965 mit der Ausstellung The Responsive Eye im Museum of Modern Art in New York erkannt.","en":"Optical Art—Op Art for short-challenges visual perception. Patterns on a two-dimensional surface appear to move or protrude, creating an illusion that turns seeing into an active experience. As early as the 1910s and 1920s, artists like Malevich and Kandinsky had experimented with geometric elements that seem to float or appear dynamic. Op Art built on this foundation. It drew on the insights of color and form effects developed at the Bauhaus, translating them for the 1960s aesthetic, which was shaped by technology, space exploration, and the flicker of television screens. Art that played with optical effects emerged independently in various places. It was only recognized as a distinct style in 1965 with the exhibition The Responsive Eye at the Museum of Modern Art in New York."},"coverImage":"67b6f6e85c358fca3f060396","3dModel":"67ca3727727202766076e81c","startPoint":{"sweepId":"f4e96c0760ec4c1b905de55dae875735","rotation":{"x":-2.54,"y":-90.03}},"infoWall":{"modelData":{"insideView":{"sweepId":"261234ea1b524a15bab7669f14a2fa22","rotation":{"x":12.48,"y":-0.8}},"infoCollisionBox":{"geometry":{"x":1.64,"y":1.24,"z":0.05},"position":{"x":18.1,"y":1.99,"z":25.62,"exhibitionDependent":[]}}}},"id":"67b5dcffb8ecad4268b416df","3dModels":[{"glbFile":"67ca3727727202766076e81c","id":"6af57d8780946500013209b3"}],"title":{"de":"Space Age","en":"Space Age"},"subtitle":{"de":"Op-Art der 1960er Jahre","en":"Op Art in the Sixties"},"exhibitionDependentArtworkOffsetArray":[]},{"hall":"0B2","description":{"de":"Die amerikanischen Op-Art-Künstler Richard Anuszkiewicz und Julian Stanczak waren Schüler des ehemaligen Bauhaus-Lehrers Josef Albers. Dieser war 1933 in die USA emigriert, wo er mit der Serie Huldigung an das Quadrat die Farb-und Formforschungen fortsetzte, die er am Bauhaus neben Kandinsky begonnen hatte. Seine quadratischen Kompositionen gelten als Vorläufer der Op-Art. Seine beiden Schüler griffen Albers' Schema des Quadrats auf. Auch sie untersuchten, wie Farben je nach ihrer Kombination hervorzutreten oder zurückzuweichen scheinen, opak oder transparent wirken. Sie führten jedoch grellere Farben und stärkere Kontraste ein, die intensive Effekte erzeugen und die Grenzen der Wahrnehmung ausreizen.","en":"The American Op Artists Richard Anuszkiewicz and Julian Stanczak were students of the former Bauhaus teacher Josef Albers. Albers had emigrated to the United States in 1933, where he began his series Homage to the Square. These geometric compositions continued the research on color and form, which he had begun at the Bauhaus alongside Kandinsky—they are considered precursors to Op Art. Both students adopted Albers' square framework. Like him, they explored how colors can seem opaque or transparent, and appear to advance or recede depending on their combination. 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Sie sind die Komponenten der geometrischen Abstraktion. Ihr Vorreiter war Wassily Kandinsky, der mit seinen Schriften ihre theoretischen Grundlagen legte. Kosmos Kandinsky. Geometrische Abstraktion im 20. Jahrhundert spannt einen Bogen von den 1910er bis in die 1970er Jahre und beleuchtet den Einfluss Kandinskys durch seine Kunst, seine Theorie und sein Netzwerk. Die Ausstellung zeigt, wie die geometrische Abstraktion - auch durch erzwungenes Exil vieler Künstler - in Europa und den USA zur universellen Bildsprache wurde. Kandinskys Lehre vom „Geistigen in der Kunst\" belegt, wie auch Kompositionen von Formen und Farben die fortschrittlichen Theorien einer Epoche widerspiegeln und Träger psychologischer Wirkungen sein können. Die Klarheit und reduzierte Formensprache der geometrischen Abstraktion reagierte auf die Präzision und Dynamik einer von Technik geprägten Welt. Eine Ausstellung des Museums Barberini, Potsdam. Mit großzügiger Unterstützung der Fondation Gandur pour l'Art, Genève.","en":"At the beginning of the twentieth century, art underwent a profound transformation. Artists no longer depicted the visible world. Against the backdrop of industrialization, revolutions, and scientific discoveries, artistic elements such as color, as well as point, line, and plane gained new significance. These elements became the building blocks of geometric abstraction. Its pioneer, Wassily Kandinsky, laid its theoretical foundations through his writings. Kandinsky's Universe: Geometric Abstraction in the 20th Century spans from the 1910s to the 1970s and highlights Kandinsky's influence through his art, theories, and network. The exhibition demonstrates how geometric abstraction-partly due to the forced exile of many artists—became a universal visual language in Europe and the United States. Kandinsky's doctrine of the \"Spiritual in Art\" illustrates how compositions of forms and colors can reflect the progressive theories of an era and evoke psychological responses. The clarity and reduced formal language of geometric abstraction was a reaction to the precision and dynamism of a world shaped by technology. An exhibition by the Museum Barberini, Potsdam. 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Von Steinbrüchen in der Normandie wurde das Material für die Boulevards und die neuen Quartiere in der rasant wachsenden Metropole verschifft. Neben Getreide und Gemüse aus dem Pariser Umland brachten Lastkähne Muscheln, Textilien und andere Konsumgüter zum Verkauf in der Stadt. Daneben war die Seine auch Schauplatz des modernen Segelsports und Ausflugsziel erholungs-suchender Städter, die mit der Eisenbahn in die Vororte gelangten - Aspekte des modernen Lebens, die die Impressionisten wie selbstverständlich in ihre Landschaftsbilder integrierten.","en":"The Impressionists developed their repertoire of motifs through the landscapes along the Seine. Working outdoors and focusing on the here and now, they renounced the anecdotal elements that characterized earlier landscape painting. They sharpened their skills of observation on the reflecting surfaces of the Seine. In addition to the constant change of light and of the clouds in the sky, other dynamic moments were observed in the reflections and flowing of the water. As early as 1865 Pierre-Auguste Renoir and Alfred Sisley embarked on a painting excursion along the Seine that ended in the estuary at Le Havre. Many artists in this collection continue to be associated with towns along the Seine such as Argenteuil, Giverny, and Moret, among them Eugène Boudin, Gustave Caillebotte, Claude Monet, Paul Signac, and Alfred Sisley. In the second half of the nineteenth century industrialization and increased efficiency further transformed the Seine. Steamships operated on supply routes to the capital and brought steel for the construction of railways and arcades from the foundries on the river. Building materials for the boulevards and new neighborhoods in the quickly growing metropolis were also shipped from the stone quarries in Normandy. Besides grain and vegetables from the surrounding countryside, barges transported mussels, textiles, and other goods to be sold to urban consumers. The Seine was also the scene of modern sailing sports and a destination for day-trippers from the city, who reached the suburbs by train. These were aspects of modern life that the Impressionists integrated into their landscape paintings as a matter of course."},"coverImage":"67b6feec5c358fca3f0608ec","3dModel":"67cae5520aa4f91dd2e19358","3dModels":[{"glbFile":"6ac98bfcbb42ed4293e293a9","id":"69d26d9f02142f001b7bbdb0"}],"startPoint":{"sweepId":"b94e0753bc874be6871095f7a74b2b98","rotation":{"x":-3.198625977050304,"y":-89.58411633330434}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.72,"y":1.96,"z":0.05},"position":{"x":22.441025447270306,"y":-5.453227445244186,"z":23.26708578107041,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":17.98,"y":9.22,"z":25.64},"id":"688e2b600e9aa1b4d8540d1c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.5,"y":1.78,"z":23.25},"id":"688e2c2a0e9aa1b4d8540d1d"},{"exhibition":"67b338818635bba96e329691","position":{"x":22.479620200247677,"y":-5.479990490310241,"z":23.26708578107041},"id":"69bd239172d5786b609cf2de"}]}},"insideView":{"sweepId":"84d871ba5bd74725970e2ed4854581da","rotation":{"x":2.589379205785266,"y":0.5620476677299462}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.64,"y":-7.51,"z":-2.34,"id":"6929544f208b8c4c6ec7b4e5"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3587,"y":-7.4989,"z":-2.2513,"id":"69a9d2b9b366e7001bdbe951"}],"id":"67b6faea3f862b6f010e2388"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"1B4","title":{"de":"Paris und die Peripherie","en":"Paris and the Periphery"},"subtitle":{"de":"","en":""},"description":{"de":"Die Impressionisten beobachteten das Leben auf den Boulevards, in den Kaffeehäusern und Parks. Gewaltige Umbaumaßnahmen hatten die Hauptstadt seit den 1850er Jahren verändert. Im Auftrag Kaiser Napoleons III. hatte Baron Haussmann die Stadt zu einer modernen Metropole umgestaltet: mit monumentalen Sichtachsen und Schneisen für den wachsenden Verkehr, mit neuen Grünanlagen, riesigen Markthallen, Bahnhöfen und Theatern. Gleichförmige Fassaden und Baumreihen, Gaslaternen, Litfaßsäulen, Cafés und Geschäfte säumten die Straßen. Paris war die Stadt mit den nach London meisten Einwohnern. Von 1850 bis 1870 verdoppelte sich deren Anzahl auf zwei Millionen. Neue Straßenzüge führten in die Peripherie. Die Vororte wuchsen durch den Zuzug von Handwerkern und Angestellten, die den steigenden Mieten im Zentrum entgehen wollten. Anders als in London, wo die Arbeiterschaft im Zentrum lebte, entstanden um Paris mit der Industrialisierung die Banlieues. Seit den 1860er Jahren fuhren die erholungssuchenden Pariser mit der Eisenbahn in weniger als fünf Stunden an die Küste der Normandie. In Étretat und Trouville waren Seebäder nach englischem Vorbild entstanden. Anders als im 18. Jahrhundert, als sich der Adel in Kurorten mit Heilquellen, Thermalbädern und Parks erholte, zogen die zum offenen Meer ausgerichteten Badeorte zahllose Touristen an - unter ihnen die Künstler und ihre Sammler.","en":"The Impressionists observed life on the boulevards, in cafés and parks. Massive construction work had transformed the capital since the 1850s. In the service of Napoleon III, Baron Haussmann had turned the city into a modern metropolis with monumental avenues and thoroughfares for the growing traffic, boasting new parks, enormous market halls, train stations, and theaters. Uniform façades and rows of trees, gas lanterns, advertising columns, cafés, and shops lined the streets. After London, Paris was the largest city in the world. Between 1850 and 1870 the population doubled to two million inhabitants. New streets connected the city with the periphery. The suburbs grew when blue- and white-collar workers moved there in search of alternatives to the high rents in the city center. Unlike in London, where the workers lived downtown, in Paris the banlieues were created through industrialization. Since the 1860s Parisians who were looking for recreation were able to travel by railroad to the coast of Normandy in less than five hours. In Étretat and Trouville there were resorts in the style of English baths. Unlike during the eighteenth century, when only the nobility went to spas to take the waters, bathe in hot springs, and relax in parks, countless tourists were drawn to the resorts on the seaside, including the artists and their collectors."},"coverImage":"67b6fea75c358fca3f060891","3dModel":"67caf14d0aa4f91dd2e19be7","3dModels":[{"glbFile":"6ac98c02bb42ed4293e293bb","id":"69d26d9f02142f001b7bbdb1"}],"startPoint":{"sweepId":"9157c44f0845461090806650fae0f4fb","rotation":{"x":-4.368376621908027,"y":-91.36761041006801}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.72,"y":1.96,"z":0.05},"position":{"x":36.34514881438148,"y":-5.3412864270067395,"z":32.87079938585636,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":36.51,"y":1.89,"z":32.78},"id":"688e454d7080e41820ff4559"},{"exhibition":"67b338818635bba96e329691","position":{"x":36.34514881438148,"y":-5.3412864270067395,"z":32.87079938585636},"id":"69bd24a872d5786b609cf2df"}]}},"insideView":{"sweepId":"38d7a963530147c8ba619655596ea983","rotation":{"x":5.7914495710074805,"y":179.11581997411366}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.58,"y":-7.55,"z":-2.34,"id":"6929668036d45c4158d58e1e"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3349,"y":-7.6066,"z":-2.2815,"id":"69a9d2b9b366e7001bdbe952"}],"id":"67b6fbb03f862b6f010e238a"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B6","title":{"de":"Ein neuer Realismus","en":"A New Realism"},"subtitle":{"de":"","en":""},"description":{"de":"Die Motive der Impressionisten sind betont unspektakulär: Kornfelder, Pappelreihen, Feldwege und Wiesen. In den Feldern an ihren Wohnorten fingen sie für ihr Pariser Publikum Aspekte französischer Landschaft ein, die weder nostalgischen noch nationalen Klischees entsprachen. Lebendig werden ihre neuartigen Naturausschnitte durch die bewegte Pinselführung. So offen die Malweise auch ist, so exakt ist doch die Topographie wiedergegeben. Wege versinnbildlichen nicht mehr den Lauf des Lebens wie in der klassischen Landschaftsmalerei, sondern laden die Betrachter ein, Licht und Luft, Tages- und Jahreszeiten mit allen Sinnen zu empfinden. Als Städter nahmen die Künstler das agrarisch geprägte Frankreich mit anderen Augen wahr als die Bauern ihr Ackerland. Während Camille Pissarro und Alfred Sisley sich in ihren Bildern mit der Landbevölkerung in Beziehung setzten, inszenierte Claude Monet sich und seine Familie als Außenstehende. Seine Bilder zeigen das landschaftliche Umfeld Givernys ohne die Arbeit der ansässigen Bauern in den Blick zu nehmen. Mit wechselnden Licht- und Wetter-bedingungen erfassten die Maler atmosphärische Erscheinungen, wie sie die Wissenschaft im 19. Jahrhundert erforschte. Auch die Künstler setzten auf genaue Beobachtung der Phänomene. Dabei entstand keine willkürliche Stimmungsmalerei, sondern ein Protokoll unmittelbaren Erlebens: jeder Pinselstrich eine Information.","en":"The motifs of the Impressionists are adamantly unspectacular: fields of wheat, rows of poplars, forest paths, and meadows. In the fields near their homes, they recorded aspects of the French landscape that did not correspond to nostalgic or national clichés. Their new modern views of nature come alive through animated brushstrokes. Despite the openness of their painting style, their depiction of topography is precise. Paths, for example, instead of symbolizing the course of life as in classic landscape painting, now invite viewers to experience the light, air, times of day, and seasons with all of their senses. As people from the city, the Impressionists perceived France's agrarian tradition in a different way than the farmers saw their land. While Camille Pissarro and Alfred Sisley engaged with rural people in their pictures, Claude Monet staged himself and his family as outsiders. His paintings show the rural environment of Giverny without directly depicting the work of the local farmers. In changing light and weather conditions the painters captured atmospheric phenomena of the sort that nineteenth-century scientists researched. The artists, too, strove for an exact observation of phenomena. Rather than painting random atmospheric effects, they created protocols of direct experience: each brushstroke a piece of information."},"coverImage":"67b6fdd95c358fca3f0607bb","3dModel":"67caea9a0aa4f91dd2e196f7","3dModels":[{"glbFile":"69cea5ca70c4a99939b3a7b2","exhibition":"699c56f3870053377ae01aa0","id":"69cea5b4a9f9cb7f5e8a3dd9"},{"glbFile":"6aca6738af3802bc375cb4d1","id":"6aca6742af3802bc375cb4e0"}],"startPoint":{"sweepId":"57e7e4f42db341b39a2bbc4b5b4f34e5","rotation":{"x":-9.680895730073015,"y":-88.64976691074105}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.71,"y":1.63,"z":0.05},"position":{"x":22.511528540044413,"y":1.7300481240878167,"z":23.28855454980808,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.58,"y":9.17,"z":23.28},"id":"68909e0b55609b65edca8c53"}]}},"insideView":{"sweepId":"2cdbdab184934c26985cebf84d7d746c","rotation":{"x":6.6548849019929035,"y":0.4648490428018768}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.31,"id":"6929671636d45c4158d58e20"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3788,"y":-7.5149,"z":-2.2826,"id":"69a9d2b9b366e7001bdbe953"}],"id":"67b6fbcf3f862b6f010e238c"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B7","title":{"de":"Moderne am Meer","en":"Modernity by the Sea"},"subtitle":{"de":"","en":""},"description":{"de":"Frankreich war keine Seefahrer-nation. Doch gewannen die Küsten der Bretagne und der Normandie im Lauf des 19. Jahrhunderts an Bedeutung. Le Havre, wo Eugène Boudin und Claude Monet ihre ersten Malkampagnen starteten, war nach Marseille der zweitgrößte französische Hafen. Schon zu Beginn des 19. Jahrhunderts waren hier die Baumwollschiffe aus der Neuen Welt angekommen. Der oft archaisch anmutende Charakter der Hafenstädte mit ihren Segelschiffen täuscht, denn sie hatten ihre Wirtschaft bereits von der vorindustriellen Produktion auf moderne Dienstleistungen umgestellt. Um dem expandierenden Handel gerecht zu werden, wurden französische Häfen nach dem Vorbild der Londoner Docks umgebaut. Auch Le Havre rüstete sich für immer größere Dampfschiffe: 1872 wurde damit begonnen, den von Boudin und Monet dargestellten Außenhafen mit einer neuen Kaimauer auszubauen. Impressionistische Hafendarstellungen dienten nicht wie die Marinemalerei Englands und der Niederlande dazu, dem Nationalstolz auf die Flotte Ausdruck zu verleihen. Die Künstler ließen sich von Vorbildern der Alten Meister anregen und arbeiteten die Modernität der Hafenstädte heraus. Künstliche Beleuchtung zeigt den neuen Takt des Warenumschlags an. Intensivierung und Verdichtung zeigt auch Monets Malerei. In London hatte er, wie wenig später auch Berthe Morisot - die einzige Frau, die von Beginn an mit den Impressionisten ausstellte -, nicht nur die englischen Docks, sondern auch die dynamische Malerei William Turners kennen-gelernt.","en":"Although France was not a seafaring nation, the coasts of Brittany and Normandy gained importance over the course of the nineteenth century. Le Havre, where Eugène Boudin and Claude Monet started their first painting campaigns, was the second largest port in France after Marseille. Ships carrying cotton from the New World had been landing there since the early nineteenth century. The often archaic appearance of the ports with their sailboats is misleading, because they had already transformed their economy from preindustrial production to modern services. To keep up with the expanding trade, French harbors were rebuilt after the model of the London Docks. Le Havre also underwent modification to accommodate steamers of increasing size: in 1872 work was begun on the expansion of the outer harbor, which Boudin and Monet painted, with a new quay wall. Impressionist depictions of harbors did not serve the purpose of marine painting in England or the Netherlands, which was to express pride in the national fleet. The artists were inspired by works by the Old Masters and focused on the modernity of the ports. The new rhythm of cargo handling was illuminated by artificial lighting. Monet also intensified and consolidated what he saw. He had visited the Docks in London, where he had also come into contact with the dynamic paintings of William Turner, as Berthe Morisot (the only woman who exhibited with the Impressionists from the very beginning) would do soon after him."},"coverImage":"67b6fd9f5c358fca3f06075f","3dModel":"67caea810aa4f91dd2e196b1","3dModels":[{"glbFile":"6ac98c07bb42ed4293e293c8","id":"69d26d9f02142f001b7bbdb2"}],"startPoint":{"sweepId":"746bbec610d54a738089e95655a7bbaf","rotation":{"x":-1.7332663117722966,"y":-88.13002317384505}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.73,"y":1.78,"z":0.05},"position":{"x":36.295291715468736,"y":1.7431240139936892,"z":32.89291112944722,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":36.43,"y":9.06,"z":32.79},"id":"6890a8de55609b65edca8c54"}]}},"insideView":{"sweepId":"71683e11979a448184ca83eced81a88b","rotation":{"x":4.7290422604697735,"y":-179.45780790657918}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.31,"id":"6929674836d45c4158d58e22"},{"exhibition":"699c56f3870053377ae01aa0","x":4.4157,"y":-7.5162,"z":-2.31,"id":"69a9d2b9b366e7001bdbe954"}],"id":"67b6fbe93f862b6f010e238e"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B8","title":{"de":"Gartenbilder","en":"Garden Scenes"},"subtitle":{"de":"","en":""},"description":{"de":"Im 19. Jahrhundert entwickelte sich die Gartenkultur, ausgehend von England, zur Leidenschaft gebildeter Schichten. Auch das Interesse an importierten exotischen Pflanzen nahm zu. Die Impressionisten pflegten ihre Vorliebe für das Wandelbare auch im eigenen Garten und brachten mit diesem neuen Thema den Wechsel von Tages- und Jahreszeiten zur Anschauung. Claude Monets Schaffen ist untrennbar mit dem Wassergarten verbunden, den er in den 1890er Jahren anlegte und dessen Seerosenteich zum bestimmenden Motiv seines Spätwerks wurde. Doch bereits seit den 1870er Jahren setzte sich der begeisterte Hobbygärtner intensiv mit dem Thema der Hortikultur auseinander. Dieses Interesse teilte Monet mit Freunden wie Gustave Caillebotte, dem Schriftsteller Octave Mirbeau und dem Politiker Georges Clemenceau. Bei japanischen Händlern in Paris erwarben sie Blumenzwiebeln und -samen, aus denen sich die Farbenpracht ihrer Gärten entwickeln sollte. Mit Chrysanthemen züchteten sie eine Pflanze, die in Japan die Sonne symbolisiert. Caillebotte regte der Austausch mit Monet zu Stillleben mit Blumen des eigenen Gartens an. Künstlergärten wurden um die Jahrhundertwende aber auch ein wichtiges Thema, weil sie die Möglichkeit boten, Naturbilder mit Innenraumdarstellungen zu verbinden.","en":"In the nineteenth century, garden culture developed into a hobby of the educated classes after the English model. There was also an increase in the importation of exotic plants. In their own gardens the artists around Claude Monet cultivated their love for variability and sought to visualize the changing times of day and seasons through this new subject. Claude Monet's oeuvre is inextricably linked with the water garden he created in the 1890s and whose water-lily pond became the defining motif of his late work. But the enthusiastic amateur gardener had already been working intensively on the subject of horticulture since the 1870s. Monet shared his passion for designing gardens with friends including Gustave Caillebotte, the writer Octave Mirbeau, and the politician Georges Clemenceau. With flower bulbs and seeds purchased from Japanese merchants in Paris, they developed the rich coloring of their gardens. The chrysanthemums they cultivated, for example, symbolized the sun in Japan. Exchanges with Monet encouraged Caillebotte to paint still lifes with flowers from his own garden. Artist gardens were also an important topic at the turn of the century because they offered the possibility of combining images of nature with interiors."},"coverImage":"67b6fd5f5c358fca3f060704","3dModel":"67b6fd795c358fca3f060729","3dModels":[{"glbFile":"6ac98c0bbb42ed4293e293d5","id":"69d26d9f02142f001b7bbdb3"}],"startPoint":{"sweepId":"94bbacaebc824854b2ad8b880598d7de","rotation":{"x":6.75,"y":90.41}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.05,"y":1.54,"z":1.69},"position":{"x":-4.527419331655285,"y":1.965678908391232,"z":25.299877878595325,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.32,"y":9.17,"z":25.5},"id":"6890ae4355609b65edca8c55"}]}},"insideView":{"sweepId":"b03fe40655134fd78b466764400fd1b1","rotation":{"x":8.5,"y":-88.88}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.24,"id":"6929677736d45c4158d58e24"},{"exhibition":"699c56f3870053377ae01aa0","x":4.4274,"y":-7.5024,"z":-2.2343,"id":"69a9d2b9b366e7001bdbe955"}],"id":"67b6fc063f862b6f010e2390"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A8","title":{"de":"Die Farbe Weiß","en":"The Color White"},"subtitle":{"de":"","en":""},"description":{"de":"Die Winter der 1860er bis 1890er Jahre waren schneereich. Auch in Gegenden Frankreichs, in denen es selten schneit, fielen bis zu 30 Zentimeter Schnee. Am Ende der Kleinen Eiszeit, die im 17. Jahrhundert begonnen hatte, kam es zu einer Erwärmung, die zu einer zirkulierenden Feuchtigkeit in den unteren Schichten der Atmosphäre und zu ungewöhnlich hohen Niederschlägen führte. Schon den Landschaftsmaler Gustave Courbet hatte diese Ausnahme-situation, die die Landschaft ver-fremdete, zu Winterbildern inspiriert. Wie dieser waren die Impressionisten nicht mehr daran interessiert, das Heroische zu thematisieren, das dem Schnee im kollektiven Gedächtnis nach den Winterkriegen Napoleons eingeschrieben war. Die Verwandlung der Landschaft durch den Schnee gab den Malern die Freiheit, sich auf Licht und Farbe zu fokussieren. Die Künstler arbeiteten bei Minus-graden unter erschwerten Bedin-gungen. Sie setzten sich der eisigen Kälte aus, um dem Schnee die optischen Phänomene der Lichtbrechung auf den Kristallen abzugewinnen. Wie bei ihren Darstellungen von Wasserflächen ging es den Malern um die visuelle Verschränkung von Himmel und Erde. Sie beobachteten das Schauspiel des Widerscheins vom Himmelblau und glühender Sonnenuntergänge. Die Reflexionen auf dem Schnee setzten sie in teils abstrakt anmutende Malerei um.","en":"There was a particularly large amount of snow during the winters between the 1860s and the 1890s. Even areas of France that rarely experienced snowfall had up to thirty centimeters of snow. This was due to a rise in temperature that resulted in circulating humidity in the lower layers of the atmosphere and an unusual amount of precipitation at the end of the Little Ice Age, which had begun in the seventeenth century. This unusual situation, which transformed the landscape, had already inspired Gustave Courbet to paint winter scenes. Like Courbet, the Impressionists were no longer interested in heroic subject matter that was engraved in the collective memory following Napoleon's winter campaign. The metamorphosis of the landscape due to the snow gave painters the freedom to focus on light and color. The artists worked at sub-zero temperatures under difficult conditions. They endured icy cold in order to depict the optic phenomena of light refraction on snow crystals. Similar to their representation of water surfaces, the painters were interested in the visual connection between the sky and earth. They observed the spectacle of the reflections of sky blue and firey sunsets. They captured reflections on snow in paintings that were at times nearly abstract in outlook."},"coverImage":"67b6fd255c358fca3f0606a6","3dModel":"67b6fd3f5c358fca3f0606ce","3dModels":[{"glbFile":"6ac98c0fbb42ed4293e293e2","id":"69d26d9f02142f001b7bbdb4"}],"startPoint":{"sweepId":"1ee280e8416e4f0d9bbdf9150c19e9d0","rotation":{"x":0.93,"y":90.27}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.1,"y":1.53,"z":1.65},"position":{"x":-4.56446306946763,"y":1.9538980866039903,"z":0.4313419181075244,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-3.88,"y":9.16,"z":0.48},"id":"6890d1902cd0e82723613b84"}]}},"insideView":{"sweepId":"23511c4ef5334e9882bc233476bfe7e6","rotation":{"x":8.01,"y":-90.19}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.24,"id":"692967e936d45c4158d58e26"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3117,"y":-7.5016,"z":-2.1985,"id":"69a9d2b9b366e7001bdbe956"}],"id":"67b6fc1d3f862b6f010e2392"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A6","title":{"de":"Die Küsten Europas","en":"The Coasts of Europe"},"subtitle":{"de":"","en":""},"description":{"de":"Nur die Venedig-Ansichten Claude Monets erinnern noch an die Grand Tour der Künstler voriger Jahrhunderte. Die Stadt hatte schon den Romantikern eine atmosphärische Lichtmalerei entlockt. Die Malerei des Nordens und die Beobachtung der heimischen Natur hatten in Monets Generation das Vorbild der Antike und der an der italienischen Campagna geschulten klassizistischer Landschaftsmalerei abgelöst. Wenn Eugène Boudin, Berthe Morisot und später Paul Signac Italien besuchten, dann nicht auf den traditionellen Wegen. Vielmehr reisten sie mit der Eisenbahn entlang der Küsten wie andere Touristen. Die Küsten Nord- wie Südeuropas wurden im späten 19. Jahrhundert mit Postkarten touristisch vermarktet. Die Maler stellten sich dieser Konkurrenz, indem sie mit den Aus-schnitttechniken der Photographie arbeiteten. Ihre pastose Malerei stand im Gegensatz zu den glatten Oberflächen des neuen Mediums. Die Côte d'Azur wurde touristisch zur gleichen Zeit erschlossen, als sich Cross und Signac dort in den 1890er Jahren niederließen. Das Sonnenlicht, das die Maler in den Süden zog, war für sie eine Energie, die künstlerische Neuerungen mit gesellschaftlichen Utopien speiste. Die drei Generationen der Impressionisten, Pointillisten und Fauvisten - Zeitgenossen eines sich rasant entwickelnden modernen Frankreichs - verband das gleiche Ideal: Natur mit Licht und Farbe sinnlich erfahrbar zu machen.","en":"Claude Monet's views of Venice are the only works that are reminiscent of the Grand Tours on which artists of previous centuries embarked. The city had already inspired Romantic painters to create atmospheric depictions of light. In Monet's generation the model of antiquity and classic landscape painting that was schooled on the Italian Campagna had been replaced by northern painting and the study of nature at home. When Eugène Boudin, Berthe Morisot, and later Paul Signac traveled to Italy, they did not take the traditional approach. Instead they traveled with the railroad along the coasts like other tourists. The coasts of northern and southern Europe were marketed as tourist destinations in the late nineteenth century by means of postcards. The painters reacted to this competition by adapting the cut-out techniques of photography. The impasto of their paintings was quite the opposite of the slick surfaces of the new medium. The Côte d'Azur was being discovered by tourism at the same time as Cross and Signac settled there in the 1890s. The sunlight that attracted the painters to the south was a sort of energy that fed artistic innovations and social utopias. Three generations of Impressionists, Pointillists, and Fauves, contemporaries of a rapidly developing modern France, were linked by the same ideal: making nature experienceable with the senses by means of light and paint."},"coverImage":"67b6fcd25c358fca3f060648","3dModel":"67caeceb0aa4f91dd2e19937","3dModels":[{"glbFile":"69cea58f70c4a99939b3a75a","exhibition":"699c56f3870053377ae01aa0","id":"69cea578a9f9cb7f5e8a3dd7"},{"glbFile":"6aca6743af3802bc375cb4e4","id":"6aca6748af3802bc375cb4ee"}],"startPoint":{"sweepId":"05ca5ce08937493fa2104ef327693644","rotation":{"x":-4.971020773654717,"y":-89.34168595089287}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.76,"y":1.73,"z":0.05},"position":{"x":8.108896970210926,"y":1.833057579473252,"z":-6.74813349435814,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":8.17,"y":9.06,"z":-6.71},"id":"6890d2be2cd0e82723613b85"}]}},"insideView":{"sweepId":"03ea023d3f944e0fb40d135aaef659f9","rotation":{"x":3.1911727434578516,"y":-0.21119619092232722}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.28,"id":"6929680936d45c4158d58e28"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3685,"y":-7.5228,"z":-2.28,"id":"69a9d2b9b366e7001bdbe957"}],"id":"67b6fc373f862b6f010e2394"},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A7","title":{"de":"Monets Serien","en":"Monet’s Series"},"subtitle":{"de":"","en":""},"description":{"de":"Nachdem Monet Ende der 1870er Jahre Paris den Rücken gekehrt hatte, widmete er sich zunächst in Vétheuil und später in Giverny der Natur im Wechsel von Tages- und Jahres-zeiten. Hier verfolgte er die Idee, durch Wiederholungen des Motivs der Erfassung des Augenblicks näher-zukommen. Von 1891 an nutzte Monet Einzelausstellungen in seiner Pariser Galerie Durand-Ruel zur Präsentation groß angelegter Werkreihen, bei denen er ein einziges Motiv in zahlreichen Variationen durchspielte: Auf seine Getreideschober folgten die Kathedralen von Rouen, später die Serie des britischen Parlaments in London und schließlich die des Seerosenteichs in seinem Wasser-garten in Giverny. Drei dieser Werkgruppen sind in der Sammlung Hasso Plattner beispielhaft vertreten. Mit den Getreideschobern stellte Monet sein Konzept des enveloppe vor - jener das Motiv umgebenden Hülle aus Licht und Luft, die er zum eigentlichen Gegenstand seiner Malerei erhob. Die im Smog gegen den Sonnenuntergang aufscheinende Silhouette von Westminster Palace beschäftigte ihn bei drei London-Aufenthalten zwischen 1899 und 1901. Der Seerosenteich in Giverny gab Monet über zwei Jahrzehnte lang Stoff zu sehen und zu malen: Spiegelnde Wasserflächen hatten sein Werk von Anfang an geprägt. Das neben seinem Seerosenteich gelegene Atelier erlaubte es ihm, nun auf bisher ungeahnt großen Leinwänden zu arbeiten. Indem sie auf den Horizont verzichten und den Himmel spiegeln, entgrenzen die Bilder den Landschaftsraum und bieten den Betrachtern ein immersives Erlebnis.","en":"After Monet turned his back on Paris at the end of the 1870s, he devoted himself first in Vétheuil and later in Giverny to depictions of nature showing the changing days and seasons. There he pursued the idea of coming closer to capturing the fleeting moment through repetitions of one given motif. From 1891 on Monet used solo exhibitions at the Paris gallery of Durand-Ruel to present large-scale series of works in which he showed one single motif in numerous variations. His Grainstacks were followed by Rouen Cathedral, later by the series of the Houses of Parliament in London, and finally by that of the Water Lilies in his garden in Giverny. Three of these groups are represented in the Hasso Plattner Collection. With the Grainstacks, Monet introduced his concept of the enveloppe - the \"envelope\" of light and air surrounding the motif, which he elevated to the actual subject of his painting. The silhouette of Westminster Palace appearing in the smog against the sunset occupied him during three stays in London between 1899 and 1901. The water-lily pond in Giverny gave Monet material to see and paint for over two decades: reflecting water surfaces had influenced his work from the beginning. The studio located next to his water-lily pond allowed him to work on canvases of an unprecedented size. By doing away with the horizon and mirroring the sky, these landscapes seem to expand beyond the frame of the canvas, offering viewers an immersive experience."},"coverImage":"67b6fc915c358fca3f0605dc","3dModel":"67caed120aa4f91dd2e19998","3dModels":[{"glbFile":"69cea54570c4a99939b3a706","exhibition":"699c56f3870053377ae01aa0","id":"69cea528a9f9cb7f5e8a3dd5"},{"glbFile":"6aca6749af3802bc375cb4f2","id":"6aca674caf3802bc375cb4fc"}],"startPoint":{"sweepId":"9b027162b9954d00afae2fd8106e13e9","rotation":{"x":-1.08,"y":-90.89}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.05,"y":1.89,"z":1.76},"position":{"x":28.89,"y":1.75,"z":0.44,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.92,"y":9.13,"z":0.48},"id":"6890da7c2cd0e82723613b86"}]}},"insideView":{"sweepId":"ef91446568d943a689d8b10bad8363cd","rotation":{"x":7.85,"y":88.76}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.28,"id":"6929685236d45c4158d58e2a"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3114,"y":-7.5262,"z":-2.28,"id":"69a9d2b9b366e7001bdbe958"}],"id":"67b6fc513f862b6f010e2396"},{"activeTemporaryExhibitions":["6836f8f22ef108b9d9b0a31b","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"0B1","title":{"de":"Landschaften der Fauvisten","en":"Landscapes of the Fauves"},"description":{"de":"1905 kam eine radikal neue Kunstrichtung auf, die die Konturen betonte und die Farbe expressiv einsetzte. Als „Les Fauves\" (die Wilden) bezeichnete ein Kunstkritiker diese Maler anlässlich ihrer ersten Ausstellung im Pariser Herbstsalon. Während André Derain mit seinem Freund Henri Matisse auf den Spuren von Cross und Signac in Südfrankreich gemalt hatte, war Maurice de Vlaminck in Nordfrankreich an den Ufern der Seine geblieben. Die Fauvisten lösten sich vom impressionistischen und pointillistischen Stil und entwickelten eine flächige, farbstarke Malerei. Anders als die Impressionisten ging es ihnen nicht um die Darstellung von Naturphänomenen, sondern - darin den Malern der „Brücke\" verwandt - um den Ausdruckswert der Farbe. Auch begannen sie in der Nachfolge Cézannes mit einer Zergliederung der Form zu experimentieren, wie sie der Kubismus später weiterführte. Ihr expressiver Malstil hielt sie jedoch nicht davon ab, Impressionismus und Pointillismus in der Wahl der Orte und Motive zu folgen. So reiste Derain 1907 nach Cassis, wo bereits Signac gemalt hatte. Vlaminck malte mit dem Bootshaus von Rueil ein Motiv Pierre-Auguste Renoirs. Obwohl ihre Landschaften aufgewühlt, oft düster sind, bezogen sich die Fauvisten auf die Ikonographie des Impressionismus.","en":"In 1905 a radically new art movement emerged that emphasized contours and used paint to expressive ends. On the occasion of their first exhibition in the Paris Salon d'Autumne, an art critic called these painters \"Les Fauves\" (the Wild Beasts). While André Derain had worked alongside his friend Henri Matisse in the South of France on the trail of Cross and Signac, Maurice de Vlaminck remained in northern France near the Seine. The Fauves distanced themselves from the Impressionist and Pointillist styles and developed a technique characterized by flatness and bright colors. Unlike the Impressionists they were not interested in the depiction of natural phenomena but in the expressive value of color. In this respect, they were related to the painters of the German movement Die Brücke. They also began, in emulation of Cézanne, to experiment with the dissection of form, which was later continued by the Cubists. Their expressive painting style did not prevent them from following Impressionism and Pointillism in their choice of locations and motifs. In 1907, for example, Derain traveled to Cassis, where Signac had worked previously. Vlaminck used one of Renoir's motifs when he painted the boatyard of Rueil. 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Sie befreiten sich von den traditionellen Bildthemen ihrer Zeit und revolutionierten die Kunst mit lichtdurchfluteten Landschaften. 1874 wurden sie als „Impressionisten“ bekannt, die mit Vorliebe in freier Natur malten und flüchtige Sinneseindrücke unmittelbar auf die Leinwand bannten. Später schlossen sich Berthe Morisot, Paul Cezanne und Gustave Caillebotte dieser neuen Kunstrichtung an. In den 1890er Jahren entwickelten Paul Signac und Henri Edmond Cross diese Malerei im Pointillismus weiter. Noch immer faszinieren diese Gemälde mit ihrer Konzentration auf den Augenblick. Mit über 110 Gemälden des Impressionismus und Nachimpressionismus zeigt das Museum Barberini die Sammlung des Museumsgründers Hasso Plattner. Darunter befindet sich mit 40 Gemälden von Claude Monet der größte Werkkomplex dieses Malers in Europa außerhalb Frankreichs. Mit der Präsentation dieser Arbeiten eröffnet sich die ganze thematische Reichweite und künstlerische Brisanz des Impressionismus. Prof. Dr. h. c. mult. Hasso Plattner ist einer der profiliertesten deutschen Unternehmer und Entrepreneur von Weltrang. Seit vielen Jahren fördert er die deutsche und internationale Wissenschaft. Als Sammler fokussiert er sich auf Gemälde mit einer offenen Bildsprache, die die Betrachter einbeziehen.","en":"In the 1860s Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley joined forces in Paris. These young painters liberated themselves from the traditional subject matter of their era and revolutionized art with landscapes that were suffused with light. In 1874 they became known as the \"Impressionists\" - artists who preferred to paint outdoors and to capture fleeting sensual impressions directly on the canvas. Berthe Morisot, Paul Cézanne, and Gustave Caillebotte later joined this new art movement, and in the 1890s Paul Signac and Henri-Edmond Cross further developed the style into Pointillism. 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His subsequent works reflect the influence of the geometric visual language developed by his colleagues in Moscow."},"coverImage":{"alt":"0a1 gallery cover kandinsky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"0a1_galleryCover_kandinsky.png","mimeType":"image/png","filesize":339979,"width":750,"height":500,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:06:40.442Z","updatedAt":"2025-02-20T09:06:40.442Z","id":"67b6f0a05c358fca3f05ffb0","url":"/cms/api/media/file/0a1_galleryCover_kandinsky.png","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0a1.glb","mimeType":"application/octet-stream","filesize":3016252,"createdAt":"2025-03-06T23:56:47.249Z","updatedAt":"2025-03-06T23:56:47.249Z","id":"67ca363f727202766076e5a3","url":"/cms/api/media/file/0a1.glb","thumbnailURL":null},"startPoint":{"sweepId":"a3bd1a67692f4ac2849d3f56bf9513b8","rotation":{"x":-2.17,"y":-88.92}},"infoWall":{"modelData":{"insideView":{"sweepId":"60d7ff81ae4345cf80aa904b28af8c51","rotation":{"x":9.95,"y":179.25}},"infoCollisionBox":{"geometry":{"x":2.14,"y":1.55,"z":0.05},"position":{"x":18.29,"y":2.01,"z":4.99,"exhibitionDependent":[]}}}},"id":"67b5db06b8ecad4268b416d1","3dModels":[{"glbFile":"67ca363f727202766076e5a3","id":"6af57d8780946500013209ac"}],"title":{"de":"Geist und Technik","en":"Spirit and Technology"},"subtitle":{"de":"Geometrische Kunst in Russland und Osteuropa","en":"Geometric Art in Russia and Eastern Europe"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0a1.glb","mimeType":"application/octet-stream","filesize":3016252,"createdAt":"2025-03-06T23:56:47.249Z","updatedAt":"2025-03-06T23:56:47.249Z","id":"67ca363f727202766076e5a3","url":"/cms/api/media/file/0a1.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Geometrie in der abstrakten Kunst","id":"6acdc5926d94764c1ea796ee","image":null},{"blockType":"paragraph","text":"Zu Beginn traf die geometrische Abstraktion nicht selten auf Ablehnung. Im Winter 1915 schockierte ein schwarzes Quadrat auf weißem Grund die Besucher einer Ausstellung in St. Petersburg. Gemalt hatte es der aus Kyjiw stammende Kasimir Malewitsch. Das Bild war eine Tabula Rasa, ein Ende und gleichzeitig Neubeginn für die Malerei. Den Horizont und das Blau des Himmels hatte Malewitsch durch einen hellen Bildgrund ersetzt, vor dem die einfachen geometrischen Formen zu schweben scheinen. Suprematismus, vom Lateinischen Supremus – das Höchste – nannte er selbstbewusst diese radikale Kunst, die den Menschen zu neuen Erkenntnissen führen sollte.","id":"6acdc5926d94764c1ea796ef","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/0_10_1915_16.jpg?w=1200","caption":"Die Photographie zeigt die suprematistischen Werke, die Malewitsch 1915 in St. Petersburg präsentierte. Das Schwarze Quadrat auf weißem Grund war in der oberen Raumecke angebracht – der Ort, der in orthodoxen Haushalten der Ikone vorbehalten war. Ausstellungsansicht von 0,10 – Die letzte futuristische Ausstellung der Malerei, St. Petersburg 1916","id":"6acdc5926d94764c1ea796f0","image":null},{"blockType":"quote","text":"In meinem verzweifelten Bemühen, die Kunst vom Ballast der gegenständlichen Welt zu befreien, floh ich zur Form des Quadrats.","by":"Kasimir Malewitsch, nach 1913","id":"6acdc5926d94764c1ea796f1","image":null},{"blockType":"paragraph","text":"1917 beendete die Oktoberrevolution die Ära der Zarenherrschaft. Die Bolschewiki unter der Führung Lenins beriefen Malewitsch und andere Avantgardisten auf Posten in den neugegründeten staatlichen Kulturinstitutionen. Der Aufbruch war allgegenwärtig. Malewitschs Anhänger nannten sich „Verfechter der neuen Kunst“.","id":"6acdc5926d94764c1ea796f2","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Lissitzky_Ohne_Titel.png?w=1200","caption":"Lasar Lissitzky, genannt El Lissitzky, studierte Architektur, bevor er sich als Künstler dem Suprematismus und Konstruktivismus widmete. El Lissitzky: Ohne Titel, 1919/20, Peggy Guggenheim Collection, Venedig (Solomon R. Guggenheim Foundation, New York)","id":"6acdc5926d94764c1ea796f3","image":null},{"blockType":"paragraph","text":"In diesem Umfeld entstand auch der Konstruktivismus. Treibende Kraft war Alexander Rodtschenko, der seine Kunst wie eine Wissenschaft betrieb. In Serien untersuchte er die Einsatzmöglichkeiten der Linie oder die Ausdehnung von Farben. Der Konstruktivismus nutzte Begriffe aus dem Ingenieurwesen und der Wissenschaft. Die Komposition wurde durch die Konstruktion als Prinzip der künstlerischen Gestaltung ersetzt und subjektive Schöpfungen durch kollektive Produktion. Damit wollten die Konstruktivisten zur Formung der neuen, sozialistischen Gesellschaft beitragen.","id":"6acdc5926d94764c1ea796f4","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/006_Aleksandr_Rodchenko_Linearism_1920.jpg?w=1200","caption":"Das Werk Lineismus war das Ergebnis einer systematischen Erforschung der einzelnen Elemente der Malerei – hier der Funktionen der Linie. Alexander Rodtschenko: Lineismus, 1920, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki, VG Bild-Kunst, Bonn 2025","id":"6acdc5926d94764c1ea796f5","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/007_Lyubov_Popova_Painterly_Architectonics_1918_1919.jpg?w=1200","caption":"Die Annäherung an die Abstraktion verlief bei Ljubow Popowa über den Kubismus, den sie aus ihrer Studienzeit in Paris kannte. Ljubow Popowa; Malerische Architektonik, 1918/19, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki","id":"6acdc5926d94764c1ea796f6","image":null},{"blockType":"paragraph","text":"Kandinsky im Kommunismus","id":"6acdc5926d94764c1ea796f7","image":null},{"blockType":"paragraph","text":"Die theoretischen Grundlagen des Konstruktivismus waren am Institut für Künstlerische Kultur, dem INChUK, entwickelt worden, das bis Anfang 1921 von Wassily Kandinsky geleitet wurde. Nach Beginn des Ersten Weltkriegs musste der Russe, der seit 1896 in Bayern gelebt hatte, das Deutsche Kaiserreich verlassen. Zurück in Moskau integrierte Kandinsky Elemente der aktuellen Kunstströmungen: Seine organische, von Chiffren durchzogene Abstraktion bereicherte er um geometrische Formen aus dem Repertoire der Suprematisten und Konstruktivisten. Doch die ideologischen Diskussionen am INChUK und der Drang zur Objektivierung der Kunst widerstrebten Kandinsky. Ende 1921 kehrte er nach Deutschland zurück.","id":"6acdc5926d94764c1ea796f8","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/002_Ilya_Chashnik_Suprematist_Cross_1923.jpg?w=1200","caption":"Zu Ilja Tschaschniks Lehrern gehörte neben El Lissitzky auch Kasimir Malewitsch, dessen studentischer Mitarbeiter er von 1923-26 war. Ilya Chashnik: Suprematistisches Kreuz, 1923, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki","id":"6acdc5926d94764c1ea796f9","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_15.55.01.png?w=1200","caption":"In Wassily Kandinskys Bild Weißes Kreuz verweisen der Einsatz von Schwarz und Weiß sowie die Verwendung von Grundformen auf den Suprematismus von Kasimir Malewitsch. Wassily Kandinsky: Weißes Kreuz, 1922, Peggy Guggenheim Collection, Venedig (Solomon R. Guggenheim Foundation, New York)","id":"6acdc5926d94764c1ea796fa","image":null}],"en":[{"blockType":"heading","text":"Soul and Technique. Geometry in Abstract Art","id":"6acdc5956d94764c1ea79704","image":null},{"blockType":"paragraph","text":"In its early days, geometric abstraction was often met with rejection. In the winter of 1915, visitors to an exhibition in St. Petersburg were shocked to see a painting by Kyiv-born artist Kasimir Malevich that consisted of nothing but a black square on a white ground. The work constituted a tabula rasa: an end, and at the same time a new beginning for painting. Malevich replaced the horizon and the blue sky of a landscape with a light background, against which simple geometric forms seemed to float. He confidently called this radical new art “Suprematism”—from the Latin word supremus, the highest—believing that would it lead humanity to new realms of knowledge.","id":"6acdc5956d94764c1ea79705","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/0_10_1915_16.jpg?w=1200","caption":"The photograph shows the Suprematist works exhibited by Malevich in St. Petersburg in 1915. The black square on a white ground was mounted in the upper corner of the room—the location usually reserved for a religious icon in an Orthodox household. Exhibition view of 0.10 - The last futuristic exhibition of painting, St. Petersburg 1916","id":"6acdc5956d94764c1ea79706","image":null},{"blockType":"quote","text":"In my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form.","by":"Kasimir Malevich, after 1913","id":"6acdc5956d94764c1ea79707","image":null},{"blockType":"paragraph","text":"In 1917, the October Revolution brought an end to the era of tsarist rule. Under Lenin’s leadership, the Bolsheviks appointed Malevich and other avant-garde artists to positions within the newly founded cultural institutions of the state. The revolutionary spirit was pervasive: Malevich’s supporters called themselves the “Champions of the New Art.”","id":"6acdc5956d94764c1ea79708","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Lissitzky_Ohne_Titel.png?w=1200","caption":"Lasar Lissitzky, known as El Lissitzky, pursued studies in architecture before turning to Suprematism and Constructivism as an artist. El Lissitzky: Untitled, 1919/20, Peggy Guggenheim Collection, Venedig (Solomon R. Guggenheim Foundation, New York)","id":"6acdc5956d94764c1ea79709","image":null},{"blockType":"paragraph","text":"This environment also gave rise to the Constructivist movement, spearheaded by Alexander Rodchenko. Pursuing his art like a science, Rodchenko investigated the possibilities of line and the expansion of color in series of works. Constructivism adopted terminology from the fields of engineering and science: composition was replaced by construction as a principle of artistic design, while subjective creation yielded to collective production. In this way, the Constructivists sought to contribute to the formation of a new, socialist society.","id":"6acdc5956d94764c1ea7970a","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/006_Aleksandr_Rodchenko_Linearism_1920.jpg?w=1200","caption":"The work Lineism resulted from a systematic exploration of the individual elements of painting—here, the functions of line. Alexander Rodtschenko: Lineism, 1920, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki, VG Bild-Kunst, Bonn 2025","id":"6acdc5956d94764c1ea7970b","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/007_Lyubov_Popova_Painterly_Architectonics_1918_1919.jpg?w=1200","caption":"Lyubov Popova’s introduction to abstraction came through Cubism, which she had encountered during her student days in Paris. Ljubow Popowa; Painterly Architectonics, 1918/19, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki","id":"6acdc5956d94764c1ea7970c","image":null},{"blockType":"paragraph","text":"Kandinsky and Communism The theoretical foundations of Constructivism were developed at the Institute for Artistic Culture (INKhUK), where Wassily Kandinsky served as director until early 1921. Although the Russian artist had lived in Bavaria since 1896, he had to leave the German Kaiserreich at the outbreak of World War I. Back in Moscow, he integrated elements of contemporary art movements and enriched his organic, cipher-filled abstraction with geometric forms from the repertoire of Suprematism and Constructivism. But Kandinsky resisted the ideological discussions at INKhUK and the pressure to objectify art, and in late 1921 he returned to Germany.","id":"6acdc5956d94764c1ea7970d","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/002_Ilya_Chashnik_Suprematist_Cross_1923.jpg?w=1200","caption":"Ilya Chashnik’s teachers included not only El Lissitzky, but also Kasimir Malevich, for whom he worked as a student assistant from 1923 to 1926. Ilya Chashnik: Suprematist Cross, 1923, MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki","id":"6acdc5956d94764c1ea7970e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_15.55.01.png?w=1200","caption":"In Wassily Kandinsky’s painting White Cross, the use of black and white as well as simple geometric shapes alludes to the Suprematism of Kasimir Malevich. Wassily Kandinsky: White Cross, 1922, Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York)","id":"6acdc5956d94764c1ea7970f","image":null}]}}},{"hall":"0A2","description":{"de":"In den Niederlanden gründeten Piet Mondrian, Theo van Doesburg und andere 1917 die Gruppe De Stijl. Inspiriert von spirituellen Ideen, Jazzmusik und dem städtischen Leben gaben sie Rhythmen und Energien eine visuelle Form. Ihre Kunst basierte auf geraden Linien, rechten Winkeln und einer Palette aus Primärfarben, Schwarz und Weiß. Sie wollten Balance und Harmonie ausdrücken, um ein Modell für soziale und architektonische Transformation zu schaffen. De Stijl war international ausgerichtet, schon das Gründungsmanifest erschien in vier Sprachen. Van Doesburg pflegte enge Kontakte zum Bauhaus und zu avantgardistischen Künstlerinnen und Künstlern in ganz Europa. Auch Mondrians Umzug nach Paris und später sein Exil in London und New York trugen dazu bei, die Ideen der Bewegung bekannt zu machen. Noch nach der Auflösung von De Stil 1931 griffen jüngere Künstler dessen Prinzipien auf und entwickelten sie mit dem Einsatz von Diagonalen, Kurven und Reliefelementen weiter.","en":"In the Netherlands, Piet Mondrian, Theo van Doesburg, and others founded the De Stijl group in 1917. Inspired by spiritual ideas, jazz music, and urban life, they sought to give visual form to rhythms and energies. Their art was characterized by straight lines, right angles, and a palette of primary colors, black, and white. They aimed to express balance and harmony, creating a model for social and architectural transformation. From its inception, De Stijl had an international outlook; its founding manifesto was published in four languages. Van Doesburg maintained close ties with the Bauhaus and avant-garde artists across Europe Mondrian's move to Paris and later his exile in London and New York further disseminated the movement's ideas. Even after the dissolution of De Stijl in 1931, younger artists continued to adopt its principles, further developing them with the use of diagonals, curves, and relief elements."},"coverImage":{"alt":"0a2 gallery cover kandisky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"0a2-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":70571,"width":750,"height":1124,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:21:10.589Z","updatedAt":"2025-02-20T09:21:10.589Z","id":"67b6f4065c358fca3f06005a","url":"/cms/api/media/file/0a2-gallery-cover-kandinsky.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0a2-1.glb","mimeType":"application/octet-stream","filesize":3224440,"createdAt":"2025-03-06T23:57:12.457Z","updatedAt":"2025-03-06T23:57:12.457Z","id":"67ca3658727202766076e5db","url":"/cms/api/media/file/0a2-1.glb","thumbnailURL":null},"startPoint":{"sweepId":"40f4675052814bc9aa09582208897161","rotation":{"x":-6.24,"y":-91.4}},"infoWall":{"modelData":{"insideView":{"sweepId":"b2c4626e92344e7d86d1155e9fb2943c","rotation":{"x":7.76,"y":89.79}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.55,"z":2.32},"position":{"x":24.38,"y":2,"z":2.55,"exhibitionDependent":[]}}}},"id":"67b5db70b8ecad4268b416d3","3dModels":[{"glbFile":"67ca3658727202766076e5db","id":"6af57d8780946500013209ad"}],"title":{"de":"Gerade Linien, rechte Winkel","en":"Straight Lines, Right Angles"},"subtitle":{"de":"Die abstrakten Rhythmen der Gruppe De Stijl","en":"The Abstract Rhythms of the De Stil Group"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0a2-1.glb","mimeType":"application/octet-stream","filesize":3224440,"createdAt":"2025-03-06T23:57:12.457Z","updatedAt":"2025-03-06T23:57:12.457Z","id":"67ca3658727202766076e5db","url":"/cms/api/media/file/0a2-1.glb","thumbnailURL":null}},{"hall":"1A3","description":{"de":"Als Lehrer am 1919 in Weimar gegründeten Bauhaus verfolgte Kandinsky seine Theorie im Kreis anderer Avantgardekünstler weiter. Er begann, eine geometrische Bildsprache zu entwickeln. In seinem Punkt und Linie zu Fläche untersuchte er 1926 die Elemente der Kunst und ihre emotionale Wirkung. Der Fokus auf Farbe und Form prägte den Unterricht am Bauhaus. Die Betonung geometrischer Formen beeinflusste nicht nur die Malerei, sondern auch Gestaltung und Produktdesign. Schlichtheit, Funktionalität und Massenproduktion galten als Grundlage einer modernen, demokratischen Gesellschaft. Während des Zweiten Weltkriegs initiierte der ehemalige Bauhaus-Schüler Max Bill in Zürich die Konkrete Kunst. Sie zeichnet sich durch kräftige Farben und logisch strukturierte Kompositionen aus. Der Begriff „konkret\" betont noch stärker als „abstrakt\", dass die Werke keinen Bezug zur gegenständlichen Welt","en":"As a teacher at the Bauhaus, founded in Weimar in 1919, Kandinsky continued to develop his theories alongside other avant-garde artists. He developed a geometric visual language. In his 1926 book Point and Line to Plane, he explored the fundamental elements of art and their emotional resonance. The Bauhaus curriculum was shaped by a focus on color and form. The emphasis on geometric shapes influenced not only painting but also design and industrial production. Simplicity, functionality, and mass production were regarded as the corner-stones of a modern, democratic society. During World War II, Max Bill, a former Bauhaus student, initiated the Concrete Art movement in Zurich. This style is characterized by bold colors and logically structured compositions. The term \"concrete\" underscores, even more strongly than \"abstract,\" that these works have no connection to the visible world."},"coverImage":{"alt":"1a3 gallery cover kandinsky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"1a3-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":48757,"width":750,"height":425,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:24:45.983Z","updatedAt":"2025-02-20T09:24:45.983Z","id":"67b6f4dd5c358fca3f060144","url":"/cms/api/media/file/1a3-gallery-cover-kandinsky.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a3.glb","mimeType":"application/octet-stream","filesize":2672244,"createdAt":"2025-03-06T23:57:40.631Z","updatedAt":"2025-03-06T23:57:40.631Z","id":"67ca3674727202766076e61f","url":"/cms/api/media/file/1a3.glb","thumbnailURL":null},"startPoint":{"sweepId":"37ad6f115f6240a4adae20ca6b8fcb55","rotation":{"x":-2.13,"y":-89.73}},"infoWall":{"modelData":{"insideView":{"sweepId":"e9992305a0d5428aad98ec22a4fa5399","rotation":{"x":15.94,"y":0.13}},"infoCollisionBox":{"geometry":{"x":2.32,"y":1.55,"z":0.05},"position":{"x":3.79,"y":9.42,"z":-4.43,"exhibitionDependent":[]}}}},"id":"67b5dbaeb8ecad4268b416d5","3dModels":[{"glbFile":"67ca3674727202766076e61f","id":"6af57d8780946500013209ae"}],"title":{"de":"Universalsprache Abstraktion","en":"Universal Language of Abstraction"},"subtitle":{"de":"Bauhaus-Künstler und Konkrete","en":"Bauhaus and Concrete Artists"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a3.glb","mimeType":"application/octet-stream","filesize":2672244,"createdAt":"2025-03-06T23:57:40.631Z","updatedAt":"2025-03-06T23:57:40.631Z","id":"67ca3674727202766076e61f","url":"/cms/api/media/file/1a3.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Bauhaus-Künstler und Konkrete","id":"6acdc5976d94764c1ea79719","image":null},{"blockType":"paragraph","text":"1922 ging Kandinsky als Lehrer ans Bauhaus. Walter Gropius hatte die Schule, an der freie und angewandte Kunst gleichwertig behandelt wurden, 1919 in Weimar begründet. Neben Klassen für Photographie und Architektur gab es Werkstätten für Glasmalerei, Weberei oder Keramik. Das Bauhaus wurde schnell zum Anziehungspunkt moderner Künstler weit über die Grenzen der Weimarer Republik hinaus. Zu den Lehrenden – auch Meister genannt – gehörten der Ungar László Moholy-Nagy und der Schweizer Johannes Itten.","id":"6acdc5976d94764c1ea7971a","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/025_Johannes_Itten_Stabe_und_Flachen_1955.jpg?w=1200","caption":"Während seiner Tätigkeit am Bauhaus in Weimar entwickelte Johannes Itten die Grundlagen seiner Farbtheorie. Johannes Itten: Stäbe und Flächen, 1955, Mercedes-Benz Art Collection © Andreas Freytag, Stuttgart, VG Bild-Kunst, 2025","id":"6acdc5976d94764c1ea7971b","image":null},{"blockType":"quote","text":"Der Punkt ist eine kleine Welt – von allen Seiten mehr oder weniger gleichmäßig abgetrennt und fast aus der Umgebung herausgerissen. [...] Nur die konzentrische Spannung offenbart seine innere Verwandtschaft mit dem Kreis – die anderen Eigenschaften deuten mehr auf das Quadrat.","by":"Wassily Kandinsky, Punkt und Linie zu Fläche, 1926","id":"6acdc5976d94764c1ea7971c","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/022_Wassily_Kandinsky_Betonte_Ecken_1923.jpg?w=1200","caption":"Kandinsky war der Ansicht, Farben seien aufgrund ihres inneren „Klangs“ dazu veranlagt, bestimmte Formen anzunehmen: Gelb korreliere mit spitzem Winkel und Dreieck, Rot mit rechtem Winkel und Viereck, Blau mit stumpfem Winkel und Kreis. Wassily Kandinsky: Betonte Ecken, 1923, Nahmad Collection","id":"6acdc5976d94764c1ea7971d","image":null},{"blockType":"paragraph","text":"Der schnörkellose Stil vom Bauhaus, der von Funktionalität bestimmt war, fand Widerhall in der Abstraktion Kandinskys. Seine Werke aus den 1920er Jahren wirken beherrschter, strukturierter. In die Zeit am Bauhaus fällt auch die Veröffentlichung seiner zweiten programmatischen Schrift: 1926 erschien Punkt und Linie zu Fläche, das sich mit den Grundelementen der Kunst beschäftigt.","id":"6acdc5976d94764c1ea7971e","image":null},{"blockType":"quote","text":"Die geometrische Linie ist [...] die Spur des sich bewegenden Punktes, also sein Erzeugnis. Sie ist aus der Bewegung entstanden – und zwar durch Vernichtung der höchsten in sich geschlossenen Ruhe des Punktes. Hier wird der Sprung aus dem Statischen in das Dynamische gemacht.","by":"Wassily Kandinsky, Punkt und Linie zu Fläche, 1926","id":"6acdc5976d94764c1ea7971f","image":null},{"blockType":"paragraph","text":"Abstraktion unter Druck","id":"6acdc5976d94764c1ea79720","image":null},{"blockType":"paragraph","text":"1925 war das Bauhaus nach Dessau gezogen. Mit der Machtübernahme der Nationalsozialisten stand die progressive Kunstschule allerdings zunehmend unter Druck. Nach einem Zwischenspiel in Berlin wurde sie 1933 endgültig geschlossen. Wie in der Sowjetunion, wo sie mittlerweile als formalistisch abgelehnt wurde, geriet die abstrakte Kunst auch im totalitären NS-Deutschland ins Visier der Kulturpolitik. Der Höhepunkt der Verfemung war die Schmäh-Schau „Entartete Kunst“, auf der 1937 auch abstrakte Werke von Kandinsky gezeigt wurden. Zu diesem Zeitpunkt hielt sich Kandinsky, der noch 1928 die deutsche Staatsbürgerschaft angenommen hatte, bereits in Frankreich auf.","id":"6acdc5976d94764c1ea79721","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Dada_Wand.png?w=1200","caption":"1937 fand in den Münchner Hofgarten-Arkaden eine Propagandaschau mit über 600 Werken statt, die vom NS-Regime als „entartet“ diffamiert wurden. Darunter befanden sich auch abstrakte Arbeiten von Kandinsky. Auf der sogenannten „Dada-Wand“ hatten die Organisatoren zudem ein Bild aufgemalt, das sich an Kandinskys Gemälde Schwarzer Fleck von 1921 anlehnte. Ausstellung „Entartete Kunst“, Photographie von Erich Andres, München 1937, © Staatsarchiv Hamburg, Photo: Erich Andres, 720-1/343-1/A24_56_10","id":"6acdc5976d94764c1ea79722","image":null},{"blockType":"heading","text":"Export Bauhaus","id":"6acdc5976d94764c1ea79723","image":null},{"blockType":"paragraph","text":"Die erzwungene Schließung war nicht das endgültige Aus für das Bauhaus. Ehemalige „Bauhäusler“ verbreiteten die Ideen und Ästhetik in aller Welt. Josef Albers etwa ging in die USA und vermittelte am Black Mountain College seine Erkenntnisse zur Wahrnehmung der Farben anhand des Quadrats. Und in der Schweiz gehörte Max Bill, ein ehemaliger Schüler von Kandinsky, zu den Mitbegründern der Zürcher Schule der Konkreten. Sie forderten eine Kunst, die ganz ohne Bezüge auf die materielle oder spirituelle Welt auskommt.","id":"6acdc5976d94764c1ea79724","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/032_Josef_Albers_Study_for_Homage_to_the_Square_1965.jpg?w=1200","caption":"Die Konzentration auf Farbe und Form prägte den Unterricht am Bauhaus, so auch bei Josef Albers. Nach seiner Emigration in die USA begann er 1950 mit seinen ersten Studien für Huldigung an das Quadrat, eine Serie, deren Bilder aus drei oder vier ineinandergeschachtelten Quadraten in verschiedenen Farben bestehen. In diesen Werken greifen die Farben als Schichten aus opaker Farbe in den Raum, wirken teils durchscheinend, teils überlappend. Albers schuf über tausend dieser Werke, die einen starken Einfluss auf eine jüngere Generation amerikanischer Künstlerinnen und Künstler ausübten. Josef Albers: Studie für Huldigung an das Quadrat, 1965, Josef Albers Museum Quadrat Bottrop © VG Bild-Kunst, Bonn 2025","id":"6acdc5976d94764c1ea79725","image":null},{"blockType":"quote","text":"konkrete kunst nennen wir jene kunstwerke, die aufgrund ihrer ureigenen mittel und gesetzmässigkeiten – ohne äusserliche anlehnung an naturerscheinungen oder deren transformierung, also nicht durch abstraktion – entstanden sind. konkrete kunst ist in ihrer eigenart selbständig. sie ist der ausdruck des menschlichen geistes, für den menschlichen geist bestimmt [...]. konkrete malerei und plastik ist die gestaltung von optisch wahrnehmbarem. ihre gestaltungsmittel sind die farben, der raum, das licht und die bewegung","by":"Max Bill, konkrete kunst, 1949","id":"6acdc5976d94764c1ea79726","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/033_Max_Bill_reflexe_aus_dunkel_und_hell_1975.jpg?w=1200","caption":"Der Schweizer Gestalter und Architekt Max Bill hatte von 1927 bis 1928 am Bauhaus studiert und an den „freien Malklassen“ von Kandinsky teilgenommen. Bill bezeichnete ihn rückblickend als seinen wichtigsten Lehrer. Max Bill: Reflexe aus dunkel und hell (Reflections from dark and light), 1975, Dr. Angela Thomas, Haus Bill, Zumikon, Schweiz. www.maxbill.ch © VG Bild-Kunst, Bonn 2025, Photo: Hauser & Wirth","id":"6acdc5976d94764c1ea79727","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Richard_Paul_Lohse_Dreissig_vertikale_systematische_Farbreihen_in_gelber_Rautenform_1943_1970_1_.jpg?w=1200","caption":"Richard Paul Lohse war bemüht, nach einer durchgehenden Logik zu arbeiten und diese transparent zu machen. Sein serielles Vorgehen, bei dem er jeder Farbe den gleichen Raum zugestand und sicherstellte, dass sich in keiner Spalte oder Zeile eine Farbe wiederholt, war auch der Versuch, Vorstellungen von gesellschaftlicher Gleichberechtigung und ein „radikales Demokratieprinzip\" modellhaft zu visualisieren. Richard Paul Lohse: Dreißig vertikale systematische Farbreihen in gelber Rautenform, 1943/1970, © Richard Paul Lohse-Stiftung / VG Bild-Kunst, Bonn 2025","id":"6acdc5976d94764c1ea79728","image":null}],"en":[{"blockType":"heading","text":"The Universal Language of Abstraction. Bauhaus Artists and Concrete Art","id":"6acdc5996d94764c1ea79732","image":null},{"blockType":"paragraph","text":"In 1922, Kandinsky became an instructor at the Bauhaus. Founded by Walter Gropius in Weimar in 1919, the school taught fine and applied art on equal footing. In addition to courses on photography and architecture, there were workshops for stained glass, weaving, and ceramics. The Bauhaus quickly became a point of attraction for modern artists far beyond the borders of the Weimar Republic. Among its teachers—who were also called masters—were the Hungarian artist László Moholy-Nagy and the Swiss artist Johannes Itten.","id":"6acdc5996d94764c1ea79733","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/025_Johannes_Itten_Stabe_und_Flachen_1955.jpg?w=1200","caption":"Johannes Itten developed the foundations of his color theory during his time at the Bauhaus in Weimar. Johannes Itten: Sticks and Planes, 1955, Mercedes-Benz Art Collection, © Andreas Freytag, Stuttgart, VG Bild-Kunst, 2025","id":"6acdc5996d94764c1ea79734","image":null},{"blockType":"quote","text":"The point is a small world cut off more or less equally from all sides and almost torn out of its surroundings. ... Only its concentric tension discloses its inner kinship with the circle—while its further characteristics rather point to the square.","by":"Wassily Kandinsky, Point and Line to Plane, 1926","id":"6acdc5996d94764c1ea79735","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/022_Wassily_Kandinsky_Betonte_Ecken_1923.jpg?w=1200","caption":"In Kandinsky’s view, the “inner sound” of colors predisposed them to assume certain forms: yellow was correlated with the acute angle and the triangle, red with the right angle and the square, and blue with the obtuse angle and the circle. Wassily Kandinsky: Emphasized Corners, 1923, Nahmad Collection","id":"6acdc5996d94764c1ea79736","image":null},{"blockType":"paragraph","text":"The unadorned Bauhaus style, defined by functionality, found an echo in Kandinsky’s abstraction. His works from the 1920s seem more controlled, more structured. During his time at the Bauhaus he also published a second programmatic text, Point and Line to Plane of 1926, which explored the foundational elements of art.","id":"6acdc5996d94764c1ea79737","image":null},{"blockType":"quote","text":"The geometric line is ... the track made by the moving point; that is, its product. It is created by movement—specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static into the dynamic occurs.","by":"Wassily Kandinsky, Point and Line to Plane, 1926","id":"6acdc5996d94764c1ea79738","image":null},{"blockType":"paragraph","text":"Abstraction under Pressure In 1925, the Bauhaus moved to Dessau. With the rise of National Socialism, however, the progressive art school increasingly came under pressure, and after a brief stint in Berlin the Bauhaus closed its doors for good in 1933. Just as in the Soviet Union, where abstraction was now rejected as formalistic, nonobjective art was targeted by the cultural policies of totalitarian Nazi Germany. The crusade against abstraction culminated in the show Degenerate Art of 1937, which included abstract works by Kandinsky. By this time Kandinsky, who had obtained German citizenship in 1928, was already in France.","id":"6acdc5996d94764c1ea79739","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Dada_Wand.png?w=1200","caption":"The propaganda show Degenerate Art, exhibited at the Hofgarten Arcades in Munich in 1937, displayed over 600 works vilified as “degenerate” by the Nazi regime, including abstract pictures by Kandinsky. On the so-called “Dada wall,” the organizers also painted an image resembling Kandinsky’s Black Spot of 1921. Exhibition „Entartete Kunst“, Photo by Erich Andres, Munich 1937, © Staatsarchiv Hamburg, Foto: Erich Andres, 720-1/343-1/A24_56_10","id":"6acdc5996d94764c1ea7973a","image":null},{"blockType":"heading","text":"Exporting the Bauhaus","id":"6acdc5996d94764c1ea7973b","image":null},{"blockType":"paragraph","text":"The forced closure of the Bauhaus was not the end of the story: former teachers and students from the school spread its ideas and aesthetic throughout the world. Josef Albers, for example, went to Black Mountain College in the United States, where he used the square to convey his insights on the perception of color. In Zurich, the Swiss artist Max Bill, a former student of Kandinsky, helped found the Concrete Art movement, which called for the rejection of all references to the material or spiritual world.","id":"6acdc5996d94764c1ea7973c","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/032_Josef_Albers_Study_for_Homage_to_the_Square_1965.jpg?w=1200","caption":"The focus on color and form shaped the teaching at the Bauhaus, including that of Josef Albers. After emigrating to the USA, he began his first studies for Homage to the Square in 1950, a series of paintings consisting of three or four nested squares in different colors. In these works, the colors reach into the space as layers of opaque paint, appearing partly translucent and partly overlapping. Albers created over a thousand of these works, which exerted a strong influence on a younger generation of American artists. Josef Albers: Study for Homage to the Square, 1965, Josef Albers Museum Quadrat Bottrop © VG Bild-Kunst, Bonn 2025","id":"6acdc5996d94764c1ea7973d","image":null},{"blockType":"quote","text":"We call ‘Concrete Art’ works of art which are created according to a technique and laws which are entirely appropriate to them, without taking external support from experiential nature or from its transformation, that is to say, without the intervention of a process of abstraction. Concrete Art is autonomous in its specificity. It is the expression of the human spirit, destined for the human spirit. ... It is by means of concrete painting and sculpture that those achievements which permit visual perception materialize. The instruments of this realization are color, space, light, movement.","by":"Max Bill, “Concrete Art,” 1949","id":"6acdc5996d94764c1ea7973e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/033_Max_Bill_reflexe_aus_dunkel_und_hell_1975.jpg?w=1200","caption":"The Swiss designer and architect Max Bill studied at the Bauhaus from 1927 to 1928, where he participated in Kandinsky’s “free painting” class. In retrospect, Bill described Kandinsky as his most important teacher. Max Bill: Reflections from dark and light, 1975, Dr. Angela Thomas, Haus Bill, Zumikon, Switzerland. www.maxbill.ch © VG Bild-Kunst, Bonn 2025, Photo: Hauser & Wirth","id":"6acdc5996d94764c1ea7973f","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Richard_Paul_Lohse_Dreissig_vertikale_systematische_Farbreihen_in_gelber_Rautenform_1943_1970_1_.jpg?w=1200","caption":"Richard Paul Lohse sought to follow a consistent, transparent logic in his work. His serial process, in which he assigned the same amount of space to each color and made sure no color was repeated in any column or row, was also an attempt to visualize his conception of social equality and exemplify a “radical principle of democracy.”. Richard Paul Lohse: Thirty Vertical Systematic Color Series in Yellow Rhombic Form, 1943/1970, © Richard Paul Lohse-Stiftung / VG Bild-Kunst, Bonn 2025","id":"6acdc5996d94764c1ea79740","image":null}]}}},{"hall":"1A4","description":{"de":"Nach der erzwungenen Schließung des Bauhauses durch das NS-Regime 1933 emigrierte Kandinsky nach Frankreich. Er schloss sich der Gruppe Abstraction-Création an, einem internationalen Forum für Abstraktion. Viele Künstlerinnen und Künstler flohen vor politischer Verfolgung nach Paris. Unter dem Einfluss des Surrealismus nahm Kandinsky biomorphe Formen in seine Werke auf. Die Dominanz der Gruppe, die sich mit dem Unbewussten beschäftigte, führte bei vielen Mitgliedern von Abstraction-Création zu einem Wandel: Starre Gitterstrukturen wichen spielerischen Kompositionen und organischen Formen. Kandinsky blieb bis zu seinem Tod 1944 in Frankreich. Ungeachtet der Dramatik des Zweiten Weltkriegs suchte er weiterhin in der Kunst eine Auseinandersetzung mit dem Spirituellen. Viele seiner Kollegen, die aus Europa flohen, kehrten nie nach Paris zurück. Der 1946 für die abstrakte Kunst gegründete Salon des Réalités Nouvelles sollte die Pariser Kunstszene neu beleben.","en":"After the forced closure of the Bauhaus by the Nazi regime in 1933, Kandinsky emigrated to France. There, he joined the group Abstraction-Création, an international forum for abstract art. Many artists fled to Paris to escape political persecution. Under the influence of the Surrealists, Kandinsky began incorporating biomorphic forms into his works. The dominance of the Surrealists, who focused on the unconscious, led to a shift among many members of Abstraction-Création: rigid grid structures gave way to playful compositions and organic shapes. Kandinsky remained in France until his death in 1944. Despite the turmoil of World War II, he continued to explore the spiritual through his art. Many of his colleagues who fled Europe never returned to Paris. In 1946, the Salon des Réalités Nouvelles was founded to promote abstract art and revitalize the Parisian art scene."},"coverImage":{"alt":"1a4 gallery cover kandinsky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"1a4-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":367510,"createdAt":"2025-02-20T09:26:14.038Z","updatedAt":"2025-02-20T09:27:27.621Z","height":1636,"thumbnailURL":null,"url":"/cms/api/media/file/1a4-gallery-cover-kandinsky.jpg","width":2880,"id":"67b6f5365c358fca3f060195"},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a4.glb","mimeType":"application/octet-stream","filesize":2866912,"createdAt":"2025-03-06T23:58:02.230Z","updatedAt":"2025-03-06T23:58:02.230Z","id":"67ca368a727202766076e660","url":"/cms/api/media/file/1a4.glb","thumbnailURL":null},"startPoint":{"sweepId":"73838a78eb91461aa9733db5a53b5376","rotation":{"x":-6,"y":-91.65}},"infoWall":{"modelData":{"insideView":{"sweepId":"5322edb5dddb4dbfbca7304581965393","rotation":{"x":9.44,"y":-0.79}},"infoCollisionBox":{"geometry":{"x":2.19,"y":1.36,"z":0.05},"position":{"x":26.11,"y":9.39,"z":-4.63,"exhibitionDependent":[]}}}},"id":"67b5dbebb8ecad4268b416d7","3dModels":[{"glbFile":"67ca368a727202766076e660","id":"6af57d8780946500013209af"}],"title":{"de":"Fließende Formen","en":"Flowing Forms"},"subtitle":{"de":"Internationale Abstraktion in Paris","en":"International Abstraction in Paris"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a4.glb","mimeType":"application/octet-stream","filesize":2866912,"createdAt":"2025-03-06T23:58:02.230Z","updatedAt":"2025-03-06T23:58:02.230Z","id":"67ca368a727202766076e660","url":"/cms/api/media/file/1a4.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Gerade Linien, fließende Formen. Internationale Abstraktion in Paris","id":"6acdc59c6d94764c1ea7974a","image":null},{"blockType":"paragraph","text":"Kandinsky war 1933 nach Neuilly-sur-Seine in die Nähe von Paris emigriert. Noch immer war die Kapitale der Moderne ein Sehnsuchtsort für Künstler. Zu ihnen gehörte auch der Niederländer Piet Mondrian, der bereits seit 1912 mit Unterbrechungen in Paris lebte. 1917 hatte er mit Theo van Doesburg die Gruppe De Stijl gegründet. Sie proklamierten eine gegenstandlose Kunst, die auf horizontalen und vertikalen Rastern und Rechtecken in den Grundfarben beruht. Der puristische Stil, der bald auch fürs Design übernommen wurde, traf den Nerv der Zeit und wurde international stark rezipiert: Die Britin Marlow Moss oder der Franzose Jean Gorin sind nur einige der Anhänger des Neo-Plastizismus, wie Mondrian seine Abstraktion nannte.","id":"6acdc59c6d94764c1ea7974b","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/040_Piet_Mondrian_Komposition_mit_Gelb_und_Blau_1932.jpg?w=1200","caption":"Piet Mondrian hatte sich intensiv mit Goethes Farbenlehre von 1810 beschäftigt. Blau und Gelb kommt darin eine besondere Rolle zu, denn sie stehen laut Goethe für das fundamentale Prinzip von Dunkelheit und Licht. Piet Mondrian: Komposition mit Gelb und Blau, 1932, Fondation Beyeler, Riehen/Basel, Sammlung Beyeler, erworben mit grosszügiger Unterstützung von Hartmann P. Und Cécile Koechlin-Tanner, Riehen","id":"6acdc59c6d94764c1ea7974c","image":null},{"blockType":"quote","text":"Was will ich mit meinem Werk ausdrücken? Nichts anderes als das, was jeder andere Künstler sucht: Harmonie durch das Gleichgewicht der Beziehungen zwischen Linien, Farben und Flächen zu erreichen. Aber nur auf die klarste und stärkste Weise.","by":"Piet Mondrian","id":"6acdc59c6d94764c1ea7974d","image":null},{"blockType":"paragraph","text":"Mitte der 1920er Jahre hatte sich Mondrian nach Diskussionen über den Einsatz von diagonalen Linien von der De Stijl Gruppe distanziert. Sein Pariser Atelier, dessen Wände wie Mondrians Gemälde mit Rechtecken in den Primärfarben überzogen war, blieb dennoch ein Anlaufpunkt für junge Künstler. Für den jungen Amerikaner Alexander Calder war der Besuch bei Mondrian ein Wendepunkt: Nun begann er, selbst abstrakt zu arbeiten. In den frühen 1930er Jahren gestaltete Calder seine ersten Mobiles.","id":"6acdc59c6d94764c1ea7974e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/054_Alexander_Calder_Untitled_1963.jpg?w=1200","caption":"Eine ganz eigene Form der abstrakten Kunst entwickelte Alexander Calder: Mit ihm lernten die geometrischen und amorphen Formen das Fliegen. Alexander Calder: Ohne Titel, 1963, Fondation Gandur pour l’Art, Genève 2025 © Calder Foundation, New York/Artists Rights Society (ARS), New York","id":"6acdc59c6d94764c1ea7974f","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/056_Sophie_Taeuber_Arp_Zwolf_Raume_mit_Flachen_eckigen_Bandern_und_mit_Kreisen_gepflastert_1939.jpg?w=1200","caption":"Sophie Taeuber-Arp hatte eine kunstgewerbliche Ausbildung erhalten, setzte sich jedoch schon früh über die rigide Trennung von angewandter und freier Kunst hinweg. Ihre abstrakte Malerei profitierte von den dekorativen Mustern ihrer Webteppiche und dem Formenrepertoire der Textilkunst. Sophie Taeuber-Arp: Zwölf Räume mit Flächen, eckigen Bändern und mit Kreisen gepflastert, 1939, Kunsthaus Zürich, Geschenk Hans Arp, 1958","id":"6acdc59c6d94764c1ea79750","image":null},{"blockType":"paragraph","text":"1931 war in Paris die Gruppe Abstraction-Création gegründet worden, die unterschiedliche Wege der gegenstandslosen Kunst vereinte. Ihre internationalen Mitglieder wollten mit Ausstellungen und Publikationen eine Plattform für die abstrakte Kunst schaffen. Damit setzten sie auch ein Signal gegen den allgegenwärtigen Surrealismus. Allerdings waren die Grenzen zwischen den figürlichen Fantasien der Surrealisten und der rein abstrakten Bildsprache durchlässig. Kandinsky etwa spielte mit assoziativen Elemente des Surrealismus.","id":"6acdc59c6d94764c1ea79751","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/057_Wassily_Kandinsky_Mitte_mit_Begleitung_1937.jpg?w=1200","caption":"Mitte mit Begleitung ist ein Hauptwerk aus Kandinskys Pariser Jahren – und trotzt mit seiner Heiterkeit den düsteren politischen Umständen der Zeit. Wassily Kandinsky: Mitte mit Begleitung, 1937, Nahmad Collection","id":"6acdc59c6d94764c1ea79752","image":null},{"blockType":"heading","text":"London Calling Konstruktivistische Utopien in der britischen Kunst","id":"6acdc59c6d94764c1ea79753","image":null},{"blockType":"paragraph","text":"Der Beginn des Zweiten Weltkriegs veränderte die Landkarte der Abstraktion erneut. Während Kandinsky auch nach der Besetzung durch die Deutsche Wehrmacht 1940 in Paris ausharrte, sahen sich zahlreiche moderne Künstler gezwungen, – erneut – zu emigrieren. Einige machten Station in London, wo Barbara Hepworth und Ben Nicholson mit abstrakten räumlichen Arbeiten experimentierten. Die britischen Konstruktivisten der Nachkriegszeit, auch Constructionists genannt, entdeckten das Relief als Ausdrucksform. Ihre reduzierte Abstraktion beruht auf mathematischen – und damit universellen – Prinzipien.","id":"6acdc59c6d94764c1ea79754","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.00.26.png?w=1200","caption":"Barbara Hepworths Schaffen, geprägt von der hitzigen Atmosphäre der 1930er Jahre, schlug eine Brücke über Generationen hinweg zu den Constructionists der 1950er Jahre. Barbara Hepworth: Konoid, Kugel und Hohlraum III, 1937, UK Government Art Collection © Barbara Hepworth, Bowness","id":"6acdc59c6d94764c1ea79755","image":null},{"blockType":"quote","text":"Ich denke, dass abstrakte Kunst nicht etwa eine beschränkte Ausdrucksweise ist, nur von wenigen verstanden, sondern stattdessen eine machtvolle, unbegrenzte und universelle Sprache darstellt.","by":"Ben Nicholson, 1941","id":"6acdc59c6d94764c1ea79756","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/063_Mary_Martin_White_Faced_Relief_1959.jpg?w=1200","caption":"Zu einem beliebten Versuchsfeld der britischen Konstruktivisten wurde das Relief aus natürlichen oder industriell gefertigten Materialien wie Plexiglas und Aluminium. Auch Mary Martin erprobte ihre Abstraktion seit den frühen 1950er Jahren in Flachreliefs. Mary Martin: Weißflächiges Relief, 1959, Sainsbury Centre, University of East Anglia © Paul Martin","id":"6acdc59c6d94764c1ea79757","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/065_Anthony_Hill_Progression_of_Rectangles_Version_II_1954_59.jpg?w=1200","caption":"Den meisten der Reliefs von Anthony Hill liegen mathematische Strukturen zu Grunde. Die Disziplin faszinierte ihn sein Leben lang, und 1979 wurde er Mitglied der London Mathematical Society. Anthony Hill: Fortschreiten der Rechtecke, Version II, 1954-1959, Sainsbury Centre, University of East Anglia; Vermächtnis Joyce und Michael Morris, 2014 © VG Bild-Kunst, Bonn 2025","id":"6acdc59c6d94764c1ea79758","image":null}],"en":[{"blockType":"heading","text":"Straight Lines, Flowing Forms. International Abstraction in Paris","id":"6acdc59e6d94764c1ea79762","image":null},{"blockType":"paragraph","text":"In 1933, Kandinsky emigrated to Neuilly-sur-Seine near Paris. The French capital, still the epicenter of modern art, was a mecca for figures like Piet Mondrian from the Netherlands, who had lived in Paris for extended periods of time since 1912. In 1917, Mondrian had founded the group De Stijl together with Theo van Doesburg, proclaiming a nonobjective art based on horizontal and vertical grids and rectangles in primary colors. This purist style, which was soon adopted by designers as well, resonated with the spirit of the time: Neo-Plasticism, as Mondrian called it, was widely received abroad and was embraced by artists such as Marlow Moss from Great Britain and the Frenchman Jean Gorin.","id":"6acdc59e6d94764c1ea79763","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/040_Piet_Mondrian_Komposition_mit_Gelb_und_Blau_1932.jpg?w=1200","caption":"Piet Mondrian intensively studied Goethe’s color theory of 1810. For Goethe, blue and yellow played a special role, representing the fundamental principle of darkness and light. Piet Mondrian: Composition with Yellow and Blue, 1932, Fondation Beyeler, Riehen/Basel, Beyeler Collection, purchased with generous support by Hartmann P. and Cécile Koechlin-Tanner, Riehen","id":"6acdc59e6d94764c1ea79764","image":null},{"blockType":"quote","text":"What do I want to express with my work? Nothing other than what every painter is looking for: to express harmony by the equivalence of the rapports of the lines, the colors, and the overall plan. But to do this in the clearest and strongest way.","by":"Piet Mondrian","id":"6acdc59e6d94764c1ea79765","image":null},{"blockType":"paragraph","text":"Mondrian had distanced himself from the De Stijl group in the mid-1920s in the wake of discussions on the use of diagonal lines. But his studio in Paris, whose walls, like his paintings, were covered with rectangles in primary colors, still remained a popular destination for young artists. For the American Alexander Calder, the visit to Mondrian was a turning point and prompted him to begin working abstractly himself. Calder designed his first mobiles in the early 1930s.","id":"6acdc59e6d94764c1ea79766","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/054_Alexander_Calder_Untitled_1963.jpg?w=1200","caption":"Alexander Calder developed his own unique form of abstract art: in his work, geometric and amorphous forms learned to fly. Alexander Calder: Untitled, 1963, Fondation Gandur pour l’Art, Genève 2025 © Calder Foundation, New York/Artists Rights Society (ARS), New York","id":"6acdc59e6d94764c1ea79767","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/056_Sophie_Taeuber_Arp_Zwolf_Raume_mit_Flachen_eckigen_Bandern_und_mit_Kreisen_gepflastert_1939.jpg?w=1200","caption":"Sophie Taeuber-Arp had received training in the applied arts, but crossed the rigid boundary between the fine and applied arts early on. Her abstract painting profited from the decorative patterns of her woven tapestries and the formal repertoire of textile art. Sophie Taeuber-Arp: Twelve Spaces with Planes, Angular Bands, and Laid with Circles, 1939, Kunsthaus Zürich, Geschenk Hans Arp, 1958","id":"6acdc59e6d94764c1ea79768","image":null},{"blockType":"paragraph","text":"In Paris, the group Abstraction-Création was founded in 1931, uniting a variety of approaches to nonobjective art. Its international members sought to create a platform for abstract art with exhibitions and publications, and in so doing pushed back against the pervasiveness of Surrealism. Yet the boundaries between Surrealist figural fantasies and a purely abstract visual language were permeable: artists like Kandinsky also played with the associative elements of Surrealism.","id":"6acdc59e6d94764c1ea79769","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/057_Wassily_Kandinsky_Mitte_mit_Begleitung_1937.jpg?w=1200","caption":"Accompanied Center, a key work from Kandinsky’s Paris years, has a lighthearted quality that flies in the face of the bleak political circumstances of the time. Wassily Kandinsky: Accompanied Center, 1937, Nahmad Collection","id":"6acdc59e6d94764c1ea7976a","image":null},{"blockType":"heading","text":"London Calling Constructivist Utopias in British Art","id":"6acdc59e6d94764c1ea7976b","image":null},{"blockType":"paragraph","text":"The outbreak of World War II once again altered the map of abstraction. While Kandinsky remained in Paris even after its occupation by the German Wehrmacht in 1940, numerous other modern artists felt the need to emigrate yet again. Some spent time in London, where Barbara Hepworth and Ben Nicholson were experimenting with abstraction in three dimensions. The British Constructivists of the postwar period, also known as Constructionists, discovered the medium of relief as a form of expression. Their reduced abstraction was based on mathematical and therefore universal principles.","id":"6acdc59e6d94764c1ea7976c","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.00.26.png?w=1200","caption":"The work of Barbara Hepworth, forged in the heated atmosphere of the 1930s, built a generational bridge to the Constructionists of the 1950s. Barbara Hepworth: Conoid, Sphere and Hollow III, 1937, UK Government Art Collection © Barbara Hepworth, Bowness","id":"6acdc59e6d94764c1ea7976d","image":null},{"blockType":"quote","text":"I think that so far from being a limited expression, understood by a few, abstract art is a powerful, unlimited and universal language.","by":"Ben Nicholson, 1941","id":"6acdc59e6d94764c1ea7976e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/063_Mary_Martin_White_Faced_Relief_1959.jpg?w=1200","caption":"Reliefs made from natural or industrially manufactured materials such as Plexiglas or aluminum became a popular field of experimentation for the British Constructivists. Mary Martin also experimented with abstraction in her low reliefs from the early 1950s on. Mary Martin: White-Faced Relief, 1959, Sainsbury Centre, University of East Anglia © Paul Martin","id":"6acdc59e6d94764c1ea7976f","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/065_Anthony_Hill_Progression_of_Rectangles_Version_II_1954_59.jpg?w=1200","caption":"Most of Anthony Hill’s reliefs are based on mathematical structures. The discipline of mathematics fascinated him throughout his entire life, and in 1979 he became a member of the London Mathematical Society. Anthony Hill: Progression of Rectangles, Version II, 1954-1959, Sainsbury Centre, University of East Anglia; Bequeathed by Joyce and Michael Morris, 2014 © VG Bild-Kunst, Bonn 2025","id":"6acdc59e6d94764c1ea79770","image":null}]}}},{"hall":"1A5","description":{"de":"Vor der drohenden Kriegsgefahr flohen in den späten 1930er Jahren viele Künstlerinnen und Künstler nach Großbritannien. Die Metropole London, in der etwa Mondrian, Moholy-Nagy und Gabo Exil fanden, bevor sie in die USA emigrierten, wurde zu einem Zentrum der geometrischen Abstraktion. Kontakte zu britischen Künstlern wie Hepworth und Nicholson bestanden bereits durch die Pariser Gruppe Abstraction-Création. Noch vor den Bombenangriffen auf London 1940 zogen Hepworth und Nicholson zur Künstlerkolonie von St. Ives in Cornwall. Sie setzten ihre Arbeit an Reliefs und Skulpturen fort, mit denen sie die geometrische Abstraktion in die Räumlichkeit überführten. Farben und Formen der Küstenland-schaft inspirierten sie. Nach Kriegsende gründete sich in London die Gruppe der Constructionists. In ihren Reliefs, die wie Objekte der Industrieproduktion der 1950er Jahre wirken, verwendeten sie auch neue, synthetische Materialien. Sie reflektieren Optimismus und Modernisierung des Wiederaufbaus.","en":"In the late 1930s, as the threat of war loomed many artists fled to Great Britain. London became a center for geometric abstraction, with exiled artists such as Mondrian, Moholy-Nagy, and Gabo finding refuge there before emigrating to the United States. Connections to British artists like Hepworth and Nicholson had already been established through the Paris-based group Abstraction-Création. Even before the bombing of London in 1940, Hepworth and Nicholson moved to the artist colony in St. Ives, Cornwall. There, they continued their work on reliefs and sculptures, adapting geometric abstraction into three-dimensional forms. They were inspired by the colors and shapes of the coastal landscape. After the war, the Constructionists group formed in London. Their reliefs, which resemble industrial objects of the 1950s, incorporated new synthetic materials. These works reflected the optimism and modernization of postwar reconstruction."},"coverImage":{"alt":"1a5 gallery cover kandinsky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"1a5-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":52574,"width":750,"height":504,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:29:44.055Z","updatedAt":"2025-02-20T09:29:55.007Z","thumbnailURL":null,"url":"/cms/api/media/file/1a5-gallery-cover-kandinsky.jpg","id":"67b6f6085c358fca3f060244"},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a5.glb","mimeType":"application/octet-stream","filesize":3222308,"createdAt":"2025-03-06T23:58:25.815Z","updatedAt":"2025-03-06T23:58:25.815Z","id":"67ca36a1727202766076e6a2","url":"/cms/api/media/file/1a5.glb","thumbnailURL":null},"startPoint":{"sweepId":"1ccb4385d7e941329a07d7ac1d498b44","rotation":{"x":-4.16,"y":57.6}},"infoWall":{"modelData":{"insideView":{"sweepId":"289ab6990a8743beb5beba01bd127d5c","rotation":{"x":12.44,"y":-88.94}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.54,"z":1.95},"position":{"x":-8.93,"y":9.43,"z":2.73,"exhibitionDependent":[]}}}},"id":"67b5dc24b8ecad4268b416d9","3dModels":[{"glbFile":"67ca36a1727202766076e6a2","id":"6af57d8780946500013209b0"}],"title":{"de":"Harmonie der Kräfte","en":"Balanced Forces"},"subtitle":{"de":"Konstruktivistische Utopien in der britischen Kunst","en":"Constructivist Utopias in British Art"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1a5.glb","mimeType":"application/octet-stream","filesize":3222308,"createdAt":"2025-03-06T23:58:25.815Z","updatedAt":"2025-03-06T23:58:25.815Z","id":"67ca36a1727202766076e6a2","url":"/cms/api/media/file/1a5.glb","thumbnailURL":null}},{"hall":"Lel","description":{"de":"In den 1960er Jahren wandte sich die geometrische Abstraktion in den USA dem monumentalen Format zu. Sie setzte auf klare Grundformen, scharfe Konturen und leuchtende Farben. Damit entfernten sich Künstlerinnen und Künstler von der expressiven Malweise, die in den 1950er Jahren die amerikanische Kunstszene dominiert hatte. In Washington entwickelte eine Gruppe um Kenneth Noland besondere Techniken: Sie gossen oder zogen verdünnte Farben großflächig über die Leinwand. Dabei experimentierten sie mit der psychologischen Wirkung von Farben und ihren Kombinationen. New Yorker Künstler wie Al Held und Frank Stella mieden expressiven Farbauftrag. In ihrem Hard Edge genannten Stil beziehen sich Farbe und Form nur auf sich selbst. Sie reflektierten die geometrische Abstraktion der Vorkriegszeit, jedoch ohne utopische Ideen zu verfolgen. Trotz der Ablehnung narrativer Elemente deuten Titel, Kompositionen und Farbkontraste oft auf kulturelle oder persönliche Kontexte hin.","en":"In the 1960s, geometric abstraction in the United States turned to monumental formats. Artists focused on basic shapes, sharp contours, and vibrant colors, moving away from the expressive painting that had dominated the American art scene in the 1950s. In Washington, a group around Kenneth Noland developed special techniques: they poured or dragged diluted paints over large areas of the canvas, experimenting with the psychological effects of colors and their combinations. New York artists like Al Held and Frank Stella avoided expressive brushwork. In their style, known as Hard Edge, color and form refer only to themselves. They reflected the geometric abstraction of the prewar era but without pursuing utopian ideas. Despite the rejection of narrative elements, often titles, compositions, and color contrasts hint at cultural or personal contexts."},"coverImage":{"alt":"lelbach saal gallery cover kandinsky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"1lel-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":41938,"width":750,"height":440,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:31:22.264Z","updatedAt":"2025-02-20T09:31:22.264Z","id":"67b6f66a5c358fca3f0602e0","url":"/cms/api/media/file/1lel-gallery-cover-kandinsky.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1lel.glb","mimeType":"application/octet-stream","filesize":4171236,"createdAt":"2025-03-06T23:58:45.421Z","updatedAt":"2025-03-27T12:06:56.606Z","thumbnailURL":null,"url":"/cms/api/media/file/1lel.glb","id":"67ca36b5727202766076e6e3"},"startPoint":{"sweepId":"9cd9c40f56e04c91a211b6aba3ab484f","rotation":{"x":-2.13,"y":179.07}},"infoWall":{"modelData":{"insideView":{"sweepId":"9c3ae8adbe0042ed8bf90e81de8900b2","rotation":{"x":17.88,"y":-0.17}},"infoCollisionBox":{"geometry":{"x":1.71,"y":1.2,"z":0.05},"position":{"x":-17.24,"y":9.4,"z":6.66,"exhibitionDependent":[]}}}},"id":"67b5dc61b8ecad4268b416db","3dModels":[{"glbFile":"67ca36b5727202766076e6e3","id":"6af57d8780946500013209b1"}],"title":{"de":"Kraft der Farbe","en":"The Power of Color"},"subtitle":{"de":"Hard-Edge-Malerei","en":"Hard Edge Painting"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1lel.glb","mimeType":"application/octet-stream","filesize":4171236,"createdAt":"2025-03-06T23:58:45.421Z","updatedAt":"2025-03-27T12:06:56.606Z","thumbnailURL":null,"url":"/cms/api/media/file/1lel.glb","id":"67ca36b5727202766076e6e3"}},{"hall":"1B5","description":{"de":"Klare Linien, industrielle Materialien und eine reduzierte Farbigkeit prägen den Minimalismus. Die Formulierung seiner Merkmale in Donald Judds Text „Spezifische Objekte\" von 1964 machte den neuen Stil greifbar. In den 1970er Jahren folgten zahlreiche Künstlerinnen und Künstler in den USA und Europa dem Minimalismus. Statt auf Emotion oder Symbolik zu setzen, fordern minimalistische Werke dazu auf, Nuancen wahrzunehmen: das subtile Zusammenspiel von Licht und Schatten auf einer Oberfläche, die Textur der Materialien oder die veränderliche Beziehung zwischen Objekt und Raum, wenn der Betrachter sich bewegt. Der Minimalismus distanzierte sich von der Idee der Einzigartigkeit des Kunstwerks und verbarg die Spuren handwerklicher Bearbeitung. Manche Künstler ließen ihre Werke sogar industriell produzieren. Leinwände wurden nicht als Bildträger, sondern als Objekte behandelt - Nägel erzeugen plastische Strukturen, Gitter überlagern sich, Kanten sind bemalt.","en":"Clear lines, industrial materials, and a reduced color palette define Minimalism. In his 1964 text \"Specific Objects,\" Donald Judd articulated the characteristics of this new style. Throughout the 1970s, numerous artists in the United States and Europe embraced Minimalism. Rather than focusing on emotion or symbolism, Minimalist works invite viewers to perceive subtle nuances: the interplay of light and shadow on a surface, the texture of materials, or the shifting relationship between object and space as the observer moves. Minimalism distanced itself from the notion of the artwork's uniqueness and concealed traces of manual craftsmanship. Some artists even opted for industrial production of their works. Canvases were treated not as image carriers but as objects-nails form three-dimensional structures, grids overlap, and edges are painted."},"coverImage":{"alt":"1b5 gallery cover kandisky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"1b5-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":387257,"width":2880,"height":1596,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:32:29.282Z","updatedAt":"2025-02-20T09:32:29.282Z","id":"67b6f6ad5c358fca3f060338","url":"/cms/api/media/file/1b5-gallery-cover-kandinsky.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1b5.glb","mimeType":"application/octet-stream","filesize":3058832,"createdAt":"2025-03-06T23:59:04.788Z","updatedAt":"2025-03-06T23:59:04.788Z","id":"67ca36c8727202766076e724","url":"/cms/api/media/file/1b5.glb","thumbnailURL":null},"startPoint":{"sweepId":"9d3674e8005a49e59c38b1b3e45d41c3","rotation":{"x":-4.15,"y":178.27}},"infoWall":{"modelData":{"insideView":{"sweepId":"ee560ed447c84f76af286387891615e7","rotation":{"x":13.49,"y":90.05}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.39,"z":1.57},"position":{"x":-16.22,"y":9.48,"z":35.46,"exhibitionDependent":[]}}}},"id":"67b5dcb1b8ecad4268b416dd","3dModels":[{"glbFile":"67ca36c8727202766076e724","id":"6af57d8780946500013209b2"}],"title":{"de":"Essenz der Form","en":"The Essence of Form"},"subtitle":{"de":"Transatlantischer Minimalismus","en":"Transatlantic Minimalism"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"1b5.glb","mimeType":"application/octet-stream","filesize":3058832,"createdAt":"2025-03-06T23:59:04.788Z","updatedAt":"2025-03-06T23:59:04.788Z","id":"67ca36c8727202766076e724","url":"/cms/api/media/file/1b5.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Minimalismus und Hard Edge-Malerei","id":"6acdc5a06d94764c1ea7977a","image":null},{"blockType":"paragraph","text":"In der Nachkriegszeit begann der Aufstieg der USA zum Motor der Kunstwelt. Nachdem zunächst der Abstrakte Expressionismus mit seinem gestischen Ausdruck und der körperlichen Machart die Szene dominiert hatte, folgte in den 1960er Jahren eine Rückkehr zur klaren Form. Im Land der unbegrenzten Möglichkeiten wurde auch die abstrakte Malerei wortwörtlich von ihren Grenzen befreit: Die Formate wurden ins Monumentale gesteigert und die jahrhundertealte Logik des rechteckigen Malgrunds aufgegeben. Ellsworth Kelly und Frank Stella fertigten Shaped Canvases, also Leinwände mit runden oder mehreckigen Rändern. Die populäre Hard-Edge-Malerei, bei der sich die Formen durch „harte Kanten“ scharf gegeneinander abgrenzten, zeichnete sich durch poppige Farben und glatte Oberflächen aus.","id":"6acdc5a06d94764c1ea7977b","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Unknown_1.png?w=1200","caption":"Der Amerikaner Ellsworth Kelly schuf mit Arbeiten wie Blau Gelb Objekte, bei denen Farbe und Form eine Einheit bilden. Ellsworth Kelly: Blau Gelb, 1968, Privatsammlung © Ellsworth Kelly Foundation","id":"6acdc5a06d94764c1ea7977c","image":null},{"blockType":"quote","text":"Meine Gemälde stellen keine Objekte dar. Sie sind selbst Objekte und fragmentierte Wahrnehmungen von Dingen.","by":"Ellsworth Kelly, 1996","id":"6acdc5a06d94764c1ea7977d","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/083_Kenneth_Noland_Half_Time_1964._ASOM_Collection.jpg?w=1200","caption":"Wie Helen Frankenthaler vor ihm, arbeitete auch Kenneth Noland mit der Soak-Stain-Technik, bei der stark verdünnte Farben auf die ungrundierte Leinwand aufgetragen und von dieser regelrecht aufgesogen wurden. Kenneth Noland: Halbzeit, 1964, ASOM Collection © VG Bild-Kunst, Bonn 2025","id":"6acdc5a06d94764c1ea7977e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/089_Al_Held_The_Dowager_Empress_1965.jpg?w=1200","caption":"Die Spannung zwischen Zwei- und Dreidimensionalität ist ein zentrales Charakteristikum der Gemälde von Al Held. Al Held: Die Kaiserinwitwe, 1965, Whitney Museum of American Art, New York; Ankauf mit Mitteln der Friends of the Whitney Museum of American Art © VG Bild-Kunst, Bonn 2025, Photo: 2025 Digital image, Whitney Museum of American Art/Scala, Florence","id":"6acdc5a06d94764c1ea7977f","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.11.12.png?w=1200","caption":"Für sein Werk Kohärenz wurde Paul Reed durch Jackson Pollocks Blue Poles (Number 11) mit seinem sich wiederholenden Rhythmus starker Linien inspiriert. Paul Reed: Kohärenz, 1966, National Gallery of Art, Washington; Schenkung von Bill McGillicuddy in Erinnerung an Thomas W. Reed und Robert A. Reed","id":"6acdc5a06d94764c1ea79780","image":null},{"blockType":"paragraph","text":"Die Flut an Gütern der amerikanischen Konsumgesellschaft wurde auch in der Kunstproduktion reflektiert. Statt Ölfarben verwendeten viele Zeitgenossen industriell hergestellte Acrylfarben oder sogar Wandfarben aus dem Baumarkt. Die Künstler der Minimal Art unterdrückten jede persönliche Handschrift und schufen so Distanz zu ihren Werken; das serielle Arbeiten löste die individuelle Kreation ab. Donald Judd ließ seine Quader aus Plexiglas und Stahl gleich ganz von Arbeitern herstellen. Seine minimalistischen Objekte aus geometrischen Formen thematisierten den sie umgebenden Raum.","id":"6acdc5a06d94764c1ea79781","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.15.04.png?w=1200","caption":"Donald Judd hatte zunächst Philosophie und Kunstgeschichte studiert und lange als Kunstkritiker gearbeitet. Daneben beschäftigte er sich mit der Malerei. In den 1950er Jahren wurde sein Stil zunehmend abstrakter, um 1962 wandte sich Judd schließlich räumlichen Arbeiten zu. Donald Judd: Ohne Titel, 1969, Staatliche Museen zu Berlin, Nationalgalerie, Sammlung Marzona © VG Bild-Kunst, Bonn 2025","id":"6acdc5a06d94764c1ea79782","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Primary_Structures_1966.jpg?w=1200","caption":"1966 zeigte das Jewish Museum in New York mit der Ausstellung Primary Structures. Younger American and British Sculptors eine umfassende Schau des Minimalismus. Die raumgreifenden, geometrischen Objekte waren nicht mehr auf Sockeln präsentiert, sondern standen direkt auf dem Boden oder hingen von der Decke. Ausstellungsansicht von Primary Structures. Younger American and British Sculptors, New York 1966, Photo: Rudolph Burckhardt","id":"6acdc5a06d94764c1ea79783","image":null}],"en":[{"blockType":"heading","text":"Minimalism and Hard Edge Painting","id":"6acdc5a36d94764c1ea7978d","image":null},{"blockType":"paragraph","text":"The postwar years saw the rise of the United States as the driver of the art world. At first the scene was dominated by Abstract Expressionism with its gestural, physical approach to art making, but with the 1960s came a return to clarity of form. In the land of unlimited possibilities, abstract painting, too, was literally freed from all constraints: the scale of the works expanded to monumental proportions, and the centuries-old logic of the rectangular support was abandoned as artists like Ellsworth Kelly and Frank Stella produced “shaped canvases” with round or polygonal contours. The popular current of Hard Edge painting with its sharp demarcation of forms was characterized by trendy colors and slick surfaces.","id":"6acdc5a36d94764c1ea7978e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Unknown_1.png?w=1200","caption":"With works like Blue Yellow, the American artist Ellsworth Kelly created objects in which color and shape form a unit. Ellsworth Kelly: Blue Yellow, 1968, Private collection © Ellsworth Kelly Foundation","id":"6acdc5a36d94764c1ea7978f","image":null},{"blockType":"quote","text":"My paintings don’t represent objects. They are objects themselves and fragmented perceptions of things.","by":"Ellsworth Kelly, 1996","id":"6acdc5a36d94764c1ea79790","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/083_Kenneth_Noland_Half_Time_1964._ASOM_Collection.jpg?w=1200","caption":"Like Helen Frankenthaler before him, Kenneth Noland used the “soak-stain” technique, in which heavily thinned paint is allowed to soak into the unprimed canvas. Kenneth Noland: Half-Time, 1964, ASOM Collection © VG Bild-Kunst, Bonn 2025","id":"6acdc5a36d94764c1ea79791","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/089_Al_Held_The_Dowager_Empress_1965.jpg?w=1200","caption":"The tension between two- and three-dimensionality is a central characteristic of the paintings of Al Held. Al Held: The Dowager Empress, 1965, Whitney Museum of American Art, New York; Purchase, with funds from the Friends of the Whitney Museum of American Art © VG Bild-Kunst, Bonn 2025, Photo: 2025 Digital image, Whitney Museum of American Art/Scala, Florence","id":"6acdc5a36d94764c1ea79792","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.11.12.png?w=1200","caption":"Paul Reed’s work Coherence was inspired by Jackson Pollock’s Blue Poles (Number 11) with its repeating rhythm of strong lines. Paul Reed: Coherence, 1966, National Gallery of Art, Washington, Gift of Bill McGillicuddy in memory of Thomas W. Reed and Robert A. Reed","id":"6acdc5a36d94764c1ea79793","image":null},{"blockType":"paragraph","text":"The flood of manufactured goods in American consumer society also left its mark on artistic production. Instead of oils, many artists used industrial acrylic paints or even wall paint from the home improvement store. The artists of Minimalism suppressed all personal handwriting, creating distance to their works and emphasizing seriality over individual creation. Donald Judd’s blocks of Plexiglas and steel were produced entirely by technicians. His Minimalist objects, consisting of geometric forms, call attention to the space around them.","id":"6acdc5a36d94764c1ea79794","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.15.04.png?w=1200","caption":"Donald Judd initially studied philosophy and art history. For a long time, he worked as an art critic while pursuing painting on the side. In the 1950s, Judd’s style became increasingly abstract, and in 1962 he began making exclusively three-dimensional works. Donald Judd: Untitled, 1969, Staatliche Museen zu Berlin, Nationalgalerie, Marzona Collection © VG Bild-Kunst, Bonn 2025","id":"6acdc5a36d94764c1ea79795","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Primary_Structures_1966.jpg?w=1200","caption":"In 1966, the Jewish Museum in New York mounted a comprehensive exhibition of Minimalist art entitled Primary Structures: Younger American and British Sculptors. The three-dimensional geometric objects were no longer displayed on pedestals, but stood directly on the floor or hung from the ceiling. Exhibition view Primary Structures. Younger American and British Sculptors, New York 1966, Photo: Rudolph Burckhardt","id":"6acdc5a36d94764c1ea79796","image":null}]}}},{"hall":"0B1","description":{"de":"Die Kunst der Optical Art - kurz Op-Art - fordert die visuelle Wahrnehmung heraus. Muster auf einer zweidimensionalen Bildfläche scheinen sich zu bewegen oder räumlich hervorzutreten. Dieser Illusionismus macht das Sehen zu einem aktiven Erlebnis. Bereits Malewitsch und Kandinsky hatten in den 1910er und 1920er Jahren in ihren Gemälden mit geometrischen Elementen experimentiert, die schwebend oder dynamisch erscheinen. Die Op-Art knüpfte daran an. Sie nutzte die am Bauhaus erarbeiteten Erkenntnisse der Wirkung von Farben und Formen und überführte sie in die von Technologie, Raumfahrt und dem Flimmern des Fernsehbildschirms geprägte Ästhetik der 1960er Jahre. Kunst, die mit optischen Effekten spielte, entstand unabhängig an verschiedenen Orten. Als Stil wurde sie erst 1965 mit der Ausstellung The Responsive Eye im Museum of Modern Art in New York erkannt.","en":"Optical Art—Op Art for short-challenges visual perception. Patterns on a two-dimensional surface appear to move or protrude, creating an illusion that turns seeing into an active experience. As early as the 1910s and 1920s, artists like Malevich and Kandinsky had experimented with geometric elements that seem to float or appear dynamic. Op Art built on this foundation. It drew on the insights of color and form effects developed at the Bauhaus, translating them for the 1960s aesthetic, which was shaped by technology, space exploration, and the flicker of television screens. Art that played with optical effects emerged independently in various places. It was only recognized as a distinct style in 1965 with the exhibition The Responsive Eye at the Museum of Modern Art in New York."},"coverImage":{"exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"0b1-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":38025,"width":750,"height":500,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:33:28.708Z","updatedAt":"2025-02-20T09:35:19.017Z","alt":"0b1 gallery cover kandisky","thumbnailURL":null,"url":"/cms/api/media/file/0b1-gallery-cover-kandinsky.jpg","id":"67b6f6e85c358fca3f060396"},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0b1-1.glb","mimeType":"application/octet-stream","filesize":2501096,"createdAt":"2025-03-07T00:00:39.209Z","updatedAt":"2025-03-07T00:00:39.209Z","id":"67ca3727727202766076e81c","url":"/cms/api/media/file/0b1-1.glb","thumbnailURL":null},"startPoint":{"sweepId":"f4e96c0760ec4c1b905de55dae875735","rotation":{"x":-2.54,"y":-90.03}},"infoWall":{"modelData":{"insideView":{"sweepId":"261234ea1b524a15bab7669f14a2fa22","rotation":{"x":12.48,"y":-0.8}},"infoCollisionBox":{"geometry":{"x":1.64,"y":1.24,"z":0.05},"position":{"x":18.1,"y":1.99,"z":25.62,"exhibitionDependent":[]}}}},"id":"67b5dcffb8ecad4268b416df","3dModels":[{"glbFile":"67ca3727727202766076e81c","id":"6af57d8780946500013209b3"}],"title":{"de":"Space Age","en":"Space Age"},"subtitle":{"de":"Op-Art der 1960er Jahre","en":"Op Art in the Sixties"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0b1-1.glb","mimeType":"application/octet-stream","filesize":2501096,"createdAt":"2025-03-07T00:00:39.209Z","updatedAt":"2025-03-07T00:00:39.209Z","id":"67ca3727727202766076e81c","url":"/cms/api/media/file/0b1-1.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Die Op-Art der 1960er Jahre","id":"6acdc5a56d94764c1ea797a0","image":null},{"blockType":"paragraph","text":"Mit der Op-Art, kurz für Optical Art, begann die geometrische Abstraktion zu tanzen. Die statischen, zweidimensionalen Kompositionen der Britin Bridget Riley oder der Amerikanerin Margaret Wenstrup scheinen sich vor unserem Auge auszudehnen, zu rotieren und zu vibrieren. Einflüsse der psychedelischen Kunst und der Geist des Raumfahrtzeitalters sind spürbar. Der Ungar Victor Vasarely schickte einige seiner Graphiken sogar per Raumschiff ins All.","id":"6acdc5a56d94764c1ea797a1","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/106_Margaret_Wenstrup_Whirligig_1964.jpg?w=1200","caption":"Margaret Wenstrup kam im New York der 1940er und 50er Jahre in New York in Kontakt mit den modernen abstrakten Strömungen. In der Optical Art verband sie ihre Interessen an geometrischen Mustern und textilem Kunsthandwerk. Margaret Wenstrup: Kreisel, 1964, D. Wigmore Fine Art, Inc., New York © Estate of Margaret Wenstrup, Photo: Noel Allum","id":"6acdc5a56d94764c1ea797a2","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.22.42.png?w=1200","caption":"Inspiriert von Josef Albers’ Lehren nutzte auch sein Schüler Julian Stanczak das Quadrat als geometrisches Rahmenwerk. Julian Stanczak: Glühwürmchen, 1973, Sammlung David und Kathryn Birnbaum © Estate of Julian Stanczak, Photo: Wes Magyar","id":"6acdc5a56d94764c1ea797a3","image":null},{"blockType":"paragraph","text":"Die Op-Art nutze optische Effekte wie Verzerrung oder Kontraste. Damit schloss sie an die Anfänge der abstrakten Kunst an, denn schon Kandinsky, die osteuropäischen Avantgardisten und Bauhäusler wie Josef Albers hatten die Wirkung von Farbe und Form auf das Auge analysiert. Gleichzeitig löste sich die Op-Art, deren Name nicht zuletzt an die zeitgleiche Pop-Art der 1960er Jahre erinnert, von den spirituellen und intellektuellen Zuschreibung an die Abstraktion. Stattdessen bot sie ein auf die Gegenwart gerichtetes Spiel mit der Wahrnehmung.","id":"6acdc5a56d94764c1ea797a4","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/109_Victor_Vasarely_Boglar_I_1966._ASOM_Collection.jpg?w=1200","caption":"Victor Vasarely hatte im Paris der 1930er Jahre zunächst als Werbegraphiker gearbeitet. In dieser Zeit begann auch seine Beschäftigung mit der als Trompe-l’Œil bezeichneten illusionistischen Malerei, die den Betrachter täuschen will. Victor Vasarely: Boglar I, 1966, ASOM Collection © VG Bild-Kunst, Bonn 2025","id":"6acdc5a56d94764c1ea797a5","image":null}],"en":[{"blockType":"heading","text":"Op Art in the 1960s","id":"6acdc5a86d94764c1ea797af","image":null},{"blockType":"paragraph","text":"With Op Art (short for Optical Art), geometric abstraction began to dance. The two-dimensional compositions of the British painter Bridget Riley or the American artist Margaret Wenstrup seem to expand, rotate, and vibrate before our very eyes. The influence of psychedelic art and the Space Age is also perceptible: Hungarian artist Victor Vasarely even sent some of his prints into the cosmos on a spaceship.","id":"6acdc5a86d94764c1ea797b0","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/106_Margaret_Wenstrup_Whirligig_1964.jpg?w=1200","caption":"Margaret Wenstrup encountered modern currents of abstraction in the New York of the 1940s and 50s. In Op Art, she combined her interests in geometric patterning and textile crafts. Margaret Wenstrup: Whirligig , 1964, D. Wigmore Fine Art, Inc., New York © Estate of Margaret Wenstrup, Photo: Noel Allum","id":"6acdc5a86d94764c1ea797b1","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/Bildschirmfoto_2025_02_01_um_17.22.42.png?w=1200","caption":"Inspired by his teacher Josef Albers, Julian Stanczak also used the square as a geometric framework. Julian Stanczak: Firefly, 1973, Collection David and Kathryn Birnbaum © Estate of Julian Stanczak, Photo: Wes Magyar","id":"6acdc5a86d94764c1ea797b2","image":null},{"blockType":"paragraph","text":"Op Art explored effects such as distortion or contrast. In so doing, it harkened back to the beginnings of abstract art, when the optical impact of color and form was analyzed by Kandinsky, avant-garde artists in Eastern Europe, and Bauhaus instructors like Josef Albers. At the same time, Op Art—whose name echoes that of the contemporaneous Pop Art movement of the 1960s—rejected spiritual and intellectual interpretations of abstraction and instead focused on the play of perception in the present moment.","id":"6acdc5a86d94764c1ea797b3","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/109_Victor_Vasarely_Boglar_I_1966._ASOM_Collection.jpg?w=1200","caption":"Victor Vasarely began his career as a commercial artist in Paris in the 1930s. During this time, he also developed an interest in the illusionistic painting known as trompe-l’oeil, aimed at deceiving the viewer’s eye. Victor Vasarely: Boglar I, 1966, ASOM Collection © VG Bild-Kunst, Bonn 2025","id":"6acdc5a86d94764c1ea797b4","image":null}]}}},{"hall":"0B2","description":{"de":"Die amerikanischen Op-Art-Künstler Richard Anuszkiewicz und Julian Stanczak waren Schüler des ehemaligen Bauhaus-Lehrers Josef Albers. Dieser war 1933 in die USA emigriert, wo er mit der Serie Huldigung an das Quadrat die Farb-und Formforschungen fortsetzte, die er am Bauhaus neben Kandinsky begonnen hatte. Seine quadratischen Kompositionen gelten als Vorläufer der Op-Art. Seine beiden Schüler griffen Albers' Schema des Quadrats auf. Auch sie untersuchten, wie Farben je nach ihrer Kombination hervorzutreten oder zurückzuweichen scheinen, opak oder transparent wirken. Sie führten jedoch grellere Farben und stärkere Kontraste ein, die intensive Effekte erzeugen und die Grenzen der Wahrnehmung ausreizen.","en":"The American Op Artists Richard Anuszkiewicz and Julian Stanczak were students of the former Bauhaus teacher Josef Albers. Albers had emigrated to the United States in 1933, where he began his series Homage to the Square. These geometric compositions continued the research on color and form, which he had begun at the Bauhaus alongside Kandinsky—they are considered precursors to Op Art. Both students adopted Albers' square framework. Like him, they explored how colors can seem opaque or transparent, and appear to advance or recede depending on their combination. However, they introduced brighter colors and stronger contrasts, creating intense effects that push the boundaries of perception."},"coverImage":{"alt":"0b2 gallery cover kandisky","exhibition":"67b343f28635bba96e329739","type":"gallery-cover-image","filename":"0b2-gallery-cover-kandinsky.jpg","mimeType":"image/jpeg","filesize":51690,"width":750,"height":503,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:34:29.621Z","updatedAt":"2025-02-20T09:34:29.621Z","id":"67b6f7255c358fca3f0603eb","url":"/cms/api/media/file/0b2-gallery-cover-kandinsky.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0b2-1.glb","mimeType":"application/octet-stream","filesize":2387772,"createdAt":"2025-03-07T00:00:07.204Z","updatedAt":"2025-03-07T00:00:07.204Z","id":"67ca3707727202766076e7e1","url":"/cms/api/media/file/0b2-1.glb","thumbnailURL":null},"startPoint":{"sweepId":"fad2d1acea0d42b0aad90b963f269be3","rotation":{"x":1.29,"y":-90.5}},"infoWall":{"modelData":{"insideView":{"sweepId":"ed92232b67344dd7b4233a92d63a0708","rotation":{"x":14.39,"y":-178.66}},"infoCollisionBox":{"geometry":{"x":0.05,"y":1.39,"z":1.57},"position":{"x":-16.24,"y":9.48,"z":35.46,"exhibitionDependent":[]}}}},"id":"67b5dd37b8ecad4268b416e1","3dModels":[{"glbFile":"67ca3707727202766076e7e1","id":"6af57d8780946500013209b4"}],"title":{"de":"Leuchtende Illusionen","en":"Luminous Illusions"},"subtitle":{"de":"Der Effekt des Quadrats","en":"The Effect of the Square"},"exhibitionDependentArtworkOffsetArray":[],"ownModel":{"exhibition":"67b343f28635bba96e329739","type":"3d-model","filename":"0b2-1.glb","mimeType":"application/octet-stream","filesize":2387772,"createdAt":"2025-03-07T00:00:07.204Z","updatedAt":"2025-03-07T00:00:07.204Z","id":"67ca3707727202766076e7e1","url":"/cms/api/media/file/0b2-1.glb","thumbnailURL":null}}],"artworkList":[{"artwork":{"title":{"de":"Weißer Klang","en":"White Sound"},"modelData":{"matterport":{"insideView":{"sweepId":"e30da5d000b54701afe9220642a871cb","rotation":{"x":-2.62,"y":89.6}},"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.89,"z":0.9},"position":{"x":1.91,"y":1.58,"z":-2.32,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.28},"position":{"x":1.92,"y":1.03,"z":-1.57,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":4.2,"y":2.4,"z":17.7},"floorplan":{"x":2.9,"y":-7,"z":19.1}}}},"createdAt":"2025-02-23T13:57:08.353Z","updatedAt":"2025-03-25T10:41:10.296Z","artist":{"lastName":"Kandinsky","firstName":"Wassily","lifeDates":"1866–1944","createdAt":"2025-02-23T13:55:08.442Z","updatedAt":"2025-02-23T13:55:08.442Z","id":"67bb28bcec5e544214490c06"},"catalogNumber":"1","copyrightArtist":"Gemeinfrei","copyrightFoto":null,"credit":{"de":"Privatsammlung","en":"Private Collection"},"dating":{"de":"1908","en":"1908"},"description":{"de":"Bereits in seiner expressionistischen Phase erkante Kandinsky das Potential der geometrischen Abstraktion. Der buntfarbigen Figurendarstellung fügte er eine runde weiße Form ein, die sich nicht aus dem Motiv heraus erklären lässt. Der Synästhetiker, der Farben bestimmten Klängen und Emotionen zuordnete, verband damit die Vorstellung von Leere und Stille. Kandinskys frühes abstraktes Schaffen hat viele Bezüge zur Musik.","en":"Already in his Expressionist phase, Kandinsky recognized the potential of geometric abstraction. This brightly colored, figurative image includes a rounded white form that cannot be explained in terms of the motif. As a synesthete, Kandinsky identified colors with specific sounds and emotions, associating white with stillness and emptiness. 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Seine abstrakte Kunst bot ihm die Möglichkeit, Empfindungen darzustellen und den un-sichtbaren Prinzipien hinter der materiellen Welt eine Form zu geben. Er entwickelte eine zeichenhafte Bildsprache aus wieder- kehrenden Elementen. Der Kreis steht darin für die Unendlichkeit des Kosmos, der Pfell für Bewegung und das Fort-schreiten der Zeit.","en":"Kandinsky was interested in spirituality and theosophy. His abstract art provided a means to represent emotions and give form to the invisible principles underlying the material world. He developed a symbolic pictorial language with recurring elements, where the circle symbolizes the boundless-ness of the cosmos and the arrow represents movement and the passage of time."},"exhibition":"67b343f28635bba96e329739","guides":[],"hall":"0A1","highlight":null,"image":{"alt":"038_wassily_kandinsky_pfeil_zum_kreis_1930","exhibition":"67b343f28635bba96e329739","type":"artwork-image","filename":"optimized-038_Wassily Kandinsky, Pfeil zum Kreis, 1930.jpg","mimeType":"image/jpeg","filesize":660521,"width":2000,"height":1452,"focalX":50,"focalY":50,"createdAt":"2025-02-19T10:10:39.397Z","updatedAt":"2025-02-19T10:10:39.397Z","id":"67b5ae1fd33c1bf564de163e","url":"/cms/api/media/file/optimized-038_Wassily%20Kandinsky%2C%20Pfeil%20zum%20Kreis%2C%201930.jpg","thumbnailURL":null},"measurements":"80 x 110 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bb29349539124876e70c1f"},"id":"67bb60b80059ab63f16eeedf"},{"artwork":{"title":{"de":"Raum-Kraft-Konstruktion","en":"Spatial Force Construction"},"modelData":{"matterport":{"insideView":{"sweepId":"55905e31dc814058af0410066321304d","rotation":{"x":-4.44,"y":178.39}},"artworkCollisionBox":{"geometry":{"x":0.74,"y":0.81,"z":0.2},"position":{"x":5.98,"y":1.58,"z":5.01,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.48,"z":0.05},"position":{"x":5.29,"y":1.05,"z":5.01,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":0.3,"y":2.9,"z":10.5},"floorplan":{"x":0.7,"y":-7,"z":9.1}}}},"createdAt":"2025-02-23T13:57:09.367Z","updatedAt":"2025-03-25T10:43:14.660Z","artist":{"lastName":"Popova","firstName":"Lyubov","lifeDates":"1889-1924","createdAt":"2025-02-23T13:55:07.479Z","updatedAt":"2025-02-23T13:55:07.479Z","id":"67bb28bbec5e544214490b79"},"catalogNumber":"8","copyrightArtist":null,"copyrightFoto":"MOMus – Museum of Modern Art – Costakis Collection","credit":{"de":"MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki","en":"MOMus - Museum of Modern Art - Costakis Collection, Thessaloniki"},"dating":{"de":"1921","en":"1921"},"description":{"de":"Raum und Kraft: Die Terminologie des Konstruktivismus, dem sich Popowa um 1921 annäherte, orientierte sich an Wissen-schaft und Technik. 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Wenig später entstand Stäbe und Flächen, das warme und kalte Farben in kristallinen Strukturen gegenüberstellt. Itten beschrieb das Wesen von Farben als „traumhaftes Klingen\" und „musik-gewordenes Licht\".","en":"Itten's foundation course on color and form shaped the curriculum at the Bauhaus In 1953, he became a professor at the Hochschule für Gestaltung in Ulm, a design school founded by Max Bill that continued the legacy of the Bauhaus. Shortly thereafter, he created Sticks and Planes, in which warm and cool colors are juxtaposed in crystalline structures. 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Aufgrund seines Engagements im Widerstand wurde er inhaftiert. Nach dem Krieg setzte sich Leppien als Mitgründer des Ausstellungsformats Salon des Réalités Nouvelles für die Förderung abstrakter Kunst ein. Seine Gemälde dieser Zeit weisen Farbfelder auf, die von geraden und geschwungenen Linien umrissen und durchzogen werden.","en":"Leppien studied under Kandinsky and Albers at the Bauhaus. In 1933, he emigrated to Paris and was later arrested for his involvement in the Resistance. After the war, Leppien became an advocate for abstract art as cofounder of the exhibition platform Salon des Réalités Nouvelles. 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Von Steinbrüchen in der Normandie wurde das Material für die Boulevards und die neuen Quartiere in der rasant wachsenden Metropole verschifft. Neben Getreide und Gemüse aus dem Pariser Umland brachten Lastkähne Muscheln, Textilien und andere Konsumgüter zum Verkauf in der Stadt. Daneben war die Seine auch Schauplatz des modernen Segelsports und Ausflugsziel erholungs-suchender Städter, die mit der Eisenbahn in die Vororte gelangten - Aspekte des modernen Lebens, die die Impressionisten wie selbstverständlich in ihre Landschaftsbilder integrierten.","en":"The Impressionists developed their repertoire of motifs through the landscapes along the Seine. Working outdoors and focusing on the here and now, they renounced the anecdotal elements that characterized earlier landscape painting. They sharpened their skills of observation on the reflecting surfaces of the Seine. In addition to the constant change of light and of the clouds in the sky, other dynamic moments were observed in the reflections and flowing of the water. As early as 1865 Pierre-Auguste Renoir and Alfred Sisley embarked on a painting excursion along the Seine that ended in the estuary at Le Havre. Many artists in this collection continue to be associated with towns along the Seine such as Argenteuil, Giverny, and Moret, among them Eugène Boudin, Gustave Caillebotte, Claude Monet, Paul Signac, and Alfred Sisley. In the second half of the nineteenth century industrialization and increased efficiency further transformed the Seine. Steamships operated on supply routes to the capital and brought steel for the construction of railways and arcades from the foundries on the river. Building materials for the boulevards and new neighborhoods in the quickly growing metropolis were also shipped from the stone quarries in Normandy. Besides grain and vegetables from the surrounding countryside, barges transported mussels, textiles, and other goods to be sold to urban consumers. The Seine was also the scene of modern sailing sports and a destination for day-trippers from the city, who reached the suburbs by train. These were aspects of modern life that the Impressionists integrated into their landscape paintings as a matter of course."},"coverImage":{"alt":"1b3 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Reflexionen_am_Fluss_Cover.jpg","mimeType":"image/jpeg","filesize":91511,"width":1125,"height":686,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:07:40.337Z","updatedAt":"2025-02-20T10:07:40.337Z","id":"67b6feec5c358fca3f0608ec","url":"/cms/api/media/file/Reflexionen_am_Fluss_Cover.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"1b3.glb","mimeType":"application/octet-stream","filesize":3903108,"createdAt":"2025-03-07T12:23:46.923Z","updatedAt":"2025-03-07T12:23:46.923Z","id":"67cae5520aa4f91dd2e19358","url":"/cms/api/media/file/1b3.glb","thumbnailURL":null},"3dModels":[{"glbFile":"6ac98bfcbb42ed4293e293a9","id":"69d26d9f02142f001b7bbdb0"}],"startPoint":{"sweepId":"b94e0753bc874be6871095f7a74b2b98","rotation":{"x":-3.198625977050304,"y":-89.58411633330434}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.72,"y":1.96,"z":0.05},"position":{"x":22.441025447270306,"y":-5.453227445244186,"z":23.26708578107041,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":17.98,"y":9.22,"z":25.64},"id":"688e2b600e9aa1b4d8540d1c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.5,"y":1.78,"z":23.25},"id":"688e2c2a0e9aa1b4d8540d1d"},{"exhibition":"67b338818635bba96e329691","position":{"x":22.479620200247677,"y":-5.479990490310241,"z":23.26708578107041},"id":"69bd239172d5786b609cf2de"}]}},"insideView":{"sweepId":"84d871ba5bd74725970e2ed4854581da","rotation":{"x":2.589379205785266,"y":0.5620476677299462}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.64,"y":-7.51,"z":-2.34,"id":"6929544f208b8c4c6ec7b4e5"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3587,"y":-7.4989,"z":-2.2513,"id":"69a9d2b9b366e7001bdbe951"}],"id":"67b6faea3f862b6f010e2388","ownModel":{"createdAt":"2026-10-10T00:51:08.282Z","updatedAt":"2026-10-10T00:51:13.600Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/1b3_1024_draco.glb","filename":"1b3_1024_draco.glb","mimeType":"model/gltf-binary","filesize":533296,"thumbnailURL":null,"id":"6ac98bfcbb42ed4293e293a9"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"1B4","title":{"de":"Paris und die Peripherie","en":"Paris and the Periphery"},"subtitle":{"de":"","en":""},"description":{"de":"Die Impressionisten beobachteten das Leben auf den Boulevards, in den Kaffeehäusern und Parks. Gewaltige Umbaumaßnahmen hatten die Hauptstadt seit den 1850er Jahren verändert. Im Auftrag Kaiser Napoleons III. hatte Baron Haussmann die Stadt zu einer modernen Metropole umgestaltet: mit monumentalen Sichtachsen und Schneisen für den wachsenden Verkehr, mit neuen Grünanlagen, riesigen Markthallen, Bahnhöfen und Theatern. Gleichförmige Fassaden und Baumreihen, Gaslaternen, Litfaßsäulen, Cafés und Geschäfte säumten die Straßen. Paris war die Stadt mit den nach London meisten Einwohnern. Von 1850 bis 1870 verdoppelte sich deren Anzahl auf zwei Millionen. Neue Straßenzüge führten in die Peripherie. Die Vororte wuchsen durch den Zuzug von Handwerkern und Angestellten, die den steigenden Mieten im Zentrum entgehen wollten. Anders als in London, wo die Arbeiterschaft im Zentrum lebte, entstanden um Paris mit der Industrialisierung die Banlieues. Seit den 1860er Jahren fuhren die erholungssuchenden Pariser mit der Eisenbahn in weniger als fünf Stunden an die Küste der Normandie. In Étretat und Trouville waren Seebäder nach englischem Vorbild entstanden. Anders als im 18. Jahrhundert, als sich der Adel in Kurorten mit Heilquellen, Thermalbädern und Parks erholte, zogen die zum offenen Meer ausgerichteten Badeorte zahllose Touristen an - unter ihnen die Künstler und ihre Sammler.","en":"The Impressionists observed life on the boulevards, in cafés and parks. Massive construction work had transformed the capital since the 1850s. In the service of Napoleon III, Baron Haussmann had turned the city into a modern metropolis with monumental avenues and thoroughfares for the growing traffic, boasting new parks, enormous market halls, train stations, and theaters. Uniform façades and rows of trees, gas lanterns, advertising columns, cafés, and shops lined the streets. After London, Paris was the largest city in the world. Between 1850 and 1870 the population doubled to two million inhabitants. New streets connected the city with the periphery. The suburbs grew when blue- and white-collar workers moved there in search of alternatives to the high rents in the city center. Unlike in London, where the workers lived downtown, in Paris the banlieues were created through industrialization. Since the 1860s Parisians who were looking for recreation were able to travel by railroad to the coast of Normandy in less than five hours. In Étretat and Trouville there were resorts in the style of English baths. Unlike during the eighteenth century, when only the nobility went to spas to take the waters, bathe in hot springs, and relax in parks, countless tourists were drawn to the resorts on the seaside, including the artists and their collectors."},"coverImage":{"alt":"1b4 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Paris_und_Peripherie_Cover.jpg","mimeType":"image/jpeg","filesize":378298,"width":2880,"height":1644,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:06:31.234Z","updatedAt":"2025-02-20T10:06:31.234Z","id":"67b6fea75c358fca3f060891","url":"/cms/api/media/file/Paris_und_Peripherie_Cover.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"1b4_cut_paintings-opt-1.glb","mimeType":"application/octet-stream","filesize":803188,"createdAt":"2025-03-07T13:14:53.976Z","updatedAt":"2025-03-07T13:14:53.976Z","id":"67caf14d0aa4f91dd2e19be7","url":"/cms/api/media/file/1b4_cut_paintings-opt-1.glb","thumbnailURL":null},"3dModels":[{"glbFile":"6ac98c02bb42ed4293e293bb","id":"69d26d9f02142f001b7bbdb1"}],"startPoint":{"sweepId":"9157c44f0845461090806650fae0f4fb","rotation":{"x":-4.368376621908027,"y":-91.36761041006801}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.72,"y":1.96,"z":0.05},"position":{"x":36.34514881438148,"y":-5.3412864270067395,"z":32.87079938585636,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":36.51,"y":1.89,"z":32.78},"id":"688e454d7080e41820ff4559"},{"exhibition":"67b338818635bba96e329691","position":{"x":36.34514881438148,"y":-5.3412864270067395,"z":32.87079938585636},"id":"69bd24a872d5786b609cf2df"}]}},"insideView":{"sweepId":"38d7a963530147c8ba619655596ea983","rotation":{"x":5.7914495710074805,"y":179.11581997411366}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.58,"y":-7.55,"z":-2.34,"id":"6929668036d45c4158d58e1e"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3349,"y":-7.6066,"z":-2.2815,"id":"69a9d2b9b366e7001bdbe952"}],"id":"67b6fbb03f862b6f010e238a","ownModel":{"createdAt":"2026-10-10T00:51:14.861Z","updatedAt":"2026-10-10T00:51:17.786Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/1b4_cut_paintings-opt-1_1024_draco.glb","filename":"1b4_cut_paintings-opt-1_1024_draco.glb","mimeType":"model/gltf-binary","filesize":256704,"thumbnailURL":null,"id":"6ac98c02bb42ed4293e293bb"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B6","title":{"de":"Ein neuer Realismus","en":"A New Realism"},"subtitle":{"de":"","en":""},"description":{"de":"Die Motive der Impressionisten sind betont unspektakulär: Kornfelder, Pappelreihen, Feldwege und Wiesen. In den Feldern an ihren Wohnorten fingen sie für ihr Pariser Publikum Aspekte französischer Landschaft ein, die weder nostalgischen noch nationalen Klischees entsprachen. Lebendig werden ihre neuartigen Naturausschnitte durch die bewegte Pinselführung. So offen die Malweise auch ist, so exakt ist doch die Topographie wiedergegeben. Wege versinnbildlichen nicht mehr den Lauf des Lebens wie in der klassischen Landschaftsmalerei, sondern laden die Betrachter ein, Licht und Luft, Tages- und Jahreszeiten mit allen Sinnen zu empfinden. Als Städter nahmen die Künstler das agrarisch geprägte Frankreich mit anderen Augen wahr als die Bauern ihr Ackerland. Während Camille Pissarro und Alfred Sisley sich in ihren Bildern mit der Landbevölkerung in Beziehung setzten, inszenierte Claude Monet sich und seine Familie als Außenstehende. Seine Bilder zeigen das landschaftliche Umfeld Givernys ohne die Arbeit der ansässigen Bauern in den Blick zu nehmen. Mit wechselnden Licht- und Wetter-bedingungen erfassten die Maler atmosphärische Erscheinungen, wie sie die Wissenschaft im 19. Jahrhundert erforschte. Auch die Künstler setzten auf genaue Beobachtung der Phänomene. Dabei entstand keine willkürliche Stimmungsmalerei, sondern ein Protokoll unmittelbaren Erlebens: jeder Pinselstrich eine Information.","en":"The motifs of the Impressionists are adamantly unspectacular: fields of wheat, rows of poplars, forest paths, and meadows. In the fields near their homes, they recorded aspects of the French landscape that did not correspond to nostalgic or national clichés. Their new modern views of nature come alive through animated brushstrokes. Despite the openness of their painting style, their depiction of topography is precise. Paths, for example, instead of symbolizing the course of life as in classic landscape painting, now invite viewers to experience the light, air, times of day, and seasons with all of their senses. As people from the city, the Impressionists perceived France's agrarian tradition in a different way than the farmers saw their land. While Camille Pissarro and Alfred Sisley engaged with rural people in their pictures, Claude Monet staged himself and his family as outsiders. His paintings show the rural environment of Giverny without directly depicting the work of the local farmers. In changing light and weather conditions the painters captured atmospheric phenomena of the sort that nineteenth-century scientists researched. The artists, too, strove for an exact observation of phenomena. Rather than painting random atmospheric effects, they created protocols of direct experience: each brushstroke a piece of information."},"coverImage":{"alt":"2a6 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Ein_Neuer_Realismus_Cover.jpg","mimeType":"image/jpeg","filesize":343876,"width":2880,"height":1642,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:03:05.865Z","updatedAt":"2025-02-20T10:03:05.865Z","id":"67b6fdd95c358fca3f0607bb","url":"/cms/api/media/file/Ein_Neuer_Realismus_Cover.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2b6.glb","mimeType":"application/octet-stream","filesize":3962840,"createdAt":"2025-03-07T12:46:18.614Z","updatedAt":"2025-03-07T12:46:18.614Z","id":"67caea9a0aa4f91dd2e196f7","url":"/cms/api/media/file/2b6.glb","thumbnailURL":null},"3dModels":[{"glbFile":"69cea5ca70c4a99939b3a7b2","exhibition":"699c56f3870053377ae01aa0","id":"69cea5b4a9f9cb7f5e8a3dd9"},{"glbFile":"6aca6738af3802bc375cb4d1","id":"6aca6742af3802bc375cb4e0"}],"startPoint":{"sweepId":"57e7e4f42db341b39a2bbc4b5b4f34e5","rotation":{"x":-9.680895730073015,"y":-88.64976691074105}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.71,"y":1.63,"z":0.05},"position":{"x":22.511528540044413,"y":1.7300481240878167,"z":23.28855454980808,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.58,"y":9.17,"z":23.28},"id":"68909e0b55609b65edca8c53"}]}},"insideView":{"sweepId":"2cdbdab184934c26985cebf84d7d746c","rotation":{"x":6.6548849019929035,"y":0.4648490428018768}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.31,"id":"6929671636d45c4158d58e20"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3788,"y":-7.5149,"z":-2.2826,"id":"69a9d2b9b366e7001bdbe953"}],"id":"67b6fbcf3f862b6f010e238c","ownModel":{"createdAt":"2026-10-10T16:26:32.970Z","updatedAt":"2026-10-10T16:26:42.173Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2b6_1024_draco.glb","filename":"2b6_1024_draco.glb","mimeType":"model/gltf-binary","filesize":540656,"thumbnailURL":null,"id":"6aca6738af3802bc375cb4d1"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B7","title":{"de":"Moderne am Meer","en":"Modernity by the Sea"},"subtitle":{"de":"","en":""},"description":{"de":"Frankreich war keine Seefahrer-nation. Doch gewannen die Küsten der Bretagne und der Normandie im Lauf des 19. Jahrhunderts an Bedeutung. Le Havre, wo Eugène Boudin und Claude Monet ihre ersten Malkampagnen starteten, war nach Marseille der zweitgrößte französische Hafen. Schon zu Beginn des 19. Jahrhunderts waren hier die Baumwollschiffe aus der Neuen Welt angekommen. Der oft archaisch anmutende Charakter der Hafenstädte mit ihren Segelschiffen täuscht, denn sie hatten ihre Wirtschaft bereits von der vorindustriellen Produktion auf moderne Dienstleistungen umgestellt. Um dem expandierenden Handel gerecht zu werden, wurden französische Häfen nach dem Vorbild der Londoner Docks umgebaut. Auch Le Havre rüstete sich für immer größere Dampfschiffe: 1872 wurde damit begonnen, den von Boudin und Monet dargestellten Außenhafen mit einer neuen Kaimauer auszubauen. Impressionistische Hafendarstellungen dienten nicht wie die Marinemalerei Englands und der Niederlande dazu, dem Nationalstolz auf die Flotte Ausdruck zu verleihen. Die Künstler ließen sich von Vorbildern der Alten Meister anregen und arbeiteten die Modernität der Hafenstädte heraus. Künstliche Beleuchtung zeigt den neuen Takt des Warenumschlags an. Intensivierung und Verdichtung zeigt auch Monets Malerei. In London hatte er, wie wenig später auch Berthe Morisot - die einzige Frau, die von Beginn an mit den Impressionisten ausstellte -, nicht nur die englischen Docks, sondern auch die dynamische Malerei William Turners kennen-gelernt.","en":"Although France was not a seafaring nation, the coasts of Brittany and Normandy gained importance over the course of the nineteenth century. Le Havre, where Eugène Boudin and Claude Monet started their first painting campaigns, was the second largest port in France after Marseille. Ships carrying cotton from the New World had been landing there since the early nineteenth century. The often archaic appearance of the ports with their sailboats is misleading, because they had already transformed their economy from preindustrial production to modern services. To keep up with the expanding trade, French harbors were rebuilt after the model of the London Docks. Le Havre also underwent modification to accommodate steamers of increasing size: in 1872 work was begun on the expansion of the outer harbor, which Boudin and Monet painted, with a new quay wall. Impressionist depictions of harbors did not serve the purpose of marine painting in England or the Netherlands, which was to express pride in the national fleet. The artists were inspired by works by the Old Masters and focused on the modernity of the ports. The new rhythm of cargo handling was illuminated by artificial lighting. Monet also intensified and consolidated what he saw. He had visited the Docks in London, where he had also come into contact with the dynamic paintings of William Turner, as Berthe Morisot (the only woman who exhibited with the Impressionists from the very beginning) would do soon after him."},"coverImage":{"alt":"2b7 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Moderne_am_Meer_Cover.jpg","mimeType":"image/jpeg","filesize":168087,"width":1920,"height":1320,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:02:07.477Z","updatedAt":"2025-02-20T10:04:31.236Z","thumbnailURL":null,"url":"/cms/api/media/file/Moderne_am_Meer_Cover.jpg","id":"67b6fd9f5c358fca3f06075f"},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2b7.glb","mimeType":"application/octet-stream","filesize":3351380,"createdAt":"2025-03-07T12:45:53.085Z","updatedAt":"2025-03-07T12:45:53.085Z","id":"67caea810aa4f91dd2e196b1","url":"/cms/api/media/file/2b7.glb","thumbnailURL":null},"3dModels":[{"glbFile":"6ac98c07bb42ed4293e293c8","id":"69d26d9f02142f001b7bbdb2"}],"startPoint":{"sweepId":"746bbec610d54a738089e95655a7bbaf","rotation":{"x":-1.7332663117722966,"y":-88.13002317384505}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.73,"y":1.78,"z":0.05},"position":{"x":36.295291715468736,"y":1.7431240139936892,"z":32.89291112944722,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":36.43,"y":9.06,"z":32.79},"id":"6890a8de55609b65edca8c54"}]}},"insideView":{"sweepId":"71683e11979a448184ca83eced81a88b","rotation":{"x":4.7290422604697735,"y":-179.45780790657918}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.31,"id":"6929674836d45c4158d58e22"},{"exhibition":"699c56f3870053377ae01aa0","x":4.4157,"y":-7.5162,"z":-2.31,"id":"69a9d2b9b366e7001bdbe954"}],"id":"67b6fbe93f862b6f010e238e","ownModel":{"createdAt":"2026-10-10T00:51:19.119Z","updatedAt":"2026-10-10T00:51:22.029Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2b7_1024_draco.glb","filename":"2b7_1024_draco.glb","mimeType":"model/gltf-binary","filesize":332060,"thumbnailURL":null,"id":"6ac98c07bb42ed4293e293c8"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2B8","title":{"de":"Gartenbilder","en":"Garden Scenes"},"subtitle":{"de":"","en":""},"description":{"de":"Im 19. Jahrhundert entwickelte sich die Gartenkultur, ausgehend von England, zur Leidenschaft gebildeter Schichten. Auch das Interesse an importierten exotischen Pflanzen nahm zu. Die Impressionisten pflegten ihre Vorliebe für das Wandelbare auch im eigenen Garten und brachten mit diesem neuen Thema den Wechsel von Tages- und Jahreszeiten zur Anschauung. Claude Monets Schaffen ist untrennbar mit dem Wassergarten verbunden, den er in den 1890er Jahren anlegte und dessen Seerosenteich zum bestimmenden Motiv seines Spätwerks wurde. Doch bereits seit den 1870er Jahren setzte sich der begeisterte Hobbygärtner intensiv mit dem Thema der Hortikultur auseinander. Dieses Interesse teilte Monet mit Freunden wie Gustave Caillebotte, dem Schriftsteller Octave Mirbeau und dem Politiker Georges Clemenceau. Bei japanischen Händlern in Paris erwarben sie Blumenzwiebeln und -samen, aus denen sich die Farbenpracht ihrer Gärten entwickeln sollte. Mit Chrysanthemen züchteten sie eine Pflanze, die in Japan die Sonne symbolisiert. Caillebotte regte der Austausch mit Monet zu Stillleben mit Blumen des eigenen Gartens an. Künstlergärten wurden um die Jahrhundertwende aber auch ein wichtiges Thema, weil sie die Möglichkeit boten, Naturbilder mit Innenraumdarstellungen zu verbinden.","en":"In the nineteenth century, garden culture developed into a hobby of the educated classes after the English model. There was also an increase in the importation of exotic plants. In their own gardens the artists around Claude Monet cultivated their love for variability and sought to visualize the changing times of day and seasons through this new subject. Claude Monet's oeuvre is inextricably linked with the water garden he created in the 1890s and whose water-lily pond became the defining motif of his late work. But the enthusiastic amateur gardener had already been working intensively on the subject of horticulture since the 1870s. Monet shared his passion for designing gardens with friends including Gustave Caillebotte, the writer Octave Mirbeau, and the politician Georges Clemenceau. With flower bulbs and seeds purchased from Japanese merchants in Paris, they developed the rich coloring of their gardens. The chrysanthemums they cultivated, for example, symbolized the sun in Japan. Exchanges with Monet encouraged Caillebotte to paint still lifes with flowers from his own garden. Artist gardens were also an important topic at the turn of the century because they offered the possibility of combining images of nature with interiors."},"coverImage":{"alt":"2b8 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Gartenbilder_Cover.jpg","mimeType":"image/jpeg","filesize":414385,"width":2880,"height":1662,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:01:03.271Z","updatedAt":"2025-02-20T10:01:03.271Z","id":"67b6fd5f5c358fca3f060704","url":"/cms/api/media/file/Gartenbilder_Cover.jpg","thumbnailURL":null},"3dModel":{"alt":"2b8 model impressionism","exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2b8_cut_paintings-opt.glb","mimeType":"model/gltf-binary","filesize":881420,"createdAt":"2025-02-20T10:01:29.752Z","updatedAt":"2025-02-20T10:01:29.752Z","id":"67b6fd795c358fca3f060729","url":"/cms/api/media/file/2b8_cut_paintings-opt.glb","thumbnailURL":null},"3dModels":[{"glbFile":"6ac98c0bbb42ed4293e293d5","id":"69d26d9f02142f001b7bbdb3"}],"startPoint":{"sweepId":"94bbacaebc824854b2ad8b880598d7de","rotation":{"x":6.75,"y":90.41}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.05,"y":1.54,"z":1.69},"position":{"x":-4.527419331655285,"y":1.965678908391232,"z":25.299877878595325,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.32,"y":9.17,"z":25.5},"id":"6890ae4355609b65edca8c55"}]}},"insideView":{"sweepId":"b03fe40655134fd78b466764400fd1b1","rotation":{"x":8.5,"y":-88.88}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.53,"y":-7.63,"z":-2.24,"id":"6929677736d45c4158d58e24"},{"exhibition":"699c56f3870053377ae01aa0","x":4.4274,"y":-7.5024,"z":-2.2343,"id":"69a9d2b9b366e7001bdbe955"}],"id":"67b6fc063f862b6f010e2390","ownModel":{"createdAt":"2026-10-10T00:51:23.260Z","updatedAt":"2026-10-10T00:51:26.105Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2b8_cut_paintings-opt_1024_draco.glb","filename":"2b8_cut_paintings-opt_1024_draco.glb","mimeType":"model/gltf-binary","filesize":273248,"thumbnailURL":null,"id":"6ac98c0bbb42ed4293e293d5"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A8","title":{"de":"Die Farbe Weiß","en":"The Color White"},"subtitle":{"de":"","en":""},"description":{"de":"Die Winter der 1860er bis 1890er Jahre waren schneereich. Auch in Gegenden Frankreichs, in denen es selten schneit, fielen bis zu 30 Zentimeter Schnee. Am Ende der Kleinen Eiszeit, die im 17. Jahrhundert begonnen hatte, kam es zu einer Erwärmung, die zu einer zirkulierenden Feuchtigkeit in den unteren Schichten der Atmosphäre und zu ungewöhnlich hohen Niederschlägen führte. Schon den Landschaftsmaler Gustave Courbet hatte diese Ausnahme-situation, die die Landschaft ver-fremdete, zu Winterbildern inspiriert. Wie dieser waren die Impressionisten nicht mehr daran interessiert, das Heroische zu thematisieren, das dem Schnee im kollektiven Gedächtnis nach den Winterkriegen Napoleons eingeschrieben war. Die Verwandlung der Landschaft durch den Schnee gab den Malern die Freiheit, sich auf Licht und Farbe zu fokussieren. Die Künstler arbeiteten bei Minus-graden unter erschwerten Bedin-gungen. Sie setzten sich der eisigen Kälte aus, um dem Schnee die optischen Phänomene der Lichtbrechung auf den Kristallen abzugewinnen. Wie bei ihren Darstellungen von Wasserflächen ging es den Malern um die visuelle Verschränkung von Himmel und Erde. Sie beobachteten das Schauspiel des Widerscheins vom Himmelblau und glühender Sonnenuntergänge. Die Reflexionen auf dem Schnee setzten sie in teils abstrakt anmutende Malerei um.","en":"There was a particularly large amount of snow during the winters between the 1860s and the 1890s. Even areas of France that rarely experienced snowfall had up to thirty centimeters of snow. This was due to a rise in temperature that resulted in circulating humidity in the lower layers of the atmosphere and an unusual amount of precipitation at the end of the Little Ice Age, which had begun in the seventeenth century. This unusual situation, which transformed the landscape, had already inspired Gustave Courbet to paint winter scenes. Like Courbet, the Impressionists were no longer interested in heroic subject matter that was engraved in the collective memory following Napoleon's winter campaign. The metamorphosis of the landscape due to the snow gave painters the freedom to focus on light and color. The artists worked at sub-zero temperatures under difficult conditions. They endured icy cold in order to depict the optic phenomena of light refraction on snow crystals. Similar to their representation of water surfaces, the painters were interested in the visual connection between the sky and earth. They observed the spectacle of the reflections of sky blue and firey sunsets. They captured reflections on snow in paintings that were at times nearly abstract in outlook."},"coverImage":{"alt":"2a8 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Die_Farbe_Weiß_Cover.jpg","mimeType":"image/jpeg","filesize":69477,"width":1024,"height":683,"focalX":50,"focalY":50,"createdAt":"2025-02-20T10:00:05.945Z","updatedAt":"2025-02-20T10:00:05.945Z","id":"67b6fd255c358fca3f0606a6","url":"/cms/api/media/file/Die_Farbe_Wei%C3%9F_Cover.jpg","thumbnailURL":null},"3dModel":{"alt":"2a8 model impressionism","exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2a8_cut_paintings-opt.glb","mimeType":"model/gltf-binary","filesize":860472,"createdAt":"2025-02-20T10:00:31.890Z","updatedAt":"2025-02-20T10:00:31.890Z","id":"67b6fd3f5c358fca3f0606ce","url":"/cms/api/media/file/2a8_cut_paintings-opt.glb","thumbnailURL":null},"3dModels":[{"glbFile":"6ac98c0fbb42ed4293e293e2","id":"69d26d9f02142f001b7bbdb4"}],"startPoint":{"sweepId":"1ee280e8416e4f0d9bbdf9150c19e9d0","rotation":{"x":0.93,"y":90.27}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.1,"y":1.53,"z":1.65},"position":{"x":-4.56446306946763,"y":1.9538980866039903,"z":0.4313419181075244,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-3.88,"y":9.16,"z":0.48},"id":"6890d1902cd0e82723613b84"}]}},"insideView":{"sweepId":"23511c4ef5334e9882bc233476bfe7e6","rotation":{"x":8.01,"y":-90.19}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.24,"id":"692967e936d45c4158d58e26"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3117,"y":-7.5016,"z":-2.1985,"id":"69a9d2b9b366e7001bdbe956"}],"id":"67b6fc1d3f862b6f010e2392","ownModel":{"createdAt":"2026-10-10T00:51:27.359Z","updatedAt":"2026-10-10T00:51:30.251Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2a8_cut_paintings-opt_1024_draco.glb","filename":"2a8_cut_paintings-opt_1024_draco.glb","mimeType":"model/gltf-binary","filesize":269288,"thumbnailURL":null,"id":"6ac98c0fbb42ed4293e293e2"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A6","title":{"de":"Die Küsten Europas","en":"The Coasts of Europe"},"subtitle":{"de":"","en":""},"description":{"de":"Nur die Venedig-Ansichten Claude Monets erinnern noch an die Grand Tour der Künstler voriger Jahrhunderte. Die Stadt hatte schon den Romantikern eine atmosphärische Lichtmalerei entlockt. Die Malerei des Nordens und die Beobachtung der heimischen Natur hatten in Monets Generation das Vorbild der Antike und der an der italienischen Campagna geschulten klassizistischer Landschaftsmalerei abgelöst. Wenn Eugène Boudin, Berthe Morisot und später Paul Signac Italien besuchten, dann nicht auf den traditionellen Wegen. Vielmehr reisten sie mit der Eisenbahn entlang der Küsten wie andere Touristen. Die Küsten Nord- wie Südeuropas wurden im späten 19. Jahrhundert mit Postkarten touristisch vermarktet. Die Maler stellten sich dieser Konkurrenz, indem sie mit den Aus-schnitttechniken der Photographie arbeiteten. Ihre pastose Malerei stand im Gegensatz zu den glatten Oberflächen des neuen Mediums. Die Côte d'Azur wurde touristisch zur gleichen Zeit erschlossen, als sich Cross und Signac dort in den 1890er Jahren niederließen. Das Sonnenlicht, das die Maler in den Süden zog, war für sie eine Energie, die künstlerische Neuerungen mit gesellschaftlichen Utopien speiste. Die drei Generationen der Impressionisten, Pointillisten und Fauvisten - Zeitgenossen eines sich rasant entwickelnden modernen Frankreichs - verband das gleiche Ideal: Natur mit Licht und Farbe sinnlich erfahrbar zu machen.","en":"Claude Monet's views of Venice are the only works that are reminiscent of the Grand Tours on which artists of previous centuries embarked. The city had already inspired Romantic painters to create atmospheric depictions of light. In Monet's generation the model of antiquity and classic landscape painting that was schooled on the Italian Campagna had been replaced by northern painting and the study of nature at home. When Eugène Boudin, Berthe Morisot, and later Paul Signac traveled to Italy, they did not take the traditional approach. Instead they traveled with the railroad along the coasts like other tourists. The coasts of northern and southern Europe were marketed as tourist destinations in the late nineteenth century by means of postcards. The painters reacted to this competition by adapting the cut-out techniques of photography. The impasto of their paintings was quite the opposite of the slick surfaces of the new medium. The Côte d'Azur was being discovered by tourism at the same time as Cross and Signac settled there in the 1890s. The sunlight that attracted the painters to the south was a sort of energy that fed artistic innovations and social utopias. Three generations of Impressionists, Pointillists, and Fauves, contemporaries of a rapidly developing modern France, were linked by the same ideal: making nature experienceable with the senses by means of light and paint."},"coverImage":{"alt":"2a6 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Die_Küsten_Europas_Cover.jpg","mimeType":"image/jpeg","filesize":373605,"width":2880,"height":1642,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:58:42.332Z","updatedAt":"2025-02-20T09:58:42.332Z","id":"67b6fcd25c358fca3f060648","url":"/cms/api/media/file/Die_Ku%CC%88sten_Europas_Cover.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2a6.glb","mimeType":"application/octet-stream","filesize":3156416,"createdAt":"2025-03-07T12:56:11.427Z","updatedAt":"2025-03-07T12:56:11.427Z","id":"67caeceb0aa4f91dd2e19937","url":"/cms/api/media/file/2a6.glb","thumbnailURL":null},"3dModels":[{"glbFile":"69cea58f70c4a99939b3a75a","exhibition":"699c56f3870053377ae01aa0","id":"69cea578a9f9cb7f5e8a3dd7"},{"glbFile":"6aca6743af3802bc375cb4e4","id":"6aca6748af3802bc375cb4ee"}],"startPoint":{"sweepId":"05ca5ce08937493fa2104ef327693644","rotation":{"x":-4.971020773654717,"y":-89.34168595089287}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.76,"y":1.73,"z":0.05},"position":{"x":8.108896970210926,"y":1.833057579473252,"z":-6.74813349435814,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":8.17,"y":9.06,"z":-6.71},"id":"6890d2be2cd0e82723613b85"}]}},"insideView":{"sweepId":"03ea023d3f944e0fb40d135aaef659f9","rotation":{"x":3.1911727434578516,"y":-0.21119619092232722}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.28,"id":"6929680936d45c4158d58e28"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3685,"y":-7.5228,"z":-2.28,"id":"69a9d2b9b366e7001bdbe957"}],"id":"67b6fc373f862b6f010e2394","ownModel":{"createdAt":"2026-10-10T16:26:43.450Z","updatedAt":"2026-10-10T16:26:47.767Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2a6_1024_draco.glb","filename":"2a6_1024_draco.glb","mimeType":"model/gltf-binary","filesize":323056,"thumbnailURL":null,"id":"6aca6743af3802bc375cb4e4"}},{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"2A7","title":{"de":"Monets Serien","en":"Monet’s Series"},"subtitle":{"de":"","en":""},"description":{"de":"Nachdem Monet Ende der 1870er Jahre Paris den Rücken gekehrt hatte, widmete er sich zunächst in Vétheuil und später in Giverny der Natur im Wechsel von Tages- und Jahres-zeiten. Hier verfolgte er die Idee, durch Wiederholungen des Motivs der Erfassung des Augenblicks näher-zukommen. Von 1891 an nutzte Monet Einzelausstellungen in seiner Pariser Galerie Durand-Ruel zur Präsentation groß angelegter Werkreihen, bei denen er ein einziges Motiv in zahlreichen Variationen durchspielte: Auf seine Getreideschober folgten die Kathedralen von Rouen, später die Serie des britischen Parlaments in London und schließlich die des Seerosenteichs in seinem Wasser-garten in Giverny. Drei dieser Werkgruppen sind in der Sammlung Hasso Plattner beispielhaft vertreten. Mit den Getreideschobern stellte Monet sein Konzept des enveloppe vor - jener das Motiv umgebenden Hülle aus Licht und Luft, die er zum eigentlichen Gegenstand seiner Malerei erhob. Die im Smog gegen den Sonnenuntergang aufscheinende Silhouette von Westminster Palace beschäftigte ihn bei drei London-Aufenthalten zwischen 1899 und 1901. Der Seerosenteich in Giverny gab Monet über zwei Jahrzehnte lang Stoff zu sehen und zu malen: Spiegelnde Wasserflächen hatten sein Werk von Anfang an geprägt. Das neben seinem Seerosenteich gelegene Atelier erlaubte es ihm, nun auf bisher ungeahnt großen Leinwänden zu arbeiten. Indem sie auf den Horizont verzichten und den Himmel spiegeln, entgrenzen die Bilder den Landschaftsraum und bieten den Betrachtern ein immersives Erlebnis.","en":"After Monet turned his back on Paris at the end of the 1870s, he devoted himself first in Vétheuil and later in Giverny to depictions of nature showing the changing days and seasons. There he pursued the idea of coming closer to capturing the fleeting moment through repetitions of one given motif. From 1891 on Monet used solo exhibitions at the Paris gallery of Durand-Ruel to present large-scale series of works in which he showed one single motif in numerous variations. His Grainstacks were followed by Rouen Cathedral, later by the series of the Houses of Parliament in London, and finally by that of the Water Lilies in his garden in Giverny. Three of these groups are represented in the Hasso Plattner Collection. With the Grainstacks, Monet introduced his concept of the enveloppe - the \"envelope\" of light and air surrounding the motif, which he elevated to the actual subject of his painting. The silhouette of Westminster Palace appearing in the smog against the sunset occupied him during three stays in London between 1899 and 1901. The water-lily pond in Giverny gave Monet material to see and paint for over two decades: reflecting water surfaces had influenced his work from the beginning. The studio located next to his water-lily pond allowed him to work on canvases of an unprecedented size. By doing away with the horizon and mirroring the sky, these landscapes seem to expand beyond the frame of the canvas, offering viewers an immersive experience."},"coverImage":{"alt":"2a7 gallery cover impressionism","exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"Monets_Serien_Cover.jpg","mimeType":"image/jpeg","filesize":118474,"width":1242,"height":820,"focalX":50,"focalY":50,"createdAt":"2025-02-20T09:57:37.697Z","updatedAt":"2025-02-20T09:57:37.697Z","id":"67b6fc915c358fca3f0605dc","url":"/cms/api/media/file/Monets_Serien_Cover.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"2a7.glb","mimeType":"application/octet-stream","filesize":3431536,"createdAt":"2025-03-07T12:56:50.927Z","updatedAt":"2025-03-07T12:56:50.927Z","id":"67caed120aa4f91dd2e19998","url":"/cms/api/media/file/2a7.glb","thumbnailURL":null},"3dModels":[{"glbFile":"69cea54570c4a99939b3a706","exhibition":"699c56f3870053377ae01aa0","id":"69cea528a9f9cb7f5e8a3dd5"},{"glbFile":"6aca6749af3802bc375cb4f2","id":"6aca674caf3802bc375cb4fc"}],"startPoint":{"sweepId":"9b027162b9954d00afae2fd8106e13e9","rotation":{"x":-1.08,"y":-90.89}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.05,"y":1.89,"z":1.76},"position":{"x":28.89,"y":1.75,"z":0.44,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.92,"y":9.13,"z":0.48},"id":"6890da7c2cd0e82723613b86"}]}},"insideView":{"sweepId":"ef91446568d943a689d8b10bad8363cd","rotation":{"x":7.85,"y":88.76}}}},"exhibitionDependentArtworkOffsetArray":[{"exhibition":"68f753818c90c86166dd78af","x":4.45,"y":-7.63,"z":-2.28,"id":"6929685236d45c4158d58e2a"},{"exhibition":"699c56f3870053377ae01aa0","x":4.3114,"y":-7.5262,"z":-2.28,"id":"69a9d2b9b366e7001bdbe958"}],"id":"67b6fc513f862b6f010e2396","ownModel":{"createdAt":"2026-10-10T16:26:49.218Z","updatedAt":"2026-10-10T16:26:52.501Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/2a7_1024_draco.glb","filename":"2a7_1024_draco.glb","mimeType":"model/gltf-binary","filesize":333380,"thumbnailURL":null,"id":"6aca6749af3802bc375cb4f2"}},{"activeTemporaryExhibitions":["6836f8f22ef108b9d9b0a31b","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"0B1","title":{"de":"Landschaften der Fauvisten","en":"Landscapes of the Fauves"},"description":{"de":"1905 kam eine radikal neue Kunstrichtung auf, die die Konturen betonte und die Farbe expressiv einsetzte. Als „Les Fauves\" (die Wilden) bezeichnete ein Kunstkritiker diese Maler anlässlich ihrer ersten Ausstellung im Pariser Herbstsalon. Während André Derain mit seinem Freund Henri Matisse auf den Spuren von Cross und Signac in Südfrankreich gemalt hatte, war Maurice de Vlaminck in Nordfrankreich an den Ufern der Seine geblieben. Die Fauvisten lösten sich vom impressionistischen und pointillistischen Stil und entwickelten eine flächige, farbstarke Malerei. Anders als die Impressionisten ging es ihnen nicht um die Darstellung von Naturphänomenen, sondern - darin den Malern der „Brücke\" verwandt - um den Ausdruckswert der Farbe. Auch begannen sie in der Nachfolge Cézannes mit einer Zergliederung der Form zu experimentieren, wie sie der Kubismus später weiterführte. Ihr expressiver Malstil hielt sie jedoch nicht davon ab, Impressionismus und Pointillismus in der Wahl der Orte und Motive zu folgen. So reiste Derain 1907 nach Cassis, wo bereits Signac gemalt hatte. Vlaminck malte mit dem Bootshaus von Rueil ein Motiv Pierre-Auguste Renoirs. Obwohl ihre Landschaften aufgewühlt, oft düster sind, bezogen sich die Fauvisten auf die Ikonographie des Impressionismus.","en":"In 1905 a radically new art movement emerged that emphasized contours and used paint to expressive ends. On the occasion of their first exhibition in the Paris Salon d'Autumne, an art critic called these painters \"Les Fauves\" (the Wild Beasts). While André Derain had worked alongside his friend Henri Matisse in the South of France on the trail of Cross and Signac, Maurice de Vlaminck remained in northern France near the Seine. The Fauves distanced themselves from the Impressionist and Pointillist styles and developed a technique characterized by flatness and bright colors. Unlike the Impressionists they were not interested in the depiction of natural phenomena but in the expressive value of color. In this respect, they were related to the painters of the German movement Die Brücke. They also began, in emulation of Cézanne, to experiment with the dissection of form, which was later continued by the Cubists. Their expressive painting style did not prevent them from following Impressionism and Pointillism in their choice of locations and motifs. In 1907, for example, Derain traveled to Cassis, where Signac had worked previously. Vlaminck used one of Renoir's motifs when he painted the boatyard of Rueil. 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