{"version":3,"generatedAt":"2026-11-12T08:49:13.503Z","primaryId":"6836f8f22ef108b9d9b0a31b","secondaryId":"67b338818635bba96e329691","exhibitions":[{"createdAt":"2026-10-12T02:25:07.181Z","updatedAt":"2026-11-12T03:32:56.373Z","slug":"impressionisten","type":"temporary","onDisplay":true,"fullName":{"de":"Die Impressionisten. Monet, Morisot, Renoir und ihr Netzwerk","en":"The Impressionists: Monet, Morisot, Renoir, and Their Network"},"title":{"de":"Die Impressionisten","en":"The Impressionists"},"subtitle":{"de":"Monet, Morisot, Renoir und ihr Netzwerk","en":"Monet, Morisot, Renoir, and Their Network"},"startDate":"2026-11-07T12:00:00.000Z","endDate":"2027-02-21T12:00:00.000Z","entryInfoWall":{"description":{"de":"Wie wurde das Werk einer Pariser Gruppe radikaler Malerinnen und Maler zur beliebtesten Kunstrichtung der Moderne? Claude Monet, Berthe Morisot, Pierre-Auguste Renoir und ihre impressionistischen Mitstreiter veränderten nicht nur den Blick auf Licht und Farbe. 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, Paris"},"guides":[{"guide":"6aec99735f60aee3f28ba944","fileGroup":{"fileNumber":"1","file":{"de":"6aec99735f60aee3f28ba960","en":"6aec99765f60aee3f28ba96c"}},"id":"6aec9978dbb30233352f7f8b"}],"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"modelData":{"startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0},"exhibition":{"sweepId":"","xRotation":0,"yRotation":0}},"sensorOffset":{"position":{}},"coordinateOffset":{"position":{},"axisFlip":{"x":1,"y":1,"z":1}},"disabledSweeps":[]},"artworkList":[{"artwork":"6aec989e179546f5c33acba8","id":"6aec98d6b4be17ae37af1c1f"},{"artwork":"6aec98a2179546f5c33acbc7","id":"6aec98d6b4be17ae37af1c20"},{"artwork":"6aec98a4179546f5c33acbe4","id":"6aec98d6b4be17ae37af1c21"},{"artwork":"6aec98a4179546f5c33acc01","id":"6aec98d6b4be17ae37af1c22"},{"artwork":"6aec98a5179546f5c33acc1e","id":"6aec98d6b4be17ae37af1c23"},{"artwork":"6aec98a5179546f5c33acc3b","id":"6aec98d6b4be17ae37af1c24"},{"artwork":"6aec98a6179546f5c33acc5c","id":"6aec98d6b4be17ae37af1c25"},{"artwork":"6aec98a7179546f5c33acc79","id":"6aec98d6b4be17ae37af1c26"},{"artwork":"6aec98a7179546f5c33acc96","id":"6aec98d6b4be17ae37af1c27"},{"artwork":"6aec98a8179546f5c33accb7","id":"6aec98d6b4be17ae37af1c28"},{"artwork":"6aec98a8179546f5c33accd4","id":"6aec98d6b4be17ae37af1c29"},{"artwork":"6aec98a8179546f5c33accf1","id":"6aec98d6b4be17ae37af1c2a"},{"artwork":"6aec98a9179546f5c33acd0e","id":"6aec98d6b4be17ae37af1c2b"},{"artwork":"6aec98a9179546f5c33acd2b","id":"6aec98d6b4be17ae37af1c2c"},{"artwork":"6aec98a9179546f5c33acd48","id":"6aec98d6b4be17ae37af1c2d"},{"artwork":"6aec98aa179546f5c33acd65","id":"6aec98d6b4be17ae37af1c2e"},{"artwork":"6aec98aa179546f5c33acd86","id":"6aec98d6b4be17ae37af1c2f"},{"artwork":"6aec98ab179546f5c33acda7","id":"6aec98d6b4be17ae37af1c30"},{"artwork":"6aec98ab179546f5c33acdc8","id":"6aec98d6b4be17ae37af1c31"},{"artwork":"6aec98ab179546f5c33acde7","id":"6aec98d6b4be17ae37af1c32"},{"artwork":"6aec98ac179546f5c33ace08","id":"6aec98d6b4be17ae37af1c33"},{"artwork":"6aec98ac179546f5c33ace27","id":"6aec98d6b4be17ae37af1c34"},{"artwork":"6aec98ad179546f5c33ace44","id":"6aec98d6b4be17ae37af1c35"},{"artwork":"6aec98ad179546f5c33ace61","id":"6aec98d6b4be17ae37af1c36"},{"artwork":"6aec98ae179546f5c33ace7e","id":"6aec98d6b4be17ae37af1c37"},{"artwork":"6aec98ae179546f5c33ace9b","id":"6aec98d6b4be17ae37af1c38"},{"artwork":"6aec98af179546f5c33aceb8","id":"6aec98d6b4be17ae37af1c39"},{"artwork":"6aec98af179546f5c33aced5","id":"6aec98d6b4be17ae37af1c3a"},{"artwork":"6aec98b0179546f5c33acef6","id":"6aec98d6b4be17ae37af1c3b"},{"artwork":"6aec98b0179546f5c33acf13","id":"6aec98d6b4be17ae37af1c3c"},{"artwork":"6aec98b1179546f5c33acf30","id":"6aec98d6b4be17ae37af1c3d"},{"artwork":"6aec98b1179546f5c33acf4d","id":"6aec98d6b4be17ae37af1c3e"},{"artwork":"6aec98b2179546f5c33acf6a","id":"6aec98d6b4be17ae37af1c3f"},{"artwork":"6aec98b2179546f5c33acf89","id":"6aec98d6b4be17ae37af1c40"},{"artwork":"6aec98b3179546f5c33acfa6","id":"6aec98d6b4be17ae37af1c41"},{"artwork":"6aec98b3179546f5c33acfc3","id":"6aec98d6b4be17ae37af1c42"},{"artwork":"6aec98b4179546f5c33acfe0","id":"6aec98d6b4be17ae37af1c43"},{"artwork":"6aec98b4179546f5c33acfff","id":"6aec98d6b4be17ae37af1c44"},{"artwork":"6aec98b5179546f5c33ad01c","id":"6aec98d6b4be17ae37af1c45"},{"artwork":"6aec98b6179546f5c33ad03d","id":"6aec98d6b4be17ae37af1c46"},{"artwork":"6aec98b6179546f5c33ad05a","id":"6aec98d6b4be17ae37af1c47"},{"artwork":"6aec98b7179546f5c33ad077","id":"6aec98d6b4be17ae37af1c48"},{"artwork":"6aec98b7179546f5c33ad094","id":"6aec98d6b4be17ae37af1c49"},{"artwork":"6aec98b7179546f5c33ad0b1","id":"6aec98d6b4be17ae37af1c4a"},{"artwork":"6aec98b8179546f5c33ad0ce","id":"6aec98d6b4be17ae37af1c4b"},{"artwork":"6aec98b8179546f5c33ad0eb","id":"6aec98d6b4be17ae37af1c4c"},{"artwork":"6aec98b9179546f5c33ad108","id":"6aec98d6b4be17ae37af1c4d"},{"artwork":"6aec98ba179546f5c33ad125","id":"6aec98d6b4be17ae37af1c4e"},{"artwork":"6aec98ba179546f5c33ad142","id":"6aec98d6b4be17ae37af1c4f"},{"artwork":"6aec98bb179546f5c33ad163","id":"6aec98d6b4be17ae37af1c50"},{"artwork":"6aec98bb179546f5c33ad184","id":"6aec98d6b4be17ae37af1c51"},{"artwork":"6aec98bc179546f5c33ad1a1","id":"6aec98d6b4be17ae37af1c52"},{"artwork":"6aec98bc179546f5c33ad1be","id":"6aec98d6b4be17ae37af1c53"},{"artwork":"6aec98bd179546f5c33ad1df","id":"6aec98d6b4be17ae37af1c54"},{"artwork":"6aec98bd179546f5c33ad1fc","id":"6aec98d6b4be17ae37af1c55"},{"artwork":"6aec98be179546f5c33ad219","id":"6aec98d6b4be17ae37af1c56"},{"artwork":"6aec98be179546f5c33ad236","id":"6aec98d6b4be17ae37af1c57"},{"artwork":"6aec98be179546f5c33ad253","id":"6aec98d6b4be17ae37af1c58"},{"artwork":"6aec98bf179546f5c33ad270","id":"6aec98d6b4be17ae37af1c59"},{"artwork":"6aec98bf179546f5c33ad28d","id":"6aec98d6b4be17ae37af1c5a"},{"artwork":"6aec98bf179546f5c33ad2aa","id":"6aec98d6b4be17ae37af1c5b"},{"artwork":"6aec98c0179546f5c33ad2c7","id":"6aec98d6b4be17ae37af1c5c"},{"artwork":"6aec98c0179546f5c33ad2e6","id":"6aec98d6b4be17ae37af1c5d"},{"artwork":"6aec98c1179546f5c33ad307","id":"6aec98d6b4be17ae37af1c5e"},{"artwork":"6aec98c1179546f5c33ad324","id":"6aec98d6b4be17ae37af1c5f"},{"artwork":"6aec98c2179546f5c33ad341","id":"6aec98d6b4be17ae37af1c60"},{"artwork":"6aec98c2179546f5c33ad35e","id":"6aec98d6b4be17ae37af1c61"},{"artwork":"6aec98c2179546f5c33ad37b","id":"6aec98d6b4be17ae37af1c62"},{"artwork":"6aec98c3179546f5c33ad39c","id":"6aec98d6b4be17ae37af1c63"},{"artwork":"6aec98c3179546f5c33ad3b9","id":"6aec98d6b4be17ae37af1c64"},{"artwork":"6aec98c3179546f5c33ad3d6","id":"6aec98d6b4be17ae37af1c65"},{"artwork":"6aec98c4179546f5c33ad3f3","id":"6aec98d6b4be17ae37af1c66"},{"artwork":"6aec98c5179546f5c33ad410","id":"6aec98d6b4be17ae37af1c67"},{"artwork":"6aec98c5179546f5c33ad42d","id":"6aec98d6b4be17ae37af1c68"},{"artwork":"6aec98c6179546f5c33ad44a","id":"6aec98d6b4be17ae37af1c69"},{"artwork":"6aec98c6179546f5c33ad467","id":"6aec98d6b4be17ae37af1c6a"},{"artwork":"6aec98c6179546f5c33ad484","id":"6aec98d6b4be17ae37af1c6b"},{"artwork":"6aec98c7179546f5c33ad4a1","id":"6aec98d6b4be17ae37af1c6c"},{"artwork":"6aec98c8179546f5c33ad4c2","id":"6aec98d6b4be17ae37af1c6d"},{"artwork":"6aec98c8179546f5c33ad4df","id":"6aec98d6b4be17ae37af1c6e"},{"artwork":"6aec98c8179546f5c33ad500","id":"6aec98d6b4be17ae37af1c6f"},{"artwork":"6aec98c9179546f5c33ad51d","id":"6aec98d6b4be17ae37af1c70"},{"artwork":"6aec98c9179546f5c33ad53a","id":"6aec98d6b4be17ae37af1c71"},{"artwork":"6aec98ca179546f5c33ad557","id":"6aec98d6b4be17ae37af1c72"},{"artwork":"6aec98ca179546f5c33ad578","id":"6aec98d6b4be17ae37af1c73"},{"artwork":"6aec98cb179546f5c33ad595","id":"6aec98d6b4be17ae37af1c74"},{"artwork":"6aec98cb179546f5c33ad5b4","id":"6aec98d6b4be17ae37af1c75"},{"artwork":"6aec98cc179546f5c33ad5d5","id":"6aec98d6b4be17ae37af1c76"},{"artwork":"6aec98cc179546f5c33ad5f2","id":"6aec98d6b4be17ae37af1c77"},{"artwork":"6aec98cd179546f5c33ad613","id":"6aec98d6b4be17ae37af1c78"},{"artwork":"6aec98cd179546f5c33ad630","id":"6aec98d6b4be17ae37af1c79"},{"artwork":"6aec98cd179546f5c33ad64d","id":"6aec98d6b4be17ae37af1c7a"},{"artwork":"6aec98ce179546f5c33ad66a","id":"6aec98d6b4be17ae37af1c7b"},{"artwork":"6aec98ce179546f5c33ad687","id":"6aec98d6b4be17ae37af1c7c"},{"artwork":"6aec98cf179546f5c33ad6a4","id":"6aec98d6b4be17ae37af1c7d"},{"artwork":"6aec98cf179546f5c33ad6bf","id":"6aec98d6b4be17ae37af1c7e"},{"artwork":"6aec98cf179546f5c33ad6de","id":"6aec98d6b4be17ae37af1c7f"},{"artwork":"6aec98d0179546f5c33ad6f9","id":"6aec98d6b4be17ae37af1c80"},{"artwork":"6aec98d0179546f5c33ad714","id":"6aec98d6b4be17ae37af1c81"},{"artwork":"6aec98d0179546f5c33ad72f","id":"6aec98d6b4be17ae37af1c82"},{"artwork":"6aec98d1179546f5c33ad74e","id":"6aec98d6b4be17ae37af1c83"},{"artwork":"6aec98d1179546f5c33ad769","id":"6aec98d6b4be17ae37af1c84"},{"artwork":"6aec98d1179546f5c33ad781","id":"6aec98d6b4be17ae37af1c85"},{"artwork":"6aec98d1179546f5c33ad79c","id":"6aec98d6b4be17ae37af1c86"},{"artwork":"6aec98d2179546f5c33ad7b7","id":"6aec98d6b4be17ae37af1c87"},{"artwork":"6aec98d2179546f5c33ad7cf","id":"6aec98d6b4be17ae37af1c88"},{"artwork":"6aec98d2179546f5c33ad7e7","id":"6aec98d6b4be17ae37af1c89"},{"artwork":"6aec98d3179546f5c33ad802","id":"6aec98d6b4be17ae37af1c8a"},{"artwork":"6aec98d3179546f5c33ad821","id":"6aec98d6b4be17ae37af1c8b"},{"artwork":"6aec98d3179546f5c33ad840","id":"6aec98d6b4be17ae37af1c8c"},{"artwork":"6aec98d3179546f5c33ad85b","id":"6aec98d6b4be17ae37af1c8d"},{"artwork":"6aec98d4179546f5c33ad873","id":"6aec98d6b4be17ae37af1c8e"},{"artwork":"6aec98d4179546f5c33ad88e","id":"6aec98d6b4be17ae37af1c8f"},{"artwork":"6aec98d4179546f5c33ad8a9","id":"6aec98d6b4be17ae37af1c90"},{"artwork":"6aec98d5179546f5c33ad8c4","id":"6aec98d6b4be17ae37af1c91"},{"artwork":"6aec98d5179546f5c33ad8dc","id":"6aec98d6b4be17ae37af1c92"},{"artwork":"6aec98d5179546f5c33ad8f4","id":"6aec98d6b4be17ae37af1c93"},{"artwork":"6aec98d5179546f5c33ad90c","id":"6aec98d6b4be17ae37af1c94"},{"artwork":"6aec98d6179546f5c33ad92b","id":"6aec98d6b4be17ae37af1c95"}],"galleries":[{"hall":"0A1_1","title":{"de":"Ohne 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 life."},"guides":[{"guide":"6a4a66433aacf61fab55c43a","fileGroup":{"fileNumber":"1","file":{"de":"6a4a667639fbb71fa46c102c","en":"6a4a667839fbb71fa46c1038"}},"id":"6a4a667983cdb6dea2927d03"},{"guide":"6a4e5e520e837b01d5d1e16a","fileGroup":{"fileNumber":"1","file":{"de":"6a4e5eb0c09056f309f5924f","en":"6a4e5eb2c09056f309f5925c"}},"id":"6a4e5eb3b1b29487fda7fa7b"}],"modelData":{"infoCollisionBox":{"geometry":{"x":3.0817198381922206,"y":2.2613169046753083,"z":0.1},"position":{"x":8.257290892378169,"y":-5.397441339661007,"z":-4.588988421946892,"exhibitionDependent":[]}},"insideView":{"sweepId":"699a45369f664eedb4d0e47e3aa9c783","rotation":{"x":2.4613791107788057,"y":0.2495259255669258}}}},"modelData":{"matterportModelId":"KXuyyR77ET5","startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0},"exhibition":{"sweepId":"fa790a541d23467b8bfaa4c310904e97","xRotation":-5.490889371315783,"yRotation":-87.74350737919323,"loadingBackgroundImage":"6a4a542818d42df607da7c0a"}},"sensorOffset":{"position":{}},"coordinateOffset":{"position":{"x":8.6958,"y":7.5701,"z":15.0327},"axisFlip":{"x":-1,"y":1,"z":-1}},"disabledSweeps":[]},"artworkList":[{"artwork":"6a4a5833c4410e8db0c22d2f","id":"6a4a588353b0a6cfe7b37e7f"},{"artwork":"6a4a5833c4410e8db0c22d3c","id":"6a4a588353b0a6cfe7b37e80"},{"artwork":"6a4a5834c4410e8db0c22d4b","id":"6a4a588353b0a6cfe7b37e81"},{"artwork":"6a4a5835c4410e8db0c22d5a","id":"6a4a588353b0a6cfe7b37e82"},{"artwork":"6a4a5836c4410e8db0c22d69","id":"6a4a588353b0a6cfe7b37e83"},{"artwork":"6a4a5836c4410e8db0c22d78","id":"6a4a588353b0a6cfe7b37e84"},{"artwork":"6a4a5837c4410e8db0c22d87","id":"6a4a588353b0a6cfe7b37e85"},{"artwork":"6a4a5838c4410e8db0c22d96","id":"6a4a588353b0a6cfe7b37e86"},{"artwork":"6a4a5839c4410e8db0c22da7","id":"6a4a588353b0a6cfe7b37e87"},{"artwork":"6a4a583bc4410e8db0c22db8","id":"6a4a588353b0a6cfe7b37e88"},{"artwork":"6a4a583bc4410e8db0c22dc7","id":"6a4a588353b0a6cfe7b37e89"},{"artwork":"6a4a583cc4410e8db0c22dd6","id":"6a4a588353b0a6cfe7b37e8a"},{"artwork":"6a4a583dc4410e8db0c22de5","id":"6a4a588353b0a6cfe7b37e8b"},{"artwork":"6a4a583ec4410e8db0c22df4","id":"6a4a588353b0a6cfe7b37e8c"},{"artwork":"6a4a583fc4410e8db0c22e03","id":"6a4a588353b0a6cfe7b37e8d"},{"artwork":"6a4a583fc4410e8db0c22e12","id":"6a4a588353b0a6cfe7b37e8e"},{"artwork":"6a4a5840c4410e8db0c22e21","id":"6a4a588353b0a6cfe7b37e8f"},{"artwork":"6a4a5841c4410e8db0c22e35","id":"6a4a588353b0a6cfe7b37e90"},{"artwork":"6a4a5842c4410e8db0c22e44","id":"6a4a588353b0a6cfe7b37e91"},{"artwork":"6a4a5844c4410e8db0c22e55","id":"6a4a588353b0a6cfe7b37e92"},{"artwork":"6a4a5845c4410e8db0c22e64","id":"6a4a588353b0a6cfe7b37e93"},{"artwork":"6a4a5846c4410e8db0c22e75","id":"6a4a588353b0a6cfe7b37e94"},{"artwork":"6a4a5846c4410e8db0c22e84","id":"6a4a588353b0a6cfe7b37e95"},{"artwork":"6a4a5847c4410e8db0c22e93","id":"6a4a588353b0a6cfe7b37e96"},{"artwork":"6a4a5848c4410e8db0c22ea2","id":"6a4a588353b0a6cfe7b37e97"},{"artwork":"6a4a5848c4410e8db0c22eb1","id":"6a4a588353b0a6cfe7b37e98"},{"artwork":"6a4a5849c4410e8db0c22ec0","id":"6a4a588353b0a6cfe7b37e99"},{"artwork":"6a4a584ac4410e8db0c22ed1","id":"6a4a588353b0a6cfe7b37e9a"},{"artwork":"6a4a584bc4410e8db0c22ee2","id":"6a4a588353b0a6cfe7b37e9b"},{"artwork":"6a4a584cc4410e8db0c22ef1","id":"6a4a588353b0a6cfe7b37e9c"},{"artwork":"6a4a584ec4410e8db0c22f02","id":"6a4a588353b0a6cfe7b37e9d"},{"artwork":"6a4a584fc4410e8db0c22f13","id":"6a4a588353b0a6cfe7b37e9e"},{"artwork":"6a4a5850c4410e8db0c22f22","id":"6a4a588353b0a6cfe7b37e9f"},{"artwork":"6a4a5851c4410e8db0c22f31","id":"6a4a588353b0a6cfe7b37ea0"},{"artwork":"6a4a5851c4410e8db0c22f40","id":"6a4a588353b0a6cfe7b37ea1"},{"artwork":"6a4a5852c4410e8db0c22f4f","id":"6a4a588353b0a6cfe7b37ea2"},{"artwork":"6a4a5853c4410e8db0c22f5e","id":"6a4a588353b0a6cfe7b37ea3"},{"artwork":"6a4a5854c4410e8db0c22f6d","id":"6a4a588353b0a6cfe7b37ea4"},{"artwork":"6a4a5854c4410e8db0c22f7e","id":"6a4a588353b0a6cfe7b37ea5"},{"artwork":"6a4a5856c4410e8db0c22f8f","id":"6a4a588353b0a6cfe7b37ea6"},{"artwork":"6a4a5857c4410e8db0c22f9e","id":"6a4a588353b0a6cfe7b37ea7"},{"artwork":"6a4a5858c4410e8db0c22fad","id":"6a4a588353b0a6cfe7b37ea8"},{"artwork":"6a4a5858c4410e8db0c22fbc","id":"6a4a588353b0a6cfe7b37ea9"},{"artwork":"6a4a5859c4410e8db0c22fcb","id":"6a4a588353b0a6cfe7b37eaa"},{"artwork":"6a4a585ac4410e8db0c22fda","id":"6a4a588353b0a6cfe7b37eab"},{"artwork":"6a4a585ac4410e8db0c22fe9","id":"6a4a588353b0a6cfe7b37eac"},{"artwork":"6a4a585bc4410e8db0c22ff8","id":"6a4a588353b0a6cfe7b37ead"},{"artwork":"6a4a585cc4410e8db0c23007","id":"6a4a588353b0a6cfe7b37eae"},{"artwork":"6a4a585dc4410e8db0c23016","id":"6a4a588353b0a6cfe7b37eaf"},{"artwork":"6a4a585dc4410e8db0c23025","id":"6a4a588353b0a6cfe7b37eb0"},{"artwork":"6a4a585ec4410e8db0c23034","id":"6a4a588353b0a6cfe7b37eb1"},{"artwork":"6a4a5860c4410e8db0c23043","id":"6a4a588353b0a6cfe7b37eb2"},{"artwork":"6a4a5861c4410e8db0c23052","id":"6a4a588353b0a6cfe7b37eb3"},{"artwork":"6a4a5861c4410e8db0c23061","id":"6a4a588353b0a6cfe7b37eb4"},{"artwork":"6a4a5862c4410e8db0c23070","id":"6a4a588353b0a6cfe7b37eb5"},{"artwork":"6a4a5863c4410e8db0c2307f","id":"6a4a588353b0a6cfe7b37eb6"},{"artwork":"6a4a5863c4410e8db0c2308e","id":"6a4a588353b0a6cfe7b37eb7"},{"artwork":"6a4a5865c4410e8db0c2309f","id":"6a4a588353b0a6cfe7b37eb8"},{"artwork":"6a4a5866c4410e8db0c230ae","id":"6a4a588353b0a6cfe7b37eb9"},{"artwork":"6a4a5866c4410e8db0c230bd","id":"6a4a588353b0a6cfe7b37eba"},{"artwork":"6a4a5867c4410e8db0c230ce","id":"6a4a588353b0a6cfe7b37ebb"},{"artwork":"6a4a5868c4410e8db0c230dd","id":"6a4a588353b0a6cfe7b37ebc"},{"artwork":"6a4a5869c4410e8db0c230ec","id":"6a4a588353b0a6cfe7b37ebd"},{"artwork":"6a4a5869c4410e8db0c230fb","id":"6a4a588353b0a6cfe7b37ebe"},{"artwork":"6a4a586bc4410e8db0c2310a","id":"6a4a588353b0a6cfe7b37ebf"},{"artwork":"6a4a586cc4410e8db0c23119","id":"6a4a588353b0a6cfe7b37ec0"},{"artwork":"6a4a586dc4410e8db0c23128","id":"6a4a588353b0a6cfe7b37ec1"},{"artwork":"6a4a586dc4410e8db0c23137","id":"6a4a588353b0a6cfe7b37ec2"},{"artwork":"6a4a586ec4410e8db0c23146","id":"6a4a588353b0a6cfe7b37ec3"},{"artwork":"6a4a586fc4410e8db0c23155","id":"6a4a588353b0a6cfe7b37ec4"},{"artwork":"6a4a586fc4410e8db0c23164","id":"6a4a588353b0a6cfe7b37ec5"},{"artwork":"6a4a5870c4410e8db0c23173","id":"6a4a588353b0a6cfe7b37ec6"},{"artwork":"6a4a5871c4410e8db0c23182","id":"6a4a588353b0a6cfe7b37ec7"},{"artwork":"6a4a5871c4410e8db0c23191","id":"6a4a588353b0a6cfe7b37ec8"},{"artwork":"6a4a5872c4410e8db0c231a0","id":"6a4a588353b0a6cfe7b37ec9"},{"artwork":"6a4a5873c4410e8db0c231af","id":"6a4a588353b0a6cfe7b37eca"},{"artwork":"6a4a5874c4410e8db0c231be","id":"6a4a588353b0a6cfe7b37ecb"},{"artwork":"6a4a5874c4410e8db0c231cd","id":"6a4a588353b0a6cfe7b37ecc"},{"artwork":"6a4a5875c4410e8db0c231dc","id":"6a4a588353b0a6cfe7b37ecd"},{"artwork":"6a4a5876c4410e8db0c231eb","id":"6a4a588353b0a6cfe7b37ece"},{"artwork":"6a4a5877c4410e8db0c231fa","id":"6a4a588353b0a6cfe7b37ecf"},{"artwork":"6a4a5878c4410e8db0c23209","id":"6a4a588353b0a6cfe7b37ed0"},{"artwork":"6a4a5878c4410e8db0c23218","id":"6a4a588353b0a6cfe7b37ed1"},{"artwork":"6a4a5879c4410e8db0c23227","id":"6a4a588353b0a6cfe7b37ed2"},{"artwork":"6a4a587ac4410e8db0c23236","id":"6a4a588353b0a6cfe7b37ed3"},{"artwork":"6a4a587bc4410e8db0c23245","id":"6a4a588353b0a6cfe7b37ed4"},{"artwork":"6a4a587bc4410e8db0c23254","id":"6a4a588353b0a6cfe7b37ed5"},{"artwork":"6a4a587cc4410e8db0c23263","id":"6a4a588353b0a6cfe7b37ed6"},{"artwork":"6a4a587dc4410e8db0c23272","id":"6a4a588353b0a6cfe7b37ed7"},{"artwork":"6a4a587ec4410e8db0c23281","id":"6a4a588353b0a6cfe7b37ed8"},{"artwork":"6a4a587ec4410e8db0c23290","id":"6a4a588353b0a6cfe7b37ed9"},{"artwork":"6a4a587fc4410e8db0c2329f","id":"6a4a588353b0a6cfe7b37eda"},{"artwork":"6a4a5880c4410e8db0c232ae","id":"6a4a588353b0a6cfe7b37edb"},{"artwork":"6a4a5881c4410e8db0c232bd","id":"6a4a588353b0a6cfe7b37edc"},{"artwork":"6a4a5882c4410e8db0c232cc","id":"6a4a588353b0a6cfe7b37edd"},{"artwork":"6a4a5882c4410e8db0c232db","id":"6a4a588353b0a6cfe7b37ede"},{"artwork":"6a4a5a0199363b6e0d8b062d","id":"6a4a5a02c2595fd136eda37b"},{"artwork":"6a4b7afcb78c0d49c30c86b0","id":"6a4b7afc3eb5fa45d6635857"}],"galleries":[{"hall":"0A1","title":{"de":"Von der Impression zur Wissenschaft","en":"From Impression to Science"},"subtitle":{"de":"Der Beginn des Neoimpressionismus","en":"The Beginnings of Neo-Impressionism"},"description":{"de":"Zu Beginn seiner Laufbahn orientierte sich Paul Signac am Impressionismus. 1884 lernte er den wenig älteren Maler Georges Seurat kennen, der eine grundlegend neue Malweise begonnen hatte. 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. Along with other painters, Signac and Seurat founded the Société des Artistes Indépendants (Society of Independent Artists) and organized their own exhibitions."},"3dModel":"6a5291eaa7a812ed70ed82ba","3dModels":[{"glbFile":"6a5291eaa7a812ed70ed82ba","id":"6a5389fa40d957001bcd4579"}],"startPoint":{"sweepId":"4cc70d781ad94264b8b3e9b4a773b22c","rotation":{"x":-10.795578536089973,"y":-86.6798897672345}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.5,"z":0.1},"position":{"x":20.319147395290276,"y":-5.622725328439823,"z":4.754297708331841,"exhibitionDependent":[]}},"insideView":{"sweepId":"8836796111b44f98a7c6840c90e589a9","rotation":{"x":-1.4818833365946351,"y":179.91248268645225}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d6635858","coverImage":"6acaf63ebbb624b7f019a506"},{"hall":"0A2","title":{"de":"Von der Impression zur Wissenschaft","en":"From Impression to Science"},"subtitle":{"de":"Der Beginn des Neoimpressionismus","en":"The Beginnings of Neo-Impressionism"},"description":{"de":"Zu Beginn seiner Laufbahn orientierte sich Paul Signac am Impressionismus. 1884 lernte er den wenig älteren Maler Georges Seurat kennen, der eine grundlegend neue Malweise begonnen hatte. 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. Along with other painters, Signac and Seurat founded the Société des Artistes Indépendants (Society of Independent Artists) and organized their own exhibitions."},"3dModel":"6a5291eba7a812ed70ed82ce","3dModels":[{"glbFile":"6a5291eba7a812ed70ed82ce","id":"6a5389fa40d957001bcd457a"}],"startPoint":{"rotation":{}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}},"insideView":{"rotation":{}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d6635859","coverImage":"6acaf644bbb624b7f019a516"},{"hall":"1A3","title":{"de":"Charakter oder Dekor","en":"Character or Decor"},"subtitle":{"de":"Das neoimpressionistische Portrait","en":"The Neo-Impressionist Portrait"},"description":{"de":"Zunächst wurde die neue Malweise in Landschaften und Figurenbildern erprobt, ab 1886 entstanden auch Portraits. Für den Neoimpressionismus stellte dieses Genre eine Herausforderung dar: Die bei einem Portrait geforderte Naturtreue stand in einem Spannungsverhältnis zu der dekorativen Bildwirkung, die viele Künstler anstrebten. Paul Signac stilisierte in seinen Bildnissen die Kleidung und Umgebung der Dargestellten, um einen harmonischen und dekorativen Eindruck zu erzeugen. Andere französische Maler orientierten sich an der Strenge von Georges Seurats Figuren. Manche der Anfang des 20. Jahrhunderts entstandenen Portraits sind mit breiteren, kurzen Strichen gemalt. Dadurch mischen sich die Töne selbst bei einiger Entfernung nicht mehr im Auge. So wird der Eigenwert der Farbe betont – ein Prinzip, das für die folgenden Künstlergenerationen zentral werden sollte.","en":"At first, artists employed the new painterly approach for landscapes and figural images; from 1886 on, they created portraits as well. 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. This emphasis on the autonomous value of color would become a central principle for the subsequent generation of artists."},"3dModel":"6a5291eda7a812ed70ed82e2","3dModels":[{"glbFile":"6a5291eda7a812ed70ed82e2","id":"6a5389fa40d957001bcd457b"}],"startPoint":{"sweepId":"63afeba6e0174c9e87e774db8b31b7d9","rotation":{"x":-4.112826267204138,"y":-89.76597694205114}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.58,"y":1.5,"z":0.1},"position":{"x":8.02724621783783,"y":1.7052478462397684,"z":-4.5885966910055025,"exhibitionDependent":[]}},"insideView":{"sweepId":"57139549319643a3bfd066620dc856bc","rotation":{"x":-0.47002850110587147,"y":0.7786626838818038}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6a4b7afd3eb5fa45d663585a","coverImage":"6acaf648bbb624b7f019a522"},{"hall":"1A4","title":{"de":"Über die Grenzen","en":"Beyond Borders"},"subtitle":{"de":"Signac und die Künstlergruppe Les Vingt","en":"Signac and the Artists’ Group Les Vingt"},"description":{"de":"In den 1880er Jahren war Brüssel ein Zentrum der künstlerischen Avantgarde. Die Gruppe Les Vingt (Die Zwanzig) hatte bereits mit impressionistischen Künstlern aus unterschiedlichen Ländern ausgestellt, als sich auch Paul Signac an ihrem jährlichen Salon beteiligte. Unter dem Einfluss von Georges Seurat und Signac wandten sich Künstler von Les Vingt dem Neoimpressionismus zu. Die Gruppe veranstaltete auch Neoimpressionisten-Schauen in Amsterdam und Den Haag, wo die Licht- und Farbintensität ihrer Gemälde neue Maßstäbe setzte. Signac vermittelte den Künstlern von Les Vingt Ausstellungsmöglichkeiten in dem von ihm mitbegründeten unabhängigen Salon. Zum intensiven Austausch gehörten gegenseitige Besuche und gemeinsame Reisen, die neoimpressionistische Landschaftsbilder inspirierten.","en":"In the 1880s, Brussels was a center of avant-garde art. The group Les Vingt (The Twenty) had already exhibited with Impressionist artists from various countries when Paul Signac, too, participated in their annual salon. Under the influence of Georges Seurat and Signac, artists from Les Vingt began exploring Neo-Impressionism. The group also organized Neo-Impressionist exhibitions in Amsterdam and The Hague, where the intense light and color of their paintings set new standards. Signac acted as an intermediary, inviting the artists of Les Vingt to exhibit in the independent salon he had helped found. 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. Als Vorbilder dienten die zeitgenössischen Kinderbildnisse von Mary Cassatt und Pierre-Auguste Renoir. Sie waren für französische und amerikanische Auftraggeber gemalt, die im Wirtschafts- aufschwung bürgerliche Dynastien begründet hatten. Große Erwartungen waren auf die Nachkommen gerichtet, große Sorgfalt wurde auf ihre Erziehung verwendet. Sonnenlicht und freie impressionistische Malweise bringen aber auch kindliche Unbefangenheit und den Esprit des Neubeginns zum Ausdruck. Die Kinderportraits spiegeln den freiheitlichen Geist der Reformpädagogik, die Religionsunterricht und Militarismus kritisierte und die Schule in einen Ort der Inspiration verwandeln wollte.","en":"In the late nineteenth century, the desire for portraits of the next generation arose among the German bourgeoisie. 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. For Liebermann, however, the garden was more than just ornamental floral splendor or inspiration for painting: Embittered by the growing antisemitism in Germany, he experienced it as a place of refuge from the 1920s on."},"coverImage":"69ac79638097165e809781a1","3dModel":"69abe21c8097165e80972cdb","3dModels":[{"glbFile":"69abe21c8097165e80972cdb","id":"69d2682902142f001b7bbb04"}],"startPoint":{"sweepId":"d166759f5b294b0aa4f4f8be3377cde3","rotation":{"x":-4.0220459391610275,"y":-140.04996791021824}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":0.10000000000000006,"y":1.51,"z":1.59},"position":{"x":-4.477419330910227,"y":1.8043038057620877,"z":25.561157721430867,"exhibitionDependent":[{"exhibition":"699c56f3870053377ae01aa0","position":{"x":-4.477419330910227,"y":1.8043038057620877,"z":25.616445630012954},"id":"69a9c8f6b366e7001bdbe931"}]}},"insideView":{"sweepId":"1c36e96c53484978adfa2844f22be552","rotation":{"x":5.091335158429524,"y":-88.50429563783024}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"699c5ed5f98a598161227a5f","title":{"de":"Paradies am Wannsee","en":"Paradise in Wannsee"},"subtitle":{"de":"Liebermanns Malergarten","en":"Liebermann’s Artist Garden"}}],"artworkList":[{"artwork":"699c74b3e7e477f49d8c7bf3","id":"699c74d6dc26a768a6f656b9"},{"artwork":"699c74b3e7e477f49d8c7c02","id":"699c74d6dc26a768a6f656ba"},{"artwork":"699c74b3e7e477f49d8c7c11","id":"699c74d6dc26a768a6f656bb"},{"artwork":"699c74b4e7e477f49d8c7c20","id":"699c74d6dc26a768a6f656bc"},{"artwork":"699c74b4e7e477f49d8c7c2f","id":"699c74d6dc26a768a6f656bd"},{"artwork":"699c74b4e7e477f49d8c7c3e","id":"699c74d6dc26a768a6f656be"},{"artwork":"699c74b5e7e477f49d8c7c4d","id":"699c74d6dc26a768a6f656bf"},{"artwork":"699c74b5e7e477f49d8c7c5c","id":"699c74d6dc26a768a6f656c0"},{"artwork":"699c74b5e7e477f49d8c7c6d","id":"699c74d6dc26a768a6f656c1"},{"artwork":"699c74b5e7e477f49d8c7c7c","id":"699c74d6dc26a768a6f656c2"},{"artwork":"699c74b6e7e477f49d8c7c8b","id":"699c74d6dc26a768a6f656c3"},{"artwork":"699c74b6e7e477f49d8c7c9a","id":"699c74d6dc26a768a6f656c4"},{"artwork":"699c74b6e7e477f49d8c7cab","id":"699c74d6dc26a768a6f656c5"},{"artwork":"699c74b7e7e477f49d8c7cba","id":"699c74d6dc26a768a6f656c6"},{"artwork":"699c74b7e7e477f49d8c7ccb","id":"699c74d6dc26a768a6f656c7"},{"artwork":"699c74b7e7e477f49d8c7cdc","id":"699c74d6dc26a768a6f656c8"},{"artwork":"699c74b7e7e477f49d8c7ceb","id":"699c74d6dc26a768a6f656c9"},{"artwork":"699c74b8e7e477f49d8c7cfa","id":"699c74d6dc26a768a6f656ca"},{"artwork":"699c74b8e7e477f49d8c7d0b","id":"699c74d6dc26a768a6f656cb"},{"artwork":"699c74b8e7e477f49d8c7d1a","id":"699c74d6dc26a768a6f656cc"},{"artwork":"699c74b9e7e477f49d8c7d29","id":"699c74d6dc26a768a6f656cd"},{"artwork":"699c74b9e7e477f49d8c7d38","id":"699c74d6dc26a768a6f656ce"},{"artwork":"699c74b9e7e477f49d8c7d47","id":"699c74d6dc26a768a6f656cf"},{"artwork":"699c74b9e7e477f49d8c7d56","id":"699c74d6dc26a768a6f656d0"},{"artwork":"699c74bae7e477f49d8c7d65","id":"699c74d6dc26a768a6f656d1"},{"artwork":"699c74bae7e477f49d8c7d74","id":"699c74d6dc26a768a6f656d2"},{"artwork":"699c74bae7e477f49d8c7d83","id":"699c74d6dc26a768a6f656d3"},{"artwork":"699c74bbe7e477f49d8c7d94","id":"699c74d6dc26a768a6f656d4"},{"artwork":"699c74bbe7e477f49d8c7da3","id":"699c74d6dc26a768a6f656d5"},{"artwork":"699c74bbe7e477f49d8c7db2","id":"699c74d6dc26a768a6f656d6"},{"artwork":"699c74bce7e477f49d8c7dc1","id":"699c74d6dc26a768a6f656d7"},{"artwork":"699c74bce7e477f49d8c7dd0","id":"699c74d6dc26a768a6f656d8"},{"artwork":"699c74bce7e477f49d8c7ddf","id":"699c74d6dc26a768a6f656d9"},{"artwork":"699c74bce7e477f49d8c7dee","id":"699c74d6dc26a768a6f656da"},{"artwork":"699c74bde7e477f49d8c7dff","id":"699c74d6dc26a768a6f656db"},{"artwork":"699c74bde7e477f49d8c7e14","id":"699c74d6dc26a768a6f656dc"},{"artwork":"699c74bee7e477f49d8c7e25","id":"699c74d6dc26a768a6f656dd"},{"artwork":"699c74bee7e477f49d8c7e34","id":"699c74d6dc26a768a6f656de"},{"artwork":"699c74bee7e477f49d8c7e43","id":"699c74d6dc26a768a6f656df"},{"artwork":"699c74bee7e477f49d8c7e52","id":"699c74d6dc26a768a6f656e0"},{"artwork":"699c74bfe7e477f49d8c7e63","id":"699c74d6dc26a768a6f656e1"},{"artwork":"699c74bfe7e477f49d8c7e74","id":"699c74d6dc26a768a6f656e2"},{"artwork":"699c74bfe7e477f49d8c7e83","id":"699c74d6dc26a768a6f656e3"},{"artwork":"699c74c0e7e477f49d8c7e92","id":"699c74d6dc26a768a6f656e4"},{"artwork":"699c74c0e7e477f49d8c7ea3","id":"699c74d6dc26a768a6f656e5"},{"artwork":"699c74c1e7e477f49d8c7eb4","id":"699c74d6dc26a768a6f656e6"},{"artwork":"699c74c1e7e477f49d8c7ec3","id":"699c74d6dc26a768a6f656e7"},{"artwork":"699c74c1e7e477f49d8c7ed4","id":"699c74d6dc26a768a6f656e8"},{"artwork":"699c74c1e7e477f49d8c7ee3","id":"699c74d6dc26a768a6f656e9"},{"artwork":"699c74c2e7e477f49d8c7ef2","id":"699c74d6dc26a768a6f656ea"},{"artwork":"699c74c2e7e477f49d8c7f01","id":"699c74d6dc26a768a6f656eb"},{"artwork":"699c74c2e7e477f49d8c7f10","id":"699c74d6dc26a768a6f656ec"},{"artwork":"699c74c3e7e477f49d8c7f1f","id":"699c74d6dc26a768a6f656ed"},{"artwork":"699c74c3e7e477f49d8c7f2e","id":"699c74d6dc26a768a6f656ee"},{"artwork":"699c74c3e7e477f49d8c7f3d","id":"699c74d6dc26a768a6f656ef"},{"artwork":"699c74c4e7e477f49d8c7f4c","id":"699c74d6dc26a768a6f656f0"},{"artwork":"699c74c4e7e477f49d8c7f5d","id":"699c74d6dc26a768a6f656f1"},{"artwork":"699c74c4e7e477f49d8c7f6e","id":"699c74d6dc26a768a6f656f2"},{"artwork":"699c74c5e7e477f49d8c7f7d","id":"699c74d6dc26a768a6f656f3"},{"artwork":"699c74c5e7e477f49d8c7f8c","id":"699c74d6dc26a768a6f656f4"},{"artwork":"699c74c5e7e477f49d8c7f9b","id":"699c74d6dc26a768a6f656f5"},{"artwork":"699c74c6e7e477f49d8c7faa","id":"699c74d6dc26a768a6f656f6"},{"artwork":"699c74c6e7e477f49d8c7fb9","id":"699c74d6dc26a768a6f656f7"},{"artwork":"699c74c6e7e477f49d8c7fc8","id":"699c74d6dc26a768a6f656f8"},{"artwork":"699c74c6e7e477f49d8c7fd7","id":"699c74d6dc26a768a6f656f9"},{"artwork":"699c74c7e7e477f49d8c7fe6","id":"699c74d6dc26a768a6f656fa"},{"artwork":"699c74c7e7e477f49d8c7ff5","id":"699c74d6dc26a768a6f656fb"},{"artwork":"699c74c7e7e477f49d8c8004","id":"699c74d6dc26a768a6f656fc"},{"artwork":"699c74c8e7e477f49d8c8013","id":"699c74d6dc26a768a6f656fd"},{"artwork":"699c74c8e7e477f49d8c8022","id":"699c74d6dc26a768a6f656fe"},{"artwork":"699c74c8e7e477f49d8c8031","id":"699c74d6dc26a768a6f656ff"},{"artwork":"699c74c8e7e477f49d8c8040","id":"699c74d6dc26a768a6f65700"},{"artwork":"699c74c9e7e477f49d8c804f","id":"699c74d6dc26a768a6f65701"},{"artwork":"699c74c9e7e477f49d8c805e","id":"699c74d6dc26a768a6f65702"},{"artwork":"699c74c9e7e477f49d8c806d","id":"699c74d6dc26a768a6f65703"},{"artwork":"699c74cae7e477f49d8c807c","id":"699c74d6dc26a768a6f65704"},{"artwork":"699c74cae7e477f49d8c808b","id":"699c74d6dc26a768a6f65705"},{"artwork":"699c74cae7e477f49d8c809a","id":"699c74d6dc26a768a6f65706"},{"artwork":"699c74cae7e477f49d8c80a9","id":"699c74d6dc26a768a6f65707"},{"artwork":"699c74cbe7e477f49d8c80b8","id":"699c74d6dc26a768a6f65708"},{"artwork":"699c74cbe7e477f49d8c80c7","id":"699c74d6dc26a768a6f65709"},{"artwork":"699c74cbe7e477f49d8c80d6","id":"699c74d6dc26a768a6f6570a"},{"artwork":"699c74cce7e477f49d8c80e7","id":"699c74d6dc26a768a6f6570b"},{"artwork":"699c74cce7e477f49d8c80f6","id":"699c74d6dc26a768a6f6570c"},{"artwork":"699c74cce7e477f49d8c8105","id":"699c74d6dc26a768a6f6570d"},{"artwork":"699c74cde7e477f49d8c8114","id":"699c74d6dc26a768a6f6570e"},{"artwork":"699c74cde7e477f49d8c8123","id":"699c74d6dc26a768a6f6570f"},{"artwork":"699c74cde7e477f49d8c8132","id":"699c74d6dc26a768a6f65710"},{"artwork":"699c74cde7e477f49d8c8143","id":"699c74d6dc26a768a6f65711"},{"artwork":"699c74cee7e477f49d8c8152","id":"699c74d6dc26a768a6f65712"},{"artwork":"699c74cee7e477f49d8c8161","id":"699c74d6dc26a768a6f65713"},{"artwork":"699c74cee7e477f49d8c8172","id":"699c74d6dc26a768a6f65714"},{"artwork":"699c74cfe7e477f49d8c8181","id":"699c74d6dc26a768a6f65715"},{"artwork":"699c74cfe7e477f49d8c8192","id":"699c74d6dc26a768a6f65716"},{"artwork":"699c74cfe7e477f49d8c81a1","id":"699c74d6dc26a768a6f65717"},{"artwork":"699c74d0e7e477f49d8c81b0","id":"699c74d6dc26a768a6f65718"},{"artwork":"699c74d0e7e477f49d8c81bf","id":"699c74d6dc26a768a6f65719"},{"artwork":"699c74d0e7e477f49d8c81ce","id":"699c74d6dc26a768a6f6571a"},{"artwork":"699c74d1e7e477f49d8c81dd","id":"699c74d6dc26a768a6f6571b"},{"artwork":"699c74d1e7e477f49d8c81ec","id":"699c74d6dc26a768a6f6571c"},{"artwork":"699c74d1e7e477f49d8c81fb","id":"699c74d6dc26a768a6f6571d"},{"artwork":"699c74d1e7e477f49d8c820a","id":"699c74d6dc26a768a6f6571e"},{"artwork":"699c74d2e7e477f49d8c8219","id":"699c74d6dc26a768a6f6571f"},{"artwork":"699c74d2e7e477f49d8c8228","id":"699c74d6dc26a768a6f65720"},{"artwork":"699c74d2e7e477f49d8c8237","id":"699c74d6dc26a768a6f65721"},{"artwork":"699c74d3e7e477f49d8c8246","id":"699c74d6dc26a768a6f65722"},{"artwork":"699c74d3e7e477f49d8c8255","id":"699c74d6dc26a768a6f65723"},{"artwork":"699c74d3e7e477f49d8c8264","id":"699c74d6dc26a768a6f65724"},{"artwork":"699c74d4e7e477f49d8c8273","id":"699c74d6dc26a768a6f65725"},{"artwork":"699c74d4e7e477f49d8c8282","id":"699c74d6dc26a768a6f65726"},{"artwork":"699c74d4e7e477f49d8c8291","id":"699c74d6dc26a768a6f65727"},{"artwork":"699c74d4e7e477f49d8c82a0","id":"699c74d6dc26a768a6f65728"},{"artwork":"699c74d5e7e477f49d8c82af","id":"699c74d6dc26a768a6f65729"},{"artwork":"699c74d5e7e477f49d8c82be","id":"699c74d6dc26a768a6f6572a"},{"artwork":"699c74d5e7e477f49d8c82cd","id":"699c74d6dc26a768a6f6572b"},{"artwork":"699c79565ebbdf8f1d3f8e1e","id":"699c7965ae70cf82776989fe"}],"modelData":{"matterportModelId":"yQF72dDfZeY","startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0},"exhibition":{"sweepId":"a825051634504d47bfa08ede513c9e16","xRotation":2.71,"yRotation":-90.13,"loadingBackgroundImage":"69ac74bd8097165e80977136"}},"sensorOffset":{"position":{}},"coordinateOffset":{"position":{"x":10.8706,"y":7.5701,"z":13.0257},"axisFlip":{"x":-1,"y":1,"z":-1}},"disabledSweeps":[]},"endDate":"2026-06-07T12:00:00.000Z","fullName":{"de":"Avantgarde. Max Liebermann und der Impressionismus in Deutschland","en":"Avant-Garde: Max Liebermann and Impressionism in Germany"},"startDate":"2026-02-28T12:00:00.000Z","subtitle":{"de":"Max Liebermann und der Impressionismus in Deutschland","en":"Max Liebermann and Impressionism in Germany"},"title":{"de":"Avantgarde","en":"Avant-Garde"},"type":"temporary","cover":{"createdAt":"2026-02-23T13:41:46.448Z","updatedAt":"2026-02-23T13:41:46.601Z","exhibition":"699c56f3870053377ae01aa0","type":"gallery-cover-image","url":"/cms/api/media/file/cover-1.jpg","filename":"cover-1.jpg","mimeType":"image/jpeg","filesize":345067,"width":1280,"height":998,"focalX":50,"focalY":50,"thumbnailURL":null,"id":"699c591a870053377ae01b1c"},"prologue":{"de":"https://prolog.museum-barberini.de/de/23433/avantgarde","en":"https://prolog.museum-barberini.de/en/23433/avant-garde"},"id":"699c56f3870053377ae01aa0"},{"slug":"einhorn","type":"temporary","onDisplay":false,"fullName":{"de":"Einhorn. Das Fabeltier in der Kunst","en":"Unicorn. The Mythical Beast in Art"},"title":{"de":"Einhorn","en":"Unicorn"},"subtitle":{"de":"Das Fabeltier in der Kunst","en":"The Mythical Beast in Art"},"startDate":"2025-10-25T12:00:00.000Z","endDate":"2026-02-01T12:00:00.000Z","entryInfoWall":{"description":{"de":"Das Einhorn ist magisch. Es wird in keinem Zoo gezeigt, sein Vorkommen ist nirgendwo belegt, und doch ist es allgegenwärtig – in der Popkultur, der Werbung oder im Kinderzimmer. Dabei ist die Faszination des Einhorns kein neues Phänomen. Sie reicht über Jahrhunderte, sogar Jahrtausende zurück und ist in vielen Kulturen verankert. In Europa galt das Einhorn als Symbol für Christus oder als Allegorie der Keuschheit, es war medizinisches Wundermittel, Schmuckstück in Kunstkammern und Forschungsobjekt der beginnenden Naturwissenschaft.   Die Ausstellung untersucht die vielschichtige Bedeutung des Einhorns über die Zeiten und dokumentiert seine künstlerische Darstellung von den Anfängen bis zur Gegenwart. Wie kein anderes Tier hat das Einhorn die Phantasie von Künstlerinnen und Künstlern angeregt.   Eine Ausstellung des Museums Barberini mit dem Musée de Cluny – musée national du Moyen Âge und dem GrandPalaisRmn, Paris","en":"The unicorn is magical. It is not on display in any zoo, its existence remains unproven, and yet it is omnipresent—in popular culture, advertising, and children’s rooms alike. The unicorn’s appeal, however, is by no means a recent phenomenon; it goes back centuries, even millennia, and is deeply rooted in many cultures. In Europe the unicorn was regarded as a symbol of Christ or as an allegory of chastity, its horn was a miraculous remedy for illness, a prize possession in cabinets of curiosities, and an object of study for the nascent natural sciences.   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.   The exhibition is organized by the Museum Barberini with the Musée de Cluny—musée national du Moyen Âge and the GrandPalaisRmn, Paris."},"guides":[{"guide":"692749ad27ac597a8c519b7d","fileGroup":{"fileNumber":"0","file":{"de":"69274ac127ac597a8c519cdb","en":"69274aa427ac597a8c519c8b"}},"id":"69274a7a5d14c00b4c7da6d9"}],"modelData":{"insideView":{"sweepId":"966fb2db3169430cbe7edf278a5ce953","rotation":{"x":11.23,"y":-0.43}},"infoCollisionBox":{"geometry":{"x":4.03,"y":3.23,"z":0.47},"position":{"x":12.18,"y":-5.5,"z":-6.92,"exhibitionDependent":[]}}}},"guides":[{"guide":{"type":"audioAdults","cover":"68f754d18c90c86166dd7a34","exhibition":"68f753818c90c86166dd78af","name":{"de":"Einhorn audioAdults","en":"Unicorn audioAdults"},"title":{"de":"Einhorn","en":"Unicorn"},"subtitle":{"de":"Das Fabeltier in der Kunst","en":"The Mythical Beast in Art"},"createdAt":"2025-11-26T18:40:45.654Z","updatedAt":"2026-02-03T12:40:51.657Z","duration":58,"id":"692749ad27ac597a8c519b7d"},"id":"6981ea2d607f9b0a18920b0d"}],"galleries":[{"hall":"0A1_1","description":{"de":"Die Vorstellung vom Einhorn hat ihren Ursprung in Indien. Von dort verbreitete sie sich nach Tibet, China und Japan sowie Persien. Auf seiner Wanderung über Zeiten und Räume hinweg erfuhr das Motiv des einhörnigen Tieres zahlreiche Wandlungen. Jede Kultur wies ihm eigene Bedeutungen zu.  Bei der künstlerischen Darstellung spielten die jeweilige Bildtradition und regionale Tiervorkommen eine Rolle. Gazellen oder Steinböcke konnten mit nur einem Horn gezeigt werden. Das meinte keineswegs immer das mythische Einhorn.  In das christliche Europa gelangte die Vorstellung des Fabeltiers erst, nachdem im 2./3. Jahrhundert ein unbekannter Autor in seiner Schrift Physiologus das Einhorn beschrieben hatte. Zunächst wie eine Ziege dargestellt, etablierte sich um 1500 seine Gestalt als pferdeähnlich.","en":"The idea of the unicorn originated in India. From there, it spread to Tibet, China, and Japan as well as to Persia. On its journey through time and space, the motif of the one-horned animal underwent numerous transformations. 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. At first depicted like a goat, the unicorn took on horse-like shape around 1500."},"coverImage":"691719878c90c86166e3cb35","3dModel":"691ca3a9fe97058bca30c9b8","startPoint":{"sweepId":"ba5ebc70bf26467c843494213e85b37e","rotation":{"x":3.24,"y":-92.39}},"infoWall":{"modelData":{"insideView":{"sweepId":"fb3835debc0548639556d85ceb3cb799","rotation":{"x":1.54,"y":90.2}},"infoCollisionBox":{"geometry":{"x":0.2,"y":1.7,"z":1.95},"position":{"x":6.67,"y":-5.46,"z":-4.43,"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"68f755eaa06b5a0566961b2e","3dModels":[{"glbFile":"691ca3a9fe97058bca30c9b8","id":"6af57d878094650001320997"}],"title":{"de":"In vielerlei Gestalt","en":"Multifarious Forms"},"subtitle":{"de":"Ursprung und Wandlungen des Einhorns","en":"The Origin and Transformation of the Unicorn"}},{"hall":"0A1_2","description":{"de":"Bis ins 17. Jahrhundert war die Existenz des Einhorns unbestritten, schließlich erwähnte es die Bibel mehrere Male. Allegorische Tiergruppen und Verbildlichungen von Erzählungen, in denen viele Tiere vorkommen, schlossen das Einhorn ein.  Aus der Bibel sind es die Schöpfungsgeschichte, das Paradies und die Sintflut. Ein Thema aus der klassischen Antike ist der Mythos von Orpheus, der die wilden Tiere bezaubert. Allerdings erwähnt keine dieser Geschichten das Einhorn ausdrücklich.  Das Einhorn wird im Kreis der anderen Tiere gezeigt, was auf die Selbstverständlichkeit seines Vorkommens weist. Die Künstler reizte auch der Zauber des Ungewohnten und die mythisch aufgeladene Erscheinung des Einhorns. Daher ist es häufig an prominenter Stelle zu sehen und wirkt als Blickfang.","en":"The existence of the unicorn, a creature mentioned several times in the Bible, remained uncontested into the seventeenth century. Allegorical animal groups and illustrations of narratives featuring many different kinds of beasts also included the figure of the unicorn.  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. Seine Gegenwärtigkeit ist unverfügbar."},"coverImage":"691720f28c90c86166e3cf84","3dModel":"691ca571fe97058bca30ccec","startPoint":{"rotation":{}},"infoWall":{"modelData":{"insideView":{"rotation":{}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"69049f7aa385dc0cfd2d9031","3dModels":[{"glbFile":"691ca571fe97058bca30ccec","id":"6af57d8780946500013209a1"}],"title":{"de":"Der Auftritt des Einhorns","en":"Rebecca Horn"},"subtitle":{"de":"Video-Arbeiten von Rebecca Horn und Maider Fortuné","en":"Unicorn"}},{"hall":"0B2","coverImage":"6917213d8c90c86166e3cfc1","3dModel":"691ca58bfe97058bca30cd33","startPoint":{"rotation":{}},"infoWall":{"modelData":{"insideView":{"rotation":{}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"6904a128a385dc0cfd2d9032","3dModels":[{"glbFile":"691ca58bfe97058bca30cd33","id":"6af57d8780946500013209a2"}],"title":{"de":"Die Spur des Einhorns","en":"The trail of the Unicorn"},"subtitle":{"de":"Texte aus Naturkunde, Religion und Literatur","en":"Texts from Natural History, Religion and Literature"}}],"artworkList":[{"artwork":"691739bcb010ccf51ef4701c","id":"691739bc9c9da26ff469c8e9"},{"artwork":"691739beb010ccf51ef47037","id":"691739be9c9da26ff469c8ea"},{"artwork":"691739dab010ccf51ef47056","id":"691739da9c9da26ff469c8eb"},{"artwork":"691739dcb010ccf51ef47075","id":"691739dc9c9da26ff469c8ec"},{"artwork":"691739ddb010ccf51ef47094","id":"691739de9c9da26ff469c8ed"},{"artwork":"691739dfb010ccf51ef470b3","id":"691739df9c9da26ff469c8ee"},{"artwork":"691739e0b010ccf51ef470d0","id":"691739e09c9da26ff469c8ef"},{"artwork":"691739e1b010ccf51ef470ef","id":"691739e29c9da26ff469c8f0"},{"artwork":"691739e3b010ccf51ef4710e","id":"691739e39c9da26ff469c8f1"},{"artwork":"691739e3b010ccf51ef4712b","id":"691739e49c9da26ff469c8f2"},{"artwork":"691739e6b010ccf51ef4714a","id":"691739e69c9da26ff469c8f3"},{"artwork":"691739e7b010ccf51ef47169","id":"691739e79c9da26ff469c8f4"},{"artwork":"691739e8b010ccf51ef47188","id":"691739e99c9da26ff469c8f5"},{"artwork":"691739e9b010ccf51ef471a5","id":"691739e99c9da26ff469c8f6"},{"artwork":"691739ebb010ccf51ef471c4","id":"691739eb9c9da26ff469c8f7"},{"artwork":"691739ecb010ccf51ef471e3","id":"691739ed9c9da26ff469c8f8"},{"artwork":"691739eeb010ccf51ef47202","id":"691739ee9c9da26ff469c8f9"},{"artwork":"691739efb010ccf51ef47221","id":"691739f09c9da26ff469c8fa"},{"artwork":"691739f1b010ccf51ef47240","id":"691739f19c9da26ff469c8fb"},{"artwork":"691739f2b010ccf51ef4725f","id":"691739f39c9da26ff469c8fc"},{"artwork":"691739f3b010ccf51ef4727e","id":"691739f49c9da26ff469c8fd"},{"artwork":"691739f5b010ccf51ef4729d","id":"691739f59c9da26ff469c8fe"},{"artwork":"691739f6b010ccf51ef472bc","id":"691739f79c9da26ff469c8ff"},{"artwork":"691739f8b010ccf51ef472db","id":"691739f89c9da26ff469c900"},{"artwork":"691739ffb010ccf51ef472fa","id":"69173a009c9da26ff469c901"},{"artwork":"69173a01b010ccf51ef47319","id":"69173a019c9da26ff469c902"},{"artwork":"69173a01b010ccf51ef47336","id":"69173a029c9da26ff469c903"},{"artwork":"69173a03b010ccf51ef47355","id":"69173a039c9da26ff469c904"},{"artwork":"69173a05b010ccf51ef47374","id":"69173a059c9da26ff469c905"},{"artwork":"69173a06b010ccf51ef47393","id":"69173a069c9da26ff469c906"},{"artwork":"69173a07b010ccf51ef473b2","id":"69173a089c9da26ff469c907"},{"artwork":"69173a09b010ccf51ef473d1","id":"69173a099c9da26ff469c908"},{"artwork":"69173a0ab010ccf51ef473f0","id":"69173a0b9c9da26ff469c909"},{"artwork":"69173a0bb010ccf51ef4740f","id":"69173a0c9c9da26ff469c90a"},{"artwork":"69173a0cb010ccf51ef4742c","id":"69173a0c9c9da26ff469c90b"},{"artwork":"69173a0eb010ccf51ef4744b","id":"69173a0e9c9da26ff469c90c"},{"artwork":"69173a10b010ccf51ef4746a","id":"69173a109c9da26ff469c90d"},{"artwork":"69173a12b010ccf51ef47489","id":"69173a129c9da26ff469c90e"},{"artwork":"69173a13b010ccf51ef474a8","id":"69173a139c9da26ff469c90f"},{"artwork":"69173a1fb010ccf51ef474c7","id":"69173a209c9da26ff469c910"},{"artwork":"69173a20b010ccf51ef474e4","id":"69173a209c9da26ff469c911"},{"artwork":"69173a21b010ccf51ef47503","id":"69173a229c9da26ff469c912"},{"artwork":"69173a23b010ccf51ef47522","id":"69173a239c9da26ff469c913"},{"artwork":"69173a24b010ccf51ef47541","id":"69173a259c9da26ff469c914"},{"artwork":"69173a26b010ccf51ef47560","id":"69173a269c9da26ff469c915"},{"artwork":"69173a27b010ccf51ef4757f","id":"69173a289c9da26ff469c916"},{"artwork":"69173a28b010ccf51ef4759e","id":"69173a299c9da26ff469c917"},{"artwork":"69173a2ab010ccf51ef475bd","id":"69173a2a9c9da26ff469c918"},{"artwork":"69173a2bb010ccf51ef475dc","id":"69173a2c9c9da26ff469c919"},{"artwork":"69173a2cb010ccf51ef475f9","id":"69173a2c9c9da26ff469c91a"},{"artwork":"69173a2db010ccf51ef47618","id":"69173a2e9c9da26ff469c91b"},{"artwork":"69173a2eb010ccf51ef47635","id":"69173a2e9c9da26ff469c91c"},{"artwork":"69173a2eb010ccf51ef47652","id":"69173a2f9c9da26ff469c91d"},{"artwork":"69173a2fb010ccf51ef4766f","id":"69173a309c9da26ff469c91e"},{"artwork":"69173a30b010ccf51ef4768c","id":"69173a309c9da26ff469c91f"},{"artwork":"69173a31b010ccf51ef476ab","id":"69173a329c9da26ff469c920"},{"artwork":"69173a33b010ccf51ef476ca","id":"69173a339c9da26ff469c921"},{"artwork":"69173a34b010ccf51ef476e9","id":"69173a359c9da26ff469c922"},{"artwork":"69173a36b010ccf51ef47708","id":"69173a369c9da26ff469c923"},{"artwork":"69173a37b010ccf51ef47727","id":"69173a389c9da26ff469c924"},{"artwork":"69173a39b010ccf51ef47746","id":"69173a399c9da26ff469c925"},{"artwork":"69173a3ab010ccf51ef47765","id":"69173a3a9c9da26ff469c926"},{"artwork":"69173a3bb010ccf51ef47784","id":"69173a3c9c9da26ff469c927"},{"artwork":"69173a3db010ccf51ef477a3","id":"69173a3d9c9da26ff469c928"},{"artwork":"69173a3eb010ccf51ef477c2","id":"69173a3f9c9da26ff469c929"},{"artwork":"69173a3fb010ccf51ef477df","id":"69173a409c9da26ff469c92a"},{"artwork":"69173a41b010ccf51ef477fe","id":"69173a419c9da26ff469c92b"},{"artwork":"69173a42b010ccf51ef4781d","id":"69173a439c9da26ff469c92c"},{"artwork":"69173a44b010ccf51ef4783c","id":"69173a459c9da26ff469c92d"},{"artwork":"69173a46b010ccf51ef4785b","id":"69173a469c9da26ff469c92e"},{"artwork":"69173a50b010ccf51ef4787a","id":"69173a509c9da26ff469c92f"},{"artwork":"69173a52b010ccf51ef47899","id":"69173a529c9da26ff469c930"},{"artwork":"69173a53b010ccf51ef478b8","id":"69173a549c9da26ff469c931"},{"artwork":"69173a55b010ccf51ef478d7","id":"69173a559c9da26ff469c932"},{"artwork":"69173a55b010ccf51ef478f4","id":"69173a569c9da26ff469c933"},{"artwork":"69173a57b010ccf51ef47913","id":"69173a579c9da26ff469c934"},{"artwork":"69173a58b010ccf51ef47932","id":"69173a599c9da26ff469c935"},{"artwork":"69173a5ab010ccf51ef47951","id":"69173a5a9c9da26ff469c936"},{"artwork":"69173a5bb010ccf51ef47970","id":"69173a5c9c9da26ff469c937"},{"artwork":"69173a5cb010ccf51ef4798f","id":"69173a5d9c9da26ff469c938"},{"artwork":"69173a5eb010ccf51ef479ae","id":"69173a5e9c9da26ff469c939"},{"artwork":"69173a5fb010ccf51ef479cd","id":"69173a609c9da26ff469c93a"},{"artwork":"69173a61b010ccf51ef479ec","id":"69173a619c9da26ff469c93b"},{"artwork":"69173a62b010ccf51ef47a0b","id":"69173a629c9da26ff469c93c"},{"artwork":"69173a63b010ccf51ef47a2a","id":"69173a649c9da26ff469c93d"},{"artwork":"69173a65b010ccf51ef47a49","id":"69173a659c9da26ff469c93e"},{"artwork":"69173a66b010ccf51ef47a68","id":"69173a679c9da26ff469c93f"},{"artwork":"69173a68b010ccf51ef47a87","id":"69173a699c9da26ff469c940"},{"artwork":"69173a6ab010ccf51ef47aa6","id":"69173a6a9c9da26ff469c941"},{"artwork":"69173a6cb010ccf51ef47ac5","id":"69173a6c9c9da26ff469c942"},{"artwork":"69173a6db010ccf51ef47ae4","id":"69173a6e9c9da26ff469c943"},{"artwork":"69173a6eb010ccf51ef47b01","id":"69173a6f9c9da26ff469c944"},{"artwork":"69173a70b010ccf51ef47b20","id":"69173a709c9da26ff469c945"},{"artwork":"69173a71b010ccf51ef47b3d","id":"69173a719c9da26ff469c946"},{"artwork":"69173a72b010ccf51ef47b5c","id":"69173a739c9da26ff469c947"},{"artwork":"69173a74b010ccf51ef47b7b","id":"69173a749c9da26ff469c948"},{"artwork":"69173a75b010ccf51ef47b9a","id":"69173a769c9da26ff469c949"},{"artwork":"69173a76b010ccf51ef47bb7","id":"69173a769c9da26ff469c94a"},{"artwork":"69173a77b010ccf51ef47bd6","id":"69173a789c9da26ff469c94b"},{"artwork":"69173a79b010ccf51ef47bf5","id":"69173a799c9da26ff469c94c"},{"artwork":"69173a79b010ccf51ef47c12","id":"69173a7a9c9da26ff469c94d"},{"artwork":"69173a7ab010ccf51ef47c2f","id":"69173a7a9c9da26ff469c94e"},{"artwork":"69173a7cb010ccf51ef47c4e","id":"69173a7c9c9da26ff469c94f"},{"artwork":"69173a7eb010ccf51ef47c6d","id":"69173a7e9c9da26ff469c950"},{"artwork":"69173a7eb010ccf51ef47c8a","id":"69173a7f9c9da26ff469c951"},{"artwork":"69173a80b010ccf51ef47ca9","id":"69173a819c9da26ff469c952"},{"artwork":"69173a82b010ccf51ef47cc8","id":"69173a829c9da26ff469c953"},{"artwork":"69173a82b010ccf51ef47ce5","id":"69173a839c9da26ff469c954"},{"artwork":"69173a84b010ccf51ef47d04","id":"69173a859c9da26ff469c955"},{"artwork":"69173a85b010ccf51ef47d21","id":"69173a859c9da26ff469c956"},{"artwork":"69173a86b010ccf51ef47d40","id":"69173a879c9da26ff469c957"},{"artwork":"69173a88b010ccf51ef47d5f","id":"69173a899c9da26ff469c958"},{"artwork":"69173a8ab010ccf51ef47d7e","id":"69173a8a9c9da26ff469c959"},{"artwork":"69173a8bb010ccf51ef47d9d","id":"69173a8c9c9da26ff469c95a"},{"artwork":"69173a8db010ccf51ef47dbc","id":"69173a8d9c9da26ff469c95b"},{"artwork":"69173a8eb010ccf51ef47ddb","id":"69173a8f9c9da26ff469c95c"},{"artwork":"69173a8fb010ccf51ef47dfa","id":"69173a909c9da26ff469c95d"},{"artwork":"69173a90b010ccf51ef47e17","id":"69173a919c9da26ff469c95e"},{"artwork":"69173a92b010ccf51ef47e36","id":"69173a929c9da26ff469c95f"},{"artwork":"69173a94b010ccf51ef47e55","id":"69173a949c9da26ff469c960"},{"artwork":"69173a95b010ccf51ef47e74","id":"69173a969c9da26ff469c961"},{"artwork":"69173a97b010ccf51ef47e93","id":"69173a979c9da26ff469c962"},{"artwork":"69173a9ab010ccf51ef47eb2","id":"69173a9a9c9da26ff469c963"},{"artwork":"69173a9bb010ccf51ef47ed1","id":"69173a9c9c9da26ff469c964"},{"artwork":"69173a9cb010ccf51ef47eee","id":"69173a9c9c9da26ff469c965"},{"artwork":"69173a9eb010ccf51ef47f0d","id":"69173a9e9c9da26ff469c966"},{"artwork":"69173a9fb010ccf51ef47f2c","id":"69173aa09c9da26ff469c967"},{"artwork":"69173aa2b010ccf51ef47f4b","id":"69173aa29c9da26ff469c968"},{"artwork":"69173aa3b010ccf51ef47f6a","id":"69173aa49c9da26ff469c969"},{"artwork":"69173aa5b010ccf51ef47f89","id":"69173aa59c9da26ff469c96a"},{"artwork":"69173aa6b010ccf51ef47fa8","id":"69173aa79c9da26ff469c96b"},{"artwork":"69173aa8b010ccf51ef47fc7","id":"69173aa89c9da26ff469c96c"},{"artwork":"69173aa9b010ccf51ef47fe6","id":"69173aaa9c9da26ff469c96d"},{"artwork":"69173aabb010ccf51ef48005","id":"69173aac9c9da26ff469c96e"},{"artwork":"69173aadb010ccf51ef48024","id":"69173aad9c9da26ff469c96f"},{"artwork":"69173aadb010ccf51ef48041","id":"69173aae9c9da26ff469c970"},{"artwork":"69173aafb010ccf51ef48060","id":"69173aaf9c9da26ff469c971"},{"artwork":"69173ab1b010ccf51ef4807f","id":"69173ab19c9da26ff469c972"},{"artwork":"69173ab2b010ccf51ef4809e","id":"69173ab39c9da26ff469c973"},{"artwork":"69173ab4b010ccf51ef480bd","id":"69173ab49c9da26ff469c974"},{"artwork":"69173ab5b010ccf51ef480dc","id":"69173ab69c9da26ff469c975"},{"artwork":"69173ab7b010ccf51ef480fb","id":"69173ab79c9da26ff469c976"},{"artwork":"69173ab9b010ccf51ef4811a","id":"69173aba9c9da26ff469c977"},{"artwork":"69173abab010ccf51ef48137","id":"69173abb9c9da26ff469c978"},{"artwork":"69173abcb010ccf51ef48156","id":"69173abc9c9da26ff469c979"},{"artwork":"69173abdb010ccf51ef48173","id":"69173abd9c9da26ff469c97a"},{"artwork":"69173abeb010ccf51ef48192","id":"69173abf9c9da26ff469c97b"},{"artwork":"69173ac0b010ccf51ef481b1","id":"69173ac09c9da26ff469c97c"},{"artwork":"69173ac1b010ccf51ef481d0","id":"69173ac29c9da26ff469c97d"},{"artwork":"69173ac2b010ccf51ef481ed","id":"69173ac39c9da26ff469c97e"},{"artwork":"69173ac4b010ccf51ef4820c","id":"69173ac49c9da26ff469c97f"}],"modelData":{"matterportModelId":"RcDaJEe1rcQ","startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0},"exhibition":{"sweepId":"ba5ebc70bf26467c843494213e85b37e","xRotation":3.65,"yRotation":-89.55,"loadingBackgroundImage":"6922c4eb27ac597a8c5023ea"}},"sensorOffset":{"position":{"x":0,"y":0,"z":0}},"disabledSweeps":[],"coordinateOffset":{"position":{},"axisFlip":{"x":1,"y":1,"z":1}}},"createdAt":"2025-10-21T09:33:53.185Z","updatedAt":"2026-03-07T18:39:29.345Z","cover":{"alt":"unicorn cover","exhibition":"68f753818c90c86166dd78af","type":"exhibition-cover-image","filename":"unicorn_cover.jpg","mimeType":"image/jpeg","filesize":581844,"width":1500,"height":1713,"focalX":50,"focalY":50,"createdAt":"2025-10-21T09:39:29.995Z","updatedAt":"2025-10-21T09:39:29.995Z","id":"68f754d18c90c86166dd7a34","url":"/cms/api/media/file/unicorn_cover.jpg","thumbnailURL":null},"prologue":{"de":"https://prolog.museum-barberini.de/de/21739/einhorn","en":"https://prolog.museum-barberini.de/en/21739/unicorn"},"id":"68f753818c90c86166dd78af"},{"slug":"pissarro","type":"temporary","onDisplay":false,"fullName":{"de":"Mit offenem Blick. Der Impressionist Pissarro","en":"The Honest Eye. Camille Pissarro's Impressionism"},"title":{"de":"Mit offenem Blick","en":"The Honest Eye"},"subtitle":{"de":"Der Impressionist Pissarro","en":"Camille Pissarro's Impressionism"},"startDate":"2025-06-14T12:00:00.000Z","endDate":"2025-09-28T12:00:00.000Z","entryInfoWall":{"description":{"de":"Camille Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich. Er brachte die Künstlerfreunde zusammen und arbeitete am Zusammenhalt der Gruppe. Dabei lagen Pissarros künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus. Während Kollegen wie Claude Monet oder Pierre-Auguste Renoir Stadt und Land meist als Freizeitraum des Bürgertums darstellten, richtete Pissarro den Blick darauf, wie die einfache Bevölkerung unterschiedliche Landschaften gestaltet und prägt: durch das Leben und Arbeiten des Einzelnen im Einklang mit der Natur ebenso wie durch die Bewegung der Menschenströme in den großen Städten. Solche Szenen hielt er in den sich immer wieder verändernden Lichtstimmungen verschiedener Jahres- und Tageszeiten fest. Ausgehend von den sieben Gemälden Pissarros der Sammlung Hasso Plattner gibt die Ausstellung einen fundierten Überblick über Pissarros gesamtes Schaffen und zeigt zugleich die sozialutopischen Ideen seiner Kunst.  Eine Ausstellung des Museums Barberini, Potsdam, und des Denver Art Museum","en":"Camille Pissarro is considered a founding figure of the Impressionist movement in France. He brought artist friends together and played a key role in keeping the group united. Yet Pissarro’s artistic beginnings lay in the Caribbean and South America. These roots, along with his Jewish heritage, were combined with a painterly interest in rural everyday scenes and sympathies for anarchism. While colleagues such as Claude Monet and Pierre-Auguste Renoir typically depicted city and countryside as leisure spaces for the bourgeoisie, Pissarro focused on how ordinary people shape and influence landscapes—whether through their daily lives and labor in harmony with nature, or through the flow of crowds in bustling cities. He captured such scenes in the ever-changing light conditions of different seasons and times of day. Taking seven Pissarro paintings from the Hasso Plattner Collection as a starting point, the exhibition offers a comprehensive overview of his entire oeuvre and brings to light the social-utopian ideals embedded in it.  An exhibition of the Museum Barberini, Potsdam, and the Denver Art Museum."},"guides":[{"guide":"685d564171f13d6f5913d07f","fileGroup":{"fileNumber":"400","file":{"de":"685d748871f13d6f5913ea3d","en":"685d74a971f13d6f5913ea91","_id":"693805d6f3d6fa750a61c5f0"}},"id":"685d55e0efdaa63ee9f8a9ec"}],"modelData":{"insideView":{"sweepId":"d9435cfc23e6400e8195848b9f1f9dce","rotation":{"x":3.54,"y":-0.25}},"infoCollisionBox":{"geometry":{"x":3.04,"y":2.46,"z":0.1},"position":{"x":11.02,"y":-5.48,"z":-6.75,"exhibitionDependent":[]}}}},"guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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 Series"}}],"artworkList":[{"artwork":"683704ba919733fb206800eb","id":"683704bb6ad31c9ea5dd0375"},{"artwork":"683704bc919733fb206800ff","id":"683704bd6ad31c9ea5dd0376"},{"artwork":"6837063247bd5a646d68dae4","id":"68370633db05a89fd772d343"},{"artwork":"68370640d0f800769f0feaa2","id":"683706419081c3a00da171dd"},{"artwork":"68370642d0f800769f0feabb","id":"683706439081c3a00da171de"},{"artwork":"68370643d0f800769f0fead4","id":"683706459081c3a00da171df"},{"artwork":"68370645d0f800769f0feaed","id":"683706469081c3a00da171e0"},{"artwork":"68370647d0f800769f0feb10","id":"683706499081c3a00da171e1"},{"artwork":"68370649d0f800769f0feb29","id":"6837064b9081c3a00da171e2"},{"artwork":"6837064bd0f800769f0feb42","id":"6837064c9081c3a00da171e3"},{"artwork":"6837064dd0f800769f0feb5b","id":"6837064e9081c3a00da171e4"},{"artwork":"6837064ed0f800769f0feb74","id":"683706509081c3a00da171e5"},{"artwork":"68370650d0f800769f0feb8d","id":"683706519081c3a00da171e6"},{"artwork":"68370652d0f800769f0feba6","id":"683706539081c3a00da171e7"},{"artwork":"68370654d0f800769f0febbf","id":"683706559081c3a00da171e8"},{"artwork":"68370656d0f800769f0febd8","id":"683706579081c3a00da171e9"},{"artwork":"68370657d0f800769f0febf1","id":"683706599081c3a00da171ea"},{"artwork":"68370659d0f800769f0fec0a","id":"6837065b9081c3a00da171eb"},{"artwork":"6837065bd0f800769f0fec23","id":"6837065c9081c3a00da171ec"},{"artwork":"6837065dd0f800769f0fec3c","id":"6837065e9081c3a00da171ed"},{"artwork":"6837065fd0f800769f0fec55","id":"683706609081c3a00da171ee"},{"artwork":"68370661d0f800769f0fec6e","id":"683706629081c3a00da171ef"},{"artwork":"68370663d0f800769f0fec87","id":"683706649081c3a00da171f0"},{"artwork":"68370664d0f800769f0feca0","id":"683706669081c3a00da171f1"},{"artwork":"68370666d0f800769f0fecb9","id":"683706689081c3a00da171f2"},{"artwork":"68370668d0f800769f0fecd2","id":"683706699081c3a00da171f3"},{"artwork":"6837066ad0f800769f0feceb","id":"6837066b9081c3a00da171f4"},{"artwork":"6837066cd0f800769f0fed04","id":"6837066d9081c3a00da171f5"},{"artwork":"6837066ed0f800769f0fed1d","id":"6837066f9081c3a00da171f6"},{"artwork":"68370670d0f800769f0fed36","id":"683706719081c3a00da171f7"},{"artwork":"68370672d0f800769f0fed4f","id":"683706739081c3a00da171f8"},{"artwork":"68370673d0f800769f0fed68","id":"683706759081c3a00da171f9"},{"artwork":"68370675d0f800769f0fed81","id":"683706779081c3a00da171fa"},{"artwork":"68370677d0f800769f0fed9a","id":"683706799081c3a00da171fb"},{"artwork":"68370679d0f800769f0fedb3","id":"6837067b9081c3a00da171fc"},{"artwork":"6837067bd0f800769f0fedcc","id":"6837067d9081c3a00da171fd"},{"artwork":"6837067dd0f800769f0fede5","id":"6837067e9081c3a00da171fe"},{"artwork":"6837067fd0f800769f0fedfe","id":"683706809081c3a00da171ff"},{"artwork":"68370681d0f800769f0fee17","id":"683706829081c3a00da17200"},{"artwork":"68370683d0f800769f0fee30","id":"683706849081c3a00da17201"},{"artwork":"68370685d0f800769f0fee49","id":"683706869081c3a00da17202"},{"artwork":"68370687d0f800769f0fee62","id":"683706889081c3a00da17203"},{"artwork":"68370689d0f800769f0fee7b","id":"6837068a9081c3a00da17204"},{"artwork":"6837068bd0f800769f0fee94","id":"6837068c9081c3a00da17205"},{"artwork":"6837068dd0f800769f0feead","id":"6837068e9081c3a00da17206"},{"artwork":"6837068fd0f800769f0feec6","id":"683706909081c3a00da17207"},{"artwork":"68370691d0f800769f0feedf","id":"683706929081c3a00da17208"},{"artwork":"68370693d0f800769f0feef8","id":"683706949081c3a00da17209"},{"artwork":"68370695d0f800769f0fef11","id":"683706979081c3a00da1720a"},{"artwork":"68370697d0f800769f0fef2a","id":"683706999081c3a00da1720b"},{"artwork":"68370699d0f800769f0fef43","id":"6837069b9081c3a00da1720c"},{"artwork":"6837069cd0f800769f0fef5c","id":"6837069d9081c3a00da1720d"},{"artwork":"6837069ed0f800769f0fef75","id":"6837069f9081c3a00da1720e"},{"artwork":"6837069fd0f800769f0fef8e","id":"683706a19081c3a00da1720f"},{"artwork":"683706a1d0f800769f0fefa7","id":"683706a39081c3a00da17210"},{"artwork":"683706a3d0f800769f0fefc0","id":"683706a49081c3a00da17211"},{"artwork":"683706a5d0f800769f0fefd9","id":"683706a69081c3a00da17212"},{"artwork":"683706a7d0f800769f0feff2","id":"683706a89081c3a00da17213"},{"artwork":"683706a9d0f800769f0ff00b","id":"683706aa9081c3a00da17214"},{"artwork":"683706abd0f800769f0ff024","id":"683706ad9081c3a00da17215"},{"artwork":"683706add0f800769f0ff03d","id":"683706af9081c3a00da17216"},{"artwork":"683706afd0f800769f0ff056","id":"683706b19081c3a00da17217"},{"artwork":"683706b1d0f800769f0ff06f","id":"683706b39081c3a00da17218"},{"artwork":"683706b3d0f800769f0ff088","id":"683706b49081c3a00da17219"},{"artwork":"683706b5d0f800769f0ff0a1","id":"683706b69081c3a00da1721a"},{"artwork":"683706b7d0f800769f0ff0ba","id":"683706b89081c3a00da1721b"},{"artwork":"683706b9d0f800769f0ff0d3","id":"683706ba9081c3a00da1721c"},{"artwork":"683706bbd0f800769f0ff0ec","id":"683706bc9081c3a00da1721d"},{"artwork":"683706bdd0f800769f0ff105","id":"683706be9081c3a00da1721e"},{"artwork":"683706bfd0f800769f0ff11e","id":"683706c09081c3a00da1721f"},{"artwork":"683706c1d0f800769f0ff137","id":"683706c29081c3a00da17220"},{"artwork":"683706c3d0f800769f0ff150","id":"683706c49081c3a00da17221"},{"artwork":"683706c5d0f800769f0ff169","id":"683706c79081c3a00da17222"},{"artwork":"683706c7d0f800769f0ff182","id":"683706c89081c3a00da17223"},{"artwork":"683706c9d0f800769f0ff19b","id":"683706ca9081c3a00da17224"},{"artwork":"683706cbd0f800769f0ff1b4","id":"683706cc9081c3a00da17225"},{"artwork":"683706cdd0f800769f0ff1cd","id":"683706ce9081c3a00da17226"},{"artwork":"683706cfd0f800769f0ff1e6","id":"683706d19081c3a00da17227"},{"artwork":"683706d1d0f800769f0ff1ff","id":"683706d39081c3a00da17228"},{"artwork":"683706d3d0f800769f0ff218","id":"683706d59081c3a00da17229"},{"artwork":"683706d6d0f800769f0ff231","id":"683706d79081c3a00da1722a"},{"artwork":"683706d8d0f800769f0ff24a","id":"683706d99081c3a00da1722b"},{"artwork":"683706dad0f800769f0ff263","id":"683706db9081c3a00da1722c"},{"artwork":"683706dcd0f800769f0ff27c","id":"683706de9081c3a00da1722d"},{"artwork":"683706ded0f800769f0ff295","id":"683706e09081c3a00da1722e"},{"artwork":"683706e1d0f800769f0ff2ae","id":"683706e29081c3a00da1722f"},{"artwork":"683706e3d0f800769f0ff2c7","id":"683706e49081c3a00da17230"},{"artwork":"683706e5d0f800769f0ff2e0","id":"683706e69081c3a00da17231"},{"artwork":"683706e7d0f800769f0ff2f9","id":"683706e89081c3a00da17232"},{"artwork":"683706e9d0f800769f0ff312","id":"683706eb9081c3a00da17233"},{"artwork":"683706ebd0f800769f0ff32b","id":"683706ed9081c3a00da17234"},{"artwork":"683706eed0f800769f0ff344","id":"683706f09081c3a00da17235"},{"artwork":"683706f0d0f800769f0ff35d","id":"683706f29081c3a00da17236"},{"artwork":"683706f2d0f800769f0ff376","id":"683706f49081c3a00da17237"},{"artwork":"683706f4d0f800769f0ff38f","id":"683706f69081c3a00da17238"},{"artwork":"683706f6d0f800769f0ff3a8","id":"683706f89081c3a00da17239"},{"artwork":"683706f8d0f800769f0ff3c1","id":"683706fa9081c3a00da1723a"},{"artwork":"683706fad0f800769f0ff3da","id":"683706fc9081c3a00da1723b"},{"artwork":"683706fcd0f800769f0ff3f3","id":"683706fe9081c3a00da1723c"},{"artwork":"683706fed0f800769f0ff40c","id":"683707009081c3a00da1723d"},{"artwork":"68370701d0f800769f0ff425","id":"683707029081c3a00da1723e"},{"artwork":"68370703d0f800769f0ff43e","id":"683707049081c3a00da1723f"},{"artwork":"68370705d0f800769f0ff457","id":"683707079081c3a00da17240"},{"artwork":"68370707d0f800769f0ff470","id":"683707099081c3a00da17241"},{"artwork":"6837070ad0f800769f0ff489","id":"6837070b9081c3a00da17242"},{"artwork":"6837070cd0f800769f0ff4a2","id":"6837070e9081c3a00da17243"},{"artwork":"6837070ed0f800769f0ff4bb","id":"683707109081c3a00da17244"},{"artwork":"68370711d0f800769f0ff4d4","id":"683707129081c3a00da17245"},{"artwork":"6837063447bd5a646d68db00","id":"685e7232531f184e07102afa"}],"modelData":{"matterportModelId":"b8tHcm5Me6h","startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0,"loadingBackgroundImage":null},"exhibition":{"sweepId":"2939ee276db748de8462a7207069d99a","xRotation":-5.58,"yRotation":-87.71,"loadingBackgroundImage":"68592f919dc10a47245011d9"}},"sensorOffset":{"position":{"x":0,"y":0,"z":0}},"disabledSweeps":[],"coordinateOffset":{"position":{},"axisFlip":{"x":1,"y":1,"z":1}}},"createdAt":"2025-05-28T11:52:18.905Z","updatedAt":"2025-12-09T11:19:50.005Z","prologue":{"de":"https://prolog.museum-barberini.de/de/20593/mit-offenem-blick","en":"https://prolog.museum-barberini.de/en/20593/the-honest-eye"},"cover":{"alt":"pissarro exhibition cover","exhibition":"6836f8f22ef108b9d9b0a31b","type":"exhibition-cover-image","filename":"cover.jpeg","mimeType":"image/jpeg","filesize":467087,"width":1920,"height":1583,"focalX":50,"focalY":50,"createdAt":"2025-06-24T11:12:14.317Z","updatedAt":"2025-06-24T11:12:14.317Z","id":"685a880e9dc10a47245060c7","url":"/cms/api/media/file/cover.jpeg","thumbnailURL":null},"id":"6836f8f22ef108b9d9b0a31b"},{"onDisplay":false,"type":"temporary","cover":{"alt":"Cover der Kandinsky Ausstellung","type":"exhibition-cover","filename":"cover.jpg","mimeType":"image/jpeg","filesize":115115,"width":750,"height":1056,"focalX":50,"focalY":50,"createdAt":"2025-02-17T14:11:08.933Z","updatedAt":"2025-02-17T14:11:08.933Z","id":"67b3437c8635bba96e329713","url":"/cms/api/media/file/cover.jpg","thumbnailURL":null},"galleries":[{"hall":"0A1","description":{"de":"Nach Beginn des Ersten Weltkriegs 1914 kehrte Kandinsky aus München nach Moskau zurück, wo bereits erste konstruktivistische Werke entstanden waren. Künstlerinnen und Künstler arbeiteten mit Linien und geometrischen Flächen, um eine universelle Bildsprache zu schaffen, die Modernität und Fortschritt ausdrückte. Nach 1917 unterstützte der neue Staat für kurze Zeit die avantgardistische Kunstform, um revolutionäre Ideale zu fördern. Dabei spielte Kandinsky eine zentrale Rolle. Als Gründungsdirektor eines staatlichen Forschungszentrums untersuchte er die psychologische Wirkung von Kunst. Die Konstruktivisten stellten ihre Arbeit in den Dienst der industriellen Produktion. Kandinskys Beharren auf dem Geistigen machte ihn zu einem Außenseiter. 1922 kehrte er nach Deutschland zurück; seine danach entstandenen Werke spiegeln den Einfluss der geometrischen Bildsprache seiner Moskauer Kollegen wider.","en":"After the outbreak of World War I in 1914, Kandinsky returned from Munich to Moscow, where the first Constructivist artworks had already emerged. The artists utilized lines and geometric planes to create a universal visual language that expressed modernity and progress. After 1917, the new state briefly supported avant-garde art forms to promote revolutionary ideals. Kandinsky played a key role in this effort. As the founding director of a state research institute, he investigated the psychological effects of art. While the Constructivists dedicated their work to industrial production, Kandinsky's insistence on the spiritual dimension of art made him an outsider. In 1922, he returned to Germany. His subsequent works reflect the influence of the geometric visual language developed by his colleagues in Moscow."},"coverImage":"67b6f0a05c358fca3f05ffb0","3dModel":"67ca363f727202766076e5a3","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":[]},{"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":"67b6f4065c358fca3f06005a","3dModel":"67ca3658727202766076e5db","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":[]},{"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":"67b6f4dd5c358fca3f060144","3dModel":"67ca3674727202766076e61f","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":[]},{"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":"67b6f5365c358fca3f060195","3dModel":"67ca368a727202766076e660","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":[]},{"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":"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. However, they introduced brighter colors and stronger contrasts, creating intense effects that push the boundaries of perception."},"coverImage":"67b6f7255c358fca3f0603eb","3dModel":"67ca3707727202766076e7e1","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":[]}],"artworkList":[{"artwork":"67bb29379539124876e70d35","id":"67bb60b80059ab63f16eee87"},{"artwork":"67bb29379539124876e70d21","id":"67bb60b80059ab63f16eee88"},{"artwork":"67bb29369539124876e70cd8","id":"67bb60b80059ab63f16eee89"},{"artwork":"67bb29369539124876e70cca","id":"67bb60b80059ab63f16eee8a"},{"artwork":"67bb29369539124876e70cc8","id":"67bb60b80059ab63f16eee8b"},{"artwork":"67bb29369539124876e70cc6","id":"67bb60b80059ab63f16eee8c"},{"artwork":"67bb29369539124876e70cc4","id":"67bb60b80059ab63f16eee8d"},{"artwork":"67bb29369539124876e70cc2","id":"67bb60b80059ab63f16eee8e"},{"artwork":"67bb29369539124876e70cc0","id":"67bb60b80059ab63f16eee8f"},{"artwork":"67bb29369539124876e70cbe","id":"67bb60b80059ab63f16eee90"},{"artwork":"67bb29369539124876e70cbc","id":"67bb60b80059ab63f16eee91"},{"artwork":"67bb29369539124876e70cba","id":"67bb60b80059ab63f16eee92"},{"artwork":"67bb29369539124876e70cb8","id":"67bb60b80059ab63f16eee93"},{"artwork":"67bb29369539124876e70cb6","id":"67bb60b80059ab63f16eee94"},{"artwork":"67bb29369539124876e70cb4","id":"67bb60b80059ab63f16eee95"},{"artwork":"67bb29369539124876e70cb2","id":"67bb60b80059ab63f16eee96"},{"artwork":"67bb29369539124876e70cb0","id":"67bb60b80059ab63f16eee97"},{"artwork":"67bb29369539124876e70cae","id":"67bb60b80059ab63f16eee98"},{"artwork":"67bb29369539124876e70cac","id":"67bb60b80059ab63f16eee99"},{"artwork":"67bb29369539124876e70caa","id":"67bb60b80059ab63f16eee9a"},{"artwork":"67bb29369539124876e70ca8","id":"67bb60b80059ab63f16eee9b"},{"artwork":"67bb29369539124876e70ca6","id":"67bb60b80059ab63f16eee9c"},{"artwork":"67bb29369539124876e70ca4","id":"67bb60b80059ab63f16eee9d"},{"artwork":"67bb29369539124876e70ca2","id":"67bb60b80059ab63f16eee9e"},{"artwork":"67bb29369539124876e70ca0","id":"67bb60b80059ab63f16eee9f"},{"artwork":"67bb29369539124876e70c9e","id":"67bb60b80059ab63f16eeea0"},{"artwork":"67bb29369539124876e70c9c","id":"67bb60b80059ab63f16eeea1"},{"artwork":"67bb29369539124876e70c9a","id":"67bb60b80059ab63f16eeea2"},{"artwork":"67bb29369539124876e70c98","id":"67bb60b80059ab63f16eeea3"},{"artwork":"67bb29369539124876e70c96","id":"67bb60b80059ab63f16eeea4"},{"artwork":"67bb29369539124876e70c94","id":"67bb60b80059ab63f16eeea5"},{"artwork":"67bb29359539124876e70c92","id":"67bb60b80059ab63f16eeea6"},{"artwork":"67bb29359539124876e70c90","id":"67bb60b80059ab63f16eeea7"},{"artwork":"67bb29359539124876e70c8e","id":"67bb60b80059ab63f16eeea8"},{"artwork":"67bb29359539124876e70c8c","id":"67bb60b80059ab63f16eeea9"},{"artwork":"67bb29359539124876e70c8a","id":"67bb60b80059ab63f16eeeaa"},{"artwork":"67bb29359539124876e70c88","id":"67bb60b80059ab63f16eeeab"},{"artwork":"67bb29359539124876e70c86","id":"67bb60b80059ab63f16eeeac"},{"artwork":"67bb29359539124876e70c84","id":"67bb60b80059ab63f16eeead"},{"artwork":"67bb29359539124876e70c82","id":"67bb60b80059ab63f16eeeae"},{"artwork":"67bb29359539124876e70c80","id":"67bb60b80059ab63f16eeeaf"},{"artwork":"67bb29359539124876e70c7e","id":"67bb60b80059ab63f16eeeb0"},{"artwork":"67bb29359539124876e70c7c","id":"67bb60b80059ab63f16eeeb1"},{"artwork":"67bb29359539124876e70c7a","id":"67bb60b80059ab63f16eeeb2"},{"artwork":"67bb29359539124876e70c78","id":"67bb60b80059ab63f16eeeb3"},{"artwork":"67bb29359539124876e70c76","id":"67bb60b80059ab63f16eeeb4"},{"artwork":"67bb29359539124876e70c74","id":"67bb60b80059ab63f16eeeb5"},{"artwork":"67bb29359539124876e70c72","id":"67bb60b80059ab63f16eeeb6"},{"artwork":"67bb29359539124876e70c70","id":"67bb60b80059ab63f16eeeb7"},{"artwork":"67bb29359539124876e70c6e","id":"67bb60b80059ab63f16eeeb8"},{"artwork":"67bb29359539124876e70c6c","id":"67bb60b80059ab63f16eeeb9"},{"artwork":"67bb29359539124876e70c6a","id":"67bb60b80059ab63f16eeeba"},{"artwork":"67bb29359539124876e70c68","id":"67bb60b80059ab63f16eeebb"},{"artwork":"67bb29359539124876e70c66","id":"67bb60b80059ab63f16eeebc"},{"artwork":"67bb29359539124876e70c64","id":"67bb60b80059ab63f16eeebd"},{"artwork":"67bb29359539124876e70c62","id":"67bb60b80059ab63f16eeebe"},{"artwork":"67bb29359539124876e70c60","id":"67bb60b80059ab63f16eeebf"},{"artwork":"67bb29359539124876e70c5e","id":"67bb60b80059ab63f16eeec0"},{"artwork":"67bb29359539124876e70c5c","id":"67bb60b80059ab63f16eeec1"},{"artwork":"67bb29359539124876e70c5a","id":"67bb60b80059ab63f16eeec2"},{"artwork":"67bb29359539124876e70c58","id":"67bb60b80059ab63f16eeec3"},{"artwork":"67bb29359539124876e70c56","id":"67bb60b80059ab63f16eeec4"},{"artwork":"67bb29359539124876e70c54","id":"67bb60b80059ab63f16eeec5"},{"artwork":"67bb29359539124876e70c52","id":"67bb60b80059ab63f16eeec6"},{"artwork":"67bb29359539124876e70c50","id":"67bb60b80059ab63f16eeec7"},{"artwork":"67bb29359539124876e70c4e","id":"67bb60b80059ab63f16eeec8"},{"artwork":"67bb29359539124876e70c4c","id":"67bb60b80059ab63f16eeec9"},{"artwork":"67bb29359539124876e70c4a","id":"67bb60b80059ab63f16eeeca"},{"artwork":"67bb29359539124876e70c48","id":"67bb60b80059ab63f16eeecb"},{"artwork":"67bb29359539124876e70c45","id":"67bb60b80059ab63f16eeecc"},{"artwork":"67bb29359539124876e70c43","id":"67bb60b80059ab63f16eeecd"},{"artwork":"67bb29359539124876e70c41","id":"67bb60b80059ab63f16eeece"},{"artwork":"67bb29359539124876e70c3f","id":"67bb60b80059ab63f16eeecf"},{"artwork":"67bb29359539124876e70c3d","id":"67bb60b80059ab63f16eeed0"},{"artwork":"67bb29359539124876e70c3b","id":"67bb60b80059ab63f16eeed1"},{"artwork":"67bb29359539124876e70c39","id":"67bb60b80059ab63f16eeed2"},{"artwork":"67bb29359539124876e70c37","id":"67bb60b80059ab63f16eeed3"},{"artwork":"67bb29359539124876e70c35","id":"67bb60b80059ab63f16eeed4"},{"artwork":"67bb29359539124876e70c33","id":"67bb60b80059ab63f16eeed5"},{"artwork":"67bb29359539124876e70c31","id":"67bb60b80059ab63f16eeed6"},{"artwork":"67bb29359539124876e70c2f","id":"67bb60b80059ab63f16eeed7"},{"artwork":"67bb29359539124876e70c2d","id":"67bb60b80059ab63f16eeed8"},{"artwork":"67bb29359539124876e70c2b","id":"67bb60b80059ab63f16eeed9"},{"artwork":"67bb29349539124876e70c29","id":"67bb60b80059ab63f16eeeda"},{"artwork":"67bb29349539124876e70c27","id":"67bb60b80059ab63f16eeedb"},{"artwork":"67bb29349539124876e70c25","id":"67bb60b80059ab63f16eeedc"},{"artwork":"67bb29349539124876e70c23","id":"67bb60b80059ab63f16eeedd"},{"artwork":"67bb29349539124876e70c21","id":"67bb60b80059ab63f16eeede"},{"artwork":"67bb29349539124876e70c1f","id":"67bb60b80059ab63f16eeedf"},{"artwork":"67bb29349539124876e70c1d","id":"67bb60b80059ab63f16eeee0"},{"artwork":"67bb29349539124876e70c1b","id":"67bb60b80059ab63f16eeee1"},{"artwork":"67bb29349539124876e70c19","id":"67bb60b80059ab63f16eeee2"},{"artwork":"67bb29349539124876e70c17","id":"67bb60b80059ab63f16eeee3"},{"artwork":"67bb29349539124876e70c15","id":"67bb60b80059ab63f16eeee4"},{"artwork":"67bb29349539124876e70c13","id":"67bb60b80059ab63f16eeee5"},{"artwork":"67bb29349539124876e70c11","id":"67bb60b80059ab63f16eeee6"},{"artwork":"67bb29349539124876e70c0f","id":"67bb60b80059ab63f16eeee7"},{"artwork":"67bb29349539124876e70c0d","id":"67bb60b80059ab63f16eeee8"},{"artwork":"67bb29349539124876e70c0b","id":"67bb60b80059ab63f16eeee9"},{"artwork":"67bb29349539124876e70c09","id":"67bb60b80059ab63f16eeeea"},{"artwork":"67bb29349539124876e70c07","id":"67bb60b80059ab63f16eeeeb"},{"artwork":"67bb29349539124876e70c05","id":"67bb60b80059ab63f16eeeec"},{"artwork":"67bb29349539124876e70c03","id":"67bb60b80059ab63f16eeeed"},{"artwork":"67bb29349539124876e70c01","id":"67bb60b80059ab63f16eeeee"},{"artwork":"67bb29349539124876e70bff","id":"67bb60b80059ab63f16eeeef"},{"artwork":"67bb29349539124876e70bfd","id":"67bb60b80059ab63f16eeef0"},{"artwork":"67bb29349539124876e70bfb","id":"67bb60b80059ab63f16eeef1"},{"artwork":"67bb29349539124876e70bf9","id":"67bb60b80059ab63f16eeef2"},{"artwork":"67bb29349539124876e70bf7","id":"67bb60b80059ab63f16eeef3"},{"artwork":"67bb29349539124876e70bf5","id":"67bb60b80059ab63f16eeef4"},{"artwork":"67bb29349539124876e70bf3","id":"67bb60b80059ab63f16eeef5"},{"artwork":"67bb29349539124876e70bf1","id":"67bb60b80059ab63f16eeef6"},{"artwork":"67bb29349539124876e70bef","id":"67bb60b80059ab63f16eeef7"},{"artwork":"67bb29349539124876e70bed","id":"67bb60b80059ab63f16eeef8"},{"artwork":"67bb29349539124876e70beb","id":"67bb60b80059ab63f16eeef9"},{"artwork":"67bb29349539124876e70be9","id":"67bb60b80059ab63f16eeefa"},{"artwork":"67bb29349539124876e70be7","id":"67bb60b80059ab63f16eeefb"},{"artwork":"67bb29349539124876e70be5","id":"67bb60b80059ab63f16eeefc"},{"artwork":"67bb29349539124876e70be3","id":"67bb60b80059ab63f16eeefd"},{"artwork":"67bb29349539124876e70be1","id":"67bb60b80059ab63f16eeefe"},{"artwork":"67bb29349539124876e70bdd","id":"67bb60b80059ab63f16eeeff"},{"artwork":"67bb29349539124876e70bdb","id":"67bb60b80059ab63f16eef00"},{"artwork":"67bb29349539124876e70bd9","id":"67bb60b80059ab63f16eef01"},{"artwork":"67bb29349539124876e70bd7","id":"67bb60b80059ab63f16eef02"},{"artwork":"67bb29349539124876e70bd5","id":"67bb60b80059ab63f16eef03"}],"createdAt":"2025-02-17T14:13:06.096Z","updatedAt":"2025-08-05T11:43:23.986Z","fullName":{"de":"Kosmos Kandinsky. Geometrische Abstraktion im 20. Jahrhundert","en":"Kandinsky’s Universe. Geometric Abstraction in the 20th Century"},"title":{"de":"Kosmos Kandinsky","en":"Kandinsky’s Universe"},"subtitle":{"de":"Geometrische Abstraktion im 20. Jahrhundert","en":"Geometric Abstraction in the 20th Century"},"modelData":{"matterportModelId":"LzE7rQSdDNm","startingPoint":{"foyer":{"sweepId":"e6434077ae494fc3afd78fca35033938","xRotation":-2.17,"yRotation":-88.92,"loadingBackgroundImage":"67b860d2134df66d977d898a"},"exhibition":{"sweepId":"a3bd1a67692f4ac2849d3f56bf9513b8","xRotation":-2.17,"yRotation":-88.92,"loadingBackgroundImage":"67b86131134df66d977d89af"}},"sensorOffset":{"position":{"x":-4.66,"y":7.51,"z":1.98}},"disabledSweeps":[],"coordinateOffset":{"position":{},"axisFlip":{"x":1,"y":1,"z":1}}},"slug":"kandinsky","guides":[{"guide":{"type":"audioAdults","title":{"de":"Kosmos Kandinsky.","en":"Kandinsky’s Universe."},"subtitle":{"de":"Geometrische Abstraktion im 20. Jahrhundert","en":"Geometric Abstraction in the 20th Century"},"cover":"67b3437c8635bba96e329713","exhibition":"67b343f28635bba96e329739","description":{"de":"Zu Beginn des 20. Jahrhunderts erlebte die Malerei einen tiefgreifenden Wandel. Künstler wollten nicht mehr das Sichtbare wiedergeben. Sie strebten nach einer neuen Bildsprache, die den künstlerischen Ausdruck auf das Zusammenspiel von Farben, Linien und Flächen reduzierte. Kosmos Kandinsky. Geometrische Abstraktion im 20. Jahrhundert schlägt einen Bogen über sechs Jahrzehnte und zeigt, wie die Geometrische Abstraktion in all ihren Spielarten in Europa und den USA immer wieder einen neuen Ausdruck fand.","en":"At the beginning of the 20th century, painting underwent a profound transformation. Artists no longer wanted to depict  the visible; they aspired to a new visual language that reduced artistic expression to an interplay of colors, lines, and  shapes. Kandinsky's Universe: Geometric Abstraction in the 20th Century spans six decades and showcases how  Geometric Abstraction found radical expression in all its variations in Europe and the USA."},"createdAt":"2025-03-05T15:15:31.021Z","updatedAt":"2025-03-05T17:20:59.867Z","duration":55,"name":{"de":"Kosmos Kandinsky. audioAdults"},"id":"67c86a93d68852d60cbb68eb"},"id":"67c880fc10606e562f3eca52"}],"endDate":"2025-05-18T12:00:00.000Z","prologue":{"de":"https://prolog.museum-barberini.de/de/19708/kosmos-kandinsky","en":"https://prolog.museum-barberini.de/en/19708/kandinsky-s-universe"},"startDate":"2025-02-15T12:00:00.000Z","entryInfoWall":{"description":{"de":"Zu Beginn des 20. Jahrhunderts erlebte die Kunst einen tiefgreifenden Wandel. Künstlerinnen und Künstler gaben nicht mehr das Sichtbare wieder. Vor dem Hintergrund von Industrialisierung, Revolutionen und wissenschaftlichen Entdeckungen erhielten die künstlerischen Elemente Farbe sowie Punkt, Linie und Fläche neue Bedeutungskraft. 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. Generously supported by the Fondation Gandur pour l'Art, Genève."},"guides":[{"guide":"67c86a93d68852d60cbb68eb","fileGroup":{"file":{"de":"67cc477294e6295cad0fe6ac","en":"67cc473794e6295cad0fe65b","_id":"6891ee5cb92faa0107f156ee"}},"id":"67cc470655b5110def3f79cb"}],"modelData":{"insideView":{"sweepId":"954d706de34e458e9441a6de1fd88c7c","rotation":{"x":2.72,"y":-0.18}},"infoCollisionBox":{"geometry":{"x":2.79,"y":2.02,"z":0.05},"position":{"x":5.25,"y":1.59,"z":-4.44,"exhibitionDependent":[]}}}},"id":"67b343f28635bba96e329739"},{"onDisplay":true,"type":"permanent","cover":{"exhibition":"67b338818635bba96e329691","type":"exhibition-cover-image","filename":"impressionism-cover.jpg","mimeType":"image/jpeg","filesize":72947,"width":480,"height":385,"focalX":50,"focalY":50,"createdAt":"2025-02-21T17:13:19.583Z","updatedAt":"2025-02-21T17:13:19.583Z","id":"67b8b42f134df66d977d8f70","url":"/cms/api/media/file/impressionism-cover.jpg","thumbnailURL":null},"galleries":[{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"1B3","title":{"de":"Reflexionen im Fluss","en":" Reflections in the River"},"subtitle":{"de":"","en":""},"description":{"de":"In den Landschaften entlang der Seine entwickelten die Impressionisten ihr Motivrepertoire. Hier arbeiteten sie unter freiem Himmel, konzentrierten sich auf das Hier und Jetzt und verzichteten auf das Anekdotische früherer Landschafts-malerei. Sie schärften ihre Beobachtungsgabe an den spiegelnden Oberflächen der Seine. Zu den ständigen Veränderungen von Licht und Wolken am Himmel kamen mit den Reflexionen und dem Fließen weitere dynamische Momente. Schon 1865 brachen Pierre-Auguste Renoir und Alfred Sisley von Paris zu einem Malausflug entlang der Seine auf, der sie bis zur Mündung in Le Havre führte. Viele Künstler der Sammlung werden bis heute mit Seine-Orten wie Argenteuil, Giverny und Moret verbunden: Eugène Boudin, Gustave Caillebotte, Claude Monet, Paul Signac und Alfred Sisley. Die Industrialisierung und Effizienz-steigerung in der zweiten Hälfte des 19. Jahrhunderts prägte auch die Seine. Dampfschiffe verkehrten auf dem Versorgungsweg zur Hauptstadt und brachten den Stahl für den Bau von Schienen und Passagen aus den am Fluss gelegenen Fabriken nach Paris. 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. Although their landscapes are agitated and often dark, the Fauves were still referring to the iconography of the Impressionists."},"coverImage":"685be98c45abc2bdb530a903","3dModel":"6890fc1bb453dc80562bd3ae","3dModels":[{"glbFile":"69cea45e70c4a99939b3a5aa","exhibition":"699c56f3870053377ae01aa0","id":"69cea4dfa9f9cb7f5e8a3dd3"},{"glbFile":"6aca674daf3802bc375cb500","id":"6aca6752af3802bc375cb50a"}],"startPoint":{"sweepId":"be908e43dd4e4f20aeef7c7fe2959ba0","rotation":{"x":-4.286646521926851,"y":-91.2261118101887}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.77,"y":1.57,"z":0.05},"position":{"x":7.04,"y":-5.45,"z":30.47,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.04,"y":-5.45,"z":30.47},"id":"6890f2a967c88f001b9353c8"},{"exhibition":"67b338818635bba96e329691","position":{"x":9.293302631965894,"y":-12.698040419044796,"z":32.72064914530287},"id":"69bc1b7672d5786b609cf2dc"}]}},"insideView":{"sweepId":"a08dae762976418f9538e9a5bf670305","rotation":{"x":6.301425768540014,"y":179.76412659091562}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"685be81618dfb8169a023c17"}],"artworkList":[{"artwork":"67bc238b87986af0ae414bfa","id":"67bc270da0cfed09eb6ee721"},{"artwork":"67bc238b87986af0ae414bea","id":"67bc270da0cfed09eb6ee722"},{"artwork":"67bc238b87986af0ae414be8","id":"67bc270da0cfed09eb6ee723"},{"artwork":"67bc238b87986af0ae414be1","id":"67bc270da0cfed09eb6ee724"},{"artwork":"67bc238a87986af0ae414bd4","id":"67bc270da0cfed09eb6ee725"},{"artwork":"67bc238a87986af0ae414bca","id":"67bc270da0cfed09eb6ee726"},{"artwork":"67bc238a87986af0ae414bc8","id":"67bc270da0cfed09eb6ee727"},{"artwork":"67bc238a87986af0ae414bc2","id":"67bc270da0cfed09eb6ee728"},{"artwork":"67bc238a87986af0ae414bc0","id":"67bc270da0cfed09eb6ee729"},{"artwork":"67bc238a87986af0ae414bbd","id":"67bc270da0cfed09eb6ee72a"},{"artwork":"67bc238a87986af0ae414bb8","id":"67bc270da0cfed09eb6ee72b"},{"artwork":"67bc238a87986af0ae414bb6","id":"67bc270da0cfed09eb6ee72c"},{"artwork":"67bc238a87986af0ae414bb4","id":"67bc270da0cfed09eb6ee72d"},{"artwork":"67bc238a87986af0ae414bb2","id":"67bc270da0cfed09eb6ee72e"},{"artwork":"67bc238a87986af0ae414bb0","id":"67bc270da0cfed09eb6ee72f"},{"artwork":"67bc238a87986af0ae414bae","id":"67bc270da0cfed09eb6ee730"},{"artwork":"67bc238a87986af0ae414bac","id":"67bc270da0cfed09eb6ee731"},{"artwork":"67bc238a87986af0ae414baa","id":"67bc270da0cfed09eb6ee732"},{"artwork":"67bc238a87986af0ae414ba8","id":"67bc270da0cfed09eb6ee733"},{"artwork":"67bc238a87986af0ae414ba6","id":"67bc270da0cfed09eb6ee734"},{"artwork":"67bc238a87986af0ae414ba4","id":"67bc270da0cfed09eb6ee735"},{"artwork":"67bc238a87986af0ae414ba2","id":"67bc270da0cfed09eb6ee736"},{"artwork":"67bc238a87986af0ae414ba0","id":"67bc270da0cfed09eb6ee737"},{"artwork":"67bc238a87986af0ae414b9e","id":"67bc270da0cfed09eb6ee738"},{"artwork":"67bc238a87986af0ae414b9c","id":"67bc270da0cfed09eb6ee739"},{"artwork":"67bc238a87986af0ae414b9a","id":"67bc270da0cfed09eb6ee73a"},{"artwork":"67bc238a87986af0ae414b98","id":"67bc270da0cfed09eb6ee73b"},{"artwork":"67bc238a87986af0ae414b96","id":"67bc270da0cfed09eb6ee73c"},{"artwork":"67bc238a87986af0ae414b94","id":"67bc270da0cfed09eb6ee73d"},{"artwork":"67bc238a87986af0ae414b92","id":"67bc270da0cfed09eb6ee73e"},{"artwork":"67bc238a87986af0ae414b90","id":"67bc270da0cfed09eb6ee73f"},{"artwork":"67bc238a87986af0ae414b8e","id":"67bc270da0cfed09eb6ee740"},{"artwork":"67bc238a87986af0ae414b8c","id":"67bc270da0cfed09eb6ee741"},{"artwork":"67bc238a87986af0ae414b8a","id":"67bc270da0cfed09eb6ee742"},{"artwork":"67bc238a87986af0ae414b88","id":"67bc270da0cfed09eb6ee743"},{"artwork":"67bc238a87986af0ae414b86","id":"67bc270da0cfed09eb6ee744"},{"artwork":"67bc238a87986af0ae414b84","id":"67bc270da0cfed09eb6ee745"},{"artwork":"67bc238a87986af0ae414b82","id":"67bc270da0cfed09eb6ee746"},{"artwork":"67bc238a87986af0ae414b80","id":"67bc270da0cfed09eb6ee747"},{"artwork":"67bc238a87986af0ae414b7e","id":"67bc270da0cfed09eb6ee748"},{"artwork":"67bc238a87986af0ae414b7c","id":"67bc270da0cfed09eb6ee749"},{"artwork":"67bc238a87986af0ae414b7a","id":"67bc270da0cfed09eb6ee74a"},{"artwork":"67bc238a87986af0ae414b78","id":"67bc270da0cfed09eb6ee74b"},{"artwork":"67bc238a87986af0ae414b76","id":"67bc270da0cfed09eb6ee74c"},{"artwork":"67bc238a87986af0ae414b74","id":"67bc270da0cfed09eb6ee74d"},{"artwork":"67bc238a87986af0ae414b72","id":"67bc270da0cfed09eb6ee74e"},{"artwork":"67bc238a87986af0ae414b70","id":"67bc270da0cfed09eb6ee74f"},{"artwork":"67bc238a87986af0ae414b6e","id":"67bc270da0cfed09eb6ee750"},{"artwork":"67bc238a87986af0ae414b6c","id":"67bc270da0cfed09eb6ee751"},{"artwork":"67bc238a87986af0ae414b6a","id":"67bc270da0cfed09eb6ee752"},{"artwork":"67bc238a87986af0ae414b68","id":"67bc270da0cfed09eb6ee753"},{"artwork":"67bc238a87986af0ae414b66","id":"67bc270da0cfed09eb6ee754"},{"artwork":"67bc238a87986af0ae414b64","id":"67bc270da0cfed09eb6ee755"},{"artwork":"67bc238a87986af0ae414b62","id":"67bc270da0cfed09eb6ee756"},{"artwork":"67bc238a87986af0ae414b60","id":"67bc270da0cfed09eb6ee757"},{"artwork":"67bc238a87986af0ae414b5e","id":"67bc270da0cfed09eb6ee758"},{"artwork":"67bc238a87986af0ae414b5c","id":"67bc270da0cfed09eb6ee759"},{"artwork":"67bc238a87986af0ae414b5a","id":"67bc270da0cfed09eb6ee75a"},{"artwork":"67bc238a87986af0ae414b58","id":"67bc270da0cfed09eb6ee75b"},{"artwork":"67bc238a87986af0ae414b56","id":"67bc270da0cfed09eb6ee75c"},{"artwork":"67bc238a87986af0ae414b54","id":"67bc270da0cfed09eb6ee75d"},{"artwork":"67bc238a87986af0ae414b52","id":"67bc270da0cfed09eb6ee75e"},{"artwork":"67bc238a87986af0ae414b50","id":"67bc270da0cfed09eb6ee75f"},{"artwork":"67bc238a87986af0ae414b4e","id":"67bc270da0cfed09eb6ee760"},{"artwork":"67bc238a87986af0ae414b4c","id":"67bc270da0cfed09eb6ee761"},{"artwork":"67bc238a87986af0ae414b4a","id":"67bc270da0cfed09eb6ee762"},{"artwork":"67bc238a87986af0ae414b48","id":"67bc270da0cfed09eb6ee763"},{"artwork":"67bc238a87986af0ae414b46","id":"67bc270da0cfed09eb6ee764"},{"artwork":"67bc238a87986af0ae414b44","id":"67bc270da0cfed09eb6ee765"},{"artwork":"67bc238a87986af0ae414b42","id":"67bc270da0cfed09eb6ee766"},{"artwork":"67bc238a87986af0ae414b40","id":"67bc270da0cfed09eb6ee767"},{"artwork":"67bc238a87986af0ae414b3e","id":"67bc270da0cfed09eb6ee768"},{"artwork":"67bc238a87986af0ae414b3c","id":"67bc270da0cfed09eb6ee769"},{"artwork":"67bc238a87986af0ae414b3a","id":"67bc270da0cfed09eb6ee76a"},{"artwork":"67bc238a87986af0ae414b38","id":"67bc270da0cfed09eb6ee76b"},{"artwork":"67bc238a87986af0ae414b36","id":"67bc270da0cfed09eb6ee76c"},{"artwork":"67bc238a87986af0ae414b34","id":"67bc270da0cfed09eb6ee76d"},{"artwork":"67bc238a87986af0ae414b32","id":"67bc270da0cfed09eb6ee76e"},{"artwork":"67bc238a87986af0ae414b30","id":"67bc270da0cfed09eb6ee76f"},{"artwork":"67bc238a87986af0ae414b2e","id":"67bc270da0cfed09eb6ee770"},{"artwork":"67bc238a87986af0ae414b2c","id":"67bc270da0cfed09eb6ee771"},{"artwork":"67bc238a87986af0ae414b2a","id":"67bc270da0cfed09eb6ee772"},{"artwork":"67bc238a87986af0ae414b28","id":"67bc270da0cfed09eb6ee773"},{"artwork":"67bc238a87986af0ae414b26","id":"67bc270da0cfed09eb6ee774"},{"artwork":"67bc238a87986af0ae414b24","id":"67bc270da0cfed09eb6ee775"},{"artwork":"67bc238a87986af0ae414b22","id":"67bc270da0cfed09eb6ee776"},{"artwork":"67bc238a87986af0ae414b20","id":"67bc270da0cfed09eb6ee777"},{"artwork":"67bc238a87986af0ae414b1e","id":"67bc270da0cfed09eb6ee778"},{"artwork":"67bc238a87986af0ae414b1c","id":"67bc270da0cfed09eb6ee779"},{"artwork":"67bc238987986af0ae414b1a","id":"67bc270da0cfed09eb6ee77a"},{"artwork":"67bc238987986af0ae414b18","id":"67bc270da0cfed09eb6ee77b"},{"artwork":"67bc238987986af0ae414b16","id":"67bc270da0cfed09eb6ee77c"},{"artwork":"67bc238987986af0ae414b14","id":"67bc270da0cfed09eb6ee77d"},{"artwork":"67bc238987986af0ae414b12","id":"67bc270da0cfed09eb6ee77e"},{"artwork":"67bc238987986af0ae414b0f","id":"67bc270da0cfed09eb6ee77f"},{"artwork":"67bc238987986af0ae414b0d","id":"67bc270da0cfed09eb6ee780"},{"artwork":"67bc238987986af0ae414b0b","id":"67bc270da0cfed09eb6ee781"},{"artwork":"67bc238987986af0ae414b09","id":"67bc270da0cfed09eb6ee782"},{"artwork":"67bc238987986af0ae414b07","id":"67bc270da0cfed09eb6ee783"},{"artwork":"67bc238987986af0ae414b05","id":"67bc270da0cfed09eb6ee784"},{"artwork":"67bc238987986af0ae414b03","id":"67bc270da0cfed09eb6ee785"},{"artwork":"67bc238987986af0ae414b01","id":"67bc270da0cfed09eb6ee786"},{"artwork":"67bc238787986af0ae414a5a","id":"67bc270da0cfed09eb6ee787"},{"artwork":"67c596439c762d275ec3dffe","id":"67c5cacfba47f3524d942d80"},{"artwork":"67c599439c762d275ec3e1a7","id":"67c5caf4ba47f3524d942d81"},{"artwork":"67c59af59c762d275ec3e2ca","id":"67c5caffba47f3524d942d82"},{"artwork":"67c5a31c9c762d275ec3e509","id":"67c5cb0dba47f3524d942d83"},{"artwork":"67c5a5269c762d275ec3e673","id":"67c5cb1eba47f3524d942d84"},{"artwork":"67c5aabb9c762d275ec3e829","id":"67c5cb25ba47f3524d942d85"},{"artwork":"67c5ad859c762d275ec3e9a0","id":"67c5cb2cba47f3524d942d86"},{"artwork":"67c5af9f9c762d275ec3eab6","id":"67c5cb35ba47f3524d942d87"},{"artwork":"67c5b6539c762d275ec3ecc3","id":"67c5cb40ba47f3524d942d88"},{"artwork":"67c5b8de9c762d275ec3ee14","id":"67c5cb4eba47f3524d942d89"},{"artwork":"67c5c5049c762d275ec3f146","id":"67c5cb5aba47f3524d942d8a"},{"artwork":"67c5c8619c762d275ec3f292","id":"67c5cb61ba47f3524d942d8b"},{"artwork":"69e0a254733620b44d2e8401","id":"69e0a4500fafa69c3e709b18"},{"artwork":"69e0a255733620b44d2e8416","id":"69e0a4500fafa69c3e709b19"},{"artwork":"69e0a256733620b44d2e842b","id":"69e0a4500fafa69c3e709b1a"},{"artwork":"69e0a256733620b44d2e8442","id":"69e0a4500fafa69c3e709b1b"}],"createdAt":"2025-02-17T13:24:17.428Z","updatedAt":"2026-11-05T15:01:27.147Z","modelData":{"matterportModelId":"jAJ6v5m58aX","startingPoint":{"foyer":{"sweepId":"","xRotation":null,"yRotation":null},"exhibition":{"sweepId":"8ff9cd5330004f758223692a688e8bdd","xRotation":-10.77,"yRotation":-97.03,"loadingBackgroundImage":"67b9a236134df66d977d92b5"}},"sensorOffset":{"position":{"x":0,"y":0,"z":0}},"coordinateOffset":{"position":{"x":10.7542,"y":14.6837,"z":12.8803},"axisFlip":{"x":-1,"y":1,"z":-1}},"disabledSweeps":[{"sweepId":"4a274fcb5f594547b7b45afb003e9b9f","hall":"1B3","id":"688a2c273a1282001bc8f894"},{"sweepId":"93bf0972c7764d67b49a05950961a07f","hall":"1B3","id":"688a2c883a1282001bc8f895"},{"sweepId":"1c7672914c9d4bab8feb3a7fb3c17121","hall":"1B3","id":"688a39c83a1282001bc8f896"}]},"slug":"impressionismus","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"id":"67c973a971240d5b05e9053c"}],"fullName":{"de":"Impressionismus. Die Sammlung Hasso Plattner","en":"Impressionism. The Hasso Plattner Collection"},"prologue":{"de":"https://prolog.museum-barberini.de/de/16314/impressionismus","en":"https://prolog.museum-barberini.de/en/16314/impressionism"},"subtitle":{"de":"Die Sammlung Hasso Plattner","en":"The Hasso Plattner Collection"},"title":{"de":"Impressionismus","en":"Impressionism"},"entryInfoWall":{"description":{"de":"In den 1860er Jahren fanden sich in Paris junge Maler zusammen: Claude Monet, Camille Pissarro, Pierre Auguste Renoir und Alfred Sisley. 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. Their paintings continue to captivate us with their concentration on transitory moments. With over 110 Impressionist and Post-Impressionist works, the Museum Barberini shows the collection of its founder Hasso Plattner. Among these are 40 paintings by Claude Monet, making it the largest group of compositions by this painter in Europe outside of France. The presentation of these works reveals both the range of subject matter and the artistic explosiveness of Impressionism. Prof. Dr. h.c. mult. Hasso Plattner is one of the most distinguished businessmen in Germany and an entrepreneur of international standing. For many years he has supported scholarship in Germany and abroad. As a collector he focuses on paintings with an open visual vocabulary that involve the viewer."},"guides":[],"modelData":{"infoCollisionBox":{"geometry":{"x":3.1399999999999926,"y":2.23,"z":0.1},"position":{"x":9.005727054103838,"y":-5.009221539391791,"z":32.73140341182601,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.31,"y":2.26,"z":32.77},"id":"688e37a87080e41820ff4557"},{"exhibition":"67b343f28635bba96e329739","position":{"x":4.65,"y":9.65,"z":35.06},"id":"688e390f7080e41820ff4558"},{"exhibition":"67b338818635bba96e329691","position":{"x":9.081661266491572,"y":-5.021495022535799,"z":32.69744339268519},"id":"69bd231072d5786b609cf2dd"}]}},"insideView":{"sweepId":"62f5627847334cf3b5b6f1e3e9d8387e","rotation":{"x":15.500326607306825,"y":-179.74246542221493}}}},"id":"67b338818635bba96e329691"}],"loadedExhibitions":[{"slug":"pissarro","type":"temporary","onDisplay":false,"fullName":{"de":"Mit offenem Blick. Der Impressionist Pissarro","en":"The Honest Eye. Camille Pissarro's Impressionism"},"title":{"de":"Mit offenem Blick","en":"The Honest Eye"},"subtitle":{"de":"Der Impressionist Pissarro","en":"Camille Pissarro's Impressionism"},"startDate":"2025-06-14T12:00:00.000Z","endDate":"2025-09-28T12:00:00.000Z","entryInfoWall":{"description":{"de":"Camille Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich. Er brachte die Künstlerfreunde zusammen und arbeitete am Zusammenhalt der Gruppe. Dabei lagen Pissarros künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus. Während Kollegen wie Claude Monet oder Pierre-Auguste Renoir Stadt und Land meist als Freizeitraum des Bürgertums darstellten, richtete Pissarro den Blick darauf, wie die einfache Bevölkerung unterschiedliche Landschaften gestaltet und prägt: durch das Leben und Arbeiten des Einzelnen im Einklang mit der Natur ebenso wie durch die Bewegung der Menschenströme in den großen Städten. Solche Szenen hielt er in den sich immer wieder verändernden Lichtstimmungen verschiedener Jahres- und Tageszeiten fest. Ausgehend von den sieben Gemälden Pissarros der Sammlung Hasso Plattner gibt die Ausstellung einen fundierten Überblick über Pissarros gesamtes Schaffen und zeigt zugleich die sozialutopischen Ideen seiner Kunst.  Eine Ausstellung des Museums Barberini, Potsdam, und des Denver Art Museum","en":"Camille Pissarro is considered a founding figure of the Impressionist movement in France. He brought artist friends together and played a key role in keeping the group united. Yet Pissarro’s artistic beginnings lay in the Caribbean and South America. These roots, along with his Jewish heritage, were combined with a painterly interest in rural everyday scenes and sympathies for anarchism. While colleagues such as Claude Monet and Pierre-Auguste Renoir typically depicted city and countryside as leisure spaces for the bourgeoisie, Pissarro focused on how ordinary people shape and influence landscapes—whether through their daily lives and labor in harmony with nature, or through the flow of crowds in bustling cities. He captured such scenes in the ever-changing light conditions of different seasons and times of day. Taking seven Pissarro paintings from the Hasso Plattner Collection as a starting point, the exhibition offers a comprehensive overview of his entire oeuvre and brings to light the social-utopian ideals embedded in it.  An exhibition of the Museum Barberini, Potsdam, and the Denver Art Museum."},"guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"400","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_400.mp3","mimeType":"audio/mpeg","filesize":4422512,"createdAt":"2025-06-26T16:25:44.231Z","updatedAt":"2025-06-26T16:25:44.231Z","id":"685d748871f13d6f5913ea3d","url":"/cms/api/media/file/Pissarro_GER_Erw_400.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_400-1.mp3","mimeType":"audio/mpeg","filesize":5306780,"createdAt":"2025-06-26T16:26:17.280Z","updatedAt":"2025-06-26T16:26:17.280Z","id":"685d74a971f13d6f5913ea91","url":"/cms/api/media/file/Pissarro_ENG_Erw_400-1.mp3","thumbnailURL":null}}},"id":"685d55e0efdaa63ee9f8a9ec"}],"modelData":{"insideView":{"sweepId":"d9435cfc23e6400e8195848b9f1f9dce","rotation":{"x":3.54,"y":-0.25}},"infoCollisionBox":{"geometry":{"x":3.04,"y":2.46,"z":0.1},"position":{"x":11.02,"y":-5.48,"z":-6.75,"exhibitionDependent":[]}}}},"guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"0A1_1-min.jpeg","mimeType":"image/jpeg","filesize":72279,"width":1400,"height":933,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:24:53.288Z","updatedAt":"2025-06-24T16:24:53.288Z","id":"685ad1559dc10a47245076db","url":"/cms/api/media/file/0A1_1-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a1_1-opt.glb","mimeType":"application/octet-stream","filesize":215372,"createdAt":"2025-06-28T07:53:54.536Z","updatedAt":"2025-06-28T07:53:54.536Z","id":"685f9f92f5c4cef12a03a8a9","url":"/cms/api/media/file/0a1_1-opt.glb","thumbnailURL":null},"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a1_1-opt.glb","mimeType":"application/octet-stream","filesize":215372,"createdAt":"2025-06-28T07:53:54.536Z","updatedAt":"2025-06-28T07:53:54.536Z","id":"685f9f92f5c4cef12a03a8a9","url":"/cms/api/media/file/0a1_1-opt.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Aufbruch. Aus der Karibik nach Paris","id":"6acdc5ab6d94764c1ea797c7","image":null},{"blockType":"paragraph","text":"Anfänge unter Palmen: Camille Pissarros Lebensgeschichte beginnt auf den Antillen. Er wächst in einem multikulturellen Umfeld auf. 1830 kommt er als dänischer Staatsbürger auf der Karibikinsel Saint Thomas zur Welt, damals eine Kolonie des Königreichs Dänemark. Eigentlich soll der Sohn aus wohlhabender, jüdischer Kaufmannsfamilie das dortige Handelshaus seiner Eltern übernehmen. Aber Pissarro schert aus.","id":"6acdc5ab6d94764c1ea797c8","image":null},{"blockType":"quote","text":"Ich ließ, ohne weiter darüber nachzudenken, alles zurück und machte mich nach Caracas davon, um die Bande zwischen mir und dem bürgerlichen Leben zu durchtrennen.","by":"Pissarro an Eugène Murer, Surrey, 5. Juni 1871","id":"6acdc5ab6d94764c1ea797c9","image":null},{"blockType":"paragraph","text":"Zwei Jahre lang bereist Pissarro mit einem befreundeten jungen Maler das Land Venezuela. Er sammelt auf dem abenteuerlichen Trip Erfahrungen mit der Freilichtmalerei und erlebt die Abschaffung der Sklaverei. Dann schifft er sich endgültig nach Frankreich ein. Sein Ziel steht fest: Künstler werden.","id":"6acdc5ab6d94764c1ea797ca","image":null},{"blockType":"quote","text":"Es ist nahezu unmöglich, einen jungen Mann davon abzuhalten, dorthin zu gehen, wohin ihn seine Leidenschaft ruft.","by":"Pissarro an seinen Sohn Lucien, Rouen, 12. August 1898","id":"6acdc5ab6d94764c1ea797cb","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/008_Camille_Pissarro_Two_Women_Chatting_by_the_Sea_Saint_Thomas.jpg?w=1200","caption":"Frauen an der karibischen Küste. Zwei Frauen am Meer in ein Gespräch vertieft, Saint Thomas, 1856, National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon","id":"6acdc5ab6d94764c1ea797cc","image":null},{"blockType":"paragraph","text":"In Paris angekommen, malt der junge Pissarro weiterhin Landschaften aus seiner karibischen Heimat. Er arbeitet anhand von Erinnerungen und Skizzen. Diese idyllischen Motive aus fernen Ländern zielen auf ein europäisches Publikum. Schon in diesen frühesten Gemälden lässt Pissarro ein Interesse für die einfache Bevölkerung und ein besonderes Gespür für atmosphärische Landschaften erkennen.","id":"6acdc5ab6d94764c1ea797cd","image":null}],"en":[{"blockType":"heading","text":"A New Life. From the Caribbean to Paris","id":"6acdc5ae6d94764c1ea797d7","image":null},{"blockType":"paragraph","text":"Camille Pissarro’s life began under the palm trees of the Antilles islands. Born in 1830 as a Danish citizen on the Caribbean island of Saint Thomas, then a colony of Denmark, he grew up in a multicultural environment. His parents, prosperous Jewish merchants, wanted him to take over their business—but Pissarro had other plans.","id":"6acdc5ae6d94764c1ea797d8","image":null},{"blockType":"quote","text":"Without further reflection, I left everything behind and fled to Caracas to break the tie that bound me to bourgeois life.","by":"Pissarro to Eugène Murer, Surrey, June 5, 1871","id":"6acdc5ae6d94764c1ea797d9","image":null},{"blockType":"paragraph","text":"Pissarro spent two years traveling in Venezuela in the company of a young painter friend. During this adventurous trip, he honed his skills in plein air painting and experienced the abolition of slavery. Then he embarked permanently for France, with a firm goal in mind: to become an artist.","id":"6acdc5ae6d94764c1ea797da","image":null},{"blockType":"quote","text":"It’s almost impossible to keep a young man from going where his passions lead him.","by":"Pissarro to his son Lucien, Rouen, August 12, 1898","id":"6acdc5ae6d94764c1ea797db","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/008_Camille_Pissarro_Two_Women_Chatting_by_the_Sea_Saint_Thomas.jpg?w=1200","caption":"Women on the Caribbean coast. Two Women Chatting by the Sea, Saint Thomas, 1856, National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon","id":"6acdc5ae6d94764c1ea797dc","image":null},{"blockType":"paragraph","text":"After arriving in Paris, the young Pissarro continued to paint landscape images of his Caribbean homeland, working from memory or from sketches. The idyllic motifs from distant lands were intended for a European audience. These earliest paintings by Pissarro already bear witness to an interest in simple people and a special sensitivity to atmospheric landscapes.","id":"6acdc5ae6d94764c1ea797dd","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"0A1_2-min.jpeg","mimeType":"image/jpeg","filesize":128532,"width":1920,"height":1163,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:25:09.356Z","updatedAt":"2025-06-24T16:25:09.356Z","id":"685ad1659dc10a472450770e","url":"/cms/api/media/file/0A1_2-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a1_2-opt.glb","mimeType":"application/octet-stream","filesize":322236,"createdAt":"2025-06-24T15:45:21.244Z","updatedAt":"2025-06-28T07:59:04.405Z","thumbnailURL":null,"url":"/cms/api/media/file/0a1_2-opt.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a1_2-opt.glb","mimeType":"application/octet-stream","filesize":322236,"createdAt":"2025-06-24T15:45:21.244Z","updatedAt":"2025-06-28T07:59:04.405Z","thumbnailURL":null,"url":"/cms/api/media/file/0a1_2-opt.glb","id":"685ac8119dc10a4724507240"},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Moderne Landschaften. Pissarros Weg zum Impressionismus","id":"6acdc5b16d94764c1ea797e7","image":null},{"blockType":"paragraph","text":"Kohlfelder und Ackerland, blitzblaue oder wolkenverhangene Himmel – und vor allem ganz viel frische Luft: In Pissarros frühen Gemälden aus seinen Pariser Jahren macht sich ein neuartiges Interesse am unmittelbaren Erleben alltäglicher Umwelt bemerkbar. Kritiker sind irritiert, empfinden solche Motive als hässlich. In der privaten Académie Suisse, wo es ein offenes Zeichenatelier gibt, lernt Pissarro neue Freunde und Gleichgesinnte kennen. Einer davon heißt Claude Monet. Zusammen malen sie am liebsten draußen, so wie schon die Maler der Schule von Barbizon.","id":"6acdc5b16d94764c1ea797e8","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/USA_Art_Institute_of_Chicago_The_Banks_of_the_Marne_in_Winter_Kopie.png?w=1200","caption":"Das karge und melancholische Gemälde begründet Pissarros Ruf als moderner Landschaftsmaler. Die Ufer der Marne im Winter, 1866, The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1957.306, bpk / The Art Institute of Chicago / Art Resource, NY","id":"6acdc5b16d94764c1ea797e9","image":null},{"blockType":"paragraph","text":"Die wichtigste öffentliche Plattform für Künstler ist der jährlich stattfindende Salon de Paris. Tausende Gemälde konkurrieren um die Aufnahme in die Großausstellung. Die Jury der Akademie gilt als konservativ. Aber Pissarro schafft es. Rasch erwirbt er einen Ruf als Vertreter einer modernen Art von Landschaftsmalerei.","id":"6acdc5b16d94764c1ea797ea","image":null},{"blockType":"quote","text":"Herr Pissarro ist ein Unbekannter, von dem wahrscheinlich niemand sprechen wird. (…) Vielen Dank, Monsieur, Ihre Landschaft hat mir bei meiner Reise durch die große Salon-Wüste eine gute halbe Stunde Erholung geschenkt. (…) Im Übrigen müssen Sie wissen, dass Sie niemandem gefallen und dass man Ihr Bild zu nackt, zu dunkel findet. Warum, zum Teufel, sind Sie aber auch so bemerkenswert ungeschickt, solide zu malen und die Natur unbefangen zu studieren?","by":"Der Schriftsteller Émile Zola in seiner Salonkritik, 1866","id":"6acdc5b16d94764c1ea797eb","image":null},{"blockType":"paragraph","text":"Rund um seine Wohnorte Pontoise oder Louveciennes bei Paris erkundet Pissarro die Gegenden entlang der Seine. Oft sieht man im Hintergrund Fabrikschlote rauchen. Pissarro blendet die Industrialisierung nicht aus. Er zeigt sie als Phänomen der Gegenwart.","id":"6acdc5b16d94764c1ea797ec","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/023_Camille_Pissarro_Lordship_Lane_Station_Dulwich.jpg?w=1200","caption":"Im Vorortbahnhof Dulwich bei London nimmt ein Zug Fahrt auf: das erste Eisenbahnbild des Impressionismus. Lordship Lane Station, Dulwich, 1871, The Courtauld, London (Samuel Courtauld Trust)","id":"6acdc5b16d94764c1ea797ed","image":null},{"blockType":"paragraph","text":"Als 1870 der Deutsch-Französische Krieg ausbricht, flieht Pissarro mit seiner Familie nach London. Dort lernt er seinen späteren Pariser Kunsthändler Paul Durand-Ruel kennen, trifft Claude Monet wieder. In der Nationalgalerie studiert er Gemälde von John Constable und William Turner. Sie bestärken ihn in seiner Suche nach einer wirklichkeitsnahen, atmosphärischen Landschaftsmalerei mit aufgehellten Farben und lockerer Pinselführung.","id":"6acdc5b16d94764c1ea797ee","image":null}],"en":[{"blockType":"heading","text":"Modern Landscapes. Pissarro’s Path to Impressionism","id":"6acdc5b46d94764c1ea797f8","image":null},{"blockType":"paragraph","text":"Cabbage fields and farmland under brilliant blue or overcast skies—and everywhere fresh, open air: Pissarro’s early paintings from his Paris years show a new interest in the direct experience of the everyday environment. Critics were disconcerted and found the motifs ugly. In the open drawing studio of the private Académie Suisse, Pissarro made new friends and met like-minded artists. One of them was Claude Monet. They painted together, preferably outdoors like the artists of the Barbizon School before them.","id":"6acdc5b46d94764c1ea797f9","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/USA_Art_Institute_of_Chicago_The_Banks_of_the_Marne_in_Winter_Kopie.png?w=1200","caption":"This bleak and melancholic painting established Pissarro’s reputation as a modern landscape painter. The Banks of the Marne in Winter, 1866, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1957.306, bpk / The Art Institute of Chicago / Art Resource, NY","id":"6acdc5b46d94764c1ea797fa","image":null},{"blockType":"paragraph","text":"In that day, the most important public platform for artists was the annual Salon de Paris, a major exhibition where thousands of paintings competed for acceptance and prizes. The academy’s jury is considered conservative—but Pissarro was admitted to the show and quickly gained a reputation as a proponent of modern landscape painting.","id":"6acdc5b46d94764c1ea797fb","image":null},{"blockType":"quote","text":"M. Pissarro is an unknown and probably no one will talk about him. . . . Thank you, Monsieur, your winter landscape refreshed me for a good half hour, during my trip through the great desert of the Salon. . . . Besides which, you ought to know that you please nobody and that your painting is thought to be too bare, too black. So why the devil do you have the arrant awkwardness to paint solidly and study nature so honestly!","by":"The writer Émile Zola in his review of the Salon, 1866","id":"6acdc5b46d94764c1ea797fc","image":null},{"blockType":"paragraph","text":"While living in the towns of Pontoise, and Louveciennes near Paris, Pissarro explored the region along the Seine. Factory smokestacks often appear in the background of his images. The artist did not shy away from industrialization, but showed it as a contemporary phenomenon.","id":"6acdc5b46d94764c1ea797fd","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/023_Camille_Pissarro_Lordship_Lane_Station_Dulwich.jpg?w=1200","caption":"In this first Impressionist painting of a railroad, Pissarro shows a train leaving the suburban station of Dulwich near London. Lordship Lane Station, Dulwich, 1871, The Courtauld, London (Samuel Courtauld Trust)","id":"6acdc5b46d94764c1ea797fe","image":null},{"blockType":"paragraph","text":"With the outbreak of the Franco-Prussian War in 1870, Pissarro and his family fled to London. There he met his later Paris art dealer Paul Durand-Ruel and once again encountered his friend Claude Monet. In the National Gallery, he studied the paintings of John Constable and William Turner, works that encouraged him to pursue a realistic, atmospheric approach to the landscape using brilliant hues and loose brushwork.","id":"6acdc5b46d94764c1ea797ff","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"0A2-min.jpeg","mimeType":"image/jpeg","filesize":0,"width":1920,"height":1275,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:27:56.228Z","updatedAt":"2025-06-24T16:28:31.873Z","thumbnailURL":null,"url":"/cms/api/media/file/0A2-min.jpeg","id":"685ad20c9dc10a4724507a3f"},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a2-opt.glb","mimeType":"application/octet-stream","filesize":364460,"createdAt":"2025-06-24T15:46:31.964Z","updatedAt":"2025-06-28T07:59:22.837Z","thumbnailURL":null,"url":"/cms/api/media/file/0a2-opt.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"0a2-opt.glb","mimeType":"application/octet-stream","filesize":364460,"createdAt":"2025-06-24T15:46:31.964Z","updatedAt":"2025-06-28T07:59:22.837Z","thumbnailURL":null,"url":"/cms/api/media/file/0a2-opt.glb","id":"685ac8579dc10a472450729b"}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"1A3_1-min.jpeg","mimeType":"image/jpeg","filesize":150430,"width":1920,"height":1269,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:28:16.465Z","updatedAt":"2025-06-24T16:28:16.465Z","id":"685ad2209dc10a4724507a76","url":"/cms/api/media/file/1A3_1-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a3_1-opt.glb","mimeType":"application/octet-stream","filesize":246344,"createdAt":"2025-06-24T15:46:57.543Z","updatedAt":"2025-06-28T07:59:39.127Z","thumbnailURL":null,"url":"/cms/api/media/file/1a3_1-opt.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a3_1-opt.glb","mimeType":"application/octet-stream","filesize":246344,"createdAt":"2025-06-24T15:46:57.543Z","updatedAt":"2025-06-28T07:59:39.127Z","thumbnailURL":null,"url":"/cms/api/media/file/1a3_1-opt.glb","id":"685ac8719dc10a47245072db"},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Im Kreis der Impressionisten. Gemeinsam für das Neue","id":"6acdc5b76d94764c1ea79809","image":null},{"blockType":"paragraph","text":"Am 15. April 1874 ist es soweit. Im Atelier des Photographen Nadar in Paris eröffnet die erste Ausstellung der „Societé anonyme coopérative des artistes, peintres etc.“. So nennt sich eine Gruppe junger Künstler, die man bald nur noch als „Impressionisten“ kennen wird. Ein Kritiker hat die Bezeichnung eigentlich als Spott gemeint. Doch das unmittelbare Einfangen des Momentanen, Flüchtigen und Atmosphärischen wird zum Markenzeichen der neuen Bewegung. Bis 1884 folgen sieben weitere Ausstellungen, in Eigenregie und mit wechselnder Besetzung. Pissarro bleibt eine treibende Kraft. Als einziger reicht er konsequent nie wieder ein Werk zum offiziellen Salon ein. Das starre und akademische System des Salons lief Pissarros Überzeugungen von Unabhängigkeit und Freiheit zuwider.","id":"6acdc5b76d94764c1ea7980a","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/FR_Paris_Musee_d_Orsay_Gelee_blanche.jpg?w=1200","caption":"Auf der 1. Impressionisten-Ausstellung zeigt Pissarro diese Darstellung eines klirrend kalten Wintertags auf dem Land. Raureif, 1873, Musée d’Orsay, Paris, Vermächtnis Enriqueta Alsop im Namen von Dr. Eduardo Mollard, 1972, Photo: akg-images / De Agostini Picture Lib. / G. Dagli Orti","id":"6acdc5b76d94764c1ea7980b","image":null},{"blockType":"quote","text":"Sollen das Furchen sein? Soll das Frost sein? Da wurde doch mit dem Palettenmesser gleichförmig über die schmutzige Leinwand gekratzt. (…) – Kann sein ... aber Impression ist da bestimmt drin. – Na ja, eine komische Impression!","by":"Der Kritiker Louis Leroy über Pissarros Gemälde „Raureif“, 1874","id":"6acdc5b76d94764c1ea7980c","image":null},{"blockType":"paragraph","text":"Die Impressionisten stoßen auf heftige Reaktionen, zumeist ablehnende. Vielen Kritikern erscheinen ihre Werke unfertig, zu skizzenhaft und flüchtig. Nach der vorherrschenden akademischen Kunstauffassung muss ein Gemälde fein und glatt ausgeführt sein. Höchstes Ansehen genießen biblische oder mythologische Szenen. Die Impressionisten aber wollen die Gegenwart malen, der eigenen Wahrnehmung vertrauen. Sie studieren wechselnde Wetterphänomene und Lichtwirkungen mit höchster Konzentration und scharfer Beobachtungsgabe.","id":"6acdc5b76d94764c1ea7980d","image":null},{"blockType":"quote","text":"Unsere Ausstellung läuft gut, sie ist ein Erfolg. Die Kritik vernichtet uns (…), doch ich gehe wieder an meine Studien, das ist besser, als Kritiken zu lesen, aus ihnen kann man nichts lernen.","by":"Pissarro an seinen Freund Théodore Duret, Pontoise, 5. Mai 1874","id":"6acdc5b76d94764c1ea7980e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/039_Camille_Pissarro_The_Garden_of_Les_Mathurins_at_Pontoise.jpg?w=1200","caption":"Dieses Anwesen bewohnt die bekannte Frauenrechtlerin Maria Deraismes. Pissarro teilt ihre fortschrittlichen Ansichten. Der Garten von Les Mathurins in Pontoise, 1876, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Ankauf: William Rockhill Nelson Trust. 60–38, Image courtesy of Nelson-Atkins Digital Production & Preservation, Joshua Ferdinand","id":"6acdc5b76d94764c1ea7980f","image":null},{"blockType":"paragraph","text":"Pissarro ist auf allen acht Impressionisten-Ausstellungen mit zahlreichen Werken vertreten. In seinen Werken zeigt er, anders als seine Freunde Claude Monet oder Pierre-Auguste Renoir fast nie die Lebenssphäre und Freizeitvergnügen der kaufkräftigen Oberschicht. Sein Interesse gilt den einfachen Leuten, der arbeitenden Bevölkerung auf dem Land. Für solche Motive Käufer zu begeistern, ist nicht leicht. Pissarros Geschäfte laufen schlecht.","id":"6acdc5b76d94764c1ea79810","image":null},{"blockType":"paragraph","text":"Dekorative Avantgarde: Mehrfach präsentiert Pissarro bemalte Fächer auf den Impressionisten-Ausstellungen. Fächer sind in Paris gerade groß in Mode. Von japanischem Kunsthandwerk inspiriert überschwemmen sie den Markt: nicht nur elegantes Damen-Accessoire, sondern auch Wanddekor. Den experimentierfreudigen Pissarro reizt das ungewöhnliche Format. Er hofft zudem auf eine neue Einnahmequelle und breitere Käuferschichten, um seiner ständigen Geldnot abzuhelfen.","id":"6acdc5b76d94764c1ea79811","image":null},{"blockType":"heading","text":"Pissarro privat","id":"6acdc5b76d94764c1ea79812","image":null},{"blockType":"quote","text":"Ich glaube nicht, dass er zuhause viel zu sagen hat, da hat seine Frau die Hosen an.","by":"Theo van Gogh über Pissarro an seinen Bruder Vincent van Gogh, 1889","id":"6acdc5b76d94764c1ea79813","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/026_Camille_Pissarro_Portrait_of_the_Artist_2.jpg?w=1200","caption":"Sich selbst hat Pissarro selten gemalt. Portrait des Künstlers, 1873, Musée d’Orsay, Paris, Schenkung Paul-Émile Pissarro, 1930, © akg-images / Laurent Lecat","id":"6acdc5b76d94764c1ea79814","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/027_Camille_Pissarro_Julie_Pissarro_Sewing_Beside_a_Window.jpg?w=1200","caption":"Der Maler hält seine Frau Julie bei ihrer Näharbeit fest. Julie Pissarro näht am Fenster, 1877, The Ashmolean Museum, University of Oxford, Geschenk von Esther Pissarro, 1951","id":"6acdc5b76d94764c1ea79815","image":null},{"blockType":"paragraph","text":"Dem Künstler Pissarro ist die Familie enorm wichtig. Als seine Frau Julie und er sich kennenlernen, ist sie als Küchenmädchen bei seinen Eltern angestellt. Julie Vellay stammt aus einer einfachen Weinbauernfamilie im Burgund. Aus der lebenslangen Ehe gehen acht Kinder hervor. Aber Pissarros unregelmäßige Einkünfte sorgen immer wieder für Konfliktstoff. Durch kluges Wirtschaften und eigenen Gemüseanbau trägt seine Ehefrau zum Lebensunterhalt der vielköpfigen Familie bei.","id":"6acdc5b76d94764c1ea79816","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/028_Camille_Pissarro_Portrait_of_Jeanne_Pissarro.jpg?w=1200","caption":"Feinfühlig erfasst der Maler seine kleine Tochter Jeanne, genannt Minette, im rosa Kleid . Portrait von Jeanne Pissarro, 1872, Yale University Art Gallery, New Haven, John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Sammlung","id":"6acdc5b76d94764c1ea79817","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/029_Camille_Pissarro_Jeanne_Pissarro_Minette_Holding_a_Fan_2.jpg?w=1200","caption":"... und vier Jahre später, bereits von Krankheit geschwächt. Sie stirbt mit neun Jahren. Jeanne Pissarro (Minette) mit Fächer, 1873, The Ashmolean Museum, University of Oxford, Vermächtnis Esther Pissarro, 1952","id":"6acdc5b76d94764c1ea79818","image":null},{"blockType":"paragraph","text":"Liebevoll begleitet Pissarro das Heranwachsen seiner acht Kinder. Als engagierter Vater mit freiheitlichen Erziehungsidealen fördert er die Kreativität seiner Kinder nach Kräften. Alle fünf Söhne ergreifen künstlerische Berufe, sei es im druckgraphischen oder im kunstgewerblichen Bereich. Ehefrau Julie sieht das kritisch, wegen des unsicheren Broterwerbs.","id":"6acdc5b76d94764c1ea79819","image":null}],"en":[{"blockType":"heading","text":"Among the Impressionists. Together for the New","id":"6acdc5b96d94764c1ea79823","image":null},{"blockType":"paragraph","text":"On April 15, 1874, the day had come: the first exhibition of the “Societé anonyme coopérative des artistes peintres etc.” opened at the studio of the photographer Nadar in Paris. The group of young artists would soon become known simply as the “Impressionists,” a term originally coined by a contemptuous critic. But the sense of immediacy, the capturing of the momentary, fleeting, and atmospheric became the trademark of the new movement. Seven more exhibitions would follow from then until 1884, independently organized and with a changing roster of artists. Pissarro remained a driving force and was the only member of the group who never again submitted work to the official Salon. The rigid, academic style of the Salon was too stark a contrast to the artist’s commitment to independence and freedom.","id":"6acdc5b96d94764c1ea79824","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/FR_Paris_Musee_d_Orsay_Gelee_blanche.jpg?w=1200","caption":"At the first Impressionist exhibition, Pissarro showed this painting of a frosty winter day in the country. Hoarfrost, 1873, Paris, musée d'Orsay ; Legs Enriqueta Alsop au nom du Dr Eduardo Mollard, 1972, Photo: akg-images / De Agostini Picture Lib. / G. Dagli Orti","id":"6acdc5b96d94764c1ea79825","image":null},{"blockType":"quote","text":"Those furrows? That frost? But they are palette-scrapings placed uniformly on a dirty canvas. . . .—Perhaps . . . but the impression is there.—Well, it’s a funny impression!","by":"The critic Louis Leroy on Pissarro’s painting Hoarfrost, 1874","id":"6acdc5b96d94764c1ea79826","image":null},{"blockType":"paragraph","text":"The works of the Impressionists provoked vehement reactions, most of them negative. Many critics viewed the paintings as too unfinished, too sketch-like and ephemeral. Prevailing academic conceptions of art called for a high level of technical skill and refinement in painting, and biblical or mythological scenes enjoyed the most prestige. But the Impressionists wanted to depict contemporary life, trusting their own perception. They studied changing weather phenomena and the effects of light with keen observation and the highest concentration.","id":"6acdc5b96d94764c1ea79827","image":null},{"blockType":"quote","text":"Our exhibition is going well, it’s a success. The critics are tearing us apart. . . . I’m going back to my studies, it’s better than reading the reviews; there’s nothing to be learned from them.","by":"Pissarro to his friend Théodore Duret, Pontoise, May 5, 1874","id":"6acdc5b96d94764c1ea79828","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/039_Camille_Pissarro_The_Garden_of_Les_Mathurins_at_Pontoise.jpg?w=1200","caption":"Dieses Anwesen bewohnt die bekannte Frauenrechtlerin Maria Deraismes. Pissarro teilt ihre fortschrittlichen Ansichten. The Garden of Les Mathurins at Pontoise, 1876, The Nelson-Atkins Museum of Art, Kansas City, Missouri (Purchase: William Rockhill Nelson Trust). 60–38, Image courtesy of Nelson-Atkins Digital Production & Preservation, Joshua Ferdinand","id":"6acdc5b96d94764c1ea79829","image":null},{"blockType":"paragraph","text":"Pissarro was represented with numerous works at all eight Impressionist exhibitions. His paintings, unlike those of his friends Claude Monet and Pierre-Auguste Renoir, almost never showed the lifestyle and leisure of the well-heeled upper class. He was interested in the simple folk, the hardworking rural population—but such motifs were not popular among buyers, and Pissarro had a hard time making sales.","id":"6acdc5b96d94764c1ea7982a","image":null},{"blockType":"paragraph","text":"Avant-garde decoration: Pissarro’s painted fans were shown at multiple Impressionist exhibitions. At that time, fans were all the rage in Paris. Inspired by Japanese craftsmanship, they flooded the market not only as elegant ladies’ accessories, but also as wall decoration. The unusual format appealed to the experimentally-minded Pissarro, who also hoped for a new source of income and a broader base of buyers to remedy his ongoing financial straits.","id":"6acdc5b96d94764c1ea7982b","image":null},{"blockType":"heading","text":"Pissarro at Home","id":"6acdc5b96d94764c1ea7982c","image":null},{"blockType":"quote","text":"I don’t think he has much say in the household, where his wife wears the pants.","by":"Theo van Gogh, writing about Pissarro to his brother Vincent van Gogh, 1889","id":"6acdc5b96d94764c1ea7982d","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/026_Camille_Pissarro_Portrait_of_the_Artist_2.jpg?w=1200","caption":"Pissarro seldom painted himself. Portrait of the Artist, 1873, Musée d'Orsay, Paris, Donation Paul-Emile Pissarro, 1930, © akg-images / Laurent Lecat","id":"6acdc5b96d94764c1ea7982e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/027_Camille_Pissarro_Julie_Pissarro_Sewing_Beside_a_Window.jpg?w=1200","caption":"The artist shows his wife Julie working on her sewing. Julie Pissarro Sewing Beside a Window, 1877, The Ashmolean Museum, University of Oxford. Presented by Esther Pissarro, 1951","id":"6acdc5b96d94764c1ea7982f","image":null},{"blockType":"paragraph","text":"Pissarro’s family was tremendously important to him. When he and his wife Julie meet, she is working as a kitchen maid for his parents. The daughter of a winegrower’s family in Burgundy, Julie Vellay came from simple circumstances. Eight children are born from their marriage that lasts a lifetime. However Pissarro’s unstable income was often a source of conflict. Julie contributed to the support of the large family through thrifty household management and the cultivation of her own vegetable garden.","id":"6acdc5b96d94764c1ea79830","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/028_Camille_Pissarro_Portrait_of_Jeanne_Pissarro.jpg?w=1200","caption":"The painter sensitively portrays his little daughter Jeanne, known as Minette, wearing a pink dress . . . Portrait of Jeanne Pissarro, 1872, Yale University Art Gallery, New Haven, John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Collection","id":"6acdc5b96d94764c1ea79831","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/029_Camille_Pissarro_Jeanne_Pissarro_Minette_Holding_a_Fan_2.jpg?w=1200","caption":". . . and again four years later, weakened by illness. Minette died at the age of only nine. Jeanne Pissarro (Minette) Holding a Fan, 1873, The Ashmolean Museum, University of Oxford. Bequeathed by Esther Pissarro, 1952","id":"6acdc5b96d94764c1ea79832","image":null},{"blockType":"paragraph","text":"Pissarro lovingly participated in the rearing of his children. As a devoted father with liberal educational ideals, he did everything in his power to encourage their creativity. All five of his sons embraced artistic professions—whether in printmaking or the field of the applied arts—despite his wife Julie’s concern over the difficulty of earning a living as an artist.","id":"6acdc5b96d94764c1ea79833","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"1A3_2-min.jpeg","mimeType":"image/jpeg","filesize":144833,"width":1920,"height":1183,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:28:56.871Z","updatedAt":"2025-06-24T16:28:56.871Z","id":"685ad2489dc10a4724507b04","url":"/cms/api/media/file/1A3_2-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a3_2-opt.glb","mimeType":"application/octet-stream","filesize":362880,"createdAt":"2025-06-24T15:47:20.177Z","updatedAt":"2025-06-28T07:59:54.710Z","thumbnailURL":null,"url":"/cms/api/media/file/1a3_2-opt.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a3_2-opt.glb","mimeType":"application/octet-stream","filesize":362880,"createdAt":"2025-06-24T15:47:20.177Z","updatedAt":"2025-06-28T07:59:54.710Z","thumbnailURL":null,"url":"/cms/api/media/file/1a3_2-opt.glb","id":"685ac8889dc10a472450731b"},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Bilder des Landlebens. Wirklichkeit und Utopie","id":"6acdc5bc6d94764c1ea7983d","image":null},{"blockType":"paragraph","text":"Immer größeren Stellenwert gewinnen in Pissarros Landschaften die Menschen. Würdevoll und mit Respekt schildert der Maler die bäuerliche Bevölkerung bei ihrer Arbeit. Eingebunden in den Rhythmus und Kreislauf der Jahreszeiten widmen sie sich dem Heumachen, Ernten, Pflanzen und Säen wie vor Jahrhunderten. Die großstädtische Hektik scheint weit weg. In diesen Bildern liegt auch eine gesellschaftliche Utopie: der Traum von einem selbstbestimmten Leben und gemeinschaftlicher Arbeiten im Einklang mit der Natur.","id":"6acdc5bc6d94764c1ea7983e","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/054_Camille_Pissarro_The_Pork_Butcher.jpg?w=1200","caption":"Frauen bei der Arbeit: Ein junge Marktfrau in weißer Schürze richtet ihren Verkaufsstand. Die Metzgerin, 1883, Tate, Vermächtnis Lucien Pissarro, der Sohn des Künstlers 1944","id":"6acdc5bc6d94764c1ea7983f","image":null},{"blockType":"paragraph","text":"Ob auf den Märkten oder bei der Feldarbeit: Meist rückt Pissarro die Frauen in den Blick. Die alltägliche Arbeit geht ihnen anscheinend leicht von der Hand. Zufrieden wirken sie, aktiv zupackend, fachkundig und lebendig. Ein ganz neues Frauenbild prägt der Maler hier: frei von erotischen Untertönen und den überlieferten Geschlechterstereotypen der Kunstgeschichte.","id":"6acdc5bc6d94764c1ea79840","image":null},{"blockType":"paragraph","text":"Von Plage, Mühsal und Erschöpfung ist nichts zu spüren, wenn Pissarro die Landbevölkerung schildert. Auch für eine Pause oder ein Gespräch bei der Arbeit bleibt immer Zeit. Die rhythmischen Bewegungen der meist weiblichen Figuren gleichen einem tänzerischen Reigen und sind sorgfältig durchchoreographiert. Die aufwendigen mehrfigurigen Kompositionen bereitet der Maler sorgfältig in vielen Skizzen und Studien vor.","id":"6acdc5bc6d94764c1ea79841","image":null},{"blockType":"quote","text":"Herr Pissarro hat längst aufgehört, ausschließlich vor der Natur zu arbeiten und ihre flüchtigen (...) Details wiederzugeben. Er hält zunächst in Aquarell oder Pastell die Physiognomie eines Ortes, das Aussehen eines Bauern (...) fest, dann geht er fernab vom Motiv an die kompositorische Arbeit (...): Übrig bleiben nur die wesentlichen Aspekte.","by":"Der Kritiker Georges Lecomte, 1892","id":"6acdc5bc6d94764c1ea79842","image":null},{"blockType":"heading","text":"Pissarros Anarchismus","id":"6acdc5bc6d94764c1ea79843","image":null},{"blockType":"paragraph","text":"Der Künstler beschäftigt sich intensiv mit den Gesellschaftsutopien anarchistischer Schriftsteller und Denker. Er liest Schriften von Pierre-Joseph Proudhon und Pjotr Alexejewitsch Kropotkin, diskutiert darüber mit seinen Kindern und Freunden. Pissarro abonniert anarchistische Zeitschriften und liefert teilweise selbst Illustrationen dafür. Die Anarchisten lehnen jede Form von Herrschaft ab. In der freien Selbstorganisation der Menschen sehen sie die Chance auf ein besseres Leben für alle. Eine Schlüsselrolle soll dabei den selbstständig arbeitenden Bauern zukommen.","id":"6acdc5bc6d94764c1ea79844","image":null},{"blockType":"quote","text":"Alle Künste sind anarchistisch, wenn sie gut und schön sind!","by":"Pissarro an Octave Mirbeau, Éragny-sur-Epte, 30. September 1892","id":"6acdc5bc6d94764c1ea79845","image":null},{"blockType":"paragraph","text":"In seinen Gemälden bringt Pissarro seine politischen Überzeugungen nur unterschwellig zum Ausdruck. Konkreter wird er im Album „Soziale Schandtaten“ („Turpitudes Sociales“). Die Tuschezeichnungen üben scharfe Kritik an gesellschaftlichen Missständen. Er schickt die karikaturhaften Darstellungen an seine Nichten in England. Sie sollen verstehen, was falsch läuft in Staat und Politik.","id":"6acdc5bc6d94764c1ea79846","image":null},{"blockType":"quote","text":"Meine liebe Nichte, ich kann sehr gut verstehen, dass Du von Politik nicht viel weißt, (...); das allgemeine Wahlrecht, musst Du wissen, ist ein Herrschaftsinstrument der kapitalistischen Bourgeoisie (...). Also Nein zur Regierung, zum Staat, zu den Kapitalisten (...). Ich lege Dir das bemerkenswerte Buch von Kropotkin ans Herz, (...) – in einem ganz einfachen Stil, leicht zu lesen und glasklar!","by":"An seine Nichte Esther Isaacson, Éragny-sur-Epte, 12. Dezember 1885","id":"6acdc5bc6d94764c1ea79847","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/MEX_Coleccion_Perez_Simon_Berger_et_moutons_Kopie.png?w=1200","caption":"Viele Werke Pissarros lassen seine politische Haltung und seine Hoffnung auf eine Harmonie zwischen Mensch und Natur durchschimmern. Schäfer und Schafe, 1890, Colección Pérez Simón, Photo: Arturo Piera","id":"6acdc5bc6d94764c1ea79848","image":null},{"blockType":"quote","text":"Ich habe gerade das Buch von Kropotkin gelesen. Man muss zugeben, wenn es auch utopisch ist, so ist es auf jeden Fall ein schöner Traum. Und da wir schon oft Beispiele für Utopien hatten, aus denen Realität geworden ist, hindert uns nichts daran, zu glauben, dass das eines Tages möglich sein wird, es sei denn, der Mensch versinkt und kehrt zur völligen Barbarei zurück.","by":"Pissarro an Octave Mirbeau, Éragny-sur-Epte, 21. April 1892","id":"6acdc5bc6d94764c1ea79849","image":null}],"en":[{"blockType":"heading","text":"Images of Rural Life. Reality and Utopia","id":"6acdc5be6d94764c1ea79853","image":null},{"blockType":"paragraph","text":"Human figures played an increasingly important role in Pissarro’s landscapes. He showed the peasants at work, portraying them with dignity and respect. Integrated into the rhythm and cycle of the seasons, they turn hay, harvest, plant, and sow, just as in centuries gone by, seemingly far removed from the hustle and bustle of the big city. Such images also convey the vision of a social utopia, the dream of a self-determined life and communal work in harmony with nature.","id":"6acdc5be6d94764c1ea79854","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/054_Camille_Pissarro_The_Pork_Butcher.jpg?w=1200","caption":"Women at work: a young butcher woman in a white apron arranges her market stall. The Pork Butcher, 1883, Tate, Bequeathed by Lucien Pissarro, the artist's son 1944","id":"6acdc5be6d94764c1ea79855","image":null},{"blockType":"paragraph","text":"Whether selling at the markets or laboring in the field, the figures Pissarro portrayed were most often women. They perform their daily tasks with ease; they seem content, energetic, skilled, and lively. In such works, the painter shaped an entirely new image of womanhood, free of erotic undertones and the traditional gender stereotypes of art history.","id":"6acdc5be6d94764c1ea79856","image":null},{"blockType":"paragraph","text":"Pissarro’s images of rural life show no evidence of plague, toil, or exhaustion; it seems there is always time for a break or to engage in conversation while working. The rhythmic movements of the figures, primarily women, resemble a round dance and are carefully choreographed. The painter meticulously developed his elaborate multifigure compositions through numerous sketches and studies.","id":"6acdc5be6d94764c1ea79857","image":null},{"blockType":"quote","text":"For a long time now, Mr. Pissarro had ceased to work exclusively in front of nature, to render its momentary . . . details. After having fixed in watercolor or pastel the physiognomy of a site, the appearance of a farmer . . . , he devotes himself, far from the motif, to a work of composition . . . : only the essential aspects . . . remain.","by":"The critic Georges Lecomte, 1892","id":"6acdc5be6d94764c1ea79858","image":null},{"blockType":"heading","text":"Pissarro’s Anarchism","id":"6acdc5be6d94764c1ea79859","image":null},{"blockType":"paragraph","text":"The artist was deeply interested in the social ideas of anarchistic writers and thinkers. He read the works of Pierre-Joseph Proudhon and Pyotr Alexeyevich Kropotkin and discussed them with his children and friends. Pissarro subscribed to anarchist magazines, and sometimes even provided illustrations for them. The anarchists rejected all forms of government. For them, the free self-organization of people in society was the path to a better life for all, with the independent labor of self-sufficient farmers playing a central role.","id":"6acdc5be6d94764c1ea7985a","image":null},{"blockType":"quote","text":"All the arts are anarchistic when they are beautiful and good!","by":"Pissarro to Octave Mirbeau, Éragny-sur-Epte, September 30, 1892","id":"6acdc5be6d94764c1ea7985b","image":null},{"blockType":"paragraph","text":"Pissarro voiced his political convictions only subliminally in his paintings. He expressed himself more pointedly in the album Turpitudes Sociales (Social Disgraces), where he used ink drawings to sharply criticize the ills of society. He sent these caricature-like images to his nieces in England to instruct them in the failings of government and politics.","id":"6acdc5be6d94764c1ea7985c","image":null},{"blockType":"quote","text":"My dear niece, I understand perfectly that you may not be familiar with political matters. . . . However, you should know that universal suffrage [is] the instrument of domination for the capitalist bourgeoisie. . . . So—no government, no state, no capitalists. . . . I refer you to Kropotkin’s truly remarkable book, written in a very simple style, easy to read, and as clear as crystal!","by":"Pissarro to his niece Esther Isaacson, Éragny-sur-Epte, December 12, 1885","id":"6acdc5be6d94764c1ea7985d","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/MEX_Coleccion_Perez_Simon_Berger_et_moutons_Kopie.png?w=1200","caption":"Pissarro’s political convictions and his hope for harmony between man and nature shine through in many of his works. Shepherd and Sheep, 1890, Colección Pérez Simón, Photo: Arturo Piera","id":"6acdc5be6d94764c1ea7985e","image":null},{"blockType":"quote","text":"I have just read Kropotkin’s book. It must be admitted that if it’s utopian, in any case it’s a beautiful dream. And because we have often had examples of utopias become realities, nothing prevents us from believing that it will be possible one day, unless man sombers and returns to complete barbarity.","by":"Pissarro to Octave Mirbeau, Éragny-sur-Epte, April 21, 1892","id":"6acdc5be6d94764c1ea7985f","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"1A4-min.jpeg","mimeType":"image/jpeg","filesize":310231,"width":2880,"height":1430,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:29:13.072Z","updatedAt":"2025-06-24T16:29:13.072Z","id":"685ad2599dc10a4724507b46","url":"/cms/api/media/file/1A4-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a4-opt.glb","mimeType":"application/octet-stream","filesize":495732,"createdAt":"2025-06-24T15:47:46.184Z","updatedAt":"2025-06-28T08:00:19.830Z","thumbnailURL":null,"url":"/cms/api/media/file/1a4-opt.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a4-opt.glb","mimeType":"application/octet-stream","filesize":495732,"createdAt":"2025-06-24T15:47:46.184Z","updatedAt":"2025-06-28T08:00:19.830Z","thumbnailURL":null,"url":"/cms/api/media/file/1a4-opt.glb","id":"685ac8a29dc10a472450735d"}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"1A5-min.jpeg","mimeType":"image/jpeg","filesize":155313,"createdAt":"2025-06-24T16:29:33.830Z","updatedAt":"2025-06-28T08:14:15.296Z","height":1293,"thumbnailURL":null,"url":"/cms/api/media/file/1A5-min.jpeg","width":1920,"id":"685ad26d9dc10a4724507b7e"},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a5-opt.glb","mimeType":"application/octet-stream","filesize":610256,"createdAt":"2025-06-28T08:15:17.737Z","updatedAt":"2025-06-28T08:15:17.737Z","id":"685fa495f5c4cef12a03b13f","url":"/cms/api/media/file/1a5-opt.glb","thumbnailURL":null},"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1a5-opt.glb","mimeType":"application/octet-stream","filesize":610256,"createdAt":"2025-06-28T08:15:17.737Z","updatedAt":"2025-06-28T08:15:17.737Z","id":"685fa495f5c4cef12a03b13f","url":"/cms/api/media/file/1a5-opt.glb","thumbnailURL":null},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Tausende farbige Punkte. Experiment Neoimpressionismus","id":"6acdc5c16d94764c1ea79869","image":null},{"blockType":"paragraph","text":"Eine neue Wendung nimmt Pissarros Entwicklung, als er 1885 den jungen Künstlern Paul Signac und Georges Seurat begegnet. Sie hätten vom Alter her seine Söhne sein können. Ihre Art zu malen begeistert ihn. Angeregt von aktuellen naturwissenschaftlichen Erkenntnissen im Bereich der Optik und Farbtheorie setzen sie winzige Tupfen in Reinfarben nebeneinander. Statt auf der Palette mischen sich die Farbtöne erst im Auge der Betrachtenden. Pissarro lässt sich auf das Abenteuer Neoimpressionismus ein. Die anderen Impressionisten bleiben skeptisch.","id":"6acdc5c16d94764c1ea7986a","image":null},{"blockType":"quote","text":"Es ist merkwürdig: Wenn man mit der Punkttechnik arbeitet, mit Zeit, mit Geduld, erreicht man nach und nach eine erstaunliche Zartheit.","by":"An seinen Sohn Lucien, Éragny, 30. Dezember 1886","id":"6acdc5c16d94764c1ea7986b","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/074_Camille_Pissarro_Hoarfrost_Peasant_Girl_Making_a_Fire.jpg?w=1200","caption":"Es ist ein eisiger, sonniger Wintertag. Ein Feuerchen aus gesammelten Ästen spendet Wärme. Raureif, eine junge Bäuerin macht Feuer, 1888, Sammlung Hasso Plattner, Museum Barberini, Potsdam","id":"6acdc5c16d94764c1ea7986c","image":null},{"blockType":"paragraph","text":"Hitze und Kälte, Licht und Schatten, Ferne und Nähe: Gegensätze vereinigen sich in einem flirrenden Spiel farbiger Pinselspuren. Die neoimpressionistische Tüpfeltechnik ist für Pissarro eine Weiterentwicklung des Impressionismus. Ihm geht es dabei vor allem um das, was er Synthese nennt: Pissarro will die Gegensätze im Bild zu einer harmonischen Einheit formen. Dieses Ziel verfolgt er schon länger.","id":"6acdc5c16d94764c1ea7986d","image":null},{"blockType":"quote","text":"Die moderne Synthese anstreben, mit wissenschaftlich fundierten Mitteln, die auf der von Chevreul entdeckten Farbtheorie, den Experimenten von Maxwell und den Messungen von N. O. Rood basieren. (...) Denn die optische Mischung ruft eine viel intensivere Leuchtkraft hervor als die Pigmentmischung.","by":"Pissarro an seinen Galeristen Durand-Ruel, 1886","id":"6acdc5c16d94764c1ea7986e","image":null},{"blockType":"quote","text":"Die Neoimpressionisten versuchen, die Landschaft zu einem endgültigen Erscheinungsbild zu synthetisieren, das ihre Empfindung verewigt.","by":"Der Kritiker Felix Fénéon, 1887","id":"6acdc5c16d94764c1ea7986f","image":null},{"blockType":"paragraph","text":"Neoimpressionistisch zu malen erweist sich als zeitraubend, langwierig und erfordert ein sehr planmäßiges Vorgehen. Pissarro merkt mit der Zeit, dass ihn das starre System der Farbzerlegung einengt. Er fühlt sich darin beschränkt, seine spontanen Empfindungen auf die Leinwand zu bringen. Nach vier Jahren gibt er das stilistische Abenteuer auf. Aber die gemachten Erfahrungen bereichern ihn, er bezieht die neue Malweise fortan mit ein.","id":"6acdc5c16d94764c1ea79870","image":null},{"blockType":"heading","text":"Das Atelier in Éragny-sur-Epte","id":"6acdc5c16d94764c1ea79871","image":null},{"blockType":"paragraph","text":"In dem kleinen Dorf Éragny-sur-Epte nordwestlich von Paris nahe der Grenze zur Normandie findet Pissarro eine dauerhafte Bleibe, nach vielen Jahren häufiger Umzüge. Endlich leistet er sich hier ein großzügiges Atelier in der umgebauten Scheune. Dies wird um so wichtiger, als der älter werdende Künstler an einer chronischen Augenentzündung leidet. Auf das Malen im Freien muss er phasenweise ganz verzichten. Pissarro malt weiterhin vor dem Motiv, aber eben vom Fenster aus – mit Blick nach draußen.","id":"6acdc5c16d94764c1ea79872","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/059_Camille_Pissarro_Plum_Trees_in_Blossom_Eragny_2.jpg?w=1200","caption":"Blick in den Garten: Obstblüte in Éragny!. Blühende Pflaumenbäume, Éragny, 1894, Ordrupgaard, Kopenhagen, © Heritage Images / Fine Art Images / akg-images","id":"6acdc5c16d94764c1ea79873","image":null},{"blockType":"paragraph","text":"Auf zahlreichen Bildern Pissarros taucht das Haus in Éragny auf. Es hat eine großen Garten und liegt von Feldern umgeben. Julie Pissarro baut Gemüse und Obst an, hält zeitweise auch Hühner. Anfangs wohnen die Pissarros hier zur Miete. Ein Darlehen von Claude Monet ermöglicht es schließlich, das Haus zu kaufen. Die Initiative dazu kam von Julie Pissarro, ohne sich mit ihrem Mann abzusprechen.","id":"6acdc5c16d94764c1ea79874","image":null},{"blockType":"quote","text":"Dieses Atelier ist großartig, aber ich sage mir oft: Wozu brauche ich ein Atelier? Früher habe ich meine Bilder überall gemalt; zu jeder Jahreszeit, in brütender Hitze, bei Regen, in klirrender Kälte... [...] Ob ich in dieser neuen Umgebung werde arbeiten können???","by":"Pissarro an seine Söhne Lucien, Georges und Félix, Éragny-sur-Epte, 28. September 1893","id":"6acdc5c16d94764c1ea79875","image":null},{"blockType":"paragraph","text":"Das ländliche Umfeld von Éragny inspiriert Pissarro. Einen kurzen Spaziergang entfernt auf der anderen Uferseite des Flüsschens Epte liegt das Nachbardorf Bazincourt. Immer wieder kehrt der Maler an den gleichen Standort zurück. So entstehen über Jahre zahlreiche Variationen eines Motivs. Sie zeigen ein von menschlicher Arbeit geprägtes Stück Natur: mit Weideland, Streuobstwiesen und Alleebäumen.","id":"6acdc5c16d94764c1ea79876","image":null}],"en":[{"blockType":"heading","text":"A Thousand Colored Dots. Experiments in Neo-Impressionism","id":"6acdc5c36d94764c1ea79880","image":null},{"blockType":"paragraph","text":"Pissarro’s painterly development took a new turn in 1885 when he met the artists Paul Signac and Georges Seurat, who were young enough to be his sons. He was fascinated by their approach: inspired by current scientific discoveries in the field of optics and color theory, they juxtaposed tiny dots of paint in pure hues, allowing the colors to mix not on the palette, but in the viewer’s eye. Pissarro embarked upon the adventure of Neo-Impressionism. The other Impressionists remained skeptical.","id":"6acdc5c36d94764c1ea79881","image":null},{"blockType":"quote","text":"It’s curious, this work with the dot—with time, with patience, little by little, one achieves an astonishing softness.","by":"Pissarro to his son Lucien, Éragny-sur-Epte, December 30, 1886","id":"6acdc5c36d94764c1ea79882","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/074_Camille_Pissarro_Hoarfrost_Peasant_Girl_Making_a_Fire.jpg?w=1200","caption":"The winter day is both sunny and icy. A small fire of twigs and branches offers warmth. Hoar-Frost, Peasant Girl Making a Fire, 1888, Hasso Plattner Collection, Museum Barberini, Potsdam","id":"6acdc5c36d94764c1ea79883","image":null},{"blockType":"paragraph","text":"Heat and cold, light and shadow, distance and proximity: Pissarro combines opposites into a shimmering play of colored dots. For him, the Neo-Impressionist technique was a further development of Impressionism. His primary concern was to achieve what he called a “synthesis,” a blending of opposites into a harmonious pictorial unity—a goal he had long pursued.","id":"6acdc5c36d94764c1ea79884","image":null},{"blockType":"quote","text":"To seek a modern synthesis through methods grounded in science, based on the color theory discovered by M. Chevreul and after the experiments of Maxwell and the measurements of N. O. Rood. . . . Because optical mixing evokes much more intense luminosity than the mixing of pigments.","by":"Pissarro to his art dealer Durand-Ruel, 1886","id":"6acdc5c36d94764c1ea79885","image":null},{"blockType":"quote","text":"What the Neo-Impressionists are trying to do is synthesize the landscape into a definitive appearance that perpetuates the sensation.","by":"The critic Felix Fénéon, 1887","id":"6acdc5c36d94764c1ea79886","image":null},{"blockType":"paragraph","text":"Painting in the Neo-Impressionist style proved time-consuming and tedious and required the artist to adopt a highly regimented process. Over time, Pissarro began to feel constrained in his spontaneous sensations and limited by this rigid system of color dissection. After four years, he abandoned the stylistic experiment. But the experiences he had gained enriched his work, and from then on he incorporated aspects of this new approach into his painting.","id":"6acdc5c36d94764c1ea79887","image":null},{"blockType":"heading","text":"The Studio in Éragny-sur-Epte","id":"6acdc5c36d94764c1ea79888","image":null},{"blockType":"paragraph","text":"After many years of frequent moves, Pissarro finally found a permanent home in the small village of Éragny-sur-Epte northwest of Paris near the border of Normandy. There, he was finally able to set up a large studio in the renovated barn. This step was all the more important since the aging artist suffered from a chronic eye condition and was unable to work outside during some phases of his career. Pissarro continued to paint directly from the motif, but now from the window, gazing out at the world.","id":"6acdc5c36d94764c1ea79889","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/059_Camille_Pissarro_Plum_Trees_in_Blossom_Eragny_2.jpg?w=1200","caption":"A view of the garden: fruit blossoms in Éragny!. Plum Trees in Blossom, Éragny, 1894, Ordrupgaard, Copenhagen, © Heritage Images / Fine Art Images / akg-images","id":"6acdc5c36d94764c1ea7988a","image":null},{"blockType":"paragraph","text":"The house in Éragny appears in numerous paintings by Pissarro. Surrounded by fields, the property also had a large garden where the artist’s wife Julie grew vegetables and fruits and sometimes kept chickens. At first, the Pissarros only rented the home; ultimately, however, they were able to buy it with the help of a loan from Claude Monet. It was Julie Pissarro who seized the initiative and asked for financial assistance, without first discussing it with her husband.","id":"6acdc5c36d94764c1ea7988b","image":null},{"blockType":"quote","text":"It’s a first-rate atelier, but I keep saying to myself, what’s the point of having a studio? In the old days, I did my painting anywhere; in every season, in sweltering heat, under rain, in horrid cold spells. . . . Am I going to be able to work in this new environment???","by":"Pissarro to his sons Lucien, Georges, and Félix, Éragny-sur-Epte, September 28, 1893","id":"6acdc5c36d94764c1ea7988c","image":null},{"blockType":"paragraph","text":"Pissarro was inspired by the rural environment of Éragny. A short stroll away on the other side of the small river Epte lay the neighboring village of Bazincourt. Pissarro returned to the same location again and again, creating numerous variations of a motif over a period of years. The scene shows a slice of nature shaped by the work of human hands, with pastureland, orchard meadows, and rows of trees.","id":"6acdc5c36d94764c1ea7988d","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"Lel-min.jpeg","mimeType":"image/jpeg","filesize":297985,"width":2880,"height":1414,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:30:07.503Z","updatedAt":"2025-06-28T08:09:30.483Z","thumbnailURL":null,"url":"/cms/api/media/file/Lel-min.jpeg","id":"685ad28f9dc10a4724507bc5"},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"lel-opt-1.glb","mimeType":"application/octet-stream","filesize":1340812,"width":2880,"height":1414,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:30:22.161Z","updatedAt":"2025-06-28T08:03:25.400Z","thumbnailURL":null,"url":"/cms/api/media/file/lel-opt-1.glb","id":"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"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"lel-opt-1.glb","mimeType":"application/octet-stream","filesize":1340812,"width":2880,"height":1414,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:30:22.161Z","updatedAt":"2025-06-28T08:03:25.400Z","thumbnailURL":null,"url":"/cms/api/media/file/lel-opt-1.glb","id":"685ad29e9dc10a4724507bfb"},"furtherReading":{"label":{"de":"","en":""},"blocks":{"de":[{"blockType":"heading","text":"Städte-Serien. Pulsierende Gegenwart","id":"6acdc5c66d94764c1ea79897","image":null},{"blockType":"paragraph","text":"Die quirlige Metropole Paris! Pissarro entdeckt das Thema spät, dann aber intensiv. Kein anderer Impressionist malt so viele Ansichten der Brennpunkte modernen Lebens. Vom ländlichen Éragny reist Pissarro per Eisenbahn in die Hauptstadt, auch um Kontakt zur Kunstszene zu halten. Sein Händler Paul Durand-Ruel bestärkt ihn darin, ganze Serien von Boulevards und Plätzen zu malen. Denn die neuen Großstadtmotive verkaufen sich. Auch die lebhaften Hafenstädte Rouen und Le Havre hält der Maler fest.","id":"6acdc5c66d94764c1ea79898","image":null},{"blockType":"quote","text":"Ich freue mich, dass ich mich an diesen Pariser Straßen versuchen kann, die üblicherweise als hässlich gelten, aber so silberhell leuchten und so lebendig sind – das ist so vollkommen modern!!!","by":"Pissarro an Lucien Pissarro, Paris, 15. Dezember 1897","id":"6acdc5c66d94764c1ea79899","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/097_Camille_Pissarro_Boulevard_Montmartre_Twilight.jpg?w=1200","caption":"Der belebte Boulevard Montmartre fesselt über zwei Monate lang Pissarros Aufmerksamkeit: Sechzehn Ansichten entstehen. Boulevard Montmartre, Abenddämmerung, 1897, Sammlung Hasso Plattner, Museum Barberini, Potsdam","id":"6acdc5c66d94764c1ea7989a","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/098_Camille_Pissarro_Boulevard_Montmartre_Mardi_Gras_Sunset.jpg?w=1200","caption":"Am Mardi Gras, dem Faschingsdienstag, ist der Boulevard schwarz von Menschen. Boulevard Montmartre, Mardi Gras, Sonnenuntergang, 1897, Kunst Museum Winterthur, Ankauf, 1947, © Photo: SIK-ISEA, Zürich, Martin Stollenwerk","id":"6acdc5c66d94764c1ea7989b","image":null},{"blockType":"paragraph","text":"Was macht eine Stadt aus? Seriell erkundet Pissarro es. Für seine Stadtansichten quartiert der Maler sich mit Vorliebe in hochgelegenen Hotelzimmern ein. Er arbeitet an bis zu einem Dutzend Leinwänden parallel, um Licht- und Wetterwechsel einzufangen. Das pulsierende Paris mit Wohnhäusern und Prachtbauten wird zur Kulisse. Wichtiger ist dem Maler das Treiben der Bewohner. Bei Pissarro gehört der Stadtraum allen Menschen, nicht nur den wohlhabenden Flaneuren aus dem Bürgertum.","id":"6acdc5c66d94764c1ea7989c","image":null},{"blockType":"quote","text":"Ich frage mich, ob Durand meine nächste Serie von Gemälden nicht ablehnen wird; ich bin entmutigt, weil es keinen einzigen anderen Kunsthändler gibt, der Geschäfte machen will! [...] Man hält mich für reich; dabei kämpfe ich die ganze Zeit, um über die Runden zu kommen.","by":"An seinen Sohn Lucien, Paris, 17. Januar 1897","id":"6acdc5c66d94764c1ea7989d","image":null},{"blockType":"paragraph","text":"Die bewegte Pinselführung betont die flüchtigen, rasch wechselnden Eindrücke: Eine umfangreiche Serie widmet Pissarro der Pont Neuf, einer wichtigen Verkehrsachse von Paris. Er wählt einen erhöhten Standpunkt, um die Szenerie im Überblick und aus der Distanz zu erfassen. Fast die Hälfte der Leinwand nimmt der schimmernde Himmel ein: auch er ein Schauspiel ständigen Wandels.","id":"6acdc5c66d94764c1ea7989e","image":null},{"blockType":"quote","text":"Städte haben eine besondere Physiognomie, die den Maler unweigerlich anzieht: belebt, anonym, geschäftig, geheimnisvoll.","by":"Der Kritiker Gustave Geffroy über Pissarros Stadtansichten, 1898","id":"6acdc5c66d94764c1ea7989f","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/FR_Le_Havre_Musee_d_art_moderne_Andre_Malraux_Pilots_Jetty_or_the_Anse_des_Pilotes_1903.jpg?w=1200","caption":"Modernes Hafenleben mit Schaulustigen am Kai und einem öffentlichen Pissoir im Vordergrund. Die Anse des Pilotes, Le Havre, Morgen, Sonne, steigende Flut, 1903, Musée d’art moderne André Malraux, Le Havre, © MuMa Le Havre / Florian Kleinefenn","id":"6acdc5c66d94764c1ea798a0","image":null},{"blockType":"paragraph","text":"Seine letzte Gemäldeserie malt der Künstler 1903 in Le Havre. Hier hatte Pissarro mit zwölf Jahren erstmals französischen Boden betreten, um ein Internat bei Paris zu besuchen. Als betagter Maler kehrt er an diesen Ort zurück. Er beobachtet und erlebt eine Hafenstadt in rapidem Wandel. Zwei seiner Ansichten kauft das örtliche Museum an. Es ist Pissarros erster Museumsankauf in Frankreich.","id":"6acdc5c66d94764c1ea798a1","image":null},{"blockType":"quote","text":"Manchmal habe ich schreckliche Angst davor, eine Leinwand umzudrehen, weil ich fürchte, dass ich statt des kostbaren Kleinods, das ich gemalt zu haben glaubte, eine Monstrosität vorfinde! [...] Dann gibt es aber wieder Momente, in denen ich mit großer Erleichterung feststelle, dass manches ganz ordentlich geraten ist und meinem Charakter sehr entspricht. Wie dem auch sei – das Malen, überhaupt die Kunst verzaubert mich, das ist mein Leben, was kümmert mich der Rest.","by":"An seinen Sohn Lucien, 20. November 1883","id":"6acdc5c66d94764c1ea798a2","image":null}],"en":[{"blockType":"heading","text":"City series. Pulsating Modernity","id":"6acdc5c86d94764c1ea798ac","image":null},{"blockType":"paragraph","text":"The swirling metropolis of Paris! Only late in his career did Pissarro discover the city as a motif—but then dove into it head first. No other Impressionist created so many scenes of the epicenter of modern life. From rural Éragny, Pissarro took the train into Paris, not least of all in order to maintain contacts in the art world. His dealer Paul Durand-Ruel encouraged him to paint entire series of boulevards and squares, since the new urban motifs sold well. The painter also depicted the bustling port cities of Rouen and Le Havre.","id":"6acdc5c86d94764c1ea798ad","image":null},{"blockType":"quote","text":"I am delighted to attempt these Parisian streets that are generally thought of as ugly, but which are so silvery, so luminous, and so alive—so fully modern!!!","by":"Pissarro to his son Lucien, Paris, December 15, 1897","id":"6acdc5c86d94764c1ea798ae","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/097_Camille_Pissarro_Boulevard_Montmartre_Twilight.jpg?w=1200","caption":"Pissarro spent over two months painting the lively Boulevard Montmartre, producing a total of sixteen views. Boulevard Montmartre, Twilight, 1897, Hasso Plattner Collection, Museum Barberini, Potsdam","id":"6acdc5c86d94764c1ea798af","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/098_Camille_Pissarro_Boulevard_Montmartre_Mardi_Gras_Sunset.jpg?w=1200","caption":"On Mardi Gras, the boulevard is black with crowds of people. Boulevard Montmartre, Mardi Gras, Sunset, 1897, Kunst Museum Winterthur, Ankauf, 1947, © Photo: SIK-ISEA, Zurich, Martin Stollenwerk","id":"6acdc5c86d94764c1ea798b0","image":null},{"blockType":"paragraph","text":"What makes a city? Pissarro explored this question in multiple series of paintings. For his cityscapes, the painter preferred to work from a hotel room high above the street. He painted up to a dozen canvases at a time, seeking to capture the changing effects of light and weather. With its houses and splendid buildings, the urban structure of Paris served as a backdrop for what was more important to Pissarro: the life of the inhabitants. For him, the city belonged to everyone, not merely to wealthy bourgeois flaneurs.","id":"6acdc5c86d94764c1ea798b1","image":null},{"blockType":"quote","text":"I wonder if Durand is going to reject my next series of paintings; I’m feeling discouraged because there isn’t a single other dealer willing to do business! . . . People think I’m rich, but it’s always a struggle to make ends meet.","by":"Pissarro to his son Lucien, Paris, January 17, 1897","id":"6acdc5c86d94764c1ea798b2","image":null},{"blockType":"paragraph","text":"Pissarro used energetic brushstrokes to capture the fleeting, rapidly changing impressions. The artist devoted an extensive series to the Pont Neuf, an important transport axis in Paris. He chose an elevated vantage point, surveying the scenery and depicting it from a distance. The shimmering sky fills almost half the canvas: it, too, offers a drama of constant change.","id":"6acdc5c86d94764c1ea798b3","image":null},{"blockType":"quote","text":"Cities have a distinctive physiognomy—transient, anonymous, bustling, mysterious—that must tempt the painter.","by":"The critic Gustave Geffroy on Pissarro’s cityscapes, 1898","id":"6acdc5c86d94764c1ea798b4","image":null},{"blockType":"image","src":"https://www.museum-barberini.de/images/FR_Le_Havre_Musee_d_art_moderne_Andre_Malraux_Pilots_Jetty_or_the_Anse_des_Pilotes_1903.jpg?w=1200","caption":"The life of a modern port, with spectators along the quay, and a public toilet in the foreground. The Anse des Pilotes, Le Havre, Morning, Sunshine, Tide Rising, 1903, Musée d’art moderne André Malraux, Le Havre, © MuMa Le Havre / Florian Kleinefenn","id":"6acdc5c86d94764c1ea798b5","image":null},{"blockType":"paragraph","text":"Pissarro painted his final series of paintings in Le Havre in 1903. There the artist had first set foot on French soil at the age of twelve on his way to boarding school near Paris. Now, as an aging painter, he returned to this place, observing and experiencing the port city in the throes of rapid change. Two of his views were purchased by the local museum—Pissarro’s first sale to a museum in France.","id":"6acdc5c86d94764c1ea798b6","image":null},{"blockType":"quote","text":"I sometimes have horrible fears of turning a canvas around, always dreading I’ll find a monster instead of the precious jewel I thought I’d made! . . . Yet there are moments when I truly find relief in seeing certain things very solid and very much in keeping with my character. But enough of that. Painting, art in general, enchants me; it’s my life. What does the rest matter?","by":"Pissarro to his son Lucien, November 20, 1883","id":"6acdc5c86d94764c1ea798b7","image":null}]}}},{"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":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"gallery-cover-image","filename":"1B5-min.jpeg","mimeType":"image/jpeg","filesize":292554,"width":2880,"height":1404,"focalX":50,"focalY":50,"createdAt":"2025-06-24T16:30:40.219Z","updatedAt":"2025-06-24T16:30:40.219Z","id":"685ad2b09dc10a4724507c30","url":"/cms/api/media/file/1B5-min.jpeg","thumbnailURL":null},"3dModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1b5-opt.glb","mimeType":"application/octet-stream","filesize":593684,"createdAt":"2025-06-24T15:49:03.616Z","updatedAt":"2025-06-28T08:01:08.879Z","thumbnailURL":null,"url":"/cms/api/media/file/1b5-opt.glb","id":"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 Series"},"ownModel":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"3d-model","filename":"1b5-opt.glb","mimeType":"application/octet-stream","filesize":593684,"createdAt":"2025-06-24T15:49:03.616Z","updatedAt":"2025-06-28T08:01:08.879Z","thumbnailURL":null,"url":"/cms/api/media/file/1b5-opt.glb","id":"685ac8ef9dc10a472450741c"}}],"artworkList":[{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"002","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1854","en":"1854"},"technique":{"de":"Graphit auf cremefarbenem Velinpapier","en":"Graphite on cream wove paper"},"description":{"de":"Schon in den frühen Skizzen schärfte Pissarro seinen Blick für die einfachen, alltäglichen Motive. Esel und Figuren erfasste er schematisch mit nur wenigen Umrisslinien. Sein Augenmerk lag auf der Baumgruppe, die er mit Schraffuren geübt wiedergab. Das Blatt entstand in Südamerika, motivisch erinnert es an die französische Malerei des Realismus.","en":"In his early sketches, Pissarro was already honing his eye for simple, everyday motifs. The donkeys and figures are indicated schematically in only a few contour lines. The artist focused his attention on the group of trees, skillfully rendering them with hatch marks. The motif of this drawing, which was created in South America, recalls the painting of French Realism."},"measurements":"26,9 x 35,5 cm","credit":{"de":"Clark Art Institute, Williamstown, Massachusetts, Schenkung Gayllis R. Ward in Erinnerung an Chester D. Ward, Jr.","en":"Clark Art Institute, Williamstown, Massachusetts, USA, gift of Gayllis R. Ward in memory of Chester D. Ward, Jr."},"copyrightArtist":null,"copyrightFoto":"Image courtesy Clark Art Institute. clarkart.edu ","modelData":{"matterport":{"insideView":{"sweepId":"1d463790d3c640c5af5247c46ab6cbe8","rotation":{"x":0.25,"y":90.53}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.5,"z":0.66},"position":{"x":6.35,"y":-5.83,"z":-3.89,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.57,"z":0.28},"position":{"x":6.32,"y":-6.37,"z":-4.5,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":4.1,"y":2.8,"z":16.9},"floorplan":{"x":2.8,"y":-6.9,"z":18.4}}}},"createdAt":"2025-05-28T12:51:13.334Z","updatedAt":"2026-02-24T19:44:10.261Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"002_Camille-Pissarro_Landscape-with-Donkeys,-Venezuela.jpg","mimeType":"image/jpeg","filesize":1855000,"width":8941,"height":6761,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:27:31.448Z","updatedAt":"2025-05-30T15:27:31.448Z","id":"6839ce63ed4658a40e9e96a4","url":"/cms/api/media/file/002_Camille-Pissarro_Landscape-with-Donkeys%2C-Venezuela.jpg","thumbnailURL":null},"title":{"de":"Landschaft mit Eseln, Venezuela","en":"Landscape with Donkeys, Venezuela"},"id":"683706c1d0f800769f0ff137"},"id":"683706c29081c3a00da17220"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"001","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1852","en":"1852"},"technique":{"de":"Bleistift und Tinte auf Papier","en":"Pencil and ink on paper"},"description":{"de":"Die Zeichnung gehört zu den ersten Arbeiten, die Pissarro in Venezuela anfertigte. Inmitten der urwüchsigen Natur zeigt er eine Gruppe weiblicher Figuren, die Lasten auf ihren Köpfen tragen. Das Motiv der werktätigen Frau findet sich wiederholt in Pissarros Frühwerk. Er zeigte die Frauen, darunter auch ehemalige Sklavinnen, in würdevollen Posen.","en":"This drawing is among the first works Pissarro created in Venezuela. It shows a group of female figures in an unspoiled natural setting, carrying burdens on their heads. The motif of working women occurs repeatedly in Pissarro’s early oeuvre. He depicted the women, including former slaves, in dignified poses."},"measurements":"26,5 x 35 cm","credit":{"de":"Colección Patricia Phelps de Cisneros","en":"Colección Patricia Phelps de Cisneros"},"copyrightArtist":null,"copyrightFoto":"Gregg Stanger","modelData":{"matterport":{"insideView":{"sweepId":"948ccc1ec3d248528d0ed367f3476de2","rotation":{"x":-0.31,"y":88.11}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.5,"z":0.57},"position":{"x":6.36,"y":-5.84,"z":-5.22,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.46,"z":0.28},"position":{"x":6.32,"y":-6.32,"z":-5.8,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":3.6,"y":3,"z":18.6},"floorplan":{"x":3,"y":-6.9,"z":20.5}}}},"createdAt":"2025-05-28T12:49:13.770Z","updatedAt":"2026-02-24T19:44:24.962Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"001_Camille-Pissarro_La-Guaira.jpg","mimeType":"image/jpeg","filesize":1955534,"width":5039,"height":3842,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:26:42.977Z","updatedAt":"2025-05-30T15:26:42.977Z","id":"6839ce32ed4658a40e9e9695","url":"/cms/api/media/file/001_Camille-Pissarro_La-Guaira.jpg","thumbnailURL":null},"title":{"de":"La Guaira","en":"La Guaira"},"id":"68370649d0f800769f0feb29"},"id":"6837064b9081c3a00da171e2"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"003","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1852","en":"1852"},"technique":{"de":"Bleistift auf Papier","en":"Pencil on paper"},"description":{"de":"In engem Ausschnitt zeigt Pissarro einen Wasserfall, der eine imposante Felswand herabstürzt. Die Figurengruppe vorn links gibt einen Eindruck von den Dimensionen des Naturschauspiels. 1852 war Pissarro mit dem dänischen Maler Fritz Melbye nach Venezuela gereist. Wie die sitzende Figur mit Hut und Zeichenbrett arbeiteten sie hier unmittelbar nach der Natur.","en":"This tightly cropped view shows a waterfall cascading down the face of an imposing cliff. The figures in the left foreground indicate the scale of the natural drama. Pissarro made this drawing in 1852 while traveling in Venezuela with Danish painter Fritz Melbye. Like the seated figure in the image with a hat and a drawing board, they too worked directly from nature."},"measurements":"34,29 x 27,94 cm","credit":{"de":"Colección Patricia Phelps de Cisneros","en":"Colección Patricia Phelps de Cisneros"},"copyrightArtist":null,"copyrightFoto":"Carlos Germán Rojas","modelData":{"matterport":{"insideView":{"sweepId":"b860c5a34d5e4767bc54ca312e61e0d8","rotation":{"x":0.38,"y":0.37}},"artworkCollisionBox":{"geometry":{"x":0.6,"y":0.67,"z":0.1},"position":{"x":7.69,"y":-5.83,"z":-6.73,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.46,"z":0.1},"position":{"x":7.07,"y":-6.31,"z":-6.76,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":2.9,"y":3,"z":19},"floorplan":{"x":2.2,"y":-6.9,"z":21.2}}}},"createdAt":"2025-05-28T12:49:15.514Z","updatedAt":"2026-02-24T19:44:24.713Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"003_Camille-Pissarro_Rio-de-Maiquetía.jpg","mimeType":"image/jpeg","filesize":1997627,"width":4101,"height":5039,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:27:58.851Z","updatedAt":"2025-05-30T15:27:58.851Z","id":"6839ce7eed4658a40e9e96b3","url":"/cms/api/media/file/003_Camille-Pissarro_Rio-de-Maiqueti%CC%81a.jpg","thumbnailURL":null},"title":{"de":"Rio de Maiquetía","en":"Rio de Maiquetía"},"id":"6837064bd0f800769f0feb42"},"id":"6837064c9081c3a00da171e3"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"004","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1853","en":"1853"},"technique":{"de":"Watercolor and graphite on paper #","en":"Watercolor and graphite on paper"},"description":{"de":"Bereits in Venezuela wandte sich Pissarro der Lebenswirklichkeit der einfachen Bevölkerung zu. Statt der prächtigen Bauten der ehemaligen spanischen Kolonialherren wählte er eine unscheinbare Hütte zum Motiv. Pissarro, der schon als Schüler Zeichenunterricht erhalten hatte, nutzte nun auch Aquarellfarben, um die üppige Vegetation und die simple Behausung wiederzugeben.","en":"Already during his time in Venezuela, Pissarro focused on the life of local people. Here he chose as his motif not the splendid buildings of the former Spanish colonial rulers, but a modest hut. Pissarro had taken drawing lessons as a schoolboy; now he also employed watercolor to render the luxuriant vegetation and simple shelter."},"measurements":"22 x 27 cm","credit":{"de":"Colección Patricia Phelps de Cisneros","en":"Colección Patricia Phelps de Cisneros"},"copyrightArtist":null,"copyrightFoto":"Gregg Stanger","modelData":{"matterport":{"insideView":{"sweepId":"37c64cefa8ef436fb6665a545eb9d17b","rotation":{"x":-1.84,"y":-1.67}},"artworkCollisionBox":{"geometry":{"x":0.48,"y":0.44,"z":0.1},"position":{"x":8.94,"y":-5.85,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.46,"z":0.1},"position":{"x":8.44,"y":-6.33,"z":-6.77,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":1.6,"y":3,"z":19},"floorplan":{"x":0.8,"y":-6.9,"z":21.2}}}},"createdAt":"2025-05-28T12:49:11.992Z","updatedAt":"2026-02-24T19:44:25.229Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"004_Camille-Pissarro_Pariata.jpg","mimeType":"image/jpeg","filesize":2064007,"width":5039,"height":4043,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:20.826Z","updatedAt":"2025-05-30T15:28:20.826Z","id":"6839ce94ed4658a40e9e96c2","url":"/cms/api/media/file/004_Camille-Pissarro_Pariata.jpg","thumbnailURL":null},"title":{"de":"Pariata","en":"Pariata"},"id":"68370647d0f800769f0feb10"},"id":"683706499081c3a00da171e1"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"007","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1856","en":"1856"},"technique":{"de":"Öl auf Akademietafel","en":"Oil on academy board"},"description":{"de":"1855 war Pissarro nach Paris gegangen. Einige Bilder mit karibischen Motiven dürfte er von Saint Thomas mitgenommen und später nachdatiert haben, andere malte er vermutlich nach Skizzen oder aus der Erinnerung. Eine Szene wie diese, in die Pissarro eine Figur im Lendenschurz und mit Speer in der Hand einfügte, befriedigte die exotische Schaulust in Frankreich. ","en":"Pissarro had gone to Paris in 1855. He likely took paintings with Caribbean motifs with him from Saint Thomas and later post-dated them, while others he probably painted from sketches or from memory. A scene like this, which Pissarro augmented with a spear-carrying figure clad only in a loincloth, satisfied the taste for the exotic among French audiences."},"measurements":"24,5 x 32,2 cm","credit":{"de":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon","en":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon"},"copyrightArtist":null,"copyrightFoto":"Courtesy National Gallery of Art, Washington","modelData":{"matterport":{"insideView":{"sweepId":"085f28ede2da4287a3cffc29233b1157","rotation":{"x":-1.63,"y":-90.65}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.44,"z":0.53},"position":{"x":13.06,"y":-5.85,"z":-5.44,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.28},"position":{"x":13.1,"y":-6.35,"z":-4.9,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2.1,"y":3,"z":18.5},"floorplan":{"x":-1.8,"y":-6.9,"z":19.4}}}},"createdAt":"2025-05-28T12:51:09.408Z","updatedAt":"2026-02-24T19:44:10.696Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"007_Camille-Pissarro_A-Creek-in-Saint-Thomas-(Virgin-Islands).jpg","mimeType":"image/jpeg","filesize":1877234,"width":4096,"height":3130,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:34.244Z","updatedAt":"2025-05-30T15:28:34.244Z","id":"6839cea2ed4658a40e9e96ef","url":"/cms/api/media/file/007_Camille-Pissarro_A-Creek-in-Saint-Thomas-(Virgin-Islands).jpg","thumbnailURL":null},"title":{"de":"Ein kleiner Fluss auf Saint Thomas (Jungferninseln)","en":"A Creek in Saint Thomas (Virgin Islands)"},"id":"683706bdd0f800769f0ff105"},"id":"683706be9081c3a00da1721e"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"010","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1856","en":"1856"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Die Landschaft mit dem untypischen Hochformat unterscheidet sich von Pissarros anderen Darstellungen von Saint Thomas. Die Pinselführung ist lockerer und die Komposition mit dem verdeckten Weg origineller. In Paris, wo vermutlich auch diese karibische Szene entstand, lernte Pissarro die aktuelle Kunst der Realisten Courbet und Corot kennen.","en":"With its atypical vertical format, this landscape differs from Pissarro’s other images of Saint Thomas. The brushwork is looser, and the composition, featuring a concealed path, is more original. Pissarro probably created this Caribbean scene in Paris, where he also encountered the current art of the Realist painters Courbet and Corot."},"measurements":"47,63 x 38,1 cm","credit":{"de":"Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon, 83.46","en":"Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon, 83.46"},"copyrightArtist":null,"copyrightFoto":"Photo: Sydney Collins, Virginia Museum of Fine Arts","modelData":{"matterport":{"insideView":{"sweepId":"50eacd556d65445faa259b052f7e210e","rotation":{"x":-2.87,"y":-90.58}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.66,"z":0.57},"position":{"x":13.07,"y":-5.82,"z":-4.12,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.28},"position":{"x":13.11,"y":-6.33,"z":-3.56,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2.1,"y":3,"z":17.3},"floorplan":{"x":-1.8,"y":-6.9,"z":17.8}}}},"createdAt":"2025-05-28T12:50:15.292Z","updatedAt":"2026-02-24T19:44:17.335Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"010_Camille-Pissarro_Landscape,-Saint-Thomas.jpg","mimeType":"image/jpeg","filesize":1817417,"width":3073,"height":3750,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:43.233Z","updatedAt":"2025-05-30T15:28:43.233Z","id":"6839ceabed4658a40e9e971c","url":"/cms/api/media/file/010_Camille-Pissarro_Landscape%2C-Saint-Thomas.jpg","thumbnailURL":null},"title":{"de":"Landschaft auf Saint Thomas","en":"Landscape, Saint Thomas"},"id":"68370687d0f800769f0fee62"},"id":"683706889081c3a00da17203"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"008","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1856","en":"1856"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zwei Frauen begegnen sich auf einem Küstenweg. Die eine balanciert Lasten auf ihrem Kopf, die andere trägt einen Korb. Weiter hinten wird im Meer gewaschen. Die indigene Bevölkerung von Saint Thomas war ausgerottet worden, und viele afrikanische Sklaven wurden auf die Insel gebracht, um auf den Zuckerrohrplantagen zu arbeiten. 1848 wurde in den dänischen Kolonien die Sklaverei abgeschafft.","en":"Two women meet on a coastal path: one balances a load on her head, and the other carries a basket. In the background, other figures do their washing in the sea. After the Indigenous population of Saint Thomas had been wiped out, many African slaves were brought to the island to work on the sugar cane plantations. Slavery was abolished in the Danish colonies in 1848."},"measurements":"27,7 x 35,9 cm","credit":{"de":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon","en":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon"},"copyrightArtist":null,"copyrightFoto":"Courtesy National Gallery of Art, Washington","modelData":{"matterport":{"insideView":{"sweepId":"6e1d24e5a3b344bfb5ce52f97609dfa1","rotation":{"x":1.79,"y":-92.68}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.4,"z":0.52},"position":{"x":13.08,"y":-5.84,"z":-2.8,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.28},"position":{"x":13.11,"y":-6.35,"z":-2.25,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2.1,"y":3,"z":15.8},"floorplan":{"x":1.8,"y":-6.9,"z":16.1}}}},"createdAt":"2025-05-28T12:51:07.478Z","updatedAt":"2026-02-24T19:44:10.934Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"401","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_401.mp3","mimeType":"audio/mpeg","filesize":5649212,"createdAt":"2025-06-26T16:24:12.181Z","updatedAt":"2025-06-26T16:24:12.181Z","id":"685d742c71f13d6f5913e9a9","url":"/cms/api/media/file/Pissarro_GER_Erw_401.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_401.mp3","mimeType":"audio/mpeg","filesize":5911256,"createdAt":"2025-06-26T15:58:32.484Z","updatedAt":"2025-06-26T15:58:32.484Z","id":"685d6e2871f13d6f5913e2d9","url":"/cms/api/media/file/Pissarro_ENG_Erw_401.mp3","thumbnailURL":null}}},"id":"685d6dfae266833f8a5887ae"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"008_Camille-Pissarro_Two-Women-Chatting-by-the-Sea,-Saint-Thomas.jpg","mimeType":"image/jpeg","filesize":1334845,"width":4096,"height":2754,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:37.776Z","updatedAt":"2025-05-30T15:28:37.776Z","id":"6839cea5ed4658a40e9e96fe","url":"/cms/api/media/file/008_Camille-Pissarro_Two-Women-Chatting-by-the-Sea%2C-Saint-Thomas.jpg","thumbnailURL":null},"title":{"de":"Zwei Frauen am Meer in ein Gespräch vertieft, Saint Thomas","en":"Two Women Chatting by the Sea, Saint Thomas"},"id":"683706bbd0f800769f0ff0ec"},"id":"683706bc9081c3a00da1721d"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"009","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1856","en":"1856"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In der Anfangszeit in Paris suchte Pissarro nach seiner künstlerischen Handschrift. Er nahm Privatstunden bei akademisch geschulten Lehrern und arbeitete an der Seite von Anton Melbye, der wie dessen Bruder Fritz ein anerkannter Marinemaler war. Pissarro malte recht konventionelle Ansichten seiner karibischen Heimat, die er mit „Pizarro“, der spanischen Schreibweise seines Namens, signierte.","en":"In his early days in Paris, Pissarro was still searching for his own artistic style. He took private lessons from academically trained instructors and worked side by side with Anton Melbye who, like his brother Fritz, was a well-known marine painter. Pissarro produced conventional views of his Caribbean homeland, signing them “Pizarro,” the Spanish spelling of his name."},"measurements":"35 x 53 cm","credit":{"de":"Colección Patricia Phelps de Cisneros","en":"Colección Patricia Phelps de Cisneros"},"copyrightArtist":null,"copyrightFoto":"Christopher Burke Studio","modelData":{"matterport":{"insideView":{"sweepId":"05fbe32eb4834f36a53e553e241eec25","rotation":{"x":-2.22,"y":-89.7}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.55,"z":0.73},"position":{"x":13.06,"y":-5.83,"z":1.24,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.28},"position":{"x":13.12,"y":-6.32,"z":0.49,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2.1,"y":3,"z":11.8},"floorplan":{"x":-1.8,"y":-6.9,"z":10.7}}}},"createdAt":"2025-05-28T12:42:36.379Z","updatedAt":"2026-02-24T19:44:26.985Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"009_Camille-Pissarro_Cove-with-Sailboat.jpg","mimeType":"image/jpeg","filesize":1493238,"width":4992,"height":3233,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:40.441Z","updatedAt":"2025-05-30T15:28:40.441Z","id":"6839cea8ed4658a40e9e970d","url":"/cms/api/media/file/009_Camille-Pissarro_Cove-with-Sailboat.jpg","thumbnailURL":null},"title":{"de":"Kleine Bucht mit Segelboot","en":"Cove with Sailboat"},"id":"683704bc919733fb206800ff"},"id":"683704bd6ad31c9ea5dd0376"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"005","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1854","en":"1854"},"technique":{"de":"Graphit auf Velinpapier ","en":" Transparent watercolor and graphite on wove paper"},"description":{"de":"Bis zum Sommer 1854 hielten sich Pissarround der befreundete Maler Fritz Melbye in Venezuela auf. In der Hauptstadt Caracashatten sie sich ein Atelier eingerichtet. Das Aquarell mit der wuchtigen Steinbrücke entstand dagegen direkt vor Ort. Viel später – in Rouen und dem Paris der Jahrhundertwende – kehrte Pissarro in seiner Malerei zum Motiv der Brücke als Ort der Begegnung zurück.","en":"Pissarro and his painter friend Fritz Melbye remained in Venezuela until the summer of 1854. Although they had set up a studio in the capital city of Caracas, Pissarro chose to paint this watercolor of a massive stone bridge directly on location. Much later, in Rouen and Paris around the turn of the century, he would return to the motif of the bridge as a place of encounter."},"measurements":null,"credit":{"de":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1985","en":"National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1985"},"copyrightArtist":null,"copyrightFoto":"Courtesy National Gallery of Art, Washington","modelData":{"matterport":{"insideView":{"sweepId":"787b323e89b84f70b264c0ba1a67abe0","rotation":{"x":0.01,"y":179.32}},"artworkCollisionBox":{"geometry":{"x":0.58,"y":0.48,"z":0.1},"position":{"x":11.67,"y":-5.85,"z":2.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.52,"z":0.1},"position":{"x":11.09,"y":-6.34,"z":2.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-0.9,"y":3,"z":10.4},"floorplan":{"x":-0.9,"y":-6.9,"z":8.9}}}},"createdAt":"2025-05-28T12:51:15.450Z","updatedAt":"2026-02-24T19:44:10.027Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"401","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_402.mp3","mimeType":"audio/mpeg","filesize":5261888,"createdAt":"2025-06-26T16:13:09.690Z","updatedAt":"2025-06-26T16:13:09.690Z","id":"685d719571f13d6f5913e6a0","url":"/cms/api/media/file/Pissarro_GER_Erw_402.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_402.mp3","mimeType":"audio/mpeg","filesize":5466512,"createdAt":"2025-06-26T16:12:14.897Z","updatedAt":"2025-06-26T16:12:14.897Z","id":"685d715e71f13d6f5913e649","url":"/cms/api/media/file/Pissarro_ENG_Erw_402.mp3","thumbnailURL":null}}},"id":"685d7108e266833f8a5887af"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"005_Camille-Pissarro_Bridge-at-Caracas.jpg","mimeType":"image/jpeg","filesize":1894188,"width":4096,"height":3196,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:24.983Z","updatedAt":"2025-05-30T15:28:24.983Z","id":"6839ce98ed4658a40e9e96d1","url":"/cms/api/media/file/005_Camille-Pissarro_Bridge-at-Caracas.jpg","thumbnailURL":null},"title":{"de":"Brücke in Caracas","en":"Bridge at Caracas"},"id":"683706c3d0f800769f0ff150"},"id":"683706c49081c3a00da17221"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"006","hall":"0A1_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1854-1858","en":"1854-1858"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In Pissarros Marktszene herrscht kein hektisches Durcheinander, sondern gelassene Ruhe. Die vornehmlich weiblichen Figuren sind wohl indigen oder afrokaribisch. Der Künstler hielt sich gerade in Venezuela auf, als dort 1854 die Sklaverei abgeschafft wurde. Pissarro suchte in den Alltagsszenen nicht das Fremde. Für den aus der Karibik stammenden Maler war das Zusammenleben verschiedener Bevölkerungsgruppen seit der Schulzeit Normalität.","en":"Pissarro’s market scene is characterized not by hectic activity, but by serene calm. The figures, most of whom are women, are probably Indigenous or Afro-Caribbean. The artist was present in Venezuela when slavery was abolished there in 1854. For Pissarro, such everyday scenes were not intended to be exotic. As a native of the Caribbean, the painter had been accustomed to the coexistence of different ethnic groups since his school days"},"measurements":"26,67 x 46,04 cm","credit":{"de":"Colección Patricia Phelps de Cisneros","en":"Colección Patricia Phelps de Cisneros"},"copyrightArtist":null,"copyrightFoto":"Carlos Germán Rojas","modelData":{"matterport":{"insideView":{"sweepId":"7c6530c4ff4a47e0accebf92fe8ec97b","rotation":{"x":-3.48,"y":179.47}},"artworkCollisionBox":{"geometry":{"x":0.75,"y":0.53,"z":0.1},"position":{"x":10.19,"y":-5.85,"z":2.65,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.54,"z":0.1},"position":{"x":9.54,"y":-6.37,"z":2.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":0.6,"y":3,"z":10.4},"floorplan":{"x":1.1,"y":-6.9,"z":8.9}}}},"createdAt":"2025-05-28T12:42:34.911Z","updatedAt":"2026-02-24T19:44:27.215Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"006_Camille-Pissarro_A-Plaza-in-Caracas.jpg","mimeType":"image/jpeg","filesize":1976613,"width":3999,"height":2259,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:28:28.069Z","updatedAt":"2025-05-30T15:28:28.069Z","id":"6839ce9ced4658a40e9e96e0","url":"/cms/api/media/file/006_Camille-Pissarro_A-Plaza-in-Caracas.jpg","thumbnailURL":null},"title":{"de":"Ein Platz in Caracas","en":"A Plaza in Caracas"},"id":"683704ba919733fb206800eb"},"id":"683704bb6ad31c9ea5dd0375"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"017","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1868","en":"1868"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Der Kai an der Oise ist bevölkert von Passanten aus unterschiedlichen Milieus: Neben der bürgerlichen Familie, Bäuerinnen und Händlern befinden sich darunter auch Fabrikarbeiter. Im Hintergrund verweist der rauchende Schlot auf die fortschreitende Industrialisierung, die auch die Kleinstadt Pontoise erreicht hatte.","en":"The quay on the Oise River is populated by figures from a variety of milieus: not only a bourgeois family, farm women, and merchants, but also factory workers. The puffing smokestack in the background bears witness to the progressive industrialization that had come even to the small town of Pontoise."},"measurements":"52 x 81 cm","credit":{"de":"Kunsthalle Mannheim","en":"Kunsthalle Mannheim#"},"copyrightArtist":null,"copyrightFoto":"Foto: Kunsthalle Mannheim","modelData":{"matterport":{"insideView":{"sweepId":"e46c06c6859b47438271a3e28db7ad27","rotation":{"x":-2.72,"y":90.39}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.87,"z":1.21},"position":{"x":13.7,"y":-5.86,"z":-3.17,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.33},"position":{"x":13.57,"y":-6.29,"z":-2.2,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-3.2,"y":3,"z":16.1},"floorplan":{"x":-3.2,"y":-6.9,"z":16.8}}}},"createdAt":"2025-05-28T12:50:57.779Z","updatedAt":"2026-02-24T19:44:12.156Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"017_Camille-Pissarro_Quai-du-Pothuis,-Pontoise.jpg","mimeType":"image/jpeg","filesize":2020501,"width":4165,"height":2626,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:32:49.643Z","updatedAt":"2025-05-30T15:32:49.643Z","id":"6839cfa1ed4658a40e9e9785","url":"/cms/api/media/file/017_Camille-Pissarro_Quai-du-Pothuis%2C-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Quai du Pothuis, Pontoise","en":"Quai du Pothuis, Pontoise"},"id":"683706b1d0f800769f0ff06f"},"id":"683706b39081c3a00da17218"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"016","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1867","en":"1867"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Der Spaziergänger am Ufer der Oise betrachtet nicht den Turm der Kathedrale in Pontoise, sondern den daneben aufragenden Fabrikschlot. Weiter flussaufwärts ist die erst 1863 errichtete Eisenbahnbrücke von Pontoise zu erkennen. Früh integrierte Pissarro solche Zeichen der Industrialisierung in seine Landschaftsbilder.","en":"The figure strolling on the banks of the Oise River gazes not at the tower of Pontoise cathedral, but at the tall factory smokestack next to it. Further upriver is the railway bridge of Pontoise, newly constructed in 1863. Pissarro integrated such signs of industrialization into his landscape images early on."},"measurements":"45,7 x 71,4 cm","credit":{"de":"Denver Art Museum, Schenkung der Barnett and Annalee Newman Foundation zu Ehren von Annalee G. Newman","en":"Denver Art Museum, Schenkung der Barnett and Annalee Newman Foundation zu Ehren von Annalee G. Newman"},"copyrightArtist":null,"copyrightFoto":"Photo by Jeff Wells, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"7b51dca63bcb47bf871c9efd11045789","rotation":{"x":-4.82,"y":90.14}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.63,"z":0.89},"position":{"x":13.6,"y":-5.86,"z":-5.06,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.52,"z":0.33},"position":{"x":13.6,"y":-6.35,"z":-4.33,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-3.2,"y":3,"z":18.1},"floorplan":{"x":-3.2,"y":-6.9,"z":19.5}}}},"createdAt":"2025-05-28T12:51:19.702Z","updatedAt":"2026-02-24T19:44:09.551Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"016_Camille-Pissarro_Banks-of-the-Oise-at-Pontoise-or-Banks-of-the-Oise-at-Saint-Ouen-l’Aumône.jpg","mimeType":"image/jpeg","filesize":2084605,"width":9392,"height":5941,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:32:46.632Z","updatedAt":"2025-05-30T15:32:46.632Z","id":"6839cf9eed4658a40e9e9776","url":"/cms/api/media/file/016_Camille-Pissarro_Banks-of-the-Oise-at-Pontoise-or-Banks-of-the-Oise-at-Saint-Ouen-l%E2%80%99Aumo%CC%82ne.jpg","thumbnailURL":null},"title":{"de":"Ufer der Oise bei Pontoise oder Ufer der Oise in Saint-Ouen-l’Aumône","en":"Banks of the Oise at Pontoise or Banks of the Oise at Saint-Ouen-l’Aumône"},"id":"683706c7d0f800769f0ff182"},"id":"683706c89081c3a00da17223"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"012","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1863","en":"1863"},"technique":{"de":"Oil on canvas","en":"Oil on canvas"},"description":{"de":"Den Sommer 1863 verbrachte Pissarro in La Varenne-Saint-Hilaire, einer kleinen Ortschaft am Rande von Paris. Motivwahl und Malweise dieser ländlichen Szene kündigen bereits den Impressionismus an. 1860 hatte Pissarro Monet getroffen, 1863 lernte er Bazille, Renoir und Sisley kennen. Im Kreis dieser Künstlerfreunde entstand der Impressionismus.","en":"Pissarro spent the summer of 1863 in La Varenne-Saint-Hilaire, a village on the outskirts of Paris. This rural scene already foreshadows Impressionism in its choice of motifand painterly approach. Pissarro had met Monet in 1860, and in 1863 he also became acquainted with Bazille, Renoir, and Sisley. It was in this circle of artist friends that Impressionism was born."},"measurements":"49,6 x 74 cm","credit":{"de":"Szépmüvészeti Múzeum / Museum of Fine Arts, Budapest","en":"Szépmüvészeti Múzeum / Museum of Fine Arts, Budapest"},"copyrightArtist":null,"copyrightFoto":"Szépm?vészeti Múzeum/ Museum of Fine Arts, Budapest, 2025","modelData":{"matterport":{"insideView":{"sweepId":"65cd56e84964451e96fca8300cdb5742","rotation":{"x":-0.25,"y":-0.23}},"artworkCollisionBox":{"geometry":{"x":1.15,"y":0.86,"z":0.15},"position":{"x":17.32,"y":-5.85,"z":-6.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.31,"y":0.47,"z":0.05},"position":{"x":18.29,"y":-6.32,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-6.7,"y":3,"z":19},"floorplan":{"x":-4.2,"y":-6.9,"z":21.3}}}},"createdAt":"2025-05-28T12:49:29.830Z","updatedAt":"2026-02-24T19:44:22.864Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"012_Camille-Pissarro_La-Varenne-Saint-Hilaire.jpg","mimeType":"image/jpeg","filesize":2078775,"width":6576,"height":4368,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:29:21.985Z","updatedAt":"2025-05-30T15:29:21.985Z","id":"6839ced1ed4658a40e9e973a","url":"/cms/api/media/file/012_Camille-Pissarro_La-Varenne-Saint-Hilaire.jpg","thumbnailURL":null},"title":{"de":"La Varenne-Saint-Hilaire","en":"La Varenne-Saint-Hilaire"},"id":"68370659d0f800769f0fec0a"},"id":"6837065b9081c3a00da171eb"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"013","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1866","en":"1866"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit gedeckten Farben fing Pissarro die Atmosphäre eines Wintertags an der Marne ein. 1866 war das Werk im offiziellen Salon in Paris zu sehen. Hier begeisterte sich der naturalistische Schriftsteller Émile Zola für die ungeschönte Wiedergabe der kargen Landschaft.","en":"Pissarro uses muted tones to capture the atmosphere of a winter day on the Marne River. In 1866, this painting was exhibited at the official Salon in Paris, where it earned the admiration of the Naturalist author Émile Zola for its austere depiction of the barren landscape."},"measurements":"91,8 x 150,2 cm","credit":{"de":"The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1957.306","en":"The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1957.306"},"copyrightArtist":null,"copyrightFoto":"bpk / The Art Institute of Chicago / Art Resource, NY","modelData":{"matterport":{"insideView":{"sweepId":"c27ebfedb58b4da690800b2b9183e0cb","rotation":{"x":1.64,"y":0.13}},"artworkCollisionBox":{"geometry":{"x":1.88,"y":1.3,"z":0.15},"position":{"x":19.86,"y":-5.85,"z":-6.65,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.31,"y":0.47,"z":0.05},"position":{"x":21.16,"y":-6.32,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-9.2,"y":3,"z":19},"floorplan":{"x":-6.6,"y":-6.9,"z":21.3}}}},"createdAt":"2025-05-28T12:50:39.880Z","updatedAt":"2026-02-24T19:44:14.455Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"403","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_403.mp3","mimeType":"audio/mpeg","filesize":7032512,"createdAt":"2025-06-27T08:23:21.564Z","updatedAt":"2025-06-27T08:23:21.564Z","id":"685e54f971f13d6f59142046","url":"/cms/api/media/file/Pissarro_GER_Erw_403.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_403.mp3","mimeType":"audio/mpeg","filesize":7748696,"createdAt":"2025-06-27T08:22:52.854Z","updatedAt":"2025-06-27T08:22:52.854Z","id":"685e54dc71f13d6f59141fee","url":"/cms/api/media/file/Pissarro_ENG_Erw_403.mp3","thumbnailURL":null}}},"id":"685e54b8e266833f8a5887b0"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"013_Camille-Pissarro_The-Banks-of-the-Marne-in-Winter.jpg","mimeType":"image/jpeg","filesize":2569688,"width":12880,"height":7742,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:30:48.424Z","updatedAt":"2025-05-30T15:30:48.424Z","id":"6839cf28ed4658a40e9e9749","url":"/cms/api/media/file/013_Camille-Pissarro_The-Banks-of-the-Marne-in-Winter.jpg","thumbnailURL":null},"title":{"de":"Die Ufer der Marne im Winter","en":"The Banks of the Marne in Winter"},"id":"6837069fd0f800769f0fef8e"},"id":"683706a19081c3a00da1720f"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"015","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1867","en":"1867"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Über Beete und einen kleinen Hain wandert der Blick zu einer Anhöhe mit bescheidenen Wohnhäusern; darüber strahlt ein frischblauer Himmel. In Pontoise, wohin Pissarro erstmals 1866 zog, gab es auch Fabriken und eine Bahnstation. Der hier gezeigte Ortsteil L’Hermitage war dagegen von beschaulichen Obstund Gemüsegärten geprägt.","en":"Across garden beds and a small grove of trees, the gaze wanders up a hillside with modest houses beneath a brilliant blue sky. The town of Pontoise, where Pissarro moved in 1866, also boasted factories and a train station; the neighborhood of L’Hermitage shown here, however, was characterized by tranquil fruit and vegetable gardens."},"measurements":"81,5 x 100 cm","credit":{"de":"Nationalgalerie Prag","en":"National Gallery Prague"},"copyrightArtist":null,"copyrightFoto":"Photo © National Gallery Prague 2025","modelData":{"matterport":{"insideView":{"sweepId":"07df4b98385b423eb10f1e7bc9032271","rotation":{"x":0.16,"y":0.64}},"artworkCollisionBox":{"geometry":{"x":1.35,"y":1.14,"z":0.15},"position":{"x":22.52,"y":-5.85,"z":-6.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.31,"y":0.47,"z":0.05},"position":{"x":23.56,"y":-6.31,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-11.6,"y":3,"z":19},"floorplan":{"x":-10.4,"y":-6.9,"z":21.3}}}},"createdAt":"2025-05-28T12:50:13.360Z","updatedAt":"2026-02-24T19:44:17.573Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"015_Camille-Pissarro_Pontoise.jpg","mimeType":"image/jpeg","filesize":1886006,"width":4814,"height":3825,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:32:01.548Z","updatedAt":"2025-05-30T15:32:01.548Z","id":"6839cf71ed4658a40e9e9767","url":"/cms/api/media/file/015_Camille-Pissarro_Pontoise.jpg","thumbnailURL":null},"title":{"de":"Pontoise","en":"Pontoise"},"id":"68370685d0f800769f0fee49"},"id":"683706869081c3a00da17202"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"021","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1870","en":"1870"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro begann damit, das gleiche Motiv zu verschiedenen Zeiten und bei wechselnder Witterung zu malen. Die Straße in Louveciennes zeigte er mal schneebedeckt, mal bei Tauwetter. Hier erfasste er die trübe Atmosphäre nach einem Regen: Der Weg glänzt noch nass. Links hinter den kahlen Bäumen ist Pissarros damaliges Wohnhaus zu sehen.","en":"Pissarro began painting the same motif at different times of day and under varying weather conditions. He showed the street in Louveciennes sometimes in the snow, sometimes during a thaw. Here he depicts the overcast atmosphere after a rain, the path still glistening with moisture. On the left, the house where Pissarro lived at the time is visible through the bare trees."},"measurements":"40 x 56,2 cm","credit":{"de":"Clark Art Institute, Williamstown, Massachusetts, USA","en":"Clark Art Institute, Williamstown, Massachusetts, USA"},"copyrightArtist":null,"copyrightFoto":"Image courtesy Clark Art Institute. clarkart.edu","modelData":{"matterport":{"insideView":{"sweepId":"e2a2f9578cb64a2cb94f9875362a91bb","rotation":{"x":-0.54,"y":-90.08}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.7,"z":0.85},"position":{"x":24.4,"y":-5.85,"z":-5.34,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.51,"z":0.3},"position":{"x":24.46,"y":-6.34,"z":-4.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-13.3,"y":3,"z":18.3},"floorplan":{"x":-12.8,"y":-6.9,"z":20.8}}}},"createdAt":"2025-05-28T12:49:26.067Z","updatedAt":"2026-02-24T19:44:23.338Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"021_Camille-Pissarro_Route-de-Versailles,-Louveciennes,-Rain-Effect.jpg","mimeType":"image/jpeg","filesize":1962249,"width":6147,"height":4352,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:36:41.428Z","updatedAt":"2025-05-30T15:36:41.428Z","id":"6839d089ed4658a40e9e97c1","url":"/cms/api/media/file/021_Camille-Pissarro_Route-de-Versailles%2C-Louveciennes%2C-Rain-Effect.jpg","thumbnailURL":null},"title":{"de":"Die Route de Versailles, Louveciennes, Regeneffekt","en":"Route de Versailles, Louveciennes, Rain Effect"},"id":"68370656d0f800769f0febd8"},"id":"683706579081c3a00da171e9"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"022","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Das Haus seines Nachbarn Monsieur Musy,der Holz für seinen Sägebetrieb lagerte, malte Pissarro von verschiedenen Standpunkten aus. Mit schnellen, pastosen Pinselstrichen erfasste er hier trotz der Kälte die Schneereste und den aufgeweichten Boden direkt vor Ort. Mit der zerfurchten Straße erhob Pissarro ein zuvor als „unmalerisch“ betrachtetes Motiv zum bildwürdigen Sujet.","en":"Pissarro painted the house of his neighbor Monsieur Musy, who also stored wood for his sawmill, from varying angles. Despite the cold, he created this work directly on location, using rapid, impasto brushstrokes to suggest the remnants of snow and the softening ground. With the rutted street, Pissarro took a motif previously viewed as “unpicturesque” and elevated it to a subject worthy of painting."},"measurements":"32,1 x 45,6 cm","credit":{"de":"Denver Art Museum, Frederic C. Hamilton Collection","en":"Denver Art Museum, Frederic C. Hamilton Collection"},"copyrightArtist":null,"copyrightFoto":"Photo by William O’Connor, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"43cc026940b14b288fb968be65b42c48","rotation":{"x":-4.01,"y":-89.98}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.61,"z":0.73},"position":{"x":24.43,"y":-5.83,"z":-3.93,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.53,"z":0.3},"position":{"x":24.46,"y":-6.36,"z":-3.36,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-13.3,"y":3,"z":17},"floorplan":{"x":-12.8,"y":-6.9,"z":18.7}}}},"createdAt":"2025-05-28T12:51:11.288Z","updatedAt":"2026-02-24T19:44:10.482Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"022_Camille-Pissarro_The-Thaw-or-The-House-of-Monsieur-Musy,-Louveciennes.jpg","mimeType":"image/jpeg","filesize":2622638,"width":8616,"height":6062,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:37:40.417Z","updatedAt":"2025-05-30T15:37:40.417Z","id":"6839d0c4ed4658a40e9e97d0","url":"/cms/api/media/file/022_Camille-Pissarro_The-Thaw-or-The-House-of-Monsieur-Musy%2C-Louveciennes.jpg","thumbnailURL":null},"title":{"de":"Das Tauwetter oder Das Haus von Monsieur Musy, Louveciennes","en":"The Thaw or The House of Monsieur Musy, Louveciennes\r\n"},"id":"683706bfd0f800769f0ff11e"},"id":"683706c09081c3a00da1721f"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"014","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1870","en":"1870"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"1869 war Pissarro nach Louveciennes westlich von Paris gezogen. Hier traf er sich auch mit Monet, Renoir und Sisley zum Malen en plein air. Noch verwendete er für seine ländlichen Alltagsszenen erdige Farbtöne, aber der Pinselstrich variiert je nach Textur und Form der Gegenstände: Blätter sind mit kleinen Tupfen wiedergegeben, die Hauswände mit breiten, glatten Strichen.","en":"In 1869, Pissarro moved to Louveciennes west of Paris, where he painted en plein air along with Monet, Renoir, and Sisley. Although he still adopted a palette of earth tones for his scenes of everyday rural life, his brushwork varied according to the texture and form of the objects: leaves are suggested with small daubs, while house walls are rendered in broad, smooth strokes."},"measurements":"88,9 x 116,21 cm","credit":{"de":"The J. Paul Getty Museum, Los Angeles, 82.PA.73","en":"The J. Paul Getty Museum, Los Angeles, 82.PA.73"},"copyrightArtist":null,"copyrightFoto":"Digital image courtesy of Getty’s Open Content Program","modelData":{"matterport":{"insideView":{"sweepId":"87822fb16d1046e69a5a20bc51039b60","rotation":{"x":-0.05,"y":-89.56}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.19,"z":1.46},"position":{"x":24.42,"y":-5.86,"z":0.65,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.53,"z":0.3},"position":{"x":24.47,"y":-6.34,"z":-0.48,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-13.3,"y":3,"z":12.4},"floorplan":{"x":-12.8,"y":-6.9,"z":11}}}},"createdAt":"2025-05-28T12:50:29.537Z","updatedAt":"2026-02-24T19:44:15.639Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"014_Camille-Pissarro_Landscape-at-Louveciennes-(Autumn).jpg","mimeType":"image/jpeg","filesize":2798151,"width":9103,"height":6968,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:31:54.452Z","updatedAt":"2025-05-30T15:31:54.452Z","id":"6839cf6aed4658a40e9e9758","url":"/cms/api/media/file/014_Camille-Pissarro_Landscape-at-Louveciennes-(Autumn).jpg","thumbnailURL":null},"title":{"de":"Landschaft in Louveciennes (Herbst)","en":"Landscape at Louveciennes (Autumn) "},"id":"68370695d0f800769f0fef11"},"id":"683706979081c3a00da1720a"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"023","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1871","en":"1871"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Während des Deutsch-Französischen Kriegs 1870/71 floh Pissarro nach London. Als einer der ersten Impressionisten wandte er sich hier dem Motiv der Eisenbahn zu: Die dampfende Lokomotive kommt frontal auf den Betrachter zu; die Gleise zerschneiden die Landschaft gleichsam in zwei Teile. Das Bild liest sich auch als Verneigung vor dem englischen Landschaftsmaler Turner, dessen berühmtes Eisenbahnbild von 1844 Pissarro in London sah.","en":"During the Franco-Prussian War of 1870–71, Pissarro fled to London. He was one of the first Impressionists to embrace the railroad as a motif. Here, the steam locomotive approaches the viewer frontally along tracks that seem to bisect the landscape. The painting also reads as an homage to the English landscape painter Turner: Pissarro had seen his famous railroad picture of 1844 in London."},"measurements":"44 x 72,5 cm","credit":{"de":"The Courtauld, London (Samuel Courtauld Trust)","en":"The Courtauld, London (Samuel Courtauld Trust)"},"copyrightArtist":null,"copyrightFoto":"Photo © The Courtauld","modelData":{"matterport":{"insideView":{"sweepId":"299de03f05ed4a38a526ffcd5ce8e9a4","rotation":{"x":-2.01,"y":179.77}},"artworkCollisionBox":{"geometry":{"x":1.03,"y":0.74,"z":0.15},"position":{"x":22.67,"y":-5.84,"z":2.68,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.53,"z":0.05},"position":{"x":21.79,"y":-6.35,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-11.8,"y":3,"z":10.5},"floorplan":{"x":-11.1,"y":-6.9,"z":9.1}}}},"createdAt":"2025-05-28T12:50:17.366Z","updatedAt":"2026-02-24T19:44:17.084Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"404","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_404.mp3","mimeType":"audio/mpeg","filesize":4938248,"createdAt":"2025-06-27T08:45:38.997Z","updatedAt":"2025-06-27T08:45:38.997Z","id":"685e5a3271f13d6f591427f1","url":"/cms/api/media/file/Pissarro_GER_Erw_404.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_404.mp3","mimeType":"audio/mpeg","filesize":5010284,"createdAt":"2025-06-27T08:45:17.144Z","updatedAt":"2025-06-27T08:45:17.144Z","id":"685e5a1d71f13d6f5914279a","url":"/cms/api/media/file/Pissarro_ENG_Erw_404.mp3","thumbnailURL":null}}},"id":"685e59f9e266833f8a5887b1"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"023_Camille-Pissarro_Lordship-Lane-Station,-Dulwich.jpg","mimeType":"image/jpeg","filesize":1949246,"width":7750,"height":4643,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:05.290Z","updatedAt":"2025-05-30T15:38:05.290Z","id":"6839d0dded4658a40e9e97df","url":"/cms/api/media/file/023_Camille-Pissarro_Lordship-Lane-Station%2C-Dulwich.jpg","thumbnailURL":null},"title":{"de":"Lordship Lane Station, Dulwich","en":"Lordship Lane Station, Dulwich"},"id":"68370689d0f800769f0fee7b"},"id":"6837068a9081c3a00da17204"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"019","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zwei mächtige Lastkähne prägen die Komposition. Pissarro gab den aufsteigenden Rauch ihrer Dampfantriebe auf die gleiche Art wieder wie die Wolken des blassblauenHimmels. Die Seine war ein beliebtes Motiv von Pissarro und seinen Freunden. Monet und Renoir etwa zeigten sie als sonntägliches Ausflugsziel der Pariser. Pissarro dagegen verstand den Fluss auch als Ort der Arbeit.","en":"The composition is defined by two massive barges. Pissarro painted the smoke rising from their steam engines in the same way as the clouds in the pale blue sky. The Seine was a popular motif for Pissarro and his friends; but while Monet and Renoir showed the river as a destination for the Sunday outings of Parisians, Pissarro also presented it as a site of labor."},"measurements":"46 x 55,8 cm","credit":{"de":"Staatsgalerie Stuttgart, erworben 1965 mit Lotto-Mitteln","en":"Staatsgalerie Stuttgart, erworben 1965 mit Lotto-Mitteln #"},"copyrightArtist":null,"copyrightFoto":"Foto: Staatsgalerie Stuttgart","modelData":{"matterport":{"insideView":{"sweepId":"e2e6ec9cc6444e75864b308dcdf487fd","rotation":{"x":-1.88,"y":179.83}},"artworkCollisionBox":{"geometry":{"x":0.84,"y":0.74,"z":0.15},"position":{"x":18.28,"y":-5.84,"z":2.68,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.53,"z":0.05},"position":{"x":19.11,"y":-6.35,"z":2.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.5,"y":3,"z":10.5},"floorplan":{"x":-8.3,"y":-6.9,"z":9.1}}}},"createdAt":"2025-05-28T12:49:39.012Z","updatedAt":"2026-02-24T19:44:21.678Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"405","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_405.mp3","mimeType":"audio/mpeg","filesize":5177324,"createdAt":"2025-06-27T08:50:29.337Z","updatedAt":"2025-06-27T08:50:29.337Z","id":"685e5b5571f13d6f591429fd","url":"/cms/api/media/file/Pissarro_GER_Erw_405.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_405.mp3","mimeType":"audio/mpeg","filesize":5205512,"createdAt":"2025-06-27T08:50:09.371Z","updatedAt":"2025-06-27T08:50:09.371Z","id":"685e5b4171f13d6f591429a6","url":"/cms/api/media/file/Pissarro_ENG_Erw_405.mp3","thumbnailURL":null}}},"id":"685e5b19e266833f8a5887b2"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"019_Camille-Pissarro_The-Seine-near-Port-Marly.jpg","mimeType":"image/jpeg","filesize":2095405,"width":4624,"height":3834,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:33:18.150Z","updatedAt":"2025-05-30T15:33:18.150Z","id":"6839cfbeed4658a40e9e97a3","url":"/cms/api/media/file/019_Camille-Pissarro_The-Seine-near-Port-Marly.jpg","thumbnailURL":null},"title":{"de":"Die Seine bei Port Marly","en":"The Seine near Port Marly"},"id":"68370663d0f800769f0fec87"},"id":"683706649081c3a00da171f0"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"018","hall":"0A1_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1871","en":"1871"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Ein einzelner Angler, ein Paar beim Flanieren am Uferweg – und daneben der rauchende Schornstein eines Lastkahns. Mit Verweisen auf Verkehr, Arbeit und Freizeit bringt Pissarro hier verschiedene Nutzungen der Seine zusammen. Die gebrochenen Pinselstriche der Wasserspiegelung, die zu einem Markenzeichen der Impressionisten werden, verleihen dem Bild eine lebendige Atmosphäre.","en":"A lone fisherman, a couple strolling along the riverbank—and the smoking funnel of a barge: here Pissarro shows the various functions of the Seine River, alluding to transportation, work, and leisure. The divided brushstrokes of the reflections on the water, which would become a hallmark of Impressionist painting, lend the picture a lively atmosphere."},"measurements":"43,5 x 59,7 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Wolfgang Günzel, Offenbach","modelData":{"matterport":{"insideView":{"sweepId":"4beb0db5a6d54b90acf3e18bfc10021b","rotation":{"x":0.36,"y":179.49}},"artworkCollisionBox":{"geometry":{"x":0.76,"y":0.64,"z":0.15},"position":{"x":16.54,"y":-5.82,"z":2.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.53,"z":0.05},"position":{"x":15.76,"y":-6.34,"z":2.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-5.7,"y":3,"z":10.5},"floorplan":{"x":-5.3,"y":-6.9,"z":9.1}}}},"createdAt":"2025-05-28T12:51:21.570Z","updatedAt":"2026-02-24T19:44:09.294Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"018_Camille-Pissarro_The-Seine-at-Bougival.jpg","mimeType":"image/jpeg","filesize":2035446,"width":5234,"height":3767,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:33:06.965Z","updatedAt":"2025-05-30T15:33:06.965Z","id":"6839cfb2ed4658a40e9e9794","url":"/cms/api/media/file/018_Camille-Pissarro_The-Seine-at-Bougival.jpg","thumbnailURL":null},"title":{"de":"Die Seine in Bougival","en":"The Seine at Bougival"},"id":"683706c9d0f800769f0ff19b"},"id":"683706ca9081c3a00da17224"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"027","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1877","en":"1877"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit dichten, pastosen Pinselstrichen charakterisiert der Künstler seine Ehefrau Julie Pissarro als lebenserfahrenen, bodenständigen Menschen. Ihr lebendig getöntes Gesicht zeugt von häufiger Arbeit im Freien. Konzentriert beugt sie sich über ihre Näharbeit. Pissarro gibt das Taschentuch als unbemalte Leinwand wieder und setzt so seine und ihre Arbeit gleich.","en":"Thick, impasto brushstrokes characterize the artist’s wife, Julie Pissarro, as an experienced, down-to-earth woman. Her vibrantly hued face bears witness to her frequent activity out of doors. Here, she concentrates on her sewing; Pissarro renders the handkerchief as an area of unpainted canvas, equating her work with his own."},"measurements":"54 x 45 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, Geschenk von Esther Pissarro, 1951","en":"The Ashmolean Museum, University of Oxford. Presented by Esther Pissarro, 1951."},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum, University of Oxford","modelData":{"matterport":{"insideView":{"sweepId":"d3e0798d747543058eb21f2d4253780d","rotation":{"x":-4.89,"y":-89.74}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.77,"z":0.68},"position":{"x":37.1,"y":-5.85,"z":-1.29,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.29},"position":{"x":37.11,"y":-6.34,"z":-0.57,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-26,"y":3,"z":14.4},"floorplan":{"x":-25.8,"y":-6.9,"z":13.8}}}},"createdAt":"2025-05-28T12:49:44.685Z","updatedAt":"2026-02-24T19:44:21.024Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"027_Camille-Pissarro_Julie-Pissarro-Sewing-Beside-a-Window.jpg","mimeType":"image/jpeg","filesize":1746128,"width":2639,"height":3188,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:34.944Z","updatedAt":"2025-05-30T15:38:34.944Z","id":"6839d0faed4658a40e9e981b","url":"/cms/api/media/file/027_Camille-Pissarro_Julie-Pissarro-Sewing-Beside-a-Window.jpg","thumbnailURL":null},"title":{"de":"Julie Pissarro näht am Fenster","en":"Julie Pissarro Sewing Beside a Window"},"id":"68370668d0f800769f0fecd2"},"id":"683706699081c3a00da171f3"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"026","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1873","en":"1873"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro schuf dieses früheste bekannte Selbstportrait erst im Alter von 43 Jahren. Das ist selbst im Freundeskreis der Impressionisten ungewöhnlich. Die Landschaftsskizzen im Hintergrund deuten auf Pissarros bevorzugte Motive hin. Sie sind auf Augen- und Stirnhöhe platziert: Der individuelle Blick und die konzeptuelle Arbeit machen Pissarros Schaffen aus.","en":"Pissarro painted this work, his earliest known self-portrait, when he was fortythree, unusually late even for the circle of the Impressionists. The landscape sketches depicted in the background suggest the artist’s preferred motifs. Positioned at the level of his eyes and forehead, they allude to the individual gaze and conceptual labor that constitute Pissarro’s creative work."},"measurements":"55,5 x 46 cm","credit":{"de":"Musée d’Orsay, Paris, Schenkung Paul-Émile Pissarro, 1930","en":"Paris, musée d'Orsay ; Donation Paul-Emile Pissarro, 1930"},"copyrightArtist":null,"copyrightFoto":"akg-images / Laurent Lecat","modelData":{"matterport":{"insideView":{"sweepId":"e4df88473ba64ce0802f6b3ec31d03da","rotation":{"x":-0.99,"y":-90.92}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.79,"z":0.68},"position":{"x":37.09,"y":-5.84,"z":-2.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.45,"z":0.3},"position":{"x":37.09,"y":-6.32,"z":-3.54,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-26,"y":3,"z":16},"floorplan":{"x":-25.8,"y":-6.9,"z":17.1}}}},"createdAt":"2025-05-28T12:50:47.498Z","updatedAt":"2026-02-24T19:44:13.422Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"406","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_406.mp3","mimeType":"audio/mpeg","filesize":6457268,"createdAt":"2025-06-27T09:21:55.092Z","updatedAt":"2025-06-27T09:21:55.092Z","id":"685e62b371f13d6f59143418","url":"/cms/api/media/file/Pissarro_GER_Erw_406.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_406.mp3","mimeType":"audio/mpeg","filesize":6021920,"createdAt":"2025-06-27T09:21:35.819Z","updatedAt":"2025-06-27T09:21:35.819Z","id":"685e629f71f13d6f591433c1","url":"/cms/api/media/file/Pissarro_ENG_Erw_406.mp3","thumbnailURL":null}}},"id":"685e627ae266833f8a5887b4"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"026_Camille-Pissarro_Portrait-of-the-Artist.jpg","mimeType":"image/jpeg","filesize":2094233,"width":3875,"height":4778,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:32.032Z","updatedAt":"2025-05-30T15:38:32.032Z","id":"6839d0f8ed4658a40e9e980c","url":"/cms/api/media/file/026_Camille-Pissarro_Portrait-of-the-Artist.jpg","thumbnailURL":null},"title":{"de":"Portrait des Künstlers","en":"Portrait of the Artist"},"id":"683706a7d0f800769f0feff2"},"id":"683706a89081c3a00da17213"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"029","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1873","en":"1873"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Erschöpft und etwas zaghaft blickt Minette zum Betrachter. In diesem Bildnis, zwei Jahre nach dem daneben zu sehenden Portrait mit Blumenstrauß entstanden, ist das Kind von Krankheit gezeichnet – Minette stirbt im April 1874. Der dünne, durchlässige Farbauftrag unterstreicht die Fragilität des Mädchens.","en":"Minette gazes at the viewer with an exhausted, somewhat shy expression. This portrait, painted two years after the one displayed next to it with the bouquet of flowers, shows the child afflicted by illness: Minette died in April 1874. The thin, transparent application of paint underscores the girl’s fragility."},"measurements":"55 x 46 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, Vermächtnis Esther Pissarro, 1952","en":"The Ashmolean Museum, University of Oxford. Bequeathed by Esther Pissarro, 1952"},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum, University of Oxford","modelData":{"matterport":{"insideView":{"sweepId":"153b1f2ce86049e3a61f5be2deb2b757","rotation":{"x":-2.12,"y":0.27}},"artworkCollisionBox":{"geometry":{"x":0.66,"y":0.74,"z":0.15},"position":{"x":35.65,"y":-5.84,"z":-6.9,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.45,"z":0.05},"position":{"x":36.27,"y":-6.33,"z":-6.92,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-25,"y":3,"z":19.5},"floorplan":{"x":-23.9,"y":-6.9,"z":21.4}}}},"createdAt":"2025-05-28T12:51:42.767Z","updatedAt":"2026-02-24T19:44:06.877Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"029_Camille-Pissarro_Jeanne-Pissarro-(Minette)-Holding-a-Fan.jpg","mimeType":"image/jpeg","filesize":1648535,"width":2527,"height":3109,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:39.832Z","updatedAt":"2025-05-30T15:38:39.832Z","id":"6839d0ffed4658a40e9e9839","url":"/cms/api/media/file/029_Camille-Pissarro_Jeanne-Pissarro-(Minette)-Holding-a-Fan.jpg","thumbnailURL":null},"title":{"de":"Jeanne Pissarro (Minette) mit Fächer\r\n","en":"Jeanne Pissarro (Minette) Holding a Fan"},"id":"683706ded0f800769f0ff295"},"id":"683706e09081c3a00da1722e"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"028","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Oil on canvas","en":"Oil on canvas"},"description":{"de":"Die 1865 geborene Jeanne-Rachel, „Minette“ genannt, war das zweite Kind der Pissarros. Ihr Vater malte das Portrait der elegant gekleideten Tochter mit gedeckten Beige- und Rosatönen, die ihr zartes, mädchenhaftes Wesen betonen. Das kräftige Rot ihrer Lippen findet sich im frisch gepflückten Blumenstrauß auf ihrem Schoß wieder.","en":"The Pissarros’ daughter Jeanne-Rachel, known as “Minette,” was their second child, born in 1865. In this portrait by her father, she is elegantly dressed in muted tones of beige and pink that emphasize her delicate, girlish character. The red of her lips is echoed in the bouquet of freshly picked flowers on her lap."},"measurements":"72,7 x 59,5 cm","credit":{"de":"Yale University Art Gallery, New Haven, John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Collection","en":"Yale University Art Gallery, New Haven, John Hay Whitney, B.A. 1926, M.A. (Hon.) 1956, Collection"},"copyrightArtist":null,"copyrightFoto":"Yale University Art Gallery","modelData":{"matterport":{"insideView":{"sweepId":"405e2a04f1f94464b587069559417a96","rotation":{"x":0.45,"y":0.2}},"artworkCollisionBox":{"geometry":{"x":0.89,"y":1,"z":0.15},"position":{"x":33.98,"y":-5.85,"z":-6.85,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.45,"z":0.05},"position":{"x":34.68,"y":-6.33,"z":-6.93,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-23.2,"y":3,"z":19.5},"floorplan":{"x":-21.8,"y":-6.9,"z":21.4}}}},"createdAt":"2025-05-28T12:50:59.684Z","updatedAt":"2026-02-24T19:44:11.904Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"407","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_407.mp3","mimeType":"audio/mpeg","filesize":4625048,"createdAt":"2025-06-27T09:11:02.737Z","updatedAt":"2025-06-27T09:11:02.737Z","id":"685e602671f13d6f59143064","url":"/cms/api/media/file/Pissarro_GER_Erw_407.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_407.mp3","mimeType":"audio/mpeg","filesize":4529000,"createdAt":"2025-06-27T09:10:42.612Z","updatedAt":"2025-06-27T09:10:42.612Z","id":"685e601271f13d6f5914300d","url":"/cms/api/media/file/Pissarro_ENG_Erw_407.mp3","thumbnailURL":null}}},"id":"685e5ff1e266833f8a5887b3"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"028_Camille-Pissarro_Portrait-of-Jeanne-Pissarro.jpg","mimeType":"image/jpeg","filesize":913464,"width":2450,"height":3000,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:37.175Z","updatedAt":"2025-05-30T15:38:37.175Z","id":"6839d0fded4658a40e9e982a","url":"/cms/api/media/file/028_Camille-Pissarro_Portrait-of-Jeanne-Pissarro.jpg","thumbnailURL":null},"title":{"de":"Portrait von Jeanne Pissarro","en":"Portrait of Jeanne Pissarro"},"id":"683706b3d0f800769f0ff088"},"id":"683706b49081c3a00da17219"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":true,"catalogNumber":"030","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1890","en":"1890"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro portraitierte seinen Sohn Paul-Émile als etwa Sechsjährigen. Der Kontrast zwischen den gelbgoldenen Haaren und den lila Schatten bringt das Bildnis zum Leuchten. Schon mit fünf Jahren hatte Paul-Émile sein zeichnerisches Talent bewiesen, wie sein Vater wurde er Maler.","en":"Pissarro portrayed his son Paul-Émile at about the age of six. The contrast between the yellow-gold hair and the purple shadows gives the painting a sense of luminosity. Paul-Émile demonstrated his talent in drawing at only five years old, and like his father he would become a painter."},"measurements":"41 x 33,6 cm","credit":{"de":"Privatsammlung","en":"Private Collection "},"copyrightArtist":null,"copyrightFoto":"courtesy of Pissarro & Associates Fine Art","modelData":{"matterport":{"insideView":{"sweepId":"b91bcc9682464657bc66ecd9c0f50cc5","rotation":{"x":1.74,"y":0.45}},"artworkCollisionBox":{"geometry":{"x":0.58,"y":0.67,"z":0.15},"position":{"x":32.3,"y":-5.84,"z":-6.91,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.42,"z":0.05},"position":{"x":32.88,"y":-6.3,"z":-6.93,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-21.6,"y":3,"z":19.2},"floorplan":{"x":-20,"y":-6.9,"z":21.4}}}},"createdAt":"2025-05-28T12:50:33.840Z","updatedAt":"2026-02-24T19:44:15.177Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"030_Camille-Pissarro_Portrait-of-Paul-Émile-Pissarro.jpg","mimeType":"image/jpeg","filesize":3294692,"width":5959,"height":7377,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:39:37.263Z","updatedAt":"2025-05-30T15:39:37.263Z","id":"6839d139ed4658a40e9e9848","url":"/cms/api/media/file/030_Camille-Pissarro_Portrait-of-Paul-E%CC%81mile-Pissarro.jpg","thumbnailURL":null},"title":{"de":"Portrait von Paul-Émile Pissarro","en":"Portrait of Paul-Émile Pissarro"},"id":"68370699d0f800769f0fef43"},"id":"6837069b9081c3a00da1720c"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"032","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872-1877","en":"1872-1877"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarros Blumenstillleben in häuslicher Umgebung zeigen Sträuße, die seine Frau Julie arrangierte. Sie nutzte dafür Blumen aus ihrem Garten wie diese Pfingstrosen. Das sorgfältig orchestrierte Farbschema der rosaroten und weißen Blüten mit dem grünblauen Laub hebt sich vom blassbraunen Hintergrund ab.","en":"Pissarro’s floral still lifes in a domestic setting show bouquets arranged by his wife, Julie. For this purpose, she used flowers from her garden such as these peonies. The carefully orchestrated color scheme of pinkish-red and white blossoms with bluish-green foliage stands out against the pale brown background."},"measurements":"81 x 64 cm","credit":{"de":"Van Gogh Museum, Amsterdam, Schenkung Sara Lee Corporation","en":"Van Gogh Museum, Amsterdam, Gift from Sara Lee Corporation"},"copyrightArtist":null,"copyrightFoto":"Fotostudio VGM","modelData":{"matterport":{"insideView":{"sweepId":"9d747980be064073b6b1d0060e8fd6c8","rotation":{"x":-0.57,"y":90.41}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.03,"z":0.87},"position":{"x":28.86,"y":-5.84,"z":-4.78,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.3},"position":{"x":28.81,"y":-6.32,"z":-3.95,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-18.6,"y":3,"z":17.7},"floorplan":{"x":-17.4,"y":-6.9,"z":19.4}}}},"createdAt":"2025-05-28T12:50:51.519Z","updatedAt":"2026-02-24T19:44:12.838Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"032_Camille-Pissarro_Vase-of-Peonies-and-Mock-Orange.jpg","mimeType":"image/jpeg","filesize":1868875,"width":2780,"height":3508,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:39:43.336Z","updatedAt":"2025-05-30T15:39:43.336Z","id":"6839d13fed4658a40e9e9866","url":"/cms/api/media/file/032_Camille-Pissarro_Vase-of-Peonies-and-Mock-Orange.jpg","thumbnailURL":null},"title":{"de":"Vase mit Pfingstrosen und Bauernjasmin","en":"Vase of Peonies and Mock Orange"},"id":"683706abd0f800769f0ff024"},"id":"683706ad9081c3a00da17215"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"031","hall":"0A2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1873","en":"1873"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Um 1872 malte Pissarro in seinem Haus in Pontoise einige Stillleben. Chrysanthemen sind mit der chinesischen und japanischen Kultur verbunden. Mit diesem Motiv griff Pissarro wie viele französische Künstler am Ende des 19. Jahrhunderts die verbreitete Japanbegeisterung auf. Die Ornamentik des Blumenstraußes setzt sich im Muster der Tapete fort.","en":"Around 1872, Pissarro painted a number of still lifes at his home in Pontoise. With the motif of chrysanthemums, associated with Chinese and Japanese culture, Pissarro embraced the widespread enthusiasm for Japan typical of many French artists in the late nineteenth century. The ornamental quality of the bouquet is echoed in the pattern on the wallpaper."},"measurements":"60 x 50,5 cm","credit":{"de":"National Gallery of Ireland, Dublin, erworben 1983 (Shaw Fund)","en":"National Gallery of Ireland, Dublin, Purchased, 1983 (Shaw Fund)"},"copyrightArtist":null,"copyrightFoto":"Photo, National Gallery of Ireland","modelData":{"matterport":{"insideView":{"sweepId":"a08bda03523f41e781de022674d90db3","rotation":{"x":-3.14,"y":89.7}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.8,"z":0.73},"position":{"x":28.83,"y":-5.84,"z":0.3,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.29},"position":{"x":28.81,"y":-6.32,"z":-0.45,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-18.4,"y":3,"z":12.7},"floorplan":{"x":-17.5,"y":-6.9,"z":10.9}}}},"createdAt":"2025-05-28T12:49:55.948Z","updatedAt":"2026-02-24T19:44:19.667Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"031_Camille-Pissarro_Chrysanthemums-in-a-Chinese-Vase.jpg","mimeType":"image/jpeg","filesize":693810,"width":2087,"height":2480,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:39:38.935Z","updatedAt":"2025-05-30T15:39:38.935Z","id":"6839d13aed4658a40e9e9857","url":"/cms/api/media/file/031_Camille-Pissarro_Chrysanthemums-in-a-Chinese-Vase.jpg","thumbnailURL":null},"title":{"de":"\r\nChrysanthemen in einer chinesischen Vase","en":"\r\nChrysanthemums in a Chinese Vase"},"id":"68370673d0f800769f0fed68"},"id":"683706759081c3a00da171f9"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"020","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Öl auf Gewebe","en":"Oil on fabric"},"description":{"de":"Mit kurzen Pinselstrichen fing Pissarro die Spiegelungen auf der bewegten Wasseroberfläche ein. Die Wiedergabe solcher flüchtigen Naturerscheinungen war ein zentrales Anliegen der ImpressionistenGleichzeitig thematisierte Pissarro die Nutzbarmachung der Flüsse durch Schleusen und Wehre. Der Fluss wird zur Wasserstraße.","en":"Pissarro used short brushstrokes to capture the reflections on the rippling surface of the water. The rendering of fleeting natural phenomena was of primary interest to the Impressionists. At the same time, Pissarro also focused on the practical function of the river as a waterway with locks and dams."},"measurements":"53 x 83 cm","credit":{"de":"The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund 1990.7","en":"The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund 1990.7"},"copyrightArtist":null,"copyrightFoto":"The Cleveland Museum of Art","modelData":{"matterport":{"insideView":{"sweepId":"d60c2369ba51479782b08717b6d27f04","rotation":{"x":-2.5,"y":89.69}},"artworkCollisionBox":{"geometry":{"x":0.21,"y":0.84,"z":1.12},"position":{"x":6.37,"y":1.58,"z":0.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.44,"z":0.29},"position":{"x":6.34,"y":1.12,"z":-0.24,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":3.9,"y":10.5,"z":12.3},"floorplan":{"x":3.3,"y":6.2,"z":10.9}}}},"createdAt":"2025-05-28T12:52:30.715Z","updatedAt":"2026-02-24T19:44:01.506Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"020_Camille-Pissarro_The-Lock-at-Pontoise.jpg","mimeType":"image/jpeg","filesize":7632699,"width":15083,"height":9577,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:36:15.234Z","updatedAt":"2025-05-30T15:36:15.234Z","id":"6839d06fed4658a40e9e97b2","url":"/cms/api/media/file/020_Camille-Pissarro_The-Lock-at-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Die Schleuse von Pontoise","en":"The Lock at Pontoise"},"id":"6837070ed0f800769f0ff4bb"},"id":"683707109081c3a00da17244"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"036","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1878","en":"1878"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Die Versorgung der Hauptstadt mit Lebensmitteln wurde von den Obst- und Gemüsebauern im Pariser Umland besorgt. Ihre Waren wurden über die Seine und ihre Nebenflüsse ins Zentrum gebracht. Während die Lastkähne auch von Monet, Morisot, Renoir und Sisley gemalt wurden, ist die Ernte von Kohlköpfen nur bei Pissarro zu finden. Er thematisierte damit die Beziehung von Mensch und Natur.","en":"Food for the capital city was supplied by fruit and vegetable farmers from the region around Paris. Their produce was transportedto the urban center via the Seine River and its tributaries. While Monet, Morisot, Renoir, and Sisley also painted the freight barges, only Pissarro showed the harvesting of cabbages, emphasizing the relationship between man and nature."},"measurements":"46,7 x 55,2 cm","credit":{"de":"Wallraf-Richartz-Museum & Fondation Corboud, Köln","en":"Wallraf-Richartz-Museum & Fondation Corboud, Cologne #"},"copyrightArtist":null,"copyrightFoto":"Foto: Rheinisches Bildarchiv Köln","modelData":{"matterport":{"insideView":{"sweepId":"6a9d53513ade425f9b1affa51b40e7db","rotation":{"x":-6.25,"y":179.6}},"artworkCollisionBox":{"geometry":{"x":0.96,"y":0.84,"z":0.21},"position":{"x":10,"y":1.58,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.5,"z":0.05},"position":{"x":9.3,"y":1.08,"z":2.71,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":0.8,"y":10.5,"z":10.7},"floorplan":{"x":1.3,"y":6.2,"z":9.4}}}},"createdAt":"2025-05-28T12:49:33.444Z","updatedAt":"2026-02-24T19:44:22.417Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"036_Camille-Pissarro_Orchard-at-Pontoise,-Sunset.jpg","mimeType":"image/jpeg","filesize":1874391,"width":3457,"height":2849,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:40:32.503Z","updatedAt":"2025-05-30T15:40:32.503Z","id":"6839d170ed4658a40e9e98a2","url":"/cms/api/media/file/036_Camille-Pissarro_Orchard-at-Pontoise%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Obstgarten in Pontoise bei Sonnenuntergang","en":"Orchard at Pontoise, Sunset"},"id":"6837065dd0f800769f0fec3c"},"id":"6837065e9081c3a00da171ed"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"037","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1882","en":"1882"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Eine Diagonale trennt die sommerliche Blumenwiese von der sanften Hügellandschaft mit einzelnen Häusern. Mit überkreuz gesetzten Pinselstrichen in zarten, mit Weiß abgemischten Violettund Blautönen verwandelte Pissarro den Himmel in eine nahezu abstrakte Fläche. Vom gleichen Standpunkt aus malte auch sein Künstlerfreund Cézanne den Ausblick.","en":"A diagonal separates the flowering summer meadow from the gentle landscape of hills and houses behind it. With brushstrokes placed crosswise in delicate tones of violet and blue mixed with white, Pissarro transforms the sky into an almost abstract field. This view was also painted by his friend Cézanne from the same vantage point."},"measurements":"60,3 x 73,6 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"2413eb15da654f22a0e0e457fc0ff642","rotation":{"x":-2.22,"y":-179.52}},"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.91,"z":0.21},"position":{"x":11.66,"y":1.6,"z":2.64,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.44,"z":0.05},"position":{"x":10.9,"y":1.11,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-0.8,"y":10.5,"z":10.7},"floorplan":{"x":-0.4,"y":6.2,"z":8.8}}}},"createdAt":"2025-05-28T12:48:52.341Z","updatedAt":"2026-02-24T19:44:26.469Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"037_Camille-Pissarro_The-Hills-at-Le-Chou,-Pontoise.jpg","mimeType":"image/jpeg","filesize":1962364,"width":4044,"height":3323,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:41:02.445Z","updatedAt":"2025-05-30T15:41:02.445Z","id":"6839d18eed4658a40e9e98b1","url":"/cms/api/media/file/037_Camille-Pissarro_The-Hills-at-Le-Chou%2C-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Die Hügel von Le Chou, Pontoise","en":"The Hills at Le Chou, Pontoise"},"id":"6837063447bd5a646d68db00"},"id":"685e7232531f184e07102afa"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"035","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1879","en":"1879"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit unregelmäßigen Pinselstrichen fing Pissarro das winterliche Treiben auf dem breiten Boulevard ein. Um die Effekte des Schneegestöbers wiederzugeben, nutzte er neben Weiß auch Violett- und Blautöne. Das Bild gehört zu den ersten ParisAnsichten von Pissarro. Erst in den 1890er Jahren wandte er sich motivisch erneut der modernen Metropole zu.","en":"Pissarro used irregular brushstrokes to capture the wintry activity on the wide boulevard. To render the effect of the snow flurries, he introduced tones of violet and blue as well as white. This painting is one of Pissarro’s first Paris scenes; not until the 1890s would he return to the modern metropolis as a motif."},"measurements":"54 x 65 cm","credit":{"de":"Musée Marmottan Monet, Paris, Schenkung Eugène und Victorine Donop de Monchy, 1940, Inv.-Nr. 4021","en":"Paris, musée Marmottan Monet, don Eugène et Victorine Donop de Monchy, 1940. Inv. 4021"},"copyrightArtist":null,"copyrightFoto":"Photo © Photo Josse / Bridgeman Images","modelData":{"matterport":{"insideView":{"sweepId":"1fde8c537bcd44c6ac1420dbc1c1db36","rotation":{"x":-3.11,"y":-90.34}},"artworkCollisionBox":{"geometry":{"x":0.21,"y":0.84,"z":0.99},"position":{"x":13.12,"y":1.57,"z":1.1,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.47,"z":0.29},"position":{"x":13.1,"y":1.1,"z":0.35,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2,"y":10.5,"z":12.1},"floorplan":{"x":-1.8,"y":6.2,"z":11.4}}}},"createdAt":"2025-05-28T12:50:55.751Z","updatedAt":"2026-02-24T19:44:12.372Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"035_Camille-Pissarro_The-Boulevards-Extérieurs,-Effect-of-Snow.jpg","mimeType":"image/jpeg","filesize":2016942,"width":3657,"height":3016,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:40:28.382Z","updatedAt":"2025-05-30T15:40:28.382Z","id":"6839d16ced4658a40e9e9893","url":"/cms/api/media/file/035_Camille-Pissarro_The-Boulevards-Exte%CC%81rieurs%2C-Effect-of-Snow.jpg","thumbnailURL":null},"title":{"de":"Die äußeren Boulevards, Schneeeffekt","en":"The Boulevards Extérieurs, Effect of Snow"},"id":"683706afd0f800769f0ff056"},"id":"683706b19081c3a00da17217"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"033","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1873","en":"1873"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit diesem Gemälde einer in zartfarbigen Raureif getauchten Winterlandschaft schockierte Pissarro die Besucher der ersten Gemeinschaftsausstellung der Impressionisten im Jahr 1874. Das Publikum irritierten die hellen, flirrenden Töne des Landschaftsgemäldes ebenso wie die Schatten von Bäumen, die auf dem Bild nicht zu sehen sind.","en":"With this painting of a winter landscape enveloped in delicately colored hoarfrost, Pissarro shocked visitors to the first group exhibition of the Impressionists in 1874. The public was taken aback by the luminous, shimmering tones of the landscape and the shadows cast by trees outside the picture."},"measurements":"65,5 x 93,2 cm","credit":{"de":"Musée d’Orsay, Paris, Vermächtnis Enriqueta Alsop im Namen von Dr. Eduardo Mollard, 1972","en":"Paris, musée d'Orsay ; Legs Enriqueta Alsop au nom du Dr Eduardo Mollard, 1972"},"copyrightArtist":null,"copyrightFoto":"akg-images / De Agostini Picture Lib. / G. Dagli Orti","modelData":{"matterport":{"insideView":{"sweepId":"ab8e93433dd9403ba06fb799f8e0b83d","rotation":{"x":0.25,"y":-89.83}},"artworkCollisionBox":{"geometry":{"x":0.21,"y":0.98,"z":1.23},"position":{"x":13.07,"y":1.6,"z":-0.86,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.47,"z":0.29},"position":{"x":13.09,"y":1.11,"z":-1.78,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2,"y":10.5,"z":13.9},"floorplan":{"x":-1.8,"y":6.2,"z":14.4}}}},"createdAt":"2025-05-28T12:50:45.501Z","updatedAt":"2026-02-24T19:44:13.727Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"408","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_408.mp3","mimeType":"audio/mpeg","filesize":6542876,"createdAt":"2025-06-27T09:52:57.497Z","updatedAt":"2025-06-27T09:52:57.497Z","id":"685e69f971f13d6f59143ea8","url":"/cms/api/media/file/Pissarro_GER_Erw_408.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_408.mp3","mimeType":"audio/mpeg","filesize":6728708,"createdAt":"2025-06-27T09:52:29.559Z","updatedAt":"2025-06-27T09:52:29.559Z","id":"685e69dd71f13d6f59143e4e","url":"/cms/api/media/file/Pissarro_ENG_Erw_408.mp3","thumbnailURL":null}}},"id":"685e69b86396ab1f0100c7ac"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"033_Camille-Pissarro_Hoarfrost.jpg","mimeType":"image/jpeg","filesize":1992715,"width":3364,"height":2356,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:39:50.113Z","updatedAt":"2025-05-30T15:39:50.113Z","id":"6839d146ed4658a40e9e9875","url":"/cms/api/media/file/033_Camille-Pissarro_Hoarfrost.jpg","thumbnailURL":null},"title":{"de":"Raureif","en":"Hoarfrost"},"id":"683706a5d0f800769f0fefd9"},"id":"683706a69081c3a00da17212"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"034","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1875","en":"1875"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Während eines Besuchs in Paris malte Pissarro am Ufer der Île Saint-Louis die Arbeiter und Lastpferde beim Verladen von Baumaterialien. Vor der Brücke liegt eines der vielen Waschschiffe, in denen die Waschfrauen ihrer mühevollen Tätigkeit nachgingen. Durch das helle Licht verleiht Pissarro der Szene dennoch eine positive Atmosphäre.","en":"During a visit to Paris, Pissarro painted laborers and workhorses loading building materials on the banks of the Île Saint-Louis. In front of the bridge, we see one of the many laundry boats where washerwomen plied their arduous trade. The brilliant light, however, imbues the scene with a positive atmosphere."},"measurements":"49,5 x 63,5 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"96fc28afa1b04ee699d042134ee27a2f","rotation":{"x":-2.13,"y":-90.7}},"artworkCollisionBox":{"geometry":{"x":0.21,"y":0.69,"z":0.82},"position":{"x":13.14,"y":1.59,"z":-5.35,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.47,"z":0.29},"position":{"x":13.08,"y":1.13,"z":-4.67,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-2,"y":10.5,"z":18.2},"floorplan":{"x":-1.8,"y":6.2,"z":19.7}}}},"createdAt":"2025-05-28T12:51:17.434Z","updatedAt":"2026-02-24T19:44:09.774Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"034_Camille-Pissarro_The-Pont-Marie-Viewed-from-the-Quai-d’Anjou,-Paris.jpg","mimeType":"image/jpeg","filesize":1856991,"width":5512,"height":4255,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:40:23.372Z","updatedAt":"2025-05-30T15:40:23.372Z","id":"6839d167ed4658a40e9e9884","url":"/cms/api/media/file/034_Camille-Pissarro_The-Pont-Marie-Viewed-from-the-Quai-d%E2%80%99Anjou%2C-Paris.jpg","thumbnailURL":null},"title":{"de":"Pont-Marie vom Quai d’Anjou aus gesehen, Paris","en":"The Pont-Marie Viewed from the Quai d’Anjou, Paris"},"id":"683706c5d0f800769f0ff169"},"id":"683706c79081c3a00da17222"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"039","hall":"1A3_1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1876","en":"1876"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Nur selten wandte sich Pissarro der Lebenswelt von Adel und Großbürgertum zu. Die sommerliche Szenerie in dem gepflegten Garten wirkt daher zunächst untypisch, besitzt aber eine politische Grundierung. Bei der lesenden Frau handelt es sich wohl um die Bewohnerin des Anwesens, Maria Deraismes. Pissarro sympathisierte mit den Ideen der bekannten Frauenrechtlerin und Demokratin.","en":"Pissarro rarely depicted the world of the aristocracy or the upper middle class. Although this scene of a well-tended summer garden may at first seem uncharacteristic, the motif has a political dimension: the figure shown reading is probably Maria Deraismes, a prominent suffragette and democrat who lived at the estate and with whose ideas Pissarro sympathized."},"measurements":"113,35 x 165,42 cm","credit":{"de":"The Nelson-Atkins Museum of Art, Kansas City, Missouri, Ankauf: William Rockhill Nelson Trust. 60-38","en":"The Nelson-Atkins Museum of Art, Kansas City, Missouri (Purchase: William Rockhill Nelson Trust). 60-38"},"copyrightArtist":null,"copyrightFoto":"Image courtesy of Nelson-Atkins Digital Production & Preservation, Joshua Ferdinand","modelData":{"matterport":{"insideView":{"sweepId":"ca914b3e335d440d924736201cb1b532","rotation":{"x":-2.05,"y":0.51}},"artworkCollisionBox":{"geometry":{"x":2.07,"y":1.54,"z":0.21},"position":{"x":8.88,"y":1.6,"z":-6.65,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.54,"z":0.05},"position":{"x":7.42,"y":1.07,"z":-6.75,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":2.2,"y":10.5,"z":19.4},"floorplan":{"x":1.1,"y":6.2,"z":21.4}}}},"createdAt":"2025-05-28T12:49:35.293Z","updatedAt":"2026-02-24T19:44:22.189Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"409","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_409.mp3","mimeType":"audio/mpeg","filesize":5324528,"createdAt":"2025-06-27T09:42:24.243Z","updatedAt":"2025-06-27T09:42:24.243Z","id":"685e678071f13d6f59143a97","url":"/cms/api/media/file/Pissarro_GER_Erw_409.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_409.mp3","mimeType":"audio/mpeg","filesize":5277548,"createdAt":"2025-06-27T09:42:01.719Z","updatedAt":"2025-06-27T09:42:01.719Z","id":"685e676971f13d6f59143a46","url":"/cms/api/media/file/Pissarro_ENG_Erw_409.mp3","thumbnailURL":null}}},"id":"685e673ce266833f8a5887b5"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"039_Camille-Pissarro_The-Garden-of-Les-Mathurins-at-Pontoise.jpg","mimeType":"image/jpeg","filesize":2024819,"width":3337,"height":2297,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:41:37.958Z","updatedAt":"2025-05-30T15:41:37.958Z","id":"6839d1b1ed4658a40e9e98cf","url":"/cms/api/media/file/039_Camille-Pissarro_The-Garden-of-Les-Mathurins-at-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Der Garten von Les Mathurins in Pontoise","en":"The Garden of Les Mathurins at Pontoise"},"id":"6837065fd0f800769f0fec55"},"id":"683706609081c3a00da171ee"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"050","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"ca. 1883","en":"ca. 1883"},"technique":{"de":"Gouache auf Papier","en":"Gouache on paper"},"description":{"de":"Pissarro experimentierte mit verschiedenen Medien und Materialien, darunter auch mit Fächern. Diese Form geht zurück auf die Japan-Begeisterung (Japonismus), die zahlreiche Künstler seit den 1860er Jahren erfasst hatte. Hier griff Pissarro auf ein erprobtes Motiv zurück: Das Gespräch zweier werktätiger Frauen auf dem Weg begegnet bereits in seinem Frühwerk.","en":"Pissarro experimented with a variety of media and materials, including fans. This form reflected the enthusiasm for Japan (japonisme) that had seized many artists since the 1860s. Here, Pissarro adopted a familiar motif, one he had already employed in his early oeuvre: a conversation between two working women on a path."},"measurements":"26,7 x 55,9 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"f40ddc8fad4f486abdbfeacfaa679259","rotation":{"x":-23.98,"y":-178.29}},"artworkCollisionBox":{"geometry":{"x":0.86,"y":0.59,"z":0.78},"position":{"x":19.01,"y":1.1,"z":-2.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.56,"y":0.2,"z":0.45},"position":{"x":19.01,"y":0.37,"z":-3.5,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-8.2,"y":9.3,"z":15.8},"floorplan":{"x":-8.1,"y":6.2,"z":17.2}}}},"createdAt":"2025-05-28T12:52:28.483Z","updatedAt":"2026-02-24T19:44:01.801Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"411","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_411.mp3","mimeType":"audio/mpeg","filesize":5041604,"createdAt":"2025-06-27T12:45:25.477Z","updatedAt":"2025-06-27T12:45:25.477Z","id":"685e926571f13d6f59147816","url":"/cms/api/media/file/Pissarro_GER_Erw_411.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_411.mp3","mimeType":"audio/mpeg","filesize":4815056,"createdAt":"2025-06-27T12:45:03.934Z","updatedAt":"2025-06-27T12:45:03.934Z","id":"685e924f71f13d6f591477bf","url":"/cms/api/media/file/Pissarro_ENG_Erw_411.mp3","thumbnailURL":null}}},"id":"685e922c2e04de6510e76def"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"050_Camille-Pissarro_Landscape-with-Two-Peasant-Women-on-the-Left-(fan).jpg","mimeType":"image/jpeg","filesize":2053479,"width":5512,"height":2758,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:45:32.334Z","updatedAt":"2025-05-30T15:45:32.334Z","id":"6839d29ced4658a40e9e9974","url":"/cms/api/media/file/050_Camille-Pissarro_Landscape-with-Two-Peasant-Women-on-the-Left-(fan).jpg","thumbnailURL":null},"title":{"de":"Landschaft mit zwei Bäuerinnen auf der linken Seite","en":"Landscape with Two Peasant Women on the Left"},"id":"6837070cd0f800769f0ff4a2"},"id":"6837070e9081c3a00da17243"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"053","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1890","en":"1890"},"technique":{"de":"Gouache und Bleistift auf Seide","en":"Gouache and pencil on silk"},"description":{"de":"Die verdünnten Gouachefarben wurden von dem Seidenuntergrund aufgesogen und bilden sanfte Übergänge. Pissarro nutzte die Effekte der Technik, um die harmonische Abendstimmung wiederzugeben. Das Bild des guten Schäfers war auch immer mit der christlichen Ikonographie verknüpft. Beim Anarchisten Pissarro wird es zum humanistischen Motiv der Fürsorge.","en":"The thinned gouache paint soaks into the silk ground, creating delicate transitions. Pissarro used the effects of this technique to evoke a harmonious evening atmosphere. While the motif of the Good Shepherd had always been associated with Christian iconography, for the anarchist Pissarro it became a humanistic symbol of care."},"measurements":"27 x 55,2 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"5ee7baf848cd499dba6b577f28021172","rotation":{"x":-24.94,"y":120.71}},"artworkCollisionBox":{"geometry":{"x":-1.07,"y":0.59,"z":0.72},"position":{"x":19.66,"y":1.1,"z":-2.51,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.56,"y":0.2,"z":0.45},"position":{"x":20.35,"y":0.37,"z":-2.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-9.3,"y":9.3,"z":15.5},"floorplan":{"x":-8.9,"y":6.2,"z":17.2}}}},"createdAt":"2025-05-28T12:52:23.804Z","updatedAt":"2026-02-24T19:44:02.311Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"053_Camille-Pissarro_Shepherd-and-Sheep-(fan).jpg","mimeType":"image/jpeg","filesize":1995100,"width":5512,"height":2697,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:45:56.267Z","updatedAt":"2025-05-30T15:45:56.267Z","id":"6839d2b4ed4658a40e9e99a1","url":"/cms/api/media/file/053_Camille-Pissarro_Shepherd-and-Sheep-(fan).jpg","thumbnailURL":null},"title":{"de":"Schäfer und Schafe","en":"Shepherd and Sheep"},"id":"68370707d0f800769f0ff470"},"id":"683707099081c3a00da17241"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"052","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1889","en":"1889"},"technique":{"de":"Gouache auf Papier","en":"Gouache on paper"},"description":{"de":"Im Gegenlicht der tief stehenden Sonne sind zwei Frauen bei der Ernte zu sehen. Am Horizont, der mit der gebogenen Form des Fächers korrespondiert, steht ein Hirte inmitten seiner Herde. Auch andere Impressionisten bedienten sich des ungewöhnlichen Bildträgers, denn er schien ihnen besonders geeignet, um mit innovativen Bildausschnitten zu experimentieren.","en":"In the backlight of the setting sun, two women work at harvesting in the field. A shepherd and his herd stand on the horizon, which itself echoes the arched form of the fan. Other Impressionist painters also experimented with this unusual pictorial format, since it lent itself especially well to innovative compositions."},"measurements":"20 x 62 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"ca8027a095e24100bf230ceae6225916","rotation":{"x":-22.78,"y":58.77}},"artworkCollisionBox":{"geometry":{"x":-1.07,"y":0.59,"z":0.59},"position":{"x":19.61,"y":1.1,"z":-1.49,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.56,"y":0.2,"z":0.45},"position":{"x":20.35,"y":0.37,"z":-1.24,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-9.3,"y":9.3,"z":14.4},"floorplan":{"x":-8.9,"y":6.2,"z":14.7}}}},"createdAt":"2025-05-28T12:52:26.008Z","updatedAt":"2026-02-24T19:44:02.077Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"052_Camille-Pissarro_Herd-of-Sheep,-Setting-Sun-(fan).jpg","mimeType":"image/jpeg","filesize":2033827,"width":5512,"height":2829,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:45:50.406Z","updatedAt":"2025-05-30T15:45:50.406Z","id":"6839d2aeed4658a40e9e9992","url":"/cms/api/media/file/052_Camille-Pissarro_Herd-of-Sheep%2C-Setting-Sun-(fan).jpg","thumbnailURL":null},"title":{"de":"Schafherde, Sonnenuntergang","en":"Herd of Sheep, Setting Sun"},"id":"6837070ad0f800769f0ff489"},"id":"6837070b9081c3a00da17242"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"051","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1880","en":"1880"},"technique":{"de":"Gouache auf Pergament","en":"Gouache on vellum"},"description":{"de":"Der auf japanische Einflüsse zurückgehende Fächer zeigt Bäuerinnen und Bauern bei der Ernte. Um 1880 hatte Pissarro begonnen, solche dekorativen Fächer ohne praktische Funktion anzufertigen. Da sie günstiger waren als Ölgemälde, sollten sie eine breitere Käuferschicht ansprechen.","en":"The fan, derived from Japanese influences, shows peasant men and women harvesting in the field. Around 1880, Pissarro began producing fans of this kind, intended purely for decorative rather than practical purposes. Since they were less expensive than oil paintings, they were meant to appeal to a wider range of buyers."},"measurements":"28 x 56,5 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Fotoatelier Peter Schälchli, Zürich","modelData":{"matterport":{"insideView":{"sweepId":"3d81492414054fc384d96205c5735d5b","rotation":{"x":-26.42,"y":-0.91}},"artworkCollisionBox":{"geometry":{"x":-0.87,"y":0.59,"z":0.59},"position":{"x":19,"y":1.09,"z":-1.2,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.56,"y":0.2,"z":0.45},"position":{"x":19.06,"y":0.37,"z":-0.48,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-8.3,"y":9.3,"z":13.7},"floorplan":{"x":-7.6,"y":6.2,"z":14.7}}}},"createdAt":"2025-05-28T12:50:09.517Z","updatedAt":"2026-02-24T19:44:18.053Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"051_Camille-Pissarro_Harvest-Peasants-Working-in-the-Field-(fan).jpg","mimeType":"image/jpeg","filesize":2050386,"width":7337,"height":4435,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:45:43.781Z","updatedAt":"2025-05-30T15:45:43.781Z","id":"6839d2a7ed4658a40e9e9983","url":"/cms/api/media/file/051_Camille-Pissarro_Harvest-Peasants-Working-in-the-Field-(fan).jpg","thumbnailURL":null},"title":{"de":"Ernte: Bauern bei der Feldarbeit","en":"Harvest: Peasants Working in the Field"},"id":"68370681d0f800769f0fee17"},"id":"683706829081c3a00da17200"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"058","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1878","en":"1878"},"technique":{"de":"Aquarell auf Papier","en":"Watercolor on paper"},"description":{"de":"Der bogenförmige Bildgrund ermöglichte es Pissarro, statt der Mitte die Seiten zu betonen. Rechts ist eine Frau mit Reisigbündel dargestellt, links warm gekleidete Figuren bei der Heimkehr vom Markt. Sie geben unterschiedliche Aspekte des Winters wieder, den Pissarro auch mit der verschneiten Landschaft und dem blassen Himmel ins Bild setzte.","en":"The arch-shaped format enabled Pissarro to emphasize the sides of the composition rather than the middle. To the right, a woman carries a bundle of brushwood, while on the left warmly dressed figures return home from the market. They represent different aspects of winter, which Pissarro also evoked through the snow-covered landscape and pale sky."},"measurements":"25 x 55 cm","credit":{"de":"Paris, musée Marmottan Monet, legs Robert Hauser, 1990. Inv. 5233","en":"Paris, musée Marmottan Monet, legs Robert Hauser, 1990. Inv. 5233"},"copyrightArtist":null,"copyrightFoto":"Bridgeman Images","modelData":{"matterport":{"insideView":{"sweepId":"0dc0bc75c4a44eaca906a48ee1f5c3e4","rotation":{"x":-28.56,"y":-57.19}},"artworkCollisionBox":{"geometry":{"x":0.66,"y":0.59,"z":0.78},"position":{"x":18.19,"y":1.1,"z":-1.57,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.31,"y":0.2,"z":0.45},"position":{"x":17.68,"y":0.37,"z":-1.24,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.2,"y":9.3,"z":14.2},"floorplan":{"x":-6.6,"y":6.2,"z":15.5}}}},"createdAt":"2025-05-28T12:50:53.769Z","updatedAt":"2026-02-24T19:44:12.604Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"058_Camille-Pissarro_Winter,-Return-from-the-Fair-(fan).jpg","mimeType":"image/jpeg","filesize":2063683,"width":10014,"height":5381,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:52:41.234Z","updatedAt":"2025-05-30T15:52:41.234Z","id":"6839d449ed4658a40e9e99ec","url":"/cms/api/media/file/058_Camille-Pissarro_Winter%2C-Return-from-the-Fair-(fan).jpg","thumbnailURL":null},"title":{"de":"Winter, Rückkehr vom Markt","en":"Winter, Return from the Fair"},"id":"683706add0f800769f0ff03d"},"id":"683706af9081c3a00da17216"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"046","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1899","en":"1899"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Monet hatte in den späten 1880er Jahren mit der Serie der Getreideschober begonnen, die er als autonome Objekte in der Landschaft zeigte. In Pissarro Augen waren Heuhaufen das Resultat erfüllender Arbeit. Viele seiner Bilder des Landlebens entstanden in Éragny-sur-Epte. Dank der finanziellen Unterstützung von Monet und seinem Kunsthändler Durand-Ruel hatte er 1892 hier sein Haus erwerben können.","en":"Monet had begun his series of grainstacks in the late 1880s, presenting them as autonomous objects in the landscape. For Pissarro, the heaps of hay represented the product of meaningful labor. Many of Pissarro’s scenes of rural life were painted in Éragny-sur-Epte, where he was able to purchase a home in 1892 with the financial assistance of Monet and his art dealer Durand-Ruel."},"measurements":"60 x 73 cm","credit":{"de":"Sammlung Isabelle und Scott Black","en":"Isabelle and Scott Black Collection"},"copyrightArtist":null,"copyrightFoto":"Heritage Images / Fine Art Images / akg-images","modelData":{"matterport":{"insideView":{"sweepId":"3620429518d848ffbd3a1802171eb8cf","rotation":{"x":-2.03,"y":-179.13}},"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.95,"z":0.17},"position":{"x":16.53,"y":1.6,"z":2.68,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.55,"z":0.05},"position":{"x":15.65,"y":1.07,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-5.7,"y":10.5,"z":10.6},"floorplan":{"x":-6.7,"y":6.2,"z":9}}}},"createdAt":"2025-05-28T12:49:50.332Z","updatedAt":"2026-02-24T19:44:20.377Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"046_Camille-Pissarro_Gardener-Standing-by-a-Haystack,-Overcast-Sky,-Éragny.jpg","mimeType":"image/jpeg","filesize":1895603,"width":4996,"height":4070,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:43:55.483Z","updatedAt":"2025-05-30T15:43:55.483Z","id":"6839d23bed4658a40e9e9938","url":"/cms/api/media/file/046_Camille-Pissarro_Gardener-Standing-by-a-Haystack%2C-Overcast-Sky%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Gärtner neben einem Heuhaufen, bedeckter Himmel, Éragny","en":"Gardener Standing by a Haystack, Overcast Sky, Éragny"},"id":"6837066ed0f800769f0fed1d"},"id":"6837066f9081c3a00da171f6"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"045","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1884","en":"1884"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Frauen spielen in Pissarros Darstellungen des Landlebens eine zentrale Rolle. Er zeigt sie nicht im häuslichen Kontext, sondern ganz selbstverständlich bei der Arbeit auf dem Feld, umgeben von ihren Kindern. Dabei ging es ihm nicht um individuelle Portraits, sondern um Typen. Auch bei diesem Bild ist das Gesicht der Bäuerin abgewandt und von ihrem Strohhut verschattet.","en":"Women play an important role in Pissarro’s scenes of rural life. He shows them not in domestic settings, but working in the fields, surrounded by their children. His intent was to create portraits not of individual persons, but of types. Here, too, the peasant woman’s face is turned away from the viewer, shaded by her straw hat."},"measurements":"73,5 x 60 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"149482ab7f7948319fae979196cdd5cd","rotation":{"x":-3.44,"y":-179.88}},"artworkCollisionBox":{"geometry":{"x":0.83,"y":0.98,"z":0.17},"position":{"x":18.41,"y":1.6,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.43,"z":0.05},"position":{"x":19.26,"y":1.12,"z":2.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.6,"y":10.5,"z":10.6},"floorplan":{"x":-8.6,"y":6.2,"z":9}}}},"createdAt":"2025-05-28T12:52:12.928Z","updatedAt":"2026-02-24T19:44:03.488Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"045_Camille-Pissarro_The-Haymaker.jpg","mimeType":"image/jpeg","filesize":2087167,"width":3692,"height":4547,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:43:42.774Z","updatedAt":"2025-05-30T15:43:42.774Z","id":"6839d22eed4658a40e9e9929","url":"/cms/api/media/file/045_Camille-Pissarro_The-Haymaker.jpg","thumbnailURL":null},"title":{"de":"Die Heumacherin\r\n","en":"The Haymaker\r\n"},"id":"683706fcd0f800769f0ff3f3"},"id":"683706fe9081c3a00da1723c"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"043","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Wie auf einer Bühne sind die jungen, vereinfacht wiedergegebenen Erntehelferinnen beim Wenden des Heus inszeniert; der Einklang ihrer Bewegungen erinnert an einen Tanz. Für seine anspruchsvollen Figurengruppen schuf Pissarro Vorstudien, um die Posen und Konstellationen der Modelle zu erproben.","en":"Young farm women turn the hay, their simplified figures positioned as if on a stage. Their harmonious movements resemble those of a dance. For his ambitious figure groups, Pissarro used preliminary studies to develop the poses and arrangements of the models."},"measurements":"53,9 x 64,7 cm","credit":{"de":"National Gallery of Canada, Ottawa, erworben 1946","en":"National Gallery of Canada, Ottawa. Purchased 1946"},"copyrightArtist":null,"copyrightFoto":"Photo: NGC","modelData":{"matterport":{"insideView":{"sweepId":"ab0df52c2c7841d28ad657975b5843b5","rotation":{"x":-2.44,"y":179.24}},"artworkCollisionBox":{"geometry":{"x":0.96,"y":0.83,"z":0.17},"position":{"x":22.65,"y":1.58,"z":2.62,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.43,"z":0.05},"position":{"x":21.78,"y":1.13,"z":2.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-12,"y":10.5,"z":10.6},"floorplan":{"x":-11.5,"y":6.2,"z":9}}}},"createdAt":"2025-05-28T12:51:47.108Z","updatedAt":"2026-02-24T19:44:06.363Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"412","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_412.mp3","mimeType":"audio/mpeg","filesize":5327660,"createdAt":"2025-06-27T11:55:50.262Z","updatedAt":"2025-06-27T11:55:50.262Z","id":"685e86c671f13d6f59146b85","url":"/cms/api/media/file/Pissarro_GER_Erw_412.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_412.mp3","mimeType":"audio/mpeg","filesize":5347496,"createdAt":"2025-06-27T11:55:27.742Z","updatedAt":"2025-06-27T11:55:27.742Z","id":"685e86af71f13d6f59146b2d","url":"/cms/api/media/file/Pissarro_ENG_Erw_412.mp3","thumbnailURL":null}}},"id":"685e867933b8333349c9dba3"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"043_Camille-Pissarro_Haymaking-at-Éragny.jpg","mimeType":"image/jpeg","filesize":1899419,"width":4530,"height":3789,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:43:22.138Z","updatedAt":"2025-05-30T15:43:22.138Z","id":"6839d21aed4658a40e9e990b","url":"/cms/api/media/file/043_Camille-Pissarro_Haymaking-at-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Heuernte bei Éragny","en":"Haymaking at Éragny"},"id":"683706e3d0f800769f0ff2c7"},"id":"683706e49081c3a00da17230"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"044","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1893","en":"1893"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Im Licht der Abendsonne beenden die Heumacherinnen ihr Tagewerk. Pissarro zeigt die gemeinschaftliche Arbeit auf dem Feld als positiven Lebensentwurf. Beim französischen Realisten Millet, mit dem Pissarro häufig verglichen wurde, standen noch die harten Lebensbedingungen der einfachen Landarbeiter im Fokus.","en":"In the light of the setting sun, women haymakers finish their day’s work. Pissarro viewed communal labor in the field as a positive way of life—unlike the French Realist painter Millet, with whom Pissarro is often compared and who focused on the harsh life of the simple rural laborers."},"measurements":"53,34 x 63,5 cm","credit":{"de":"Joslyn Art Museum, Omaha, Nebraska, Museumsankauf, 1946.28","en":"Joslyn Art Museum, Omaha, Nebraska, Museum Purchase, 1946.28"},"copyrightArtist":null,"copyrightFoto":"© Bruce M. White, 2019","modelData":{"matterport":{"insideView":{"sweepId":"e15527e5a44543519ecde48f3f2b0a1b","rotation":{"x":-2.05,"y":-89.52}},"artworkCollisionBox":{"geometry":{"x":0.17,"y":0.83,"z":0.96},"position":{"x":24.44,"y":1.6,"z":0.63,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.29},"position":{"x":24.45,"y":1.12,"z":-0.27,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-13.3,"y":10.5,"z":11.9},"floorplan":{"x":-12.9,"y":6.2,"z":11.1}}}},"createdAt":"2025-05-28T12:49:59.973Z","updatedAt":"2026-02-24T19:44:19.204Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"044_Camille-Pissarro_Haymakers,-Evening,-Éragny.jpg","mimeType":"image/jpeg","filesize":2060227,"width":3115,"height":2563,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:43:27.251Z","updatedAt":"2025-05-30T15:43:27.251Z","id":"6839d21fed4658a40e9e991a","url":"/cms/api/media/file/044_Camille-Pissarro_Haymakers%2C-Evening%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Heumacherinnen, Abend, Éragny","en":"Haymakers, Evening, Eragny"},"id":"68370677d0f800769f0fed9a"},"id":"683706799081c3a00da171fb"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"042","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1881","en":"1881"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Körperliche Arbeit ging bei Pissarro stets einher mit Momenten des Innehaltens und der Einkehr. In dem ganzfigurigen Bild rastet eine junge Hirtin auf einer Böschung; mit einem Stock fährt sie versonnen durchs Gras. Arbeit und Ruhe, Mensch und Natur bilden eine Harmonie.","en":"For Pissarro, physical labor was always also associated with moments of quiet and introspection. In this full-figure image, a young shepherdess rests on an embankment, pensively stroking the grass with her stick. Work and rest, humanity and nature form a harmonious unity."},"measurements":"81 x 64,8 cm","credit":{"de":"Musée d’Orsay, Paris, Vermächtnis Isaac de Camondo, 1911","en":"Paris, musée d'Orsay ; Legs Isaac de Camondo, 1911"},"copyrightArtist":null,"copyrightFoto":"bpk | GrandPalaisRmn | Hervé Lewandowski\r\n\r\n","modelData":{"matterport":{"insideView":{"sweepId":"89796c78f9db4c9c876e63252c090ff5","rotation":{"x":-0.83,"y":-89.4}},"artworkCollisionBox":{"geometry":{"x":0.17,"y":1.03,"z":0.88},"position":{"x":24.39,"y":1.62,"z":-4.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.29},"position":{"x":24.46,"y":1.13,"z":-3.87,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-13.1,"y":10.5,"z":17.5},"floorplan":{"x":-12.9,"y":6.2,"z":19.8}}}},"createdAt":"2025-05-28T12:50:49.552Z","updatedAt":"2026-02-24T19:44:13.077Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"413","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_413.mp3","mimeType":"audio/mpeg","filesize":5448764,"createdAt":"2025-06-27T11:45:06.919Z","updatedAt":"2025-06-27T11:45:06.919Z","id":"685e844271f13d6f591467cb","url":"/cms/api/media/file/Pissarro_GER_Erw_413.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_413.mp3","mimeType":"audio/mpeg","filesize":5612672,"createdAt":"2025-06-27T11:44:38.181Z","updatedAt":"2025-06-27T11:44:38.181Z","id":"685e842671f13d6f59146773","url":"/cms/api/media/file/Pissarro_ENG_Erw_413.mp3","thumbnailURL":null}}},"id":"685e83cb33b8333349c9dba2"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"042_Camille-Pissarro_The-Shepherdess.jpg","mimeType":"image/jpeg","filesize":3051962,"width":5345,"height":6576,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:42:56.159Z","updatedAt":"2025-05-30T15:42:56.159Z","id":"6839d200ed4658a40e9e98fc","url":"/cms/api/media/file/042_Camille-Pissarro_The-Shepherdess.jpg","thumbnailURL":null},"title":{"de":"Die Schäferin","en":"The Shepherdess"},"id":"683706a9d0f800769f0ff00b"},"id":"683706aa9081c3a00da17214"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"041","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1881","en":"1881"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In sich versunken ruht sich die junge Frau von der Arbeit aus. Die Komposition erinnert an die klassische Portraitkunst, die zur Repräsentation diente. Doch hier ist es eine einfach gekleidete Bäuerin, die im Dreiviertelportrait gezeigt ist, und den Hintergrund bildet nicht das Atelier, sondern die üppig-grüne Natur.","en":"Lost in thought, a young woman rests from her work. The composition recalls a classical society portrait; here, however, the figure shown in three-quarter view is a peasant girl clad in a simple dress. The background consists not of the artist’s studio, but of luxuriant green vegetation."},"measurements":"73,3 x 59,5 cm","credit":{"de":"National Gallery of Art, Washington, Ailsa Mellon Bruce Collection","en":"National Gallery of Art, Washington, Ailsa Mellon Bruce Collection"},"copyrightArtist":null,"copyrightFoto":"Courtesy National Gallery of Art, Washington","modelData":{"matterport":{"insideView":{"sweepId":"dcca355b9e9e43ac9ebb8157980797f4","rotation":{"x":-1.3,"y":-0.37}},"artworkCollisionBox":{"geometry":{"x":0.81,"y":0.95,"z":0.17},"position":{"x":22.83,"y":1.6,"z":-6.71,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.43,"z":0.05},"position":{"x":23.46,"y":1.13,"z":-6.75,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-12.2,"y":10.5,"z":18.9},"floorplan":{"x":-12.1,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:45.036Z","updatedAt":"2026-02-24T19:44:06.613Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"041_Camille-Pissarro_Peasant-Girl-with-a-Straw-Hat.jpg","mimeType":"image/jpeg","filesize":1919435,"width":3345,"height":4096,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:41:57.772Z","updatedAt":"2025-05-30T15:41:57.772Z","id":"6839d1c5ed4658a40e9e98ed","url":"/cms/api/media/file/041_Camille-Pissarro_Peasant-Girl-with-a-Straw-Hat.jpg","thumbnailURL":null},"title":{"de":"Bauernmädchen mit Strohhut","en":"Peasant Girl with a Straw Hat"},"id":"683706e1d0f800769f0ff2ae"},"id":"683706e29081c3a00da1722f"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"040","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1880","en":"1880"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro zeigt die Wäscherin mit Kopftuch und hochgekrempelten Ärmeln, so als würde sie gerade von der Arbeit kommen. Trotz ihrer zusammengesunkenen Haltung und des gesenkten Blicks vermittelt sie eine würdevolle Präsenz. Bei der Portraitierten handelt es sich um Pissarros Nachbarin in Pontoise, die zu dem Zeitpunkt 56-jährige Marie Adeline Larchevêque.","en":"Pissarro shows the washerwoman with rolled-up sleeves and a headscarf, as if she had just come from work. Despite her stooped posture and lowered gaze, she conveys a sense of dignified presence. The portrait subject was Pissarro’s neighbor in Pontoise, fifty-six-year-old Marie Adeline Larchevêque"},"measurements":"73 x 59,1 cm","credit":{"de":"Lent by The Metropolitan Museum of Art, Schenkung Herr und Frau Nate B. Spingold, 1956 (56.184.1) #","en":"Lent by The Metropolitan Museum of Art, Gift of Mr. and Mrs. Nate B. Spingold, 1956 (56.184.1)"},"copyrightArtist":null,"copyrightFoto":"The Metropolitan of Art","modelData":{"matterport":{"insideView":{"sweepId":"de93015361ff4c8391b13219766fbb75","rotation":{"x":-4.02,"y":-0.33}},"artworkCollisionBox":{"geometry":{"x":0.81,"y":0.92,"z":0.17},"position":{"x":21.27,"y":1.61,"z":-6.73,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.51,"z":0.05},"position":{"x":21.9,"y":1.1,"z":-6.75,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-10.7,"y":10.5,"z":18.9},"floorplan":{"x":-10.3,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:49.360Z","updatedAt":"2026-02-24T19:44:06.133Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"040_Camille-Pissarro_Washerwoman,-Study.jpg","mimeType":"image/jpeg","filesize":1820933,"width":3007,"height":3720,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:41:44.432Z","updatedAt":"2025-05-30T15:41:44.432Z","id":"6839d1b8ed4658a40e9e98de","url":"/cms/api/media/file/040_Camille-Pissarro_Washerwoman%2C-Study.jpg","thumbnailURL":null},"title":{"de":"Wäscherin, Studie","en":"Washerwoman, Study"},"id":"683706e5d0f800769f0ff2e0"},"id":"683706e69081c3a00da17231"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"049","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1884","en":"1884"},"technique":{"de":"Gouache, Aquarell und Pastell auf Papier","en":"Gouache, watercolor and pastel on paper"},"description":{"de":"1884 war Pissarro mit seiner Familie in ein Haus in Éragny-sur-Epte gezogen. Das Landleben im Einklang mit dem Wandel der Jahreszeiten faszinierte ihn: Ein zentrales Motiv war die Ernte auf dem Feld. Die Suche nach einem – vermeintlich – ursprünglichen, naturverbundenen Leben beschäftigte im späten 19. Jahrhundert viele Künstler, darunter auch Pissarros Schüler Gauguin.","en":"In 1884, Pissarro moved with his family to a house in Éragny-sur-Epte. He was fascinated by rural life in harmony with the changing of the seasons, and for him the harvest in the fields was an important motif. The search for a supposedly primordial way of life rooted in nature was a preoccupation of many late nineteenth-century artists, including Pissarro’s student Gauguin."},"measurements":"63,8 x 79,7 cm","credit":{"de":"Denver Art Museum, anonymes Vermächtnis","en":"Anonymous Bequest"},"copyrightArtist":null,"copyrightFoto":"Photo by Jeff Wells, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"32f044b98e874b8ea7ae12b13d0d5b6c","rotation":{"x":-2.04,"y":0}},"artworkCollisionBox":{"geometry":{"x":1,"y":0.82,"z":0.17},"position":{"x":19.61,"y":1.61,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.51,"z":0.05},"position":{"x":20.32,"y":1.08,"z":-6.75,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-8.9,"y":10.5,"z":18.9},"floorplan":{"x":-8.7,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:55.984Z","updatedAt":"2026-02-24T19:44:05.368Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"049_Camille-Pissarro_Peasants-Harvesting-Hay.jpg","mimeType":"image/jpeg","filesize":2028861,"width":8545,"height":6956,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:45:26.418Z","updatedAt":"2025-05-30T15:45:26.418Z","id":"6839d296ed4658a40e9e9965","url":"/cms/api/media/file/049_Camille-Pissarro_Peasants-Harvesting-Hay.jpg","thumbnailURL":null},"title":{"de":"Bäuerinnen ernten Heu","en":"Peasants Harvesting Hay"},"id":"683706ebd0f800769f0ff32b"},"id":"683706ed9081c3a00da17234"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"064","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1892","en":"1892"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Alltag auf dem Bauernhof: Eine Frau füttert ein Schwein, eine andere ist im Hintergrund mit zwei Kindern beschäftigt. Die ausgewogene Komposition – die abfallenden Linien der Figuren, des Tiers und des Baums im Hintergrund werden von den aufsteigenden Linien der Dächer ausgeglichen – ist Ausdruck von Pissarros harmonischer Vorstellung des Landlebens.","en":"Everyday life on the farm: one woman feeds a pig, while another watches two children in the background. The balanced composition, in which the descending lines of the figures, animal, and tree in the background are countered by the upward slope of the roofs, expresses Pissarro’s harmonious conception of rural life."},"measurements":"59,5 x 73 cm","credit":{"de":"Sammlung Prof. Mark Kaufman, Monaco","en":"Collection of Prof. Mark Kaufman, Monaco"},"copyrightArtist":null,"copyrightFoto":"Vicimages / Alamy Stock Photo","modelData":{"matterport":{"insideView":{"sweepId":"4e707bba50a9450d94aa604c24454189","rotation":{"x":-2.66,"y":0}},"artworkCollisionBox":{"geometry":{"x":1.1,"y":0.94,"z":0.17},"position":{"x":16.44,"y":1.6,"z":-6.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.44,"z":0.05},"position":{"x":17.23,"y":1.13,"z":-6.76,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-5.7,"y":10.5,"z":18.9},"floorplan":{"x":-5.8,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:50:21.507Z","updatedAt":"2026-02-24T19:44:16.619Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"064_Camille-Pissarro_Peasant-House.jpg","mimeType":"image/jpeg","filesize":3899153,"width":6500,"height":5237,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:00:43.251Z","updatedAt":"2025-05-30T16:00:43.251Z","id":"6839d62bed4658a40e9e9a46","url":"/cms/api/media/file/064_Camille-Pissarro_Peasant-House.jpg","thumbnailURL":null},"title":{"de":"Bauernhaus","en":"Peasant House"},"id":"6837068dd0f800769f0feead"},"id":"6837068e9081c3a00da17206"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"048","hall":"1A3_2","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Lithographie","en":"Lithograph"},"description":{"de":"Das Bild des Bauern, der mit einem primitiven Pflug die harte Erde aufreißt, stand traditionell wie kein anderes für die körperlichen Anstrengungen der Landbevölkerung. Für Pissarro als Anarchisten dagegen war Arbeit im Freien, die der Selbstversorgung diente, positiv besetzt. Der Maler hatte sich seit Mitte der 1880er Jahre mit sozialutopischen Schriften befasst.","en":"The image of a peasant tilling the soil with a primitive plow traditionally stood for the physically grueling life of the rural population. For Pissarro as an anarchist, however, outdoor work in the service of self-sufficiency had a positive connotation. The painter had been reading social utopian texts since the mid-1880s."},"measurements":"22,54 x 15,24 cm\r\n Blattmaß 36,51 x 28,25 cm","credit":{"de":"Denver Art Museum, Schenkung Noëlle und George Beatty","en":"Denver Art Museum: Gift of Noëlle and George Beatty"},"copyrightArtist":null,"copyrightFoto":"Photo by Christina Jackson, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"95e486c7fd1d4c3fbcc4b15c9ace48e3","rotation":{"x":0.23,"y":0.62}},"artworkCollisionBox":{"geometry":{"x":0.5,"y":0.6,"z":0.21},"position":{"x":14.89,"y":1.6,"z":-6.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.44,"z":0.05},"position":{"x":15.37,"y":1.12,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-4.3,"y":10.5,"z":18.9},"floorplan":{"x":-4,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:52:33.324Z","updatedAt":"2026-02-24T19:44:01.197Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"048_Camille-Pissarro_The-Plow.jpg","mimeType":"image/jpeg","filesize":1921013,"width":3941,"height":5729,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:44:18.610Z","updatedAt":"2025-05-30T15:44:18.610Z","id":"6839d252ed4658a40e9e9956","url":"/cms/api/media/file/048_Camille-Pissarro_The-Plow.jpg","thumbnailURL":null},"title":{"de":"Der Pflug","en":"The Plow"},"id":"68370711d0f800769f0ff4d4"},"id":"683707129081c3a00da17245"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"062","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1900","en":"1900"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Es ist Frühling – der große Walnussbaum im Garten, den Pissarro vielfach malte, treibt zarte rötliche Blätter aus, während kleinere Obstbäume in voller Blüte stehen. Wie so oft wählte der Künstler hier ein einfaches Motiv, um den Fokus auf die jahres- und tageszeitlichen Besonderheiten zu legen. Die Angabe „Nachmittag“ im Bildtitel zeugt von der Bedeutung dieses Aspekts.","en":"Spring has come. The large walnut tree in the garden, which Pissarro painted on multiple occasions, puts out delicate reddish leaves, while the smaller fruit trees are in full bloom. As so often, here the artist chose a simple motif in order to focus attention on the unique atmosphere of the season and time of day. The designation “Afternoon” in the title of the painting bears witness to the importance of this aspect."},"measurements":"66 x 81,8 cm","credit":{"de":"Privatsammlung, Vereinigtes Königreich","en":"Private Collection, UK"},"copyrightArtist":null,"copyrightFoto":"© 2023 Christie’s Images Limited","modelData":{"matterport":{"insideView":{"sweepId":"ad75299900c145f08e92f3f48f104351","rotation":{"x":-0.91,"y":178.96}},"artworkCollisionBox":{"geometry":{"x":1.02,"y":0.84,"z":0.15},"position":{"x":32.21,"y":1.59,"z":2.88,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.52,"z":0.1},"position":{"x":31.24,"y":1.05,"z":2.96,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-21.4,"y":10.3,"z":10.3},"floorplan":{"x":-20.4,"y":6.2,"z":8.9}}}},"createdAt":"2025-05-28T12:49:54.077Z","updatedAt":"2026-02-24T19:44:19.896Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"062_Camille-Pissarro_The-Large-Walnut-Tree,-Éragny,-Afternoon.jpg","mimeType":"image/jpeg","filesize":12871923,"width":13665,"height":10874,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:58:05.586Z","updatedAt":"2025-05-30T15:58:05.586Z","id":"6839d58ded4658a40e9e9a28","url":"/cms/api/media/file/062_Camille-Pissarro_The-Large-Walnut-Tree%2C-E%CC%81ragny%2C-Afternoon.jpg","thumbnailURL":null},"title":{"de":"Der große Walnussbaum, Éragny, Nachmittag","en":"The Large Walnut Tree, Éragny, Afternoon"},"id":"68370672d0f800769f0fed4f"},"id":"683706739081c3a00da171f8"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"060","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Auf der Wiese vor der Gartenmauer steht ein großer Apfelbaum, der noch einige rote Früchte trägt. Gepflegte Beete und Sträucher sind das Ergebnis der Arbeit Julie Pissarros, die hier nahezu mit ihrem „Reich“ verschmilzt. Der Künstler notierte auf der Rückseite der Leinwand, dass er das Bild an mehreren Oktobermorgen zwischen 10 und 12:30 Uhr schuf.","en":"In the meadow in front of the garden wall stands a large apple tree, still bearing a number of red fruits. The cultivated garden beds and shrubs are the work of Julie Pissarro, who in this image seems to almost merge with her “realm.” On the back of the canvas, the artist noted that he painted it on multiple mornings in October between 10:00 a.m. and 12:30 p.m."},"measurements":"60 x 81,3 cm","credit":{"de":"Tate, Schenkung Frau Esther Pissarro, die Schwieger- tochter des Künstlers 1951","en":"Tate: Presented by Mrs Esther Pissarro, the artist's daughter?in?law 1951"},"copyrightArtist":null,"copyrightFoto":"Tate","modelData":{"matterport":{"insideView":{"sweepId":"61ec5a75a35542a78276c24186892ab0","rotation":{"x":-1.03,"y":179.61}},"artworkCollisionBox":{"geometry":{"x":1.11,"y":0.9,"z":0.15},"position":{"x":34.15,"y":1.59,"z":2.82,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.48,"z":0.1},"position":{"x":35.11,"y":1.09,"z":2.91,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-23.3,"y":10.3,"z":10.3},"floorplan":{"x":-23.7,"y":6.2,"z":8.9}}}},"createdAt":"2025-05-28T12:51:29.851Z","updatedAt":"2026-02-24T19:44:08.302Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"060_Camille-Pissarro_A-Corner-of-the-Meadow-at-Éragny.jpg","mimeType":"image/jpeg","filesize":1972704,"width":3461,"height":2557,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:53:28.167Z","updatedAt":"2025-05-30T15:53:28.167Z","id":"6839d478ed4658a40e9e9a0a","url":"/cms/api/media/file/060_Camille-Pissarro_A-Corner-of-the-Meadow-at-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Eine Ecke der Wiese in Éragny","en":"A Corner of the Meadow at Éragny"},"id":"683706d1d0f800769f0ff1ff"},"id":"683706d39081c3a00da17228"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"066","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1900","en":"1900"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"„Die frühen Apfelbäume stehen in voller Blüte“, schrieb Pissarro an seinen Kunsthändler Paul Durand-Ruel, „es ist herrlich! Aber wie flüchtig.“ Mit hellen, kräftigen Farben fing der Maler die Atmosphäre eines sonnigen Frühlingstags ein. Anders als in den meisten Gartenbildern wird hier nicht gearbeitet – Pissarro präsentiert ein idyllisches Familienleben im Einklang mit der Natur.","en":"“The early apple trees are in full bloom,” Pissarro wrote to his art dealer Paul DurandRuel. “It’s glorious! But how fleeting.” The painter used bold, bright colors to capture the atmosphere of a sunny spring day. Unlikemost of his garden pictures, this one shows no labor: rather, Pissarro presents an idyll of family life in harmony with nature."},"measurements":"65,4 x 81,6 cm","credit":{"de":"Denver Art Museum, Frederic C. Hamilton Collection, Vermächtnis an das Denver Art Museum","en":"Frederic C. Hamilton Collection, bequeathed to the Denver Art Museum"},"copyrightArtist":null,"copyrightFoto":"Photo by William O’Connor, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"bab5c9eff87d472d8a1d0f1d23e9a6b9","rotation":{"x":-2.49,"y":-89.28}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.99,"z":1.14},"position":{"x":37.01,"y":1.59,"z":0.21,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.45,"z":0.3},"position":{"x":37.05,"y":1.12,"z":1.1,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-25.9,"y":10.3,"z":12.5},"floorplan":{"x":-25.6,"y":6.2,"z":12.2}}}},"createdAt":"2025-05-28T12:51:23.471Z","updatedAt":"2026-02-24T19:44:09.044Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"066_Camille-Pissarro_Spring-at-Éragny.jpg","mimeType":"image/jpeg","filesize":2754000,"width":7928,"height":6283,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:01:57.318Z","updatedAt":"2025-05-30T16:01:57.318Z","id":"6839d675ed4658a40e9e9a64","url":"/cms/api/media/file/066_Camille-Pissarro_Spring-at-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Frühling in Éragny","en":"Spring at Éragny"},"id":"683706cbd0f800769f0ff1b4"},"id":"683706cc9081c3a00da17225"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"059","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1894","en":"1894"},"technique":{"de":"Oil on canvas, underlying drawing of black crayon #","en":"Oil on canvas, underlying drawing of black crayon #"},"description":{"de":"Nach dem Erwerb des Hauses in Éragnysur-Epte ließ Pissarro 1893 die Scheune in ein Atelier umbauen. Dieses Bild mit den blühenden Pflaumenbäumen ist das erste, das den Bau mit der neuen, zum Arbeitsraum führenden Treppe zeigt. Wegen einer Augenkrankheit konnte Pissarro nur noch bedingt im Freien malen – die Arbeit im Atelier war ein zentraler Bestandteil seiner künstlerischen Praxis.","en":"After the acquisition of the house in Éragnysur-Epte, Pissarro converted the barn into a studio in 1893. This painting of blossoming plum trees is the first to show the building with the new staircase leading to the atelier. Due to an eye disease, Pissarro was limited in his ability to paint outdoors, and studio work became a central element of his artistic practice."},"measurements":"60 x 73 cm","credit":{"de":"Ordrupgaard, Kopenhagen","en":"Ordrupgaard, Copenhagen"},"copyrightArtist":null,"copyrightFoto":"Heritage Images / Fine Art Images / akg-images","modelData":{"matterport":{"insideView":{"sweepId":"ed515ed057aa4bc3961e93ffb4fce3f4","rotation":{"x":-0.68,"y":-90.7}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.89,"z":1.02},"position":{"x":37.01,"y":1.6,"z":-2.04,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.45,"z":0.3},"position":{"x":37.06,"y":1.11,"z":-1.23,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-25.9,"y":10.3,"z":15.2},"floorplan":{"x":-25.6,"y":6.2,"z":15.9}}}},"createdAt":"2025-05-28T12:49:20.657Z","updatedAt":"2026-02-24T19:44:23.995Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"414","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_414_cor.mp3","mimeType":"audio/mpeg","filesize":5233700,"createdAt":"2025-06-27T14:50:01.326Z","updatedAt":"2025-06-27T14:50:01.326Z","id":"685eaf9971f13d6f59148d86","url":"/cms/api/media/file/Pissarro_GER_Erw_414_cor.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_414.mp3","mimeType":"audio/mpeg","filesize":5420576,"createdAt":"2025-06-27T14:49:39.984Z","updatedAt":"2025-06-27T14:49:39.984Z","id":"685eaf8371f13d6f59148d2f","url":"/cms/api/media/file/Pissarro_ENG_Erw_414.mp3","thumbnailURL":null}}},"id":"685eaf5f2e04de6510e76df1"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"059_Camille-Pissarro_Plum-Trees-in-Blossom,-Éragny.jpg","mimeType":"image/jpeg","filesize":1897170,"width":4961,"height":4072,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:53:25.092Z","updatedAt":"2025-05-30T15:53:25.092Z","id":"6839d475ed4658a40e9e99fb","url":"/cms/api/media/file/059_Camille-Pissarro_Plum-Trees-in-Blossom%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Blühende Pflaumenbäume, Éragny","en":"Plum Trees in Blossom, Éragny"},"id":"68370650d0f800769f0feb8d"},"id":"683706519081c3a00da171e6"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"061","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro bewertete seine künstlerische Tätigkeit nicht anders als die Arbeit eines Dichters oder Landwirts. Er wählte als Maler immer wieder neue Perspektiven auf den Garten aus. Seine Frau Julie Pissarro – links im Bild, mit zwei Eimern in den Händen – kultiviert die Pflanzen. Beideerschaffen und gestalten Landschaft.","en":"Pissarro viewed his artistic activity as no different than the work of a poet or a farmer. As a painter, he continually chose new perspectives on his garden. His wife, Julie Pissarro, shown on the left with two buckets, is cultivating the plants. Both of them create and shape the landscape."},"measurements":"64,8 x 81,3 cm","credit":{"de":"Philadelphia Museum of Art, Vermächtnis Charlotte Dorrance Wright, 1978","en":"Philadelphia Museum of Art: Bequest of Charlotte Dorrance Wright, 1978"},"copyrightArtist":null,"copyrightFoto":"Philadelphia Museum of Art","modelData":{"matterport":{"insideView":{"sweepId":"1a32f05128294ab69655142782608dbe","rotation":{"x":-0.93,"y":-89.37}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.99,"z":1.15},"position":{"x":37.01,"y":1.59,"z":-4.31,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.45,"z":0.3},"position":{"x":37.07,"y":1.12,"z":-3.39,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-25.9,"y":10.3,"z":17.2},"floorplan":{"x":-25.6,"y":6.2,"z":18.6}}}},"createdAt":"2025-05-28T12:51:01.545Z","updatedAt":"2026-02-24T19:44:11.645Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"061_Camille-Pissarro_Vegetable-Garden,-Overcast-Morning,-Éragny.jpg","mimeType":"image/jpeg","filesize":2000561,"width":4096,"height":3240,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:53:40.025Z","updatedAt":"2025-05-30T15:53:40.025Z","id":"6839d484ed4658a40e9e9a19","url":"/cms/api/media/file/061_Camille-Pissarro_Vegetable-Garden%2C-Overcast-Morning%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Der Gemüsegarten, bewölkter Morgen, Éragny\r\n \r\n\r\n\r\n","en":"Vegetable Garden, Overcast Morning, Éragny\r\n"},"id":"683706b5d0f800769f0ff0a1"},"id":"683706b69081c3a00da1721a"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"072","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1892","en":"1892"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Wie bei dem anderen „Bildpaar“ an dieser Wand ist in den zwei Schneelandschaften von Bazincourt Pissarros künstlerische Entwicklung zu sehen: Die frühe Szene ist mit Schattierungen in Blau und Violett Ton in Ton gehalten. Die Komposition mit dem Sonnenuntergang ist klarer strukturiert, stärker abstrahiert und flächiger – wenige Striche deuten die Baumreihen vor dem Dorf an. Zudem setzte Pissarro seit seiner neoimpressionistischen Phase in der zweiten Hälfte der 1880er Jahre häufiger Komplementärkontraste ein. Auch hier steigerte er mit der Kombination von Gelb und Violett die Leuchtkraft des späteren Bildes.","en":"Like the other pair of paintings on this wall, the two snowscapes of Bazincourt bear witness to Pissarro’s artistic development. The earlier scene is painted tone in tone using shades of violet and blue. The composition with the sunset is more clearly structured, more abstract, and flatter, with the row of trees in front of the village suggested by only a few strokes. After his Neo-Impressionist phase in the second half of the 1880s, Pissarro made more frequent use of complementary contrasts, and here too he intensifies the luminosity of the later picture by combining yellow and violet."},"measurements":"32 x 41 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"8a250e99a23a46bb8b665ea0257460f5","rotation":{"x":-0.37,"y":-1.02}},"artworkCollisionBox":{"geometry":{"x":0.7,"y":0.6,"z":0.15},"position":{"x":35.39,"y":1.58,"z":-6.92,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.73,"z":0.1},"position":{"x":36,"y":0.97,"z":-6.96,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-24.8,"y":10.3,"z":19.5},"floorplan":{"x":-25,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:49:04.379Z","updatedAt":"2026-02-24T19:44:26.237Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"072_Camille-Pissarro_View-of-Bazincourt,-Snow-Effect,-Sunset.jpg","mimeType":"image/jpeg","filesize":1918288,"width":3528,"height":2843,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:04:27.922Z","updatedAt":"2025-05-30T16:04:27.922Z","id":"6839d70bed4658a40e9e9abe","url":"/cms/api/media/file/072_Camille-Pissarro_View-of-Bazincourt%2C-Snow-Effect%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Blick auf Bazincourt, Schnee, Sonnenuntergang","en":"View of Bazincourt, Snow Effect, Sunset"},"id":"68370640d0f800769f0feaa2"},"id":"683706419081c3a00da171dd"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"071","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1884","en":"1884"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"46,7 x 55,6 cm","credit":{"de":"Fine Arts Museums of San Francisco, Schenkung Frau Renée M. Bransten","en":"Fine Arts Museums of San Francisco, Gift of Mrs. Renée M. Bransten"},"copyrightArtist":null,"copyrightFoto":"Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco ","modelData":{"matterport":{"insideView":{"sweepId":"d2b4b1a6848340968e09336bca3f3f9d","rotation":{"x":-0.72,"y":0.08}},"artworkCollisionBox":{"geometry":{"x":0.86,"y":0.77,"z":0.15},"position":{"x":33.84,"y":1.58,"z":-6.88,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.14,"z":0.1},"position":{"x":36,"y":1.41,"z":-6.96,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-23.2,"y":10.3,"z":19.5},"floorplan":{"x":-23,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:38.359Z","updatedAt":"2026-02-24T19:44:07.340Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"071_Camille-Pissarro_Snow-Scene-at-Éragny-(View-of-Bazincourt).jpg","mimeType":"image/jpeg","filesize":1908303,"width":3000,"height":2469,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:04:16.076Z","updatedAt":"2025-05-30T16:04:16.076Z","id":"6839d700ed4658a40e9e9aaf","url":"/cms/api/media/file/071_Camille-Pissarro_Snow-Scene-at-E%CC%81ragny-(View-of-Bazincourt).jpg","thumbnailURL":null},"title":{"de":"Schneelandschaft in Éragny (Blick auf Bazincourt)","en":"Snow Scene at Éragny (View of Bazincourt)"},"id":"683706dad0f800769f0ff263"},"id":"683706db9081c3a00da1722c"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"070","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1892","en":"1892"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Acht Jahre liegen zwischen diesen beiden Ansichten von Bazincourt – dem Dorf am gegenüberliegenden Ufer des Flusses Epte, auf das Pissarro vom Fenster seines Hauses in Èragny-sur-Epte blickte. Im Bild von 1884 sind noch einzelne Elemente wie die Obstbäume seines Gartens, weidende Kühe und die Häuser des Ortes zu erkennen. Später reduzierte der Maler die Komposition auf drei Streifen: die grüne Wiese, das in Violetttönen gehaltene Dorf und den in den Farben des Sonnenuntergangs leuchtenden Himmel. Er strebte ein harmonisches Bildganzes an, indem sämtliche Einzelheiten in der Einheit der Gesamtatmosphäre aufgehen.","en":"Eight years lie between these two views of Bazincourt, the village on the opposite bank of the Epte River toward which Pissarro gazed from the window of his house in Èragny-sur-Epte. In the painting from 1884, specific elements such as the fruit trees in the garden, the grazing cows, and the houses of the town are still recognizable. Later, the painter reduced the composition to three bands: the green meadow, the violet-toned village, and the sky glowing with the colors of the sunset. He strove for a harmonious pictorial whole, in which all of the details merge into the overall atmosphere."},"measurements":"38 x 55 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"3c4c3aed9a62434db3bbbf057bc5ffd6","rotation":{"x":-1.93,"y":-0.87}},"artworkCollisionBox":{"geometry":{"x":0.81,"y":0.64,"z":0.15},"position":{"x":32.24,"y":1.59,"z":-6.9,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.69,"z":0.1},"position":{"x":29.81,"y":0.99,"z":-6.97,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-21.3,"y":10.3,"z":19.5},"floorplan":{"x":-20.4,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:48:50.562Z","updatedAt":"2026-02-24T19:44:26.734Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"415","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_415.mp3","mimeType":"audio/mpeg","filesize":6139892,"createdAt":"2025-06-27T14:42:31.222Z","updatedAt":"2025-06-27T14:42:31.222Z","id":"685eadd771f13d6f59148a5c","url":"/cms/api/media/file/Pissarro_GER_Erw_415.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_415.mp3","mimeType":"audio/mpeg","filesize":6161816,"createdAt":"2025-06-27T14:41:35.571Z","updatedAt":"2025-06-27T14:41:35.571Z","id":"685ead9f71f13d6f591489e8","url":"/cms/api/media/file/Pissarro_ENG_Erw_415.mp3","thumbnailURL":null}}},"id":"685ea9a02e04de6510e76df0"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"070_Camille-Pissarro_View-of-Bazincourt,-Sunset.jpg","mimeType":"image/jpeg","filesize":1903102,"width":3897,"height":2681,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:04:13.181Z","updatedAt":"2025-05-30T16:04:13.181Z","id":"6839d6fded4658a40e9e9aa0","url":"/cms/api/media/file/070_Camille-Pissarro_View-of-Bazincourt%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Blick auf Bazincourt, Sonnenuntergang","en":"View of Bazincourt, Sunset"},"id":"6837063247bd5a646d68dae4"},"id":"68370633db05a89fd772d343"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"069","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1884","en":"1884"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"54,3 x 64,8 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"5b015d3038244516a5d3946a7a18038c","rotation":{"x":-4.73,"y":0.54}},"artworkCollisionBox":{"geometry":{"x":0.99,"y":0.86,"z":0.15},"position":{"x":30.59,"y":1.6,"z":-6.9,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.11,"z":0.1},"position":{"x":29.8,"y":1.38,"z":-6.97,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-19.6,"y":10.3,"z":19.5},"floorplan":{"x":-18.6,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:27.529Z","updatedAt":"2026-02-24T19:44:08.533Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"069_Camille-Pissarro_View-of-Bazincourt,-Clear-Sky.jpg","mimeType":"image/jpeg","filesize":1793336,"width":4823,"height":4000,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:03:45.359Z","updatedAt":"2025-05-30T16:03:45.359Z","id":"6839d6e1ed4658a40e9e9a91","url":"/cms/api/media/file/069_Camille-Pissarro_View-of-Bazincourt%2C-Clear-Sky.jpg","thumbnailURL":null},"title":{"de":"Blick auf Bazincourt, klares Wetter","en":"View of Bazincourt, Clear Sky"},"id":"683706cfd0f800769f0ff1e6"},"id":"683706d19081c3a00da17227"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"063","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1894","en":"1894"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Bäume und Sträucher leuchten in bunten Herbstfarben. Pissarro hat hier nicht nur Gras und Blätter, sondern auch den Himmel mit kurzen Strichen und Tupfen wiedergegeben. Die gesamte Landschaft ist so in die flirrende Atmosphäre eines kühlen, windigen, aber noch sonnigen Herbsttages gehüllt. Durch die Kühe im Hintergrund sind die Wiesen als Kulturlandschaft gekennzeichnet.","en":"Trees and shrubs glow in brilliant fall colors. Here Pissarro uses short brushstrokes and daubs of paint to render not only the grass and leaves, but also the sky, shrouding the entire landscape in the shimmering atmosphere of a cool and windy but still sunny autumn day. The presence of cows in the background identifies the meadow as a cultivated landscape."},"measurements":"80,3 x 59,1 cm","credit":{"de":"Denver Art Museum, Mittel aus dem Vermächtnis Helen Dill","en":"Funds from Helen Dill bequest"},"copyrightArtist":null,"copyrightFoto":"Photo by Jeff Wells, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"ede7f1e1a8c74923a2d9e99b00dc15d0","rotation":{"x":-3.9,"y":90.08}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.08,"z":0.88},"position":{"x":28.83,"y":1.59,"z":-5.49,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.54,"z":0.3},"position":{"x":28.77,"y":1.09,"z":-4.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-18.2,"y":10.3,"z":18.4},"floorplan":{"x":-17.4,"y":6.2,"z":20.9}}}},"createdAt":"2025-05-28T12:51:25.368Z","updatedAt":"2026-02-24T19:44:08.792Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"063_Camille-Pissarro_Autumn,-Poplar-Trees,-Éragny.jpg","mimeType":"image/jpeg","filesize":3627312,"width":6330,"height":8688,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:59:26.456Z","updatedAt":"2025-05-30T15:59:26.456Z","id":"6839d5deed4658a40e9e9a37","url":"/cms/api/media/file/063_Camille-Pissarro_Autumn%2C-Poplar-Trees%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Herbst, Pappeln, Éragny","en":"Autumn, Poplar Trees, Éragny"},"id":"683706cdd0f800769f0ff1cd"},"id":"683706ce9081c3a00da17226"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"068","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1899","en":"1899"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Die Baumkronen der zarten Buchen, die Pissarro 1899 in dem Küstenort Varengeville in der Normandie malte, färben sich herbstlich. Die Landschaft faszinierte den Künstler mehr als das damals schon denkmalgeschützte, als Bauernhof genutzte Herrenhaus Manoir d’Ango im Hintergrund. Gegen die hoch aufragenden Stämme der Baumreihe setzte er flirrende Tupfen von Gras und Blättern.","en":"The tops of the slender beeches that Pissarro painted in the coastal town of Varengeville in Normandy in 1899 show autumn colors. The artist was more interested in the landscape than in the manor house in the background, the Manoir d’Ango, which at that time was already under historic preservation and was used as a farmhouse. Pissarro renders the grass and leaves as shimmering daubs of color against the tall tree trunks."},"measurements":"64,8 x 54 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"5bc59f901403423eb6958862a9b02f77","rotation":{"x":-1.55,"y":90.4}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.94,"z":0.85},"position":{"x":28.83,"y":1.6,"z":-3.87,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.54,"z":0.3},"position":{"x":28.78,"y":1.06,"z":-3.18,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-18.2,"y":10.3,"z":16.8},"floorplan":{"x":-17.4,"y":6.2,"z":19.4}}}},"createdAt":"2025-05-28T12:51:31.855Z","updatedAt":"2026-02-24T19:44:08.076Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"068_Camille-Pissarro_The-Tall-Beech-Trees,-Varengeville.jpg","mimeType":"image/jpeg","filesize":2096198,"width":3074,"height":3822,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:03:05.967Z","updatedAt":"2025-05-30T16:03:05.967Z","id":"6839d6b9ed4658a40e9e9a82","url":"/cms/api/media/file/068_Camille-Pissarro_The-Tall-Beech-Trees%2C-Varengeville.jpg","thumbnailURL":null},"title":{"de":"Die großen Buchen, Varengeville","en":"The Tall Beech Trees, Varengeville"},"id":"683706d3d0f800769f0ff218"},"id":"683706d59081c3a00da17229"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"065","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1895","en":"1895"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Die Zweige des Baumes in der Bildmitte verschmelzen nahezu mit der dahinterliegenden Vegetation zu einem ornamentalwirkenden Streifen. Im Vordergrund betonte Pissarro mit Beet und Zaun die Horizontale, im obersten Bilddrittel mit hoch aufragenden Bäumen die Vertikale. Die geringe Tiefe lässt die Szene geschlossen wirken: Zwei Frauen, die das Beet bearbeiten, werden eins mit ihrer Umgebung.","en":"The tree branches at the center of the picture almost fuse with the vegetation behind them, forming a kind of ornamental band. Pissarro uses the garden rows and fence in the foreground to set strong horizontals, while the towering trees in the upper third of the picture establish a sense of verticality. The shallow depth makes the scene appear unified: the two women working in the garden become one with their environment."},"measurements":"60,2 x 73,2 cm","credit":{"de":"Sammlung Art Gallery of Ontario, Toronto, Ankauf 1933","en":"Collection Art Gallery of Ontario, Toronto. Purchase, 1933"},"copyrightArtist":null,"copyrightFoto":"Photo © AGO","modelData":{"matterport":{"insideView":{"sweepId":"359020aadc70498b9a7074946969f70f","rotation":{"x":1.3,"y":91.19}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.89,"z":1.03},"position":{"x":28.87,"y":1.59,"z":0.07,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.54,"z":0.3},"position":{"x":28.79,"y":1.08,"z":-0.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-18.2,"y":10.3,"z":12.9},"floorplan":{"x":-17.4,"y":6.2,"z":11.4}}}},"createdAt":"2025-05-28T12:51:34.127Z","updatedAt":"2026-02-24T19:44:07.828Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"065_Camille-Pissarro_Spring,-Gray-Weather,-Éragny.jpg","mimeType":"image/jpeg","filesize":2038187,"width":2935,"height":2399,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:00:47.697Z","updatedAt":"2025-05-30T16:00:47.697Z","id":"6839d62fed4658a40e9e9a55","url":"/cms/api/media/file/065_Camille-Pissarro_Spring%2C-Gray-Weather%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Frühling, graues Wetter, Éragny","en":"Spring, Gray Weather, Éragny"},"id":"683706d6d0f800769f0ff231"},"id":"683706d79081c3a00da1722a"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"076","hall":"1A4","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1885","en":"1885"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Den Blick auf die Ziegelei und den Brunnen seines Nachbarn Herrn Delafolie hat Pissarro mehrfach festgehalten. Hier verleihen die rötlichen Pinselstriche im Vordergrund, neben denen das Grün der Wiese satt leuchtet, dem Bild eine fast abstrakte Qualität. Delafolie lieferte häufig Pissarros Bilder aus, wenn er seine Ziegel zum Verkauf in die Hauptstadt brachte.","en":"Pissarro made multiple paintings of the brickyard and well of his neighbor Monsieur Delafolie. Here the reddish brushstrokes in the foreground, intensified by the rich, glowing green of the meadow, lend the picture an almost abstract quality. Delafolie frequently delivered paintings for Pissarro when he went to the capital city to sell his bricks."},"measurements":"38 x 46 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, Vermächtnis Frank Hindley Smith, 1939","en":"The Ashmolean Museum, University of Oxford. Bequeathed by Frank Hindley Smith, 1939."},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum","modelData":{"matterport":{"insideView":{"sweepId":"d00eff8afd8345788efdc04809b6f592","rotation":{"x":-5.76,"y":-89.93}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.65,"z":0.73},"position":{"x":-4.54,"y":1.61,"z":-9.34,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.3},"position":{"x":-4.46,"y":1.11,"z":-9.97,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":22.2},"floorplan":{"x":14.7,"y":6.2,"z":20.6}}}},"createdAt":"2025-05-28T12:49:46.485Z","updatedAt":"2026-02-24T19:44:20.816Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"076_Camille-Pissarro_The-Delafolie-Brickyard,-Éragny.jpg","mimeType":"image/jpeg","filesize":1596597,"width":2698,"height":2203,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:06:23.223Z","updatedAt":"2025-05-30T16:06:23.223Z","id":"6839d77fed4658a40e9e9afa","url":"/cms/api/media/file/076_Camille-Pissarro_The-Delafolie-Brickyard%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Die Ziegelei Delafolie, Éragny","en":"The Delafolie Brickyard, Éragny"},"id":"6837066ad0f800769f0feceb"},"id":"6837066b9081c3a00da171f4"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"075","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1888","en":"1888"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Auf der Dorfstraße in Éragny wirbelt eine Schafherde eine haushohe Staubwolke auf. Die Tiere wirken wie Protagonisten auf einer Bühne, während dem Hirten im Schatten nur eine Nebenrolle zukommt. Üblicherweise findet man solches Bildpersonal in Schilderungen des Hirtenlebens in idyllischer Landschaft – Pissarro übertrug es hier in seine Alltagsrealität.","en":"On the village street of Éragny, a herd of sheep stirs up a cloud of dust as tall as the houses. The animals seem like protagonists on a stage, while the shepherd plays only a supporting role in the shadows. Such figures traditionally appeared in scenes of shepherd life in an idyllic landscape; here, Pissarro transposes them to his everyday reality."},"measurements":"46 x 55,2 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"akg-images / Cameraphoto","modelData":{"matterport":{"insideView":{"sweepId":"0949d70862d84942aa1a51d833eb5ec3","rotation":{"x":-3.79,"y":-90.17}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.68,"z":0.78},"position":{"x":-4.49,"y":1.61,"z":-5.8,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.3},"position":{"x":-4.46,"y":1.12,"z":-6.47,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":18.7},"floorplan":{"x":14.7,"y":6.2,"z":17.4}}}},"createdAt":"2025-05-28T12:50:05.770Z","updatedAt":"2026-02-24T19:44:18.499Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"416","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_416.mp3","mimeType":"audio/mpeg","filesize":5764052,"createdAt":"2025-06-27T15:10:27.306Z","updatedAt":"2025-06-27T15:10:27.306Z","id":"685eb46371f13d6f59149368","url":"/cms/api/media/file/Pissarro_GER_Erw_416.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_416.mp3","mimeType":"audio/mpeg","filesize":5224304,"createdAt":"2025-06-27T15:09:58.353Z","updatedAt":"2025-06-27T15:09:58.353Z","id":"685eb44671f13d6f59149310","url":"/cms/api/media/file/Pissarro_ENG_Erw_416.mp3","thumbnailURL":null}}},"id":"685eb4152e04de6510e76df2"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"075_Camille-Pissarro_The-Flock-of-Sheep,-Éragny.jpg","mimeType":"image/jpeg","filesize":1893826,"width":4464,"height":3720,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:06:20.517Z","updatedAt":"2025-05-30T16:06:20.517Z","id":"6839d77ced4658a40e9e9aeb","url":"/cms/api/media/file/075_Camille-Pissarro_The-Flock-of-Sheep%2C-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Die Schafherde, Éragny","en":"The Flock of Sheep, Éragny"},"id":"6837067dd0f800769f0fede5"},"id":"6837067e9081c3a00da171fe"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"077","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1886","en":"1886"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Dieses Bild der Ziegelei, ein Jahr nach der anderen Ansicht entstanden, ist mit kleinen Farbtupfen neoimpressionistisch gemalt. Es ist klarer komponiert und wirkt mit seiner diffusen Lichtstimmung nahezu romantisch. Ende des 19. Jahrhunderts wurden Ziegel bereits industriell gefertigt. Auch wenn Pissarro Mann und Pferd in einem Moment der Ruhe zeigt, klingt in dem Motiv doch die Würdigung handwerklicher Produktion an.","en":"This image of the brickyard, created a year after the other view, is painted in a NeoImpressionist style using small dots of color. The composition is clearer, and the atmosphere of diffused light gives it an almost Romantic quality. By the late nineteenth century, bricks were already industrially manufactured. Although Pissarro shows the man and the horse in a moment of repose, the motif bespeaks his respect for artisanal production."},"measurements":"57,8 x 71,8 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Fotoatelier Peter Schälchli, Zürich","modelData":{"matterport":{"insideView":{"sweepId":"05fa02e7939049cab3b8f6a97fb29b6a","rotation":{"x":-0.82,"y":-89.54}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.91,"z":1.08},"position":{"x":-4.53,"y":1.61,"z":-7.59,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.52,"z":0.3},"position":{"x":-4.45,"y":1.09,"z":-8.36,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":20.6},"floorplan":{"x":14.7,"y":6.2,"z":19}}}},"createdAt":"2025-05-28T12:50:07.599Z","updatedAt":"2026-02-24T19:44:18.285Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"077_Camille-Pissarro_The-Delafolie-Brickyard-at-Éragny.jpg","mimeType":"image/jpeg","filesize":1276074,"width":2603,"height":2097,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:06:25.403Z","updatedAt":"2025-05-30T16:06:25.403Z","id":"6839d781ed4658a40e9e9b09","url":"/cms/api/media/file/077_Camille-Pissarro_The-Delafolie-Brickyard-at-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Die Ziegelei Delafolie in Éragny","en":"The Delafolie Brickyard at Éragny"},"id":"6837067fd0f800769f0fedfe"},"id":"683706809081c3a00da171ff"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"086","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1890","en":"1890"},"technique":{"de":"Feder und dunkle Tinte über Bleistift auf Glanzpapier","en":"Pen and dark ink over pencil on glazed paper"},"description":{"de":"Im hellen Licht, das durch eine Dachluke in die kleine Kammer fällt, sind in einem Bett eine Frau und zwei Kinder zu sehen. Der skizzierte Ofen im Vordergrund deutet an, dass sie sich aufgrund ihrer Armut das Leben genommen haben – der Titel Asphyxie bezeichnet den Erstickungstod. Pissarro prangert hier die Ausbeutung des Proletariats an.","en":"A woman and two children lie in bed, brightly lit by a skylight in the roof. The sketched outline of a small stove in the foreground suggests that poverty has driven them to suicide: the title Asphyxia refers to death by suffocation. Here, Pissarro denounces the exploitation of the proletariat."},"measurements":"23,1 x 17,7 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, geschenkt von der Familie Pissarro, 1952","en":"The Ashmolean Museum, University of Oxford. Presented by the Pissarro Family, 1952"},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum, University of Oxford","modelData":{"matterport":{"insideView":{"sweepId":"06c36bc2c08f407dba73d4ee353346f2","rotation":{"x":-6.5,"y":-1.74}},"artworkCollisionBox":{"geometry":{"x":0.49,"y":0.65,"z":0.15},"position":{"x":-5.63,"y":1.6,"z":-11.11,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.52,"z":0.1},"position":{"x":-4.86,"y":1.09,"z":-11.1,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":16.4,"y":10.3,"z":23.7},"floorplan":{"x":15,"y":6.2,"z":21.8}}}},"createdAt":"2025-05-28T12:52:17.059Z","updatedAt":"2026-02-24T19:44:03.027Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"086_Camille-Pissarro_Study-for-“The-Asphysia”-(for-Turpitudes-sociales).jpg","mimeType":"image/jpeg","filesize":2028279,"width":3004,"height":3895,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:11:36.168Z","updatedAt":"2025-05-30T16:11:36.168Z","id":"6839d8b8ed4658a40e9e9b90","url":"/cms/api/media/file/086_Camille-Pissarro_Study-for-%E2%80%9CThe-Asphysia%E2%80%9D-(for-Turpitudes-sociales).jpg","thumbnailURL":null},"title":{"de":"Studie für „Die Asphyxie“ (für Turpitudes sociales)","en":"Study for “The Asphysia” (for Turpitudes sociales)"},"id":"68370701d0f800769f0ff425"},"id":"683707029081c3a00da1723e"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"085","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1889","en":"1889"},"technique":{"de":"Feder und dunkle Tinte über Bleistift auf Glanzpapier","en":"Pen and dark ink over pencil on glazed paper"},"description":{"de":"Die Studie zeigt Geschäftsmänner auf der Treppe vor der Pariser Börse. Sie unterhalten sich über die Schwankungen der Aktienkurse. In der endgültigen Version ist die Säule in die Mitte des Blattes gerückt und die Börsenhändler, die Pissarro – selbst jüdischer Herkunft – antisemitisch stereotypisierte, drängeln sich im Vordergrund in unmittelbarer Nähe zum Betrachter.","en":"The study shows businessmen on the steps of the Paris stock exchange, discussing the vicissitudes of the market. In the final version of the image, the column is positionedin the center of the composition and the stockbrokers—whom Pissarro depicts using anti-Semitic stereotypes, though he himself was of Jewish origin—are crowded into the foreground in direct proximity to the viewer."},"measurements":"22,5 x 18 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, geschenkt von der Familie Pissarro, 1952","en":"The Ashmolean Museum, University of Oxford. Presented by the Pissarro Family, 1952."},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum, University of Oxford","modelData":{"matterport":{"insideView":{"sweepId":"10f86e42952e44e885bda3b575f2797c","rotation":{"x":-2.82,"y":-0.73}},"artworkCollisionBox":{"geometry":{"x":0.49,"y":0.65,"z":0.15},"position":{"x":-6.21,"y":1.6,"z":-11.11,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.58,"z":0.1},"position":{"x":-5.16,"y":1.05,"z":-11.1,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":17,"y":10.3,"z":23.7},"floorplan":{"x":15.7,"y":6.2,"z":21.8}}}},"createdAt":"2025-05-28T12:52:14.799Z","updatedAt":"2026-02-24T19:44:03.251Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"085_Camille-Pissarro_Study-for-“The-Temple-of-the-Golden-Calf”-(for-Turpitudes-sociales).jpg","mimeType":"image/jpeg","filesize":2019962,"width":3146,"height":3936,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:11:29.509Z","updatedAt":"2025-05-30T16:11:29.509Z","id":"6839d8b1ed4658a40e9e9b81","url":"/cms/api/media/file/085_Camille-Pissarro_Study-for-%E2%80%9CThe-Temple-of-the-Golden-Calf%E2%80%9D-(for-Turpitudes-sociales).jpg","thumbnailURL":null},"title":{"de":"Studie für „Der Tempel des Goldenen Kalbs“ (für Turpitudes sociales)","en":"Study for “The Temple of the Golden Calf” (for Turpitudes sociales)"},"id":"683706fed0f800769f0ff40c"},"id":"683707009081c3a00da1723d"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"084","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1889","en":"1889"},"technique":{"de":"Tinte auf Papier","en":"Ink on paper"},"description":{"de":"Wie bei einer religiösen Prozession tragen vier Herren mit Anzug und Zylinder ein Gestell mit dem Kultbild eines Kalbs durch die Straßen. Die Geschichte von der Verehrung des Goldenen Kalbs entstammt dem biblischen Buch Exodus: Sie berichtet vom Götzendienst der Israeliten, während Moses auf dem Berg Sinai von Gott die Tafeln mit den Zehn Geboten empfängt. Pissarro wendet die Metapher auf den Kapitalismus an.","en":"As if in a religious procession, four men in top hats and suits march through the streets, bearing a litter with the cult statue of a calf. The biblical narrative of the Golden Calf comes from the book of Exodus and tells of the idolatry of the Israelites while Moses was receiving the tables of the Ten Commandments from God on Mount Sinai. Pissarro uses the story as a metaphor for capitalism."},"measurements":"32,7 x 25,1 cm","credit":{"de":"Denver Art Museum, Gedächtnisgabe von T. Edward und Tullah Hanley für die Einwohner von Denver und Umgebung","en":"The T. Edward and Tullah Hanley Memorial Gift to the People of Denver and the area"},"copyrightArtist":null,"copyrightFoto":"Photo by Jeff Wells, courtesy Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"ce82f35156bc4b3eb199e17635bdda97","rotation":{"x":-4.65,"y":-2.38}},"artworkCollisionBox":{"geometry":{"x":0.49,"y":0.59,"z":0.15},"position":{"x":-6.77,"y":1.6,"z":-11.11,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.58,"z":0.1},"position":{"x":-7.27,"y":1.05,"z":-11.11,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":17.7,"y":10.3,"z":23.7},"floorplan":{"x":16.3,"y":6.2,"z":21.8}}}},"createdAt":"2025-05-28T12:52:00.667Z","updatedAt":"2026-02-24T19:44:04.894Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"084_Camille-Pissarro_The-New-Idolators-(for-Turpitudes-sociales,-omitted).jpg","mimeType":"image/jpeg","filesize":3272308,"width":6306,"height":8210,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:11:24.796Z","updatedAt":"2025-05-30T16:11:24.796Z","id":"6839d8aced4658a40e9e9b72","url":"/cms/api/media/file/084_Camille-Pissarro_The-New-Idolators-(for-Turpitudes-sociales%2C-omitted).jpg","thumbnailURL":null},"title":{"de":"Die neuen Götzendiener (für Turpitudes sociales, ausgeschieden)","en":"The New Idolators (for Turpitudes sociales, omitted)"},"id":"683706f0d0f800769f0ff35d"},"id":"683706f29081c3a00da17236"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"074","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1888","en":"1888"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Ein kalter Wintertag mit Sonnenschein, Raureif und die Hitze des Feuers – Pissarro vereint hier mehrere Gegensätze zu einem harmonischen Ganzen. Das quadratische Format des Bildes trägt zur Ausgewogenheit bei. Die junge Bäuerin hat Erfahrung im Feuermachen: Die starke Rauchentwicklung zeigt, dass hier nasses Holz entzündet wurde.","en":"A cold winter day with sunshine, hoarfrost, and the warmth of the fire: here, Pissarro joins opposing elements into a harmonious whole. The square format of the painting contributes to the sense of balance. The young peasant woman has experience making a fire; the profuse smoke shows that the wood is still damp."},"measurements":"92,8 x 92,5 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"beb65d271418421780549163150a0274","rotation":{"x":-1.15,"y":0.25}},"artworkCollisionBox":{"geometry":{"x":1.25,"y":1.24,"z":0.15},"position":{"x":-8.49,"y":1.6,"z":-11.02,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.5,"z":0.1},"position":{"x":-9.36,"y":1.09,"z":-11.11,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":19.3,"y":10.3,"z":23.7},"floorplan":{"x":17.9,"y":6.2,"z":21.8}}}},"createdAt":"2025-05-28T12:49:09.663Z","updatedAt":"2026-02-24T19:44:25.497Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"417","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_417.mp3","mimeType":"audio/mpeg","filesize":5512448,"createdAt":"2025-06-27T15:36:53.771Z","updatedAt":"2025-06-27T15:36:53.771Z","id":"685eba9571f13d6f59149b9c","url":"/cms/api/media/file/Pissarro_GER_Erw_417.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_417.mp3","mimeType":"audio/mpeg","filesize":5399696,"createdAt":"2025-06-27T15:36:32.504Z","updatedAt":"2025-06-27T15:36:32.504Z","id":"685eba8071f13d6f59149b45","url":"/cms/api/media/file/Pissarro_ENG_Erw_417.mp3","thumbnailURL":null}}},"id":"685eba5d2e04de6510e76df3"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"074_Camille-Pissarro_Hoarfrost,-Peasant-Girl-Making-a-Fire.jpg","mimeType":"image/jpeg","filesize":2119389,"width":4182,"height":4186,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:05:33.412Z","updatedAt":"2025-05-30T16:05:33.412Z","id":"6839d74ded4658a40e9e9adc","url":"/cms/api/media/file/074_Camille-Pissarro_Hoarfrost%2C-Peasant-Girl-Making-a-Fire.jpg","thumbnailURL":null},"title":{"de":"Raureif, eine junge Bäuerin macht Feuer","en":"Hoar-Frost, Peasant Girl Making a Fire"},"id":"68370645d0f800769f0feaed"},"id":"683706469081c3a00da171e0"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"073","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1890","en":"1890"},"technique":{"de":"Gouache auf Papier","en":"Gouache on paper"},"description":{"de":"Pissarro setzte sich mehrfach mit diesem Motiv auseinander. Entgegen der Annahme, die Impressionisten hätten stets spontan gemalt, bereitete er seine Kompositionen oft sorgfältig vor. Diese Gouache dürfte eine Studie für ein etwas späteres Gemälde als das in der Sammlung Hasso Plattner sein. Die Bäuerin ist statuarischer wiedergegeben als im früheren Bild, der Ast besitzt weniger Spannung.","en":"Pissarro depicted this motif multiple times. Contrary to the assumption that the Impressionists always painted spontaneously, he often made meticulous studies in preparation for his compositions. This gouache probably served as a study for a somewhat later painting than the one in the Hasso Plattner Collection. Here the peasant woman has a more statuesque appearance than in the earlier work, and the branch shows less tension."},"measurements":"59 x 46,5 cm","credit":{"de":"Privatsammlung, Courtesy Pissarro & Associates Fine Art","en":"Private Collection, Courtesy Pissarro & Associates Fine Art"},"copyrightArtist":null,"copyrightFoto":"courtesy of Pissarro & Associates Fine Art","modelData":{"matterport":{"insideView":{"sweepId":"ed2c6daeb4b4428fa7829cf5b0009d3a","rotation":{"x":-3.39,"y":0.83}},"artworkCollisionBox":{"geometry":{"x":0.72,"y":0.85,"z":0.15},"position":{"x":-10.27,"y":1.62,"z":-11.07,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.53,"z":0.1},"position":{"x":-10.89,"y":1.08,"z":-11.1,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":20.9,"y":10.3,"z":23.7},"floorplan":{"x":19.3,"y":6.2,"z":21.8}}}},"createdAt":"2025-05-28T12:50:36.123Z","updatedAt":"2026-02-24T19:44:14.934Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"073_Camille-Pissarro_Woman-Breaking-Wood.jpg","mimeType":"image/jpeg","filesize":2091328,"width":3847,"height":5000,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:04:43.057Z","updatedAt":"2025-05-30T16:04:43.057Z","id":"6839d71bed4658a40e9e9acd","url":"/cms/api/media/file/073_Camille-Pissarro_Woman-Breaking-Wood.jpg","thumbnailURL":null},"title":{"de":"Frau beim Holzbrechen","en":"Frau beim Holzbrechen"},"id":"6837069cd0f800769f0fef5c"},"id":"6837069d9081c3a00da1720d"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"067","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1892","en":"1892"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"1892 reiste Pissarro anlässlich der Hochzeit seines Sohnes Lucien nach London. Im nahe gelegenen Kew, heute Teil der Hauptstadt und für seinen botanischen Garten berühmt, malte er elf Bilder. Hier hielt er den Blick von seinem Balkon fest: Vor dem Hintergrund der Sankt-Anna-Kirche flanieren Besucher im Schatten der hohen Bäume durch den Park.","en":"In 1892, Pissarro traveled to London for his son Lucien’s wedding. In nearby Kew, now part of the city and famous for its botanic gardens, he painted eleven pictures. Here, he captured the view from his balcony: against the backdrop of Saint Anne’s Church, visitors stroll through the park amid the shade of tall trees."},"measurements":"55 x 46 cm","credit":{"de":"Sammlung Prof. Mark Kaufman, Monaco","en":"Collection of Prof. Mark Kaufman, Monaco"},"copyrightArtist":null,"copyrightFoto":"© 2015 Christie’s Images Limited","modelData":{"matterport":{"insideView":{"sweepId":"892439c085444c79a52c139e25879171","rotation":{"x":-5.76,"y":89.35}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.82,"z":0.72},"position":{"x":-11.63,"y":1.59,"z":-7.73,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.47,"z":0.3},"position":{"x":-11.69,"y":1.13,"z":-8.32,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":21.9,"y":10.3,"z":20.5},"floorplan":{"x":19.6,"y":6.2,"z":20.3}}}},"createdAt":"2025-05-28T12:50:23.325Z","updatedAt":"2026-02-24T19:44:16.386Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"067_Camille-Pissarro_Saint-Anne’s-Church-in-Kew,-London.jpg","mimeType":"image/jpeg","filesize":2342490,"width":4302,"height":5171,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:02:43.991Z","updatedAt":"2025-05-30T16:02:43.991Z","id":"6839d6a3ed4658a40e9e9a73","url":"/cms/api/media/file/067_Camille-Pissarro_Saint-Anne%E2%80%99s-Church-in-Kew%2C-London.jpg","thumbnailURL":null},"title":{"de":"Die Sankt-Anna-Kirche in Kew, London","en":"St Anne's Church in Kew, London"},"id":"6837068fd0f800769f0feec6"},"id":"683706909081c3a00da17207"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"078","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1886-1888","en":"1886-1888"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Der Hühnerhof und das prominente rote Ziegeldach – für Pissarro verliehen diese Elemente dem Gartenbild seinen Charakter. Er stellte es in der achten ImpressionistenAusstellung aus. Die klare geometrische Komposition und der zur Steigerung der Farbintensität eingesetzte Komplementärkontrast von Rot und Grün sind typische Merkmale des Neoimpressionismus.","en":"For Pissarro, the chicken yard and prominent red tile roof defined the character of this garden picture. He showed the painting at the eighth Impressionist exhibition. The clear geometric composition and intensification of color through the complementary contrast of red and green are typical of Neo-Impressionism."},"measurements":"65 x 81 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, geschenkt von Frau Lucien Pissarro, 1950","en":"The Ashmolean Museum, University of Oxford. Presented by Mrs Lucien Pissarro, 1950."},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum","modelData":{"matterport":{"insideView":{"sweepId":"cd40e1bda1c8441f84e6e5e3d872b27a","rotation":{"x":-3.43,"y":90.72}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.95,"z":1.09},"position":{"x":-11.15,"y":1.59,"z":-3.68,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.47,"z":0.3},"position":{"x":-11.17,"y":1.12,"z":-4.57,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":21.5,"y":10.3,"z":16.5},"floorplan":{"x":19.6,"y":6.2,"z":17.4}}}},"createdAt":"2025-05-28T12:49:40.832Z","updatedAt":"2026-02-24T19:44:21.452Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"078_Camille-Pissarro_View-from-My-Window-in-Cloudy-Weather.jpg","mimeType":"image/jpeg","filesize":1833342,"width":3389,"height":2706,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:06:30.303Z","updatedAt":"2025-05-30T16:06:30.303Z","id":"6839d786ed4658a40e9e9b18","url":"/cms/api/media/file/078_Camille-Pissarro_View-from-My-Window-in-Cloudy-Weather.jpg","thumbnailURL":null},"title":{"de":"Blick aus meinem Fenster bei trübem Wetter","en":"View from my Window in Cloudy Weather"},"id":"68370664d0f800769f0feca0"},"id":"683706669081c3a00da171f1"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"080","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1886","en":"1886"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In diesem Bild hält Pissarro das Flirren eines strahlenden Sommertags fest. Nur selten wandte er die neoimpressionistische Technik so konsequent an. Auf der großen Wiesenfläche entfaltet er mit gelben und orangefarbenen Tupfen ein Lichtspiel, dem blauviolette Schatten antworten. Der Kunsthändler Durand-Ruel erwarb das Gemälde kurz nach seiner Entstehung.","en":"Here, Pissarro captures the shimmering radiance of a summer day. Rarely did he apply the Neo-Impressionist technique as consistently as in this work. In the wide expanse of the meadow, dots of yellow and orange evoke a play of light complemented by blue-violet shadows. The art dealer Durand-Ruel acquired the painting shortly after it was created."},"measurements":"65 x 81 cm","credit":{"de":"Indianapolis Museum of Art at Newfields, anonymes Geschenk","en":"Indianapolis Museum of Art at Newfields, anonymes Geschenk"},"copyrightArtist":null,"copyrightFoto":"Image courtesy of the Indianapolis Museum of Art at Newfields","modelData":{"matterport":{"insideView":{"sweepId":"42c93e5fc0cb4734a09edab361b28af6","rotation":{"x":2.28,"y":88.78}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.01,"z":1.18},"position":{"x":-11.14,"y":1.59,"z":-1.76,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.1,"y":0.49,"z":0.3},"position":{"x":-11.19,"y":1.09,"z":-0.78,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":21.5,"y":10.3,"z":14.2},"floorplan":{"x":19.6,"y":6.2,"z":14.7}}}},"createdAt":"2025-05-28T12:51:36.400Z","updatedAt":"2026-02-24T19:44:07.557Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"080_Camille-Pissarro_The-House-of-the-Deaf-Woman-and-the-Belfry-at-Éragny.jpg","mimeType":"image/jpeg","filesize":2041565,"width":3824,"height":3081,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:07:24.642Z","updatedAt":"2025-05-30T16:07:24.642Z","id":"6839d7bced4658a40e9e9b36","url":"/cms/api/media/file/080_Camille-Pissarro_The-House-of-the-Deaf-Woman-and-the-Belfry-at-E%CC%81ragny.jpg","thumbnailURL":null},"title":{"de":"Das Haus der tauben Frau und der Glockenturm in Éragny","en":"The House of the Deaf Woman and the Belfry at Éragny"},"id":"683706d8d0f800769f0ff24a"},"id":"683706d99081c3a00da1722b"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"082","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":null,"en":"1891"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro wandte sich um 1890 erneut dem impressionistischen Stil zu. In dieser lichtdurchfluteten Landschaft arbeitete er im Vergleich zu seinen neoimpressionistischen Arbeiten wieder freier und verlieh dem Bild eine luftige Atmosphäre. Die dominanten blauvioletten Schatten, komplementär zum Gelborange der Sonne, zeugen von der Auseinandersetzung mit zeitgenössischen Farbtheorien.","en":"Around 1890, Pissarro returned once more to the Impressionist style. In this lightflooded landscape, he again worked more freely than in his Neo-Impressionist phase, imbuing the scene with an airy atmosphere. The dominant blue-violet shadows complement the yellow-orange of the sun, bearing witness to his interest in contemporary color theory"},"measurements":"81 x 65 cm","credit":{"de":"Clark Art Institute, Williamstown, Massachusetts, USA","en":"Clark Art Institute, Williamstown, Massachusetts, USA"},"copyrightArtist":null,"copyrightFoto":"Image courtesy Clark Art Institute. clarkart.edu","modelData":{"matterport":{"insideView":{"sweepId":"89e2838d849742fda85ad737f1253b48","rotation":{"x":-2.17,"y":-179.77}},"artworkCollisionBox":{"geometry":{"x":0.87,"y":1.06,"z":0.15},"position":{"x":-7.56,"y":1.61,"z":2.31,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.51,"z":0.1},"position":{"x":-8.3,"y":1.09,"z":2.37,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":18.3,"y":10.3,"z":11},"floorplan":{"x":17,"y":6.2,"z":9.2}}}},"createdAt":"2025-05-28T12:49:24.208Z","updatedAt":"2026-02-24T19:44:23.548Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"082_Camille-Pissarro_Landscape-at-Saint-Charles,-Near-Gisors,-Sunset.jpg","mimeType":"image/jpeg","filesize":1929515,"width":4656,"height":5790,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:09:23.144Z","updatedAt":"2025-05-30T16:09:23.144Z","id":"6839d833ed4658a40e9e9b54","url":"/cms/api/media/file/082_Camille-Pissarro_Landscape-at-Saint-Charles%2C-Near-Gisors%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Landschaft in Saint-Charles bei Gisors, Sonnenuntergang","en":"Landscape at Saint-Charles, Near Gisors, Sunset"},"id":"68370654d0f800769f0febbf"},"id":"683706559081c3a00da171e8"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"081","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1891","en":"1891"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Ein Kritiker schrieb 1892: „Pissarro verwendet den Pinsel kaum noch, sondern das Messer […]. Die Unebenheiten […] dienen dazu, die Lichtstrahlen einzufangen und festzuhalten, und wenn die Sonne einfällt, funkeln die Farben plötzlich wie im Schaufenster eines Juweliergeschäfts. Dies zeigt sich besonders in diesem glorreichen Sonnenuntergang, wo das untergehende Gestirn wie ein Lichtgeschoss in die westlichen Edelsteine eintaucht […].“","en":"In 1892, a critic wrote, “Monsieur Pissarro hardly ever uses the brush anymore, only the knife. . . . The asperities he multiplies serve to capture and trap the rays of light and when the sun shines forth the colors suddenly sparkle like a jeweler’s window. This is particularly discernible in this glorious sunset . . . where the ebbing daystar sinks like a luminous ball of fire into the jewellike radiance of the west.”"},"measurements":"54 x 65 cm","credit":{"de":"Privatsammlung, Schweiz","en":"Private Collection, Switzerland"},"copyrightArtist":null,"copyrightFoto":"Photograph Courtesy of Sotheby’s, Inc. © 2025","modelData":{"matterport":{"insideView":{"sweepId":"e12fc99ed5444c058eecbe23f099a9a6","rotation":{"x":-2.28,"y":-179.76}},"artworkCollisionBox":{"geometry":{"x":0.87,"y":0.74,"z":0.15},"position":{"x":-5.92,"y":1.6,"z":2.32,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.1},"position":{"x":-6.64,"y":1.06,"z":2.37,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":16.7,"y":10.3,"z":11},"floorplan":{"x":15.4,"y":6.2,"z":9.2}}}},"createdAt":"2025-05-28T12:49:27.854Z","updatedAt":"2026-02-24T19:44:23.104Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"081_Camille-Pissarro_Meadow-at-Éragny-with-Cows,-Fog,-Sunset.jpg","mimeType":"image/jpeg","filesize":3501391,"width":5655,"height":4693,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:08:36.008Z","updatedAt":"2025-05-30T16:08:36.008Z","id":"6839d804ed4658a40e9e9b45","url":"/cms/api/media/file/081_Camille-Pissarro_Meadow-at-E%CC%81ragny-with-Cows%2C-Fog%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Wiese in Éragny mit Kühen, Nebel, Sonnenuntergang","en":"Meadow at Éragny with Cows, Fog, Sunset"},"id":"68370657d0f800769f0febf1"},"id":"683706599081c3a00da171ea"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"083","hall":"1A5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":null,"en":null},"technique":{"de":"Tusche auf Papier","en":"ink on paper"},"description":{"de":null,"en":null},"measurements":null,"credit":{"de":"Privatsammlung, Courtesy Pissarro & Associates Fine Art","en":"Private Collection, Courtesy of Pissarro & Associates Fine Art"},"copyrightArtist":null,"copyrightFoto":"Courtesy of Pissarro & Associates Fine Art","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:50:38.011Z","updatedAt":"2026-02-24T19:44:14.686Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"083_Camille-Pissarro_Turpitudes-sociales-(frontispiece).jpg","mimeType":"image/jpeg","filesize":2062090,"width":5094,"height":7005,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:10:05.949Z","updatedAt":"2025-05-30T16:10:05.949Z","id":"6839d85ded4658a40e9e9b63","url":"/cms/api/media/file/083_Camille-Pissarro_Turpitudes-sociales-(frontispiece).jpg","thumbnailURL":null},"title":{"de":"Turpitudes Sociales","en":"Turpitudes Sociales"},"id":"6837069ed0f800769f0fef75"},"id":"6837069f9081c3a00da1720e"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"097","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1897","en":"1897"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Ein breiter Boulevard mit jungen Bäumen, neuen Wohnhäusern, Litfaßsäulen und Laternen: Erst in den 1890er Jahren begann Pissarro, Paris als moderne Metropole zu malen. Ermutigt von seinem Kunsthändler Durand-Ruel, fertigte er eine Serie vom Boulevard Montmartre. Von einem Hotel aus malte er in nur wenigen Wochen 14 Ansichten aus dieser Perspektive.","en":"A broad boulevard with young trees, new residential buildings, advertising columns, and lampposts: only in the 1890s did Pissarro begin painting the modern metropolis of Paris. At the prompting of his dealer Durand-Ruel, he produced a series depicting the Boulevard Montmartre. From a hotel, he painted fourteen scenes from this perspective in only a few weeks."},"measurements":"54 x 65 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"ec5cb70c560546a28042135e2e79251f","rotation":{"x":-3.3,"y":-89.85}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.78,"z":0.93},"position":{"x":-4.5,"y":1.58,"z":8.56,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.5,"z":0.28},"position":{"x":-4.48,"y":1.1,"z":7.73,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.7,"y":10.3,"z":4.4},"floorplan":{"x":15,"y":6.2,"z":4.2}}}},"createdAt":"2025-05-28T12:49:06.284Z","updatedAt":"2026-02-24T19:44:25.993Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"419","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_419.mp3","mimeType":"audio/mpeg","filesize":4274264,"createdAt":"2025-06-27T16:59:40.707Z","updatedAt":"2025-06-27T16:59:40.707Z","id":"685ecdfc71f13d6f5914b5c5","url":"/cms/api/media/file/Pissarro_GER_Erw_419.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_419.mp3","mimeType":"audio/mpeg","filesize":4506032,"createdAt":"2025-06-27T16:59:18.808Z","updatedAt":"2025-06-27T16:59:18.808Z","id":"685ecde671f13d6f5914b56d","url":"/cms/api/media/file/Pissarro_ENG_Erw_419.mp3","thumbnailURL":null}}},"id":"685ecdc22e04de6510e76df6"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"097_Camille-Pissarro_Boulevard-Montmartre,-Twilight.jpg","mimeType":"image/jpeg","filesize":1804209,"width":4724,"height":3926,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:16:15.442Z","updatedAt":"2025-05-30T16:16:15.442Z","id":"6839d9cfed4658a40e9e9c35","url":"/cms/api/media/file/097_Camille-Pissarro_Boulevard-Montmartre%2C-Twilight.jpg","thumbnailURL":null},"title":{"de":"Boulevard Montmartre, Abenddämmerung","en":"Boulevard Montmartre, Twilight"},"id":"68370642d0f800769f0feabb"},"id":"683706439081c3a00da171de"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"098","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1897","en":"1897"},"technique":{"de":"Öl auf Leinwand","en":"Öl auf Leinwand"},"description":{"de":"Bunte Luftschlangen wirbeln vor den Hausfassaden und zwischen den Ästen. Die Menschenmenge darunter deutet Pissarro allein mit pastosen Tupfen an. Auf dem Boulevard Montmartre tobt ausgelassen der Pariser Karneval am Mardi Gras, dem Faschingsdienstag. Pissarro gibt das Treiben von seinem Hotelfenster aus als unbeteiligter Beobachter wieder.","en":"Colorful streamers float from the building façades and between the branches of the trees. Pissarro suggests the crowds in the street below using only thick daubs of paint. The carnival of Mardi Gras is in full swing on the Boulevard Montmartre in Paris. Pissarro depicts the celebration as a detached observer from the window of his hotel."},"measurements":"54 x 65 cm","credit":{"de":"Kunst Museum Winterthur, Ankauf, 1947","en":"Kunst Museum Winterthur, Ankauf, 1947"},"copyrightArtist":null,"copyrightFoto":"Foto: SIK-ISEA, Zürich, Martin Stollenwerk","modelData":{"matterport":{"insideView":{"sweepId":"27f712c3387d495284df117f20f46aca","rotation":{"x":-5.02,"y":-90.17}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.78,"z":0.88},"position":{"x":-4.52,"y":1.58,"z":10.38,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.5,"z":0.28},"position":{"x":-4.5,"y":1.1,"z":11.17,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.7,"y":10.3,"z":2.5},"floorplan":{"x":15,"y":6.2,"z":1.8}}}},"createdAt":"2025-05-28T12:50:03.861Z","updatedAt":"2026-02-24T19:44:18.739Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"098_Camille-Pissarro_Boulevard-Montmartre,-Mardi-Gras,-Sunset.jpg","mimeType":"image/jpeg","filesize":2657816,"width":8551,"height":7103,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:17:17.253Z","updatedAt":"2025-05-30T16:17:17.253Z","id":"6839da0ded4658a40e9e9c44","url":"/cms/api/media/file/098_Camille-Pissarro_Boulevard-Montmartre%2C-Mardi-Gras%2C-Sunset.jpg","thumbnailURL":null},"title":{"de":"Boulevard Montmartre, Mardi Gras, Sonnenuntergang","en":"Boulevard Montmartre, Mardi Gras, Sunset"},"id":"6837067bd0f800769f0fedcc"},"id":"6837067d9081c3a00da171fd"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"100","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1898","en":"1898"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Am Ende der breiten Straße mit ihren herrschaftlichen – und gleichförmigen – Wohnbauten liegt im Dunst die prachtvolle Pariser Oper. Pissarro schätzte die Kreuzung beim Théâtre Français, die er im Vordergrund zeigt, für ihre Lebendigkeit und Modernität. Der klaren Struktur der Architektur setzte er das quirlige Durcheinander aus Passanten, Pferdebussen, Droschken und Lastenwagen entgegen.","en":"At the end of the wide street with its magnificent—and uniform—residential buildings, the splendid Paris Opera stands shrouded in mist. In the foreground, Pissarro shows the intersection at the Théâtre Français, a place he appreciated for its vitality and modernity. Here he contrasts the clear structure of the architecture with the swirling chaos of pedestrians, horse-drawn buses, hackney cabs, and carts."},"measurements":"73,3 x 92,3 cm","credit":{"de":"Musée des Beaux-Arts de la Ville de Reims, Vermächtnis Henry Vasnier, 11/1907","en":"Musée de Reims #"},"copyrightArtist":null,"copyrightFoto":"Photo: © Christian Devleeschauwer","modelData":{"matterport":{"insideView":{"sweepId":"3d69ea7c29b7452986bef815ae363164","rotation":{"x":-2.37,"y":-89.47}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.14,"z":1.29},"position":{"x":-4.6,"y":1.59,"z":15.73,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.5,"z":0.28},"position":{"x":-4.48,"y":1.08,"z":14.64,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.7,"y":10.3,"z":-2.8},"floorplan":{"x":15,"y":6.2,"z":-2.1}}}},"createdAt":"2025-05-28T12:49:37.011Z","updatedAt":"2026-02-24T19:44:21.913Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"420","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_420.mp3","mimeType":"audio/mpeg","filesize":5990600,"createdAt":"2025-06-27T16:51:33.451Z","updatedAt":"2025-06-27T16:51:33.451Z","id":"685ecc1571f13d6f5914b2a9","url":"/cms/api/media/file/Pissarro_GER_Erw_420.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_420.mp3","mimeType":"audio/mpeg","filesize":6048020,"createdAt":"2025-06-27T16:51:15.979Z","updatedAt":"2025-06-27T16:51:15.979Z","id":"685ecc0371f13d6f5914b252","url":"/cms/api/media/file/Pissarro_ENG_Erw_420.mp3","thumbnailURL":null}}},"id":"685ecbd82e04de6510e76df5"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"100_Camille-Pissarro_Avenue-de-l’Opéra.jpg","mimeType":"image/jpeg","filesize":1689240,"width":4653,"height":3639,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:17:49.457Z","updatedAt":"2025-05-30T16:17:49.457Z","id":"6839da2ded4658a40e9e9c62","url":"/cms/api/media/file/100_Camille-Pissarro_Avenue-de-l%E2%80%99Ope%CC%81ra.jpg","thumbnailURL":null},"title":{"de":"Avenue de l’Opéra","en":"Avenue de l’Opéra"},"id":"68370661d0f800769f0fec6e"},"id":"683706629081c3a00da171ef"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"099","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1898","en":"1898"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In starker Aufsicht zeigt Pissarro die Kreuzung beim Théâtre Français an einem freundlichen Wintermorgen. Der Ausschnitt wirkt zufällig gewählt und erinnert an den Blick durch den Sucher einer Kamera. Während Pissarro die Passanten mit wenigen Pinselstrichen nur flüchtig andeutete, war er bei der Wiedergabe der Architektur auf Genauigkeit bedacht.","en":"From an elevated vantage point, Pissarro shows the intersection at the Théâtre Français on a bright winter morning. The composition seems almost random, as if framed by the viewfinder of a camera. While Pissarro depicted the pedestrians using only a few rapid brushstrokes, he placed greater emphasis on the accurate rendering of the architecture."},"measurements":"65,6 x 54 cm","credit":{"de":"Ordrupgaard, Kopenhagen","en":"Ordrupgaard, Copenhagen "},"copyrightArtist":null,"copyrightFoto":"akg-images","modelData":{"matterport":{"insideView":{"sweepId":"3745e1e34eb049e29b9d863e5c2ccf10","rotation":{"x":0.18,"y":-89.95}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.88,"z":0.79},"position":{"x":-4.54,"y":1.59,"z":17.57,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.5,"z":0.28},"position":{"x":-4.47,"y":1.11,"z":18.33,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.7,"y":10.3,"z":-4.7},"floorplan":{"x":15,"y":6.2,"z":-4.3}}}},"createdAt":"2025-05-28T12:49:22.461Z","updatedAt":"2026-02-24T19:44:23.766Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"099_Camille-Pissarro_Morning-Sun-in-the-Rue-Saint-Honoré.-Place-du-Théâtre-Français.jpg","mimeType":"image/jpeg","filesize":2043827,"width":3931,"height":4745,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:17:46.510Z","updatedAt":"2025-05-30T16:17:46.510Z","id":"6839da2aed4658a40e9e9c53","url":"/cms/api/media/file/099_Camille-Pissarro_Morning-Sun-in-the-Rue-Saint-Honore%CC%81.-Place-du-The%CC%81a%CC%82tre-Franc%CC%A7ais.jpg","thumbnailURL":null},"title":{"de":"Morgensonne in der Rue Saint-Honoré, Place du Théâtre Français","en":"Morning Sun in the Rue Saint-Honoré. Place du Théâtre Français"},"id":"68370652d0f800769f0feba6"},"id":"683706539081c3a00da171e7"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"102","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro hatte ein Apartment an der Place Dauphine am westlichen Ende der Île de la Cité gefunden. Von dort aus entstanden die Louvre-Serien und seine Ansichten des Pont Neuf. In den 1870er Jahren hatten auch Monet und Renoir das städtische Treiben auf dieser Brücke sowie weitere Sujets des Großstadtlebens gemalt. Pissarro widmete sich Paris erst am Ende seiner künstlerischen Karriere.","en":"Pissarro had rented an apartment on the Place Dauphine at the west end of the Île de la Cité. From there, he painted his Louvre series and views of the Pont Neuf. In the 1870s, Monet and Renoir had also depicted the bustling activity on this bridge along with other motifs of urban life. Pissarro turned his attention to Paris only toward the end of his artistic career."},"measurements":"55,3 x 46,5 cm","credit":{"de":"Szépmüvészeti Múzeum / Museum der Bildenden Künste, Budapest","en":"Szépmüvészeti Múzeum / Museum of Fine Arts, Budapest"},"copyrightArtist":null,"copyrightFoto":"Szépm?vészeti Múzeum/ Museum of Fine Arts, Budapest, 2025","modelData":{"matterport":{"insideView":{"sweepId":"73a0b7a9a15f47f18aa147e11a85f812","rotation":{"x":-4.05,"y":178.76}},"artworkCollisionBox":{"geometry":{"x":0.96,"y":0.82,"z":0.15},"position":{"x":-5.63,"y":1.59,"z":21.64,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.5,"z":0.07},"position":{"x":-4.79,"y":1.08,"z":21.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":16.3,"y":10.3,"z":-8.4},"floorplan":{"x":15,"y":6.2,"z":-7.5}}}},"createdAt":"2025-05-28T12:49:31.602Z","updatedAt":"2026-02-24T19:44:22.635Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"102_Camille-Pissarro_The-Pont-Neuf-(second-series).jpg","mimeType":"image/jpeg","filesize":1957455,"width":5186,"height":6110,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:18:24.870Z","updatedAt":"2025-05-30T16:18:24.870Z","id":"6839da50ed4658a40e9e9c8e","url":"/cms/api/media/file/102_Camille-Pissarro_The-Pont-Neuf-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Pont Neuf","en":"The Pont-Neuf"},"id":"6837065bd0f800769f0fec23"},"id":"6837065c9081c3a00da171ec"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"101","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Auf dem Pont Neuf, der ältesten Brücke von Paris, herrscht dichter Verkehr: Passanten drängen sich auf dem Trottoir; Personen und Waren werden über die Seine befördert. Für Pissarro waren Brücken nicht nur als Bauwerke interessant. Wie auch die Kais, Straßen und Landwege sah er sie als Orte der Begegnung und der sozialen Vielfalt.","en":"Traffic is heavy on the Pont Neuf, the oldest bridge in Paris: pedestrians jostle on the sidewalk while vehicles transport passengers and merchandise across the Seine. For Pissarro, bridges were interesting not merely for their architecture. Like the quays, streets, and country roads, he saw them as places of encounter and social diversity."},"measurements":"73 x 92,1 cm","credit":{"de":"Philadelphia Museum of Art, Vermächtnis Charlotte Dorrance Wright, 1978","en":"Philadelphia Museum of Art: Bequest of Charlotte Dorrance Wright, 1978"},"copyrightArtist":null,"copyrightFoto":"Philadelphia Museum of Art","modelData":{"matterport":{"insideView":{"sweepId":"e29fd9a7c88747a49e109bda81021c2b","rotation":{"x":-4.96,"y":179.92}},"artworkCollisionBox":{"geometry":{"x":1.19,"y":1.06,"z":0.15},"position":{"x":-7.45,"y":1.59,"z":21.59,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.5,"z":0.07},"position":{"x":-8.4,"y":1.08,"z":21.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":18.1,"y":10.3,"z":-8.4},"floorplan":{"x":17.4,"y":6.2,"z":-7.5}}}},"createdAt":"2025-05-28T12:51:03.513Z","updatedAt":"2026-02-24T19:44:11.406Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"101_Camille-Pissarro_Afternoon-Sunshine,-Pont-Neuf-(first-series).jpg","mimeType":"image/jpeg","filesize":1980298,"width":4096,"height":3372,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:17:56.591Z","updatedAt":"2025-05-30T16:17:56.591Z","id":"6839da34ed4658a40e9e9c78","url":"/cms/api/media/file/101_Camille-Pissarro_Afternoon-Sunshine%2C-Pont-Neuf-(first-series).jpg","thumbnailURL":null},"title":{"de":"Nachmittagssonne, Pont Neuf","en":"Afternoon Sunshine, Pont Neuf"},"id":"683706b7d0f800769f0ff0ba"},"id":"683706b89081c3a00da1721b"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"103","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Nachdem Pissarro den Sommer 1902 in Dieppe verbracht hatte, kehrte er im Oktober nach Paris zurück. Aufgrund einer Augenkrankheit konnte er in diesen Jahren nur noch bedingt im Freien malen und beobachtete die Bewegungen auf dem Pont Neuf vom Fenster aus. Auch ein regnerischer Tag mit grauem Himmel war für den Künstler ein reizvolles Motiv.","en":"After spending the summer of 1902 in Dieppe, Pissarro returned to Paris in October. Due to an eye disease, he could only work outdoors to a limited extent, and thus painted the activity on the Pont Neuf from a window. For Pissarro, even a rainy day with gray skies was an appealing motif."},"measurements":"54,2 x 66 cm","credit":{"de":"Musée des Beaux-Arts de Lyon","en":"Musée des Beaux-Arts de Lyon"},"copyrightArtist":null,"copyrightFoto":"Image © Lyon MBA - Photo Alain Basset","modelData":{"matterport":{"insideView":{"sweepId":"9ded1269728844ff95b6dcd8936bef2f","rotation":{"x":-6.26,"y":179.66}},"artworkCollisionBox":{"geometry":{"x":0.63,"y":0.72,"z":0.15},"position":{"x":-12.75,"y":1.58,"z":21.67,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.41,"z":0.07},"position":{"x":-12.13,"y":1.14,"z":21.66,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":23.6,"y":10.3,"z":-8.2},"floorplan":{"x":23.4,"y":6.2,"z":-7.5}}}},"createdAt":"2025-05-28T12:49:48.382Z","updatedAt":"2026-02-24T19:44:20.591Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"103_Camille-Pissarro_The-Pont-Neuf-(second-series).jpg","mimeType":"image/jpeg","filesize":2036768,"width":5543,"height":4586,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:18:45.063Z","updatedAt":"2025-05-30T16:18:45.063Z","id":"6839da65ed4658a40e9e9ca8","url":"/cms/api/media/file/103_Camille-Pissarro_The-Pont-Neuf-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Pont Neuf","en":"Le Pont-Neuf"},"id":"6837066cd0f800769f0fed04"},"id":"6837066d9081c3a00da171f5"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"109","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1899","en":"1899"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro hatte sich 1898 eine Wohnung an der Rue de Rivoli gemietet, von der aus er den Tuileriengarten und den Louvre überblickte. Der Maler zeigt den ehemaligen Schlosspark, ohne seine barocke Pracht zu inszenieren. Stattdessen wählte er einen schnappschusshaften Ausschnitt bei Regenwetter: Auf dem Weg haben sich Pfützen gebildet, die Bäume sind kahl,die Blumenrabatten unbepflanzt.","en":"In 1898, Pissarro rented an apartment on the Rue de Rivoli with a view of the Tuileries Gardens and the Louvre. Here the painter shows the former palace gardens, though not in their Baroque splendor. Instead, he chose a snapshot-like section of the grounds in rainy weather: there are puddles on the path, the trees are bare, and the flowerbeds are unplanted."},"measurements":"65 x 92 cm","credit":{"de":"The Ashmolean Museum, University of Oxford, Vermächtnis Frau W. F. R. Weldon, 1936","en":"The Ashmolean Museum, University of Oxford. Bequeathed by Mrs W. F. R. Weldon, 1936."},"copyrightArtist":null,"copyrightFoto":"© Ashmolean Museum, University of Oxford","modelData":{"matterport":{"insideView":{"sweepId":"5b480ea3bd45493a8b1996776608a3ee","rotation":{"x":-4.06,"y":90.02}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.88,"z":1.12},"position":{"x":-15.15,"y":1.58,"z":16.82,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.48,"z":0.28},"position":{"x":-15.17,"y":1.09,"z":15.88,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":25.4,"y":10.3,"z":-4.1},"floorplan":{"x":25.4,"y":6.2,"z":-4.3}}}},"createdAt":"2025-05-28T12:49:42.826Z","updatedAt":"2026-02-24T19:44:21.241Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"109_Camille-Pissarro_The-Tuileries-Gardens,-Rainy-Weather.jpg","mimeType":"image/jpeg","filesize":1645993,"width":3597,"height":2529,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:21:21.090Z","updatedAt":"2025-05-30T16:21:21.090Z","id":"6839db01ed4658a40e9e9d2c","url":"/cms/api/media/file/109_Camille-Pissarro_The-Tuileries-Gardens%2C-Rainy-Weather.jpg","thumbnailURL":null},"title":{"de":"Der Tuileriengarten, Regenwetter","en":"The Tuileries Gardens, Rainy Weather"},"id":"68370666d0f800769f0fecb9"},"id":"683706689081c3a00da171f2"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"104","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Über den Fluss wandert der Blick zum rechten Seine-Ufer mit dem lang gestreckten Bau des Louvre. Die Architektur des altehrwürdigen Museums tritt bei dem Motiv hinter die Wiedergabe der atmosphärischen Lichtstimmung zurück. Zwischen 1900 und 1903 schuf Pissarro zahlreiche Versionen dieser Ansicht, die er selbst zu drei Serien zusammenfasste.","en":"The viewer’s eye wanders across the river to the elongated building of the Louvre on the right bank of the Seine. The architecture of the venerable museum dissolves into the atmospheric effects of light. From 1900 to 1903, Pissarro painted numerous versions of this scene, which he himself arranged into three series."},"measurements":"73 x 92 cm","credit":{"de":"Sammlung Isabelle und Scott Black","en":"Isabelle and Scott Black Collection"},"copyrightArtist":null,"copyrightFoto":"Artefact / Alamy Stock Photo ","modelData":{"matterport":{"insideView":{"sweepId":"220608fd5d17406b9184efbe13c4f42a","rotation":{"x":-2.92,"y":89.52}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.02,"z":1.24},"position":{"x":-15.14,"y":1.59,"z":13.65,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.48,"z":0.28},"position":{"x":-15.17,"y":1.1,"z":12.68,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":25.4,"y":10.3,"z":-0.7},"floorplan":{"x":25.4,"y":6.2,"z":-1.3}}}},"createdAt":"2025-05-28T12:49:52.111Z","updatedAt":"2026-02-24T19:44:20.153Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"104_Camille-Pissarro_The-Louvre,-Winter-Sunlight-(second-series).jpg","mimeType":"image/jpeg","filesize":2060725,"width":3500,"height":2872,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:18:52.267Z","updatedAt":"2025-05-30T16:18:52.267Z","id":"6839da6ced4658a40e9e9cbe","url":"/cms/api/media/file/104_Camille-Pissarro_The-Louvre%2C-Winter-Sunlight-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Louvre, Wintersonne","en":"The Louvre, Winter Sunlight"},"id":"68370670d0f800769f0fed36"},"id":"683706719081c3a00da171f7"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"107","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit zarten Pastelltönen und frischem Grün fängt Pissarro hier die Frühlingsstimmung ein. Durch das Hochformat verlieren der Louvre und die Seine ihre Weite; die Stadtlandschaft wirkt konzentrierter und dichter. Angesichts des raschen Wechsels der Lichtverhältnisse malte Pissarro oft an mehreren Bildern gleichzeitig.","en":"Pissarro captures the atmosphere of spring in delicate pastel tones and fresh green. The vertical format reduces the breadth of the Louvre and the Seine, making the cityscape seem denser and more compact. In view of the rapidly changing conditions of light, Pissarro often worked on multiple canvases at the same time."},"measurements":"64,8 x 54 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"7bf7d63a4fb549c788be037018800745","rotation":{"x":-1.96,"y":89.73}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.86,"z":0.78},"position":{"x":-15.14,"y":1.6,"z":11.47,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.48,"z":0.28},"position":{"x":-15.16,"y":1.12,"z":10.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":25.4,"y":10.3,"z":1.3},"floorplan":{"x":25.4,"y":6.2,"z":2}}}},"createdAt":"2025-05-28T12:50:01.854Z","updatedAt":"2026-02-24T19:44:18.957Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"107_Camille-Pissarro_The-Louvre,-Morning,-Spring-(second-series).jpg","mimeType":"image/jpeg","filesize":1931635,"width":3931,"height":4724,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:20:38.397Z","updatedAt":"2025-05-30T16:20:38.397Z","id":"6839dad6ed4658a40e9e9d00","url":"/cms/api/media/file/107_Camille-Pissarro_The-Louvre%2C-Morning%2C-Spring-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Louvre, Morgen, Frühling","en":"The Louvre, Morning, Spring"},"id":"68370679d0f800769f0fedb3"},"id":"6837067b9081c3a00da171fc"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"106","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Wie im Zeitraffer lässt sich der Wechsel der Jahreszeiten in Pissarros LouvreSerien nachvollziehen. In dieser Winterversion in gedeckten Tönen und gebrochenem Weiß verliert sich ein Teil des Gebäudes im Nebel. So wird der Blick auf den Kontrast zwischen den geometrischen Strukturen des Platzes und der organischen Form der Bäume im Vordergrund gelenkt.","en":"Pissarro’s paintings of the Louvre show the changing of the seasons as if in a time lapse. In this winter scene, rendered in muted tones and broken white, a portion of the building disappears into the fog, calling attention to the contrast between the geometric shape of the city square and the organic forms of the trees in the foreground."},"measurements":"66,3 x 81,3 cm","credit":{"de":"The National Gallery, London, Ankauf 1932","en":"The National Gallery, London. Bought 1932"},"copyrightArtist":null,"copyrightFoto":"Photo: © The National Gallery, London","modelData":{"matterport":{"insideView":{"sweepId":"fc8a27b779a84957953f347e3322911b","rotation":{"x":-1.48,"y":89.48}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.93,"z":1.06},"position":{"x":-15.1,"y":1.6,"z":9.35,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.51,"z":0.28},"position":{"x":-15.19,"y":1.1,"z":8.44,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":25.4,"y":10.3,"z":3.5},"floorplan":{"x":25.4,"y":6.2,"z":4.8}}}},"createdAt":"2025-05-28T12:51:40.592Z","updatedAt":"2026-02-24T19:44:07.123Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"106_Camille-Pissarro_The-Louvre-Under-Snow-(second-series).jpg","mimeType":"image/jpeg","filesize":2100675,"width":8807,"height":7065,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:20:04.972Z","updatedAt":"2025-05-30T16:20:04.972Z","id":"6839dab4ed4658a40e9e9cea","url":"/cms/api/media/file/106_Camille-Pissarro_The-Louvre-Under-Snow-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Louvre im Schnee","en":"The Louvre under Snow"},"id":"683706dcd0f800769f0ff27c"},"id":"683706de9081c3a00da1722d"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"108","hall":"Lel","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"73,6 x 92,3 cm","credit":{"de":"Privatsammlung ","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"© 2017 Christie’s Images Limited","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:50:19.511Z","updatedAt":"2026-02-24T19:44:16.849Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"108_Camille-Pissarro_Statue-of-Henri-IV,-Morning,-Sunlight-(second-series).jpg","mimeType":"image/jpeg","filesize":1985202,"width":5380,"height":4298,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:21:18.140Z","updatedAt":"2025-05-30T16:21:18.140Z","id":"6839dafeed4658a40e9e9d16","url":"/cms/api/media/file/108_Camille-Pissarro_Statue-of-Henri-IV%2C-Morning%2C-Sunlight-(second-series).jpg","thumbnailURL":null},"title":{"de":"Reiterstatue Heinrichs IV., Morgen, Sonne","en":"Statue of Henri IV, Morning, Sunlight"},"id":"6837068bd0f800769f0fee94"},"id":"6837068c9081c3a00da17205"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"087","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1896","en":"1896"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In Rouen, der Hauptstadt der Normandie, öffnete sich Pissarro dem Thema der Stadt. Dafür wählte er eine neue Perspektive von einem erhöhten Standpunkt aus. Hier zeigt er den Blick aus seinem Hotelzimmer auf das Gewirr von Kirchtürmen, Dächern und Schornsteinen. Durch diese Unmittelbarkeit gewinnt die Ansicht der mittelalterlichen Stadt Modernität.","en":"In Rouen, the capital of Normandy, Pissarro began exploring the theme of the city. He chose a new perspective from an elevated vantage point, painting the maze of church towers, roofs, and chimneys from his hotel window. The immediacy of the view gives the medieval town a sense of modernity."},"measurements":"65 x 54,5 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Photo: Francis Rhodes","modelData":{"matterport":{"insideView":{"sweepId":"66bccdfdabbd45b3ad2351d227eefd7b","rotation":{"x":-7.36,"y":91.23}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.88,"z":0.77},"position":{"x":-11.26,"y":1.61,"z":29.35,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.45,"z":0.28},"position":{"x":-11.28,"y":1.13,"z":30.15,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":21.5,"y":10.3,"z":-16.8},"floorplan":{"x":20,"y":6,"z":-15.1}}}},"createdAt":"2025-05-28T12:52:04.676Z","updatedAt":"2026-02-24T19:44:04.427Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"087_Camille-Pissarro_The-Roofs-of-Old-Rouen,-Sunshine.jpg","mimeType":"image/jpeg","filesize":1926161,"width":4125,"height":4934,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:11:49.722Z","updatedAt":"2025-05-30T16:11:49.722Z","id":"6839d8c5ed4658a40e9e9b9f","url":"/cms/api/media/file/087_Camille-Pissarro_The-Roofs-of-Old-Rouen%2C-Sunshine.jpg","thumbnailURL":null},"title":{"de":"Die Dächer der Altstadt von Rouen in der Sonne","en":"The Roofs of Old Rouen, Sunshine"},"id":"683706f4d0f800769f0ff38f"},"id":"683706f69081c3a00da17238"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"088","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1896","en":"1896"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Ermutigt von Monet war Pissarro 1883 erstmals nach Rouen gefahren; bis 1889 folgten drei weitere Aufenthalte. Monet legte in seiner berühmten Serie von 1894 den Fokus auf die sich wandelnden Lichtstimmungen an der Kathedrale. Pissarro interessierte sich unter dem Aspekt des „Primitiven“ für gotische Formenund teilte die hohe Wertschätzung des Handwerks im Mittelalter.","en":"At Monet’s suggestion, Pissarro first traveledto Rouen in 1883 and visited the city three more times between then and 1889. Monet’s famous series from 1894 focused on the changing effects of light on the cathedral façade. Pissarro was interested in Gothic forms as a manifestation of the “primitive” and shared the high esteem for the work of medieval craftsmen."},"measurements":"72,3 x 91,4 cm","credit":{"de":"Toledo Museum of Art, erworben mit Mitteln des Libbey Endowment, Schenkung Edward Drummond Libbey","en":"Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey"},"copyrightArtist":null,"copyrightFoto":"akg-images","modelData":{"matterport":{"insideView":{"sweepId":"fb33da5f59b440d6a94cba31a0d8a361","rotation":{"x":-6.33,"y":89.24}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.07,"z":1.25},"position":{"x":-11.22,"y":1.6,"z":27.48,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.51,"z":0.28},"position":{"x":-11.27,"y":1.08,"z":26.49,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":21.5,"y":10.3,"z":-14.4},"floorplan":{"x":20,"y":6,"z":-12.5}}}},"createdAt":"2025-05-28T12:49:57.953Z","updatedAt":"2026-02-24T19:44:19.429Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"421","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_421_cor.mp3","mimeType":"audio/mpeg","filesize":6929156,"createdAt":"2025-06-27T17:50:54.841Z","updatedAt":"2025-06-27T17:50:54.841Z","id":"685ed9fe71f13d6f5914cf10","url":"/cms/api/media/file/Pissarro_GER_Erw_421_cor.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_421.mp3","mimeType":"audio/mpeg","filesize":6504248,"createdAt":"2025-06-27T17:50:30.347Z","updatedAt":"2025-06-27T17:50:30.347Z","id":"685ed9e671f13d6f5914ceb8","url":"/cms/api/media/file/Pissarro_ENG_Erw_421.mp3","thumbnailURL":null}}},"id":"685ed9bdba06854e352edfab"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"088_Camille-Pissarro_The-Roofs-of-Old-Rouen,-Gray-Weather.jpg","mimeType":"image/jpeg","filesize":1932149,"width":5756,"height":4572,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:12:10.112Z","updatedAt":"2025-05-30T16:12:10.112Z","id":"6839d8daed4658a40e9e9bae","url":"/cms/api/media/file/088_Camille-Pissarro_The-Roofs-of-Old-Rouen%2C-Gray-Weather.jpg","thumbnailURL":null},"title":{"de":"Die Dächer der Altstadt von Rouen, bedeckter Himmel","en":"The Roofs of Old Rouen, Gray Weather"},"id":"68370675d0f800769f0fed81"},"id":"683706779081c3a00da171fa"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"096","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1903","en":"1903"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Von seinem Hotelzimmer aus malte Pissarro die frische Stimmung eines anbrechenden Sommertags in Le Havre. Für diese Ansicht wandte er den Blick mehr in Richtung Stadt, für andere Versionen drehte er sich stärker zur Hafenausfahrt. Mit den späten Hafenszenen kehrte Pissarro auch zu seinen künstlerischen Anfängen in der Karibik zurück. Seine ersten Zeichnungen waren Ansichten der Hafenbucht von Saint Thomas.","en":"From the window of his hotel, Pissarro painted the fresh atmosphere of a summer morning in Le Havre. For this view he turned his gaze in the direction of the city, while other versions focus more on the harbor exit. Pissarro’s late port scenes also echo his artistic beginnings in the Caribbean, where his first drawings were views of the harbor bay of Saint Thomas."},"measurements":"54,5 x 65 cm","credit":{"de":"Le Havre, Musée d’art moderne André Malraux","en":"Le Havre, Musée d’art moderne André Malraux"},"copyrightArtist":null,"copyrightFoto":"© MuMa Le Havre / Florian Kleinefenn","modelData":{"matterport":{"insideView":{"sweepId":"071b773f2e9e48d3888c36894ee2c479","rotation":{"x":-4.09,"y":-0.82}},"artworkCollisionBox":{"geometry":{"x":0.85,"y":0.73,"z":0.15},"position":{"x":-7.57,"y":1.6,"z":23.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.56,"z":0.07},"position":{"x":-8.29,"y":1.05,"z":23.67,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":18.5,"y":10.3,"z":-11},"floorplan":{"x":16.4,"y":6,"z":-9.1}}}},"createdAt":"2025-05-28T12:49:17.231Z","updatedAt":"2026-02-24T19:44:24.481Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"422","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_422 (1).mp3","mimeType":"audio/mpeg","filesize":5055176,"createdAt":"2025-06-27T17:13:27.631Z","updatedAt":"2025-06-27T17:13:27.631Z","id":"685ed13771f13d6f5914c30e","url":"/cms/api/media/file/Pissarro_GER_Erw_422%20(1).mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_422 (1).mp3","mimeType":"audio/mpeg","filesize":4851596,"createdAt":"2025-06-27T17:12:54.024Z","updatedAt":"2025-06-27T17:12:54.024Z","id":"685ed11671f13d6f5914c2b4","url":"/cms/api/media/file/Pissarro_ENG_Erw_422%20(1).mp3","thumbnailURL":null}}},"id":"685ed0e6ba06854e352edfaa"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"096_Camille-Pissarro_The-Anse-des-Pilotes,-Le-Havre,-Morning,-Sunshine,-Tide-Rising.jpg","mimeType":"image/jpeg","filesize":1715339,"width":3658,"height":3054,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:15:30.342Z","updatedAt":"2025-05-30T16:15:30.342Z","id":"6839d9a2ed4658a40e9e9c26","url":"/cms/api/media/file/096_Camille-Pissarro_The-Anse-des-Pilotes%2C-Le-Havre%2C-Morning%2C-Sunshine%2C-Tide-Rising.jpg","thumbnailURL":null},"title":{"de":"Die Anse des Pilotes, Le Havre, Morgen, Sonne, steigende Flut","en":"The Anse des Pilotes, Le Havre, Morning, Sunshine, Tide Rising"},"id":"6837064dd0f800769f0feb5b"},"id":"6837064e9081c3a00da171e4"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"095","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1903","en":"1903"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zum Ende seines Lebens kehrte Pissarro an den Ort zurück, an dem er 1855 aus der Karibik angekommen war: Le Havre. Die sommerliche Hafenszene wird dominiert von der aufragenden Laterne. Vorn links ist ein Pissoir mit Plakatsäule zu erkennen, das auch in anderen Versionen auftaucht. Pissarro interessierte sich für Alltagslandschaften, die durch Bewegung und Handlungen der Menschen mitbestimmt werden.","en":"Near the end of his life, Pissarro returned to the place where, in 1855, he had arrived in France from the Caribbean: the port of Le Havre. The summery harbor scene is dominated by a towering lamppost. In the left foreground is a pissoir with an advertising column, an element that also appears in other versions of the motif. Pissarro was interested in everyday landscapes, shaped by human movements and actions."},"measurements":"54,5 x 65,3 cm","credit":{"de":"Musée d’art moderne André Malraux, Le Havre","en":"Musée d’art moderne André Malraux, Le Havre"},"copyrightArtist":null,"copyrightFoto":"© MuMa Le Havre / Charles Maslard","modelData":{"matterport":{"insideView":{"sweepId":"060888b1afcd43759a6588541a6b5898","rotation":{"x":-1.82,"y":-0.39}},"artworkCollisionBox":{"geometry":{"x":0.85,"y":0.73,"z":0.15},"position":{"x":-5.99,"y":1.6,"z":23.7,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.56,"z":0.07},"position":{"x":-6.71,"y":1.07,"z":23.72,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":16.9,"y":10.3,"z":-11},"floorplan":{"x":15.2,"y":6,"z":-9.1}}}},"createdAt":"2025-05-28T12:49:18.950Z","updatedAt":"2026-02-24T19:44:24.240Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"095_Camille-Pissarro_The-Anse-des-Pilotes-and-the-East-Breakwater,-Le-Havre,-Afternoon,-Sunny-Weather.jpg","mimeType":"image/jpeg","filesize":2007064,"width":5520,"height":4634,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:15:27.045Z","updatedAt":"2025-05-30T16:15:27.045Z","id":"6839d99fed4658a40e9e9c17","url":"/cms/api/media/file/095_Camille-Pissarro_The-Anse-des-Pilotes-and-the-East-Breakwater%2C-Le-Havre%2C-Afternoon%2C-Sunny-Weather.jpg","thumbnailURL":null},"title":{"de":"Die Anse des Pilotes mit östlichem Wellenbrecher, Le Havre, Nachmittag, Sonne","en":"The Anse des Pilotes and the East Breakwater, Le Havre, Afternoon, Sunny Weather"},"id":"6837064ed0f800769f0feb74"},"id":"683706509081c3a00da171e5"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"094","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1902","en":"1902"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Am Kai des Hafenbeckens drängen sich die Passagiere eines Segeldampfers. Bestärkt durch den Erfolg seiner RouenSerien hatte Pissarro in den folgenden Jahren weitere Hafenstädte aufgesucht. 1901 kam er erstmals nach Dieppe, einer Küstenstadt in der Normandie. Schon Monet und Renoir hatten in der Umgebung die eindrücklichen Kreidefelsen gemalt. Bei Pissarro bilden sie lediglich den Hintergrund für sein Hafenpanorama.","en":"The passengers of a steamship with sails jostle on the quay of the harbor basin. Encouraged by the success of his Rouen series, Pissarro sought out other port cities in the years that followed. In 1901, he made his first visit to Dieppe, a coastal city in Normandy. Monet and Renoir had already painted the imposing chalk cliffs in the region; in Pissarro’s work, they appear only as a backdrop for the harbor panorama."},"measurements":"46,7 x 55,2 cm","credit":{"de":"Fine Arts Museums of San Francisco, Mildred Anna Williams Collection","en":"Fine Arts Museums of San Francisco, Mildred Anna Williams Collection"},"copyrightArtist":null,"copyrightFoto":"Photograph by Joseph McDonald, courtesy of the Fine Arts Museums of San Francisco ","modelData":{"matterport":{"insideView":{"sweepId":"0aac17c0afe24082b185cc1764a2222b","rotation":{"x":-5.31,"y":-91.75}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.73,"z":0.85},"position":{"x":-4.56,"y":1.6,"z":25.51,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.56,"z":0.28},"position":{"x":-4.47,"y":1.09,"z":26.31,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.5,"y":10.3,"z":-12.6},"floorplan":{"x":14.8,"y":6,"z":-11.5}}}},"createdAt":"2025-05-28T12:52:10.807Z","updatedAt":"2026-02-24T19:44:03.731Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"094_Camille-Pissarro_Harbor-at-Dieppe.jpg","mimeType":"image/jpeg","filesize":1839183,"width":3000,"height":2518,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:14:54.369Z","updatedAt":"2025-05-30T16:14:54.369Z","id":"6839d97eed4658a40e9e9c08","url":"/cms/api/media/file/094_Camille-Pissarro_Harbor-at-Dieppe.jpg","thumbnailURL":null},"title":{"de":"Der Hafen von Dieppe","en":"Harbor at Dieppe"},"id":"683706fad0f800769f0ff3da"},"id":"683706fc9081c3a00da1723b"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"091","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1898","en":"1898"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Selten ist Pissarro bei der Wiedergabe von Witterung und Lichteffekten so weit gegangen wie in diesem Bild. Der Nebel mischt sich mit dem Rauch der Dampfboote und Industrieanlagen zu einem dichten Schleier, aus dem die Formen nur schemenhaft hervortreten. Die Stadtansicht gewinnt hier eine poetische und gleichzeitig geradezu abstrakte Qualität.","en":"Rarely did Pissarro go so far in the rendering of effects of light and weather as in this painting. The smoke from the steamboats and industrial complexes mingles with the fog, producing a heavy veil through which only schematic forms are visible. Here, the cityscape acquires a poetic and at the same time almost abstract quality."},"measurements":"65,4 x 81,3 cm","credit":{"de":"Colección Pérez Simón","en":"Colección Pérez Simón"},"copyrightArtist":null,"copyrightFoto":"Arturo Piera","modelData":{"matterport":{"insideView":{"sweepId":"5190c36ba7ab4fa7880e619f4c0c9c86","rotation":{"x":-3.18,"y":-90.67}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.04,"z":1.19},"position":{"x":-4.55,"y":1.61,"z":30.43,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.47,"z":0.28},"position":{"x":-4.47,"y":1.13,"z":29.46,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":-17.5},"floorplan":{"x":14.8,"y":6,"z":-17.7}}}},"createdAt":"2025-05-28T12:52:02.645Z","updatedAt":"2026-02-24T19:44:04.656Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"091_Camille-Pissarro_Pont-Boieldieu,-Rouen,-Effect-of-Fog.jpg","mimeType":"image/jpeg","filesize":2085995,"width":5480,"height":4348,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:13:10.460Z","updatedAt":"2025-05-30T16:13:10.460Z","id":"6839d916ed4658a40e9e9bdb","url":"/cms/api/media/file/091_Camille-Pissarro_Pont-Boieldieu%2C-Rouen%2C-Effect-of-Fog.jpg","thumbnailURL":null},"title":{"de":"Der Pont Boieldieu, Rouen, Nebeleffekt","en":"Pont Boieldieu, Rouen, Effect of Fog"},"id":"683706f2d0f800769f0ff376"},"id":"683706f49081c3a00da17237"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"089","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1896","en":"1896"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Die Komposition ist in zwei Zonen unterteilt: Die obere widmete Pissarro ganz dem regenschweren Wolkenhimmel, die untere zeigt das geschäftige Treiben an der Seine in Rouen. Drei Brücken überspannen den Fluss. Vorn ist der erst 1888 errichtete Pont Boieldieu zu erkennen. Die Bauten aus Stein und Stahl waren Zeichen des Fortschritts.","en":"The composition is divided into two zones: the upper one is devoted entirely to the sky with its heavy rainclouds, while the lower area shows the bustling activity along the Seine in Rouen. The river is spanned by three bridges including the Pont Boieldieu in the foreground, newly built in 1888. The structures of stone and steel were symbols of progress."},"measurements":"73 x 92 cm","credit":{"de":"Staatliche Kunsthalle Karlsruhe","en":"Staatliche Kunsthalle Karlsruhe"},"copyrightArtist":null,"copyrightFoto":"Kunsthalle Karlsruhe","modelData":{"matterport":{"insideView":{"sweepId":"e26e0f3c69024eb18ce357c00502ec70","rotation":{"x":-5.73,"y":-90.16}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.04,"z":1.19},"position":{"x":-4.54,"y":1.59,"z":32.47,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.47,"z":0.28},"position":{"x":-4.48,"y":1.11,"z":31.52,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":-19.7},"floorplan":{"x":14.8,"y":6,"z":-18.9}}}},"createdAt":"2025-05-28T12:50:41.714Z","updatedAt":"2026-02-24T19:44:14.206Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"089_Camille-Pissarro_The-Great-Bridge-in-Rouen,-Rainy-Weather.jpg","mimeType":"image/jpeg","filesize":2039206,"width":6329,"height":5005,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:12:38.514Z","updatedAt":"2025-05-30T16:12:38.514Z","id":"6839d8f6ed4658a40e9e9bbd","url":"/cms/api/media/file/089_Camille-Pissarro_The-Great-Bridge-in-Rouen%2C-Rainy-Weather.jpg","thumbnailURL":null},"title":{"de":"Blick auf die Große Brücke zu Rouen bei Regenstimmung","en":"The Great Bridge in Rouen, Rainy Weather"},"id":"683706a1d0f800769f0fefa7"},"id":"683706a39081c3a00da17210"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"090","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1896","en":"1896"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"In starker Aufsicht zeigt Pissarro den Blick auf den Pont Boieldieu. Die Komposition ist ungewöhnlich dynamisch: Die Brücke kreuzt die Seine, die diagonal durch das Bild läuft. Überall ist Bewegung spürbar: Im geschäftigen Treiben auf der Brücke und den Kais sowie im fließenden Gewässer und dem aufsteigenden Rauch der Dampfschlote, den der Wind zur Seite treibt.","en":"Pissarro shows the Pont Boieldieu from an elevated vantage point. The composition is unusually dynamic, with the bridge running transverse to the diagonal course of the Seine River. Movement is everywhere— from the busy traffic on the bridge and quays to the flowing waterway and the smoke ascending from the steam funnels, driven sideways by the wind."},"measurements":"73,6 x 91,4 cm","credit":{"de":"Collection Art Gallery of Ontario, Toronto, Schenkung Reuben Wells Leonard Estate, 1937","en":"Collection of Art Gallery of Ontario, Toronto. Gift of Reuben Wells Leonard Estate, 1937"},"copyrightArtist":null,"copyrightFoto":"Art Gallery of Ontario / Gift of Reuben Wells Leonard Estate, 1937 / Bridgeman Images","modelData":{"matterport":{"insideView":{"sweepId":"7b10f874d851486d99be9811bd489650","rotation":{"x":-1.91,"y":-90.39}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.04,"z":1.23},"position":{"x":-4.54,"y":1.6,"z":34.48,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.5,"z":0.28},"position":{"x":-4.46,"y":1.09,"z":33.55,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.6,"y":10.3,"z":-21.7},"floorplan":{"x":14.8,"y":6,"z":-20.7}}}},"createdAt":"2025-05-28T12:52:06.797Z","updatedAt":"2026-02-24T19:44:04.205Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"090_Camille-Pissarro_Pont-Boieldieu,-Rouen,-Rainy-Weather.jpg","mimeType":"image/jpeg","filesize":2087163,"width":3103,"height":2451,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:12:41.222Z","updatedAt":"2025-05-30T16:12:41.222Z","id":"6839d8f9ed4658a40e9e9bcc","url":"/cms/api/media/file/090_Camille-Pissarro_Pont-Boieldieu%2C-Rouen%2C-Rainy-Weather.jpg","thumbnailURL":null},"title":{"de":"Der Pont Boieldieu, Rouen, Regen","en":"Pont Boieldieu, Rouen, Rainy Weather"},"id":"683706f6d0f800769f0ff3a8"},"id":"683706f89081c3a00da17239"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"092","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1896","en":"1896"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Pissarro war fasziniert von der industriellen Szenerie am Binnenhafen von Rouen. Hier erfüllt ein warmes Licht die Hafenszene aus Lastkähnen und Lagerhäusern. Der Hafen als Umschlagplatz für Waren war Pissarro bereits aus Saint Thomas, seinem Geburtsort in der Karibik, vertraut: Die Laufbahn im elterlichen Handelsbetrieb beim Hafen hatte er für seine künstlerischen Ambitionen ausgeschlagen.","en":"Pissarro was fascinated by the industrial scenery of the inland port of Rouen. Here the harbor with its freight barges and warehouses is suffused by a warm light. The port as a hub for commercial activities was familiar to Pissarro from his birthplace of Saint Thomas in the Caribbean: he had rejected a career in his parents’ mercantile business in order to pursue his artistic ambitions."},"measurements":"50 x 61 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Francis Rhodes","modelData":{"matterport":{"insideView":{"sweepId":"f065654b36a14affa0dea7134a8b98dd","rotation":{"x":-3.21,"y":179.45}},"artworkCollisionBox":{"geometry":{"x":0.8,"y":0.71,"z":0.15},"position":{"x":-6.83,"y":1.6,"z":36.24,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.54,"z":0.07},"position":{"x":-6.01,"y":1.08,"z":36.26,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":17.4,"y":10.3,"z":-23},"floorplan":{"x":15.8,"y":6,"z":-21.7}}}},"createdAt":"2025-05-28T12:52:08.744Z","updatedAt":"2026-02-24T19:44:03.976Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"092_Camille-Pissarro_View-of-the-Quai-Cavelier-de-La-Salle,-Rouen.jpg","mimeType":"image/jpeg","filesize":1851737,"width":6128,"height":4934,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:14:01.114Z","updatedAt":"2025-05-30T16:14:01.114Z","id":"6839d949ed4658a40e9e9bea","url":"/cms/api/media/file/092_Camille-Pissarro_View-of-the-Quai-Cavelier-de-La-Salle%2C-Rouen.jpg","thumbnailURL":null},"title":{"de":"Blick auf den Quai Cavelier-de-La-Salle, Rouen","en":"View of the Quai Cavelier-de-La-Salle, Rouen"},"id":"683706f8d0f800769f0ff3c1"},"id":"683706fa9081c3a00da1723a"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"093","hall":"1B5","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1898","en":"1898"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Für seine Ansichten vom Hafen in Rouen verband Pissarro die Wiedergabe der Lichtverhältnisse bei wechselndem Wetter mit den rauen Elementen der Industrieanlagen. Angeregt von Monet war Pissarro dazu übergegangen, in Serien zu arbeiten. Dazu malte er das gleiche Motiv zu unterschiedlichen Tages- und Jahreszeiten.","en":"For his views of the port in Rouen, Pissarro combined the effects of light in changing weather with rugged industrial elements. Inspired by Monet, Pissarro had begun working in series, painting the same motif at differing times of the day and in different seasons."},"measurements":"65 x 81 cm","credit":{"de":"Lent by Amgueddfa Cymru - Museum Wales. NMW A 2492 Bequeathed by Margaret Davies, 1963 #","en":"Lent by Amgueddfa Cymru - Museum Wales. NMW A 2492 Bequeathed by Margaret Davies, 1963"},"copyrightArtist":null,"copyrightFoto":"National Museums & Galleries of Wales / Bridgeman Images","modelData":{"matterport":{"insideView":{"sweepId":"8853477416924c67a50e57568fb1c5bf","rotation":{"x":-4.42,"y":179.72}},"artworkCollisionBox":{"geometry":{"x":1.07,"y":0.88,"z":0.15},"position":{"x":-9.26,"y":1.59,"z":36.17,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.28,"y":0.54,"z":0.07},"position":{"x":-10.15,"y":1.11,"z":36.27,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":19.9,"y":10.3,"z":-23},"floorplan":{"x":18.6,"y":6,"z":-21.7}}}},"createdAt":"2025-05-28T12:50:25.495Z","updatedAt":"2026-02-24T19:44:16.164Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"093_Camille-Pissarro_Sunset,-Port-of-Rouen-(Steamboats).jpg","mimeType":"image/jpeg","filesize":2001500,"width":6992,"height":5686,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:14:50.874Z","updatedAt":"2025-05-30T16:14:50.874Z","id":"6839d97aed4658a40e9e9bf9","url":"/cms/api/media/file/093_Camille-Pissarro_Sunset%2C-Port-of-Rouen-(Steamboats).jpg","thumbnailURL":null},"title":{"de":"Sonnenuntergang, Hafen von Rouen (Dampfschiffe)","en":"Sunset, the Port of Rouen (Steamboats)"},"id":"68370691d0f800769f0feedf"},"id":"683706929081c3a00da17208"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"079","hall":null,"exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1892","en":"1892"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Als Pissarro im September 1892 seinen Freund, den Schriftsteller Octave Mirbeau besuchte, malte er drei Bilder von dessen üppig blühendem Garten. Im Nachhinein löste das Schwelgen in solcher Blumenpracht beim Künstler aber offenbar Befremden aus: Er schrieb Mirbeau, die Bilder seien „vielleicht zu gut“, er hätte sie grober, rauer malen sollen.","en":"When Pissarro visited the writer Octave Mirbeau in September 1892, he painted three pictures of his friend’s luxuriantly blooming garden. In retrospect, however, the artist seems to have had second thoughts about indulging in such floral splendor: he wrote to Mirbeau that the pictures were “perhaps too good” and that he should have painted them in a coarser, rougher style."},"measurements":"73,3 x 92 cm","credit":{"de":"Sammlung Hasso Plattner, Museum Barberini, Potsdam","en":"Hasso Plattner Collection, Museum Barberini, Potsdam"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"insideView":{"sweepId":"2648a46773c24396b4ff599102069dcc","rotation":{"x":-6.36,"y":-90.99}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":1.04,"z":1.24},"position":{"x":-4.57,"y":1.59,"z":0.51,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.07,"y":0.56,"z":0.28},"position":{"x":-4.48,"y":1.1,"z":-0.42,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":15.8,"y":10.3,"z":12.5},"floorplan":{"x":14.8,"y":6.2,"z":11.6}}}},"createdAt":"2025-05-28T12:49:07.958Z","updatedAt":"2026-02-24T19:44:25.757Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"079_Camille-Pissarro_The-Garden-and-Henhouse-at-Octave-Mirbeau’s,-Les-Damps.jpg","mimeType":"image/jpeg","filesize":2089932,"width":4724,"height":3784,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:07:13.269Z","updatedAt":"2025-05-30T16:07:13.269Z","id":"6839d7b1ed4658a40e9e9b27","url":"/cms/api/media/file/079_Camille-Pissarro_The-Garden-and-Henhouse-at-Octave-Mirbeau%E2%80%99s%2C-Les-Damps.jpg","thumbnailURL":null},"title":{"de":"Garten und Hühnerstall von Octave Mirbeau, Les Damps","en":"Garden and Henhouse at Octave Mirbeau's, Les Damps"},"id":"68370643d0f800769f0fead4"},"id":"683706459081c3a00da171df"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"056","hall":"1A3","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1881","en":"1881"},"technique":{"de":" Gouache on silk #","en":" Gouache on silk #"},"description":{"de":"Die Volksfeste zu Ehren des heiligen Martin markierten für die Landbevölkerung das Ende der Erntezeit. Das bäuerliche Leben im Einklang mit den Kreisläufen der Natur verband Pissarro mit der anarchistischen Utopie. Seine heiteren Land- und Marktszenen sind auch gemalte Gegenentwürfe zum modernen Kapitalismus, der auf Entfremdung der Arbeit und gesteigerter Produktion beruht.","en":"The folk festivals in honor of Saint Martin marked the end of the harvest season for the rural population. For Pissarro, peasant life in harmony with the cycles of nature was associated with an anarchistic utopia. His cheerful country and market scenes also serve as painted counterprojects for the world of modern capitalism with its alienation of labor and escalation of production."},"measurements":"27,8 x 55,1 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Fotoatelier Peter Schälchli, Zürich","modelData":{"matterport":{"insideView":{"sweepId":"a9b082d622c048178d2fd3e2e8881a89","rotation":{"x":-23.75,"y":-118.88}},"artworkCollisionBox":{"geometry":{"x":0.66,"y":0.59,"z":0.78},"position":{"x":18.19,"y":1.1,"z":-2.52,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.31,"y":0.2,"z":0.45},"position":{"x":17.66,"y":0.37,"z":-2.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.2,"y":9.3,"z":15.5},"floorplan":{"x":-6.6,"y":6.2,"z":17.2}}}},"createdAt":"2025-05-28T12:50:11.509Z","updatedAt":"2026-02-24T19:44:17.828Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"056_Camille-Pissarro_Saint-Martin-Fair,-Pontoise-(fan).jpg","mimeType":"image/jpeg","filesize":2036348,"width":7369,"height":4562,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:51:12.796Z","updatedAt":"2025-05-30T15:51:12.796Z","id":"6839d3f0ed4658a40e9e99ce","url":"/cms/api/media/file/056_Camille-Pissarro_Saint-Martin-Fair%2C-Pontoise-(fan).jpg","thumbnailURL":null},"title":{"de":"Sankt-Martins-Markt, Pontoise","en":"Saint-Martin Fair, Pontoise"},"id":"68370683d0f800769f0fee30"},"id":"683706849081c3a00da17201"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"038","hall":"1A3","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1880","en":"1880"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zwischen Obstbäumen führt der Weg zu einem Hügel bei Pontoise. Die tief stehende Sonne sorgt für lange Schatten, die Pissarro in zartem Blau ausführte. Aus der Tiefe des Bildgrunds nähert sich ein Pferdegespann. Noch beleben Bäuerinnen und Erntehelfer Pissarros Landschaften als Staffagefiguren. In den 1880er Jahren schuf er auch großformatigeTypenportraits der Landbevölkerung.","en":"A road leads between fruit trees to a hill near Pontoise. Pissarro renders the long shadows cast by the low sun in delicate blue. A team of horses approaches from the background. Pissarro’s landscapes from these years are enlivened by staffage figures of farm women and harvest hands. In the 1880s, he also created large-scale genre portraits of the rural population."},"measurements":"64,2 x 80 cm","credit":{"de":"The Baltimore Museum of Art, The Cone Collection, begründet von Dr. Claribel Cone und Miss Etta Cone aus Baltimore, Maryland","en":"The Baltimore Museum of Art, The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland"},"copyrightArtist":null,"copyrightFoto":"Courtesy of the Baltimore Museum of Art","modelData":{"matterport":{"insideView":{"sweepId":"3b82e5c24d194bb5a77ac6e8240bfb5b","rotation":{"x":-3.26,"y":90.04}},"artworkCollisionBox":{"geometry":{"x":0.15,"y":0.95,"z":1.11},"position":{"x":6.4,"y":1.59,"z":-4.69,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.54,"z":0.29},"position":{"x":6.34,"y":1.07,"z":-3.71,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":4.1,"y":10.5,"z":17.8},"floorplan":{"x":3.1,"y":6.2,"z":19.2}}}},"createdAt":"2025-05-28T12:50:27.454Z","updatedAt":"2026-02-24T19:44:15.925Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"038_Camille-Pissarro_The-Highway-(La-Côte-du-Valhermeil,-Auvers-sur-Oise).jpg","mimeType":"image/jpeg","filesize":1990245,"width":6887,"height":5480,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:41:31.417Z","updatedAt":"2025-05-30T15:41:31.417Z","id":"6839d1abed4658a40e9e98c0","url":"/cms/api/media/file/038_Camille-Pissarro_The-Highway-(La-Co%CC%82te-du-Valhermeil%2C-Auvers-sur-Oise).jpg","thumbnailURL":null},"title":{"de":"Die Landstraße (Die Côte du Valhermeil, Auvers-sur-Oise)\r\n","en":"The Highway (La Côte du Valhermeil, Auvers-sur-Oise)"},"id":"68370693d0f800769f0feef8"},"id":"683706949081c3a00da17209"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"011","hall":"0A1","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1863","en":"1863"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zwischen herumlaufenden Hühnern gehen die Bauern besonnen ihrer Arbeit nach. Als Pissarro die karibische Motivwelt hinter sich gelassen hatte, wandte er sich solchen Szenen des einfachen Landlebens zu. Er wohnte zwar weiterhin in Paris, suchte seine Sujets aber außerhalb der modernen Großstadt.","en":"Surrounded by freely roaming chickens, the peasants calmly go about their tasks. After Pissarro ceased painting Caribbean imagery, he turned his attention to scenes of simple country life. Although he continued to live in Paris, he looked for his subject matter outside the modern metropolis."},"measurements":"38,1 x 47,1 cm","credit":{"de":"Privatsammlung, Colorado","en":"Private collection, Colorado"},"copyrightArtist":null,"copyrightFoto":"Photo by Christina Jackson. © Denver Art Museum","modelData":{"matterport":{"insideView":{"sweepId":"4ac551cd45a04c5998f59068112cbf3c","rotation":{"x":-4.38,"y":90.05}},"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.69,"z":0.8},"position":{"x":13.61,"y":-5.85,"z":1.29,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.4,"z":0.31},"position":{"x":13.6,"y":-6.28,"z":0.54,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-3.2,"y":3,"z":11.7},"floorplan":{"x":-3.2,"y":-6.9,"z":11.4}}}},"createdAt":"2025-05-28T12:50:31.551Z","updatedAt":"2026-02-24T19:44:15.409Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"011_Camille-Pissarro_Farmyard.jpg","mimeType":"image/jpeg","filesize":2089826,"width":6149,"height":5081,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:29:06.467Z","updatedAt":"2025-05-30T15:29:06.467Z","id":"6839cec2ed4658a40e9e972b","url":"/cms/api/media/file/011_Camille-Pissarro_Farmyard.jpg","thumbnailURL":null},"title":{"de":"Bauernhof","en":"Farmyard"},"id":"68370697d0f800769f0fef2a"},"id":"683706999081c3a00da1720b"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"025","hall":null,"exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"55,88 x 91,44 cm","credit":{"de":"Carnegie Museum of Art, Pittsburgh, erworben dank der Großzügigkeit der Familie Sarah Mellon Scaife","en":null},"copyrightArtist":null,"copyrightFoto":"Carnegie Museum of Art, Pittsburgh, PA / Art Resource, NY","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:50:43.532Z","updatedAt":"2026-02-24T19:44:13.981Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"025_Camille-Pissarro_The-Crossroads,-Pontoise-or-Square-at-the-Old-Cemetery,-Pontoise.jpg","mimeType":"image/jpeg","filesize":1859876,"width":5865,"height":3485,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:19.138Z","updatedAt":"2025-05-30T15:38:19.138Z","id":"6839d0ebed4658a40e9e97fd","url":"/cms/api/media/file/025_Camille-Pissarro_The-Crossroads%2C-Pontoise-or-Square-at-the-Old-Cemetery%2C-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Die Kreuzung, Pontoise oder Platz beim alten Friedhof, Pontoise","en":"The Crossroads, Pontoise or Square at the Old Cemetery, Pontoise"},"id":"683706a3d0f800769f0fefc0"},"id":"683706a49081c3a00da17211"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"057","hall":null,"exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1891","en":"1891"},"technique":{"de":"Opaque watercolor with black conte crayon over traces of charcoal on fabric mounted to cardboard #","en":"Opaque watercolor with black conte crayon over traces of charcoal on fabric mounted to cardboard"},"description":{"de":null,"en":null},"measurements":"35,6 x 26 cm","credit":{"de":"Philadelphia Museum of Art, The Louis E. Stern Collection, 1963","en":"Philadelphia Museum of Art: The Louis E. Stern Collection, 1963"},"copyrightArtist":null,"copyrightFoto":"Philadelphia Museum of Art","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:51:05.578Z","updatedAt":"2026-02-24T19:44:11.188Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"057_Camille-Pissarro_The-Marketplace,-Gisors.jpg","mimeType":"image/jpeg","filesize":1969977,"width":3073,"height":4097,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:51:23.328Z","updatedAt":"2025-05-30T15:51:23.328Z","id":"6839d3fbed4658a40e9e99dd","url":"/cms/api/media/file/057_Camille-Pissarro_The-Marketplace%2C-Gisors.jpg","thumbnailURL":null},"title":{"de":"Der Marktplatz, Gisors\r\n\r\n","en":"The Marketplace, Gisors"},"id":"683706b9d0f800769f0ff0d3"},"id":"683706ba9081c3a00da1721c"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"055","hall":"1A3","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1882","en":"1882"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Auf dem Geflügelmarkt von Pontoise verkauft eine junge Frau Eier aus einem Korb. Durch die Nahsichtigkeit und die zentrale Rückenfigur fühlt sich der Betrachter als Teil des lebendigen Geschehens. Marktszenen waren für Pissarro unmittelbar mit den Bildern des Landlebens verbunden, denn häufig boten die Bäuerinnen ihre Erzeugnisse selbst an.","en":"At the poultry market in Pontoise, a young woman sells eggs from a basket. The cropped composition and rear view of the central figure draw us into the lively activity. For Pissarro, such scenes were directly connected to his pictures of rural life, since the peasant women often sold their own produce at the market."},"measurements":"81 x 65,1 cm","credit":{"de":"Norton Simon Art Foundation, Pasadena, Kalifornien","en":"Norton Simon Art Foundation, Pasadena, California."},"copyrightArtist":null,"copyrightFoto":"© Norton Simon Art Foundation","modelData":{"matterport":{"insideView":{"sweepId":"1c0b79c34a96415c9bad4320cae22b06","rotation":{"x":0.37,"y":89.32}},"artworkCollisionBox":{"geometry":{"x":0.17,"y":1.07,"z":0.91},"position":{"x":13.64,"y":1.59,"z":0.92,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.5,"z":0.29},"position":{"x":13.59,"y":1.1,"z":0.18,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-3.3,"y":10.5,"z":11.9},"floorplan":{"x":-5.1,"y":6.2,"z":11}}}},"createdAt":"2025-05-28T12:51:51.261Z","updatedAt":"2026-02-24T19:44:05.876Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"055_Camille-Pissarro_The-Poultry-Market-at-Pontoise.jpg","mimeType":"image/jpeg","filesize":10519880,"width":12337,"height":15204,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:50:55.358Z","updatedAt":"2025-05-30T15:50:55.358Z","id":"6839d3dfed4658a40e9e99bf","url":"/cms/api/media/file/055_Camille-Pissarro_The-Poultry-Market-at-Pontoise.jpg","thumbnailURL":null},"title":{"de":"Der Geflügelmarkt in Pontoise","en":"The Poultry Market at Pontoise"},"id":"683706e7d0f800769f0ff2f9"},"id":"683706e89081c3a00da17232"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"054","hall":"1A3","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1883","en":"1883"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Mit Konzentration und Geschick geht die junge Metzgerin ihrer Arbeit nach. Das rechteckige Gestänge des Marktstands, das ihren Kopf und die Ware rahmt, erzeugt ein Bild im Bild. Zwar fand der Maler Inspiration auf den lokalen Märkten in Pontoise und Éragny-sur-Epte, die Gemälde entstanden aber im Atelier. Für die Figur der Metzgerin diente ihm seine Nichte als Modell.","en":"The young butcher woman pursues her work with skill and concentration. The rectangular scaffolding of the market stand frames her head and her wares, creating a picture within a picture. Although the painter found inspiration at the local markets of Pontoise and Éragny-sur-Epte, he executed his paintings in the studio. The model for the figure of the butcher woman was his niece."},"measurements":"65,1 x 54,3 cm","credit":{"de":"Tate, Vermächtnis Lucien Pissarro, der Sohn des Künstlers 1944","en":"Tate: Bequeathed by Lucien Pissarro, the artist's son 1944"},"copyrightArtist":null,"copyrightFoto":"Tate","modelData":{"matterport":{"insideView":{"sweepId":"5c22e454889742b1ac5f480d7829328c","rotation":{"x":-2.53,"y":90.27}},"artworkCollisionBox":{"geometry":{"x":0.17,"y":0.9,"z":0.82},"position":{"x":13.62,"y":1.58,"z":-0.88,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.5,"z":0.29},"position":{"x":13.59,"y":1.1,"z":-1.55,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-3.3,"y":10.5,"z":14},"floorplan":{"x":-5.7,"y":6.2,"z":13.2}}}},"createdAt":"2025-05-28T12:51:53.473Z","updatedAt":"2026-02-24T19:44:05.623Z","guides":[{"guide":{"type":"audioAdults","exhibition":"6836f8f22ef108b9d9b0a31b","duration":60,"name":{"de":"Mit offenem Blick. audioAdults","en":"The Honest Eye. audioAdults"},"createdAt":"2025-06-26T14:16:33.817Z","updatedAt":"2025-06-26T14:21:20.444Z","description":{"de":"Pissarro gilt als die Gründungsfigur der impressionistischen Bewegung in Frankreich und ist der einzige Künstler, der an allen acht Impressionisten-Ausstellungen in Paris beteiligt ist. Dabei lagen seine künstlerischen Anfänge in der Karibik und in Südamerika. Diese Wurzeln und seine jüdische Herkunft verbanden sich mit einem malerischen Interesse an ländlichen Alltagsszenen und mit Sympathien für den Anarchismus.","en":"Pissarro is considered the founding figure of the Impressionist movement in France and is the only artist to have participated in all eight Impressionist exhibitions in Paris. His artistic beginnings lay in the Caribbean and South America. 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"},"fileGroup":{"fileNumber":"410","file":{"de":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_GER_Erw_410.mp3","mimeType":"audio/mpeg","filesize":5072924,"createdAt":"2025-06-27T12:18:15.274Z","updatedAt":"2025-06-27T12:18:15.274Z","id":"685e8c0771f13d6f591471d8","url":"/cms/api/media/file/Pissarro_GER_Erw_410.mp3","thumbnailURL":null},"en":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"audio-guide-adults","filename":"Pissarro_ENG_Erw_410.mp3","mimeType":"audio/mpeg","filesize":5062484,"createdAt":"2025-06-27T12:17:54.782Z","updatedAt":"2025-06-27T12:17:54.782Z","id":"685e8bf271f13d6f59147181","url":"/cms/api/media/file/Pissarro_ENG_Erw_410.mp3","thumbnailURL":null}}},"id":"685e8bcb2e04de6510e76dee"}],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"054_Camille-Pissarro_The-Pork-Butcher.jpg","mimeType":"image/jpeg","filesize":1839202,"width":2841,"height":3447,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:46:00.606Z","updatedAt":"2025-05-30T15:46:00.606Z","id":"6839d2b8ed4658a40e9e99b0","url":"/cms/api/media/file/054_Camille-Pissarro_The-Pork-Butcher.jpg","thumbnailURL":null},"title":{"de":"Die Metzgerin","en":"The Pork Butcher"},"id":"683706e9d0f800769f0ff312"},"id":"683706eb9081c3a00da17233"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"047","hall":"1A3","exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1880","en":"1880"},"technique":{"de":"Kohle und Wasserfarbe auf schwerem Velinpapier","en":"Conté crayon and transparent and opaque watercolor on wove paper"},"description":{"de":"Während Impressionisten wie Degas die Bewegungen von Balletttänzerinnen studierten, begeisterte sich Pissarro für die Arbeitsabläufe der Landarbeiterinnen. In Skizzen hielt er ihre Posen fest. Auch bei geduckten Haltungen ging es Pissarro nicht um Sozialkritik, sondern um die skulpturale Qualität der geschlossenen Form.","en":"While Impressionists such as Degas studied the movements of ballet dancers, Pissarro’s attention was drawn to the work of peasant women, whose poses he captured in sketches. Even in his depictions of bent or crouching figures, his concern was not social criticism, but rather the sculptural quality of the self-contained forms."},"measurements":"23,9 x 31,7 cm","credit":{"de":"National Gallery of Art, Washington, The Armand Hammer Collection, 1991","en":"National Gallery of Art, Washington, The Armand Hammer Collection, 1991"},"copyrightArtist":null,"copyrightFoto":"Courtesy National Gallery of Art, Washington","modelData":{"matterport":{"insideView":{"sweepId":"4036cb322bce4ec2adbde7b1d1112786","rotation":{"x":-2.92,"y":-0.35}},"artworkCollisionBox":{"geometry":{"x":0.61,"y":0.51,"z":0.17},"position":{"x":18.07,"y":1.61,"z":-6.79,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.29,"y":0.47,"z":0.05},"position":{"x":18.6,"y":1.11,"z":-6.74,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.3,"y":10.5,"z":18.9},"floorplan":{"x":-7.4,"y":6.2,"z":21.1}}}},"createdAt":"2025-05-28T12:51:58.387Z","updatedAt":"2026-02-24T19:44:05.126Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"047_Camille-Pissarro_Pea-Harvesters-[recto].jpg","mimeType":"image/jpeg","filesize":1470417,"width":4096,"height":3124,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:43:58.071Z","updatedAt":"2025-05-30T15:43:58.071Z","id":"6839d23eed4658a40e9e9947","url":"/cms/api/media/file/047_Camille-Pissarro_Pea-Harvesters-%5Brecto%5D.jpg","thumbnailURL":null},"title":{"de":"Die Erbsenpflückerinnen [recto]","en":"Pea Harvesters [recto]"},"id":"683706eed0f800769f0ff344"},"id":"683706f09081c3a00da17235"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"024","hall":null,"exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1872","en":"1872"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"50 x 65 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Photo by Eric Stephenson. © Denver Art Museum.","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:52:19.333Z","updatedAt":"2026-02-24T19:44:02.785Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"024_Camille-Pissarro_The-House-in-the-Woods.jpg","mimeType":"image/jpeg","filesize":2082072,"width":4755,"height":3621,"focalX":50,"focalY":50,"createdAt":"2025-05-30T15:38:10.615Z","updatedAt":"2025-05-30T15:38:10.615Z","id":"6839d0e2ed4658a40e9e97ee","url":"/cms/api/media/file/024_Camille-Pissarro_The-House-in-the-Woods.jpg","thumbnailURL":null},"title":{"de":"Das Haus im Wald","en":"The House in the Woods"},"id":"68370703d0f800769f0ff43e"},"id":"683707049081c3a00da1723f"},{"artwork":{"onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":"105","hall":null,"exhibition":"6836f8f22ef108b9d9b0a31b","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"dating":{"de":"1901","en":"1901"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":null,"en":null},"measurements":"73,7 x 92,7 cm","credit":{"de":"Saint Louis Art Museum, Museumsankauf","en":"Saint Louis Art Museum, Museum Purchase"},"copyrightArtist":null,"copyrightFoto":"?","modelData":{"matterport":{"insideView":{"rotation":{}},"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{},"floorplan":{}}}},"createdAt":"2025-05-28T12:52:21.550Z","updatedAt":"2026-02-24T19:44:02.541Z","guides":[],"image":{"exhibition":"6836f8f22ef108b9d9b0a31b","type":"artwork-image","filename":"105_Camille-Pissarro_The-Louvre,-Morning,-Sunlight-(second-series).jpg","mimeType":"image/jpeg","filesize":1902867,"width":4790,"height":3838,"focalX":50,"focalY":50,"createdAt":"2025-05-30T16:19:03.836Z","updatedAt":"2025-05-30T16:19:03.836Z","id":"6839da77ed4658a40e9e9cd4","url":"/cms/api/media/file/105_Camille-Pissarro_The-Louvre%2C-Morning%2C-Sunlight-(second-series).jpg","thumbnailURL":null},"title":{"de":"Der Louvre, Morgen, Sonne","en":"The Louvre, Morning, Sunlight"},"id":"68370705d0f800769f0ff457"},"id":"683707079081c3a00da17240"}],"modelData":{"matterportModelId":"b8tHcm5Me6h","startingPoint":{"foyer":{"sweepId":"","xRotation":0,"yRotation":0,"loadingBackgroundImage":null},"exhibition":{"sweepId":"2939ee276db748de8462a7207069d99a","xRotation":-5.58,"yRotation":-87.71,"loadingBackgroundImage":{"alt":"pissarro loading background","exhibition":"6836f8f22ef108b9d9b0a31b","type":"loading-bg-image","filename":"pissarro_background-min.jpg","mimeType":"image/jpeg","filesize":85557,"width":2880,"height":1514,"focalX":50,"focalY":50,"createdAt":"2025-06-23T10:42:25.847Z","updatedAt":"2025-06-23T10:42:25.847Z","id":"68592f919dc10a47245011d9","url":"/cms/api/media/file/pissarro_background-min.jpg","thumbnailURL":null}}},"sensorOffset":{"position":{"x":0,"y":0,"z":0}},"disabledSweeps":[],"coordinateOffset":{"position":{"x":10.78,"y":8.72,"z":12.93},"axisFlip":{"x":-1,"y":1,"z":-1}}},"createdAt":"2025-05-28T11:52:18.905Z","updatedAt":"2025-12-09T11:19:50.005Z","prologue":{"de":"https://prolog.museum-barberini.de/de/20593/mit-offenem-blick","en":"https://prolog.museum-barberini.de/en/20593/the-honest-eye"},"cover":{"alt":"pissarro exhibition cover","exhibition":"6836f8f22ef108b9d9b0a31b","type":"exhibition-cover-image","filename":"cover.jpeg","mimeType":"image/jpeg","filesize":467087,"width":1920,"height":1583,"focalX":50,"focalY":50,"createdAt":"2025-06-24T11:12:14.317Z","updatedAt":"2025-06-24T11:12:14.317Z","id":"685a880e9dc10a47245060c7","url":"/cms/api/media/file/cover.jpeg","thumbnailURL":null},"id":"6836f8f22ef108b9d9b0a31b"},{"onDisplay":true,"type":"permanent","cover":{"exhibition":"67b338818635bba96e329691","type":"exhibition-cover-image","filename":"impressionism-cover.jpg","mimeType":"image/jpeg","filesize":72947,"width":480,"height":385,"focalX":50,"focalY":50,"createdAt":"2025-02-21T17:13:19.583Z","updatedAt":"2025-02-21T17:13:19.583Z","id":"67b8b42f134df66d977d8f70","url":"/cms/api/media/file/impressionism-cover.jpg","thumbnailURL":null},"galleries":[{"activeTemporaryExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af","699c56f3870053377ae01aa0","6a4a542818d42df607da7bf3","6acc4503051e2c1b61349898"],"hall":"1B3","title":{"de":"Reflexionen im Fluss","en":" Reflections in the River"},"subtitle":{"de":"","en":""},"description":{"de":"In den Landschaften entlang der Seine entwickelten die Impressionisten ihr Motivrepertoire. Hier arbeiteten sie unter freiem Himmel, konzentrierten sich auf das Hier und Jetzt und verzichteten auf das Anekdotische früherer Landschafts-malerei. Sie schärften ihre Beobachtungsgabe an den spiegelnden Oberflächen der Seine. Zu den ständigen Veränderungen von Licht und Wolken am Himmel kamen mit den Reflexionen und dem Fließen weitere dynamische Momente. Schon 1865 brachen Pierre-Auguste Renoir und Alfred Sisley von Paris zu einem Malausflug entlang der Seine auf, der sie bis zur Mündung in Le Havre führte. Viele Künstler der Sammlung werden bis heute mit Seine-Orten wie Argenteuil, Giverny und Moret verbunden: Eugène Boudin, Gustave Caillebotte, Claude Monet, Paul Signac und Alfred Sisley. Die Industrialisierung und Effizienz-steigerung in der zweiten Hälfte des 19. Jahrhunderts prägte auch die Seine. Dampfschiffe verkehrten auf dem Versorgungsweg zur Hauptstadt und brachten den Stahl für den Bau von Schienen und Passagen aus den am Fluss gelegenen Fabriken nach Paris. 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. Although their landscapes are agitated and often dark, the Fauves were still referring to the iconography of the Impressionists."},"coverImage":{"exhibition":"67b338818635bba96e329691","type":"gallery-cover-image","filename":"0B1.jpg","mimeType":"image/jpeg","filesize":188007,"width":3132,"height":1960,"focalX":50,"focalY":50,"createdAt":"2025-06-25T12:20:28.502Z","updatedAt":"2025-06-25T12:20:28.502Z","id":"685be98c45abc2bdb530a903","url":"/cms/api/media/file/0B1.jpg","thumbnailURL":null},"3dModel":{"exhibition":"67b338818635bba96e329691","type":"3d-model","filename":"0b1-cut-paintings.glb","mimeType":"application/octet-stream","filesize":822516,"createdAt":"2025-08-04T18:29:47.781Z","updatedAt":"2025-08-04T18:29:47.781Z","id":"6890fc1bb453dc80562bd3ae","url":"/cms/api/media/file/0b1-cut-paintings.glb","thumbnailURL":null},"3dModels":[{"glbFile":"69cea45e70c4a99939b3a5aa","exhibition":"699c56f3870053377ae01aa0","id":"69cea4dfa9f9cb7f5e8a3dd3"},{"glbFile":"6aca674daf3802bc375cb500","id":"6aca6752af3802bc375cb50a"}],"startPoint":{"sweepId":"be908e43dd4e4f20aeef7c7fe2959ba0","rotation":{"x":-4.286646521926851,"y":-91.2261118101887}},"infoWall":{"modelData":{"infoCollisionBox":{"geometry":{"x":1.77,"y":1.57,"z":0.05},"position":{"x":7.04,"y":-5.45,"z":30.47,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.04,"y":-5.45,"z":30.47},"id":"6890f2a967c88f001b9353c8"},{"exhibition":"67b338818635bba96e329691","position":{"x":9.293302631965894,"y":-12.698040419044796,"z":32.72064914530287},"id":"69bc1b7672d5786b609cf2dc"}]}},"insideView":{"sweepId":"a08dae762976418f9538e9a5bf670305","rotation":{"x":6.301425768540014,"y":179.76412659091562}}}},"exhibitionDependentArtworkOffsetArray":[],"id":"685be81618dfb8169a023c17","ownModel":{"createdAt":"2026-10-10T16:26:53.774Z","updatedAt":"2026-10-10T16:26:57.943Z","exhibition":"67b338818635bba96e329691","type":"3d-model","url":"/cms/api/media/file/0b1-cut-paintings_1024_draco.glb","filename":"0b1-cut-paintings_1024_draco.glb","mimeType":"model/gltf-binary","filesize":256088,"thumbnailURL":null,"id":"6aca674daf3802bc375cb500"}}],"artworkList":[{"artwork":{"title":{"de":"Der Fluss","en":"The River"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.99,"y":0.81,"z":0.2},"position":{"x":18.492202644847644,"y":-5.576654882560648,"z":23.26772510598958,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":14.04,"y":9.09,"z":25.65},"id":"688db65b81df0f999dd06d9b"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":18.595422478079794,"y":1.6799999999999997,"z":23.24589118876904},"id":"688e212b0ea9a6001b10b851"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.46,"z":0.05},"position":{"x":19.335699120968723,"y":-6.100599201259528,"z":23.24822459747499,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.422757970001697,"y":1.1625975922935536,"z":23.212017189903214},"id":"688e212b0ea9a6001b10b852"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0b74fe3b29b64a4c945387c6cd45f855","rotation":{"x":-3.298131574054182,"y":-1.0921993981378786}}},"react3fiber":{"position":{"model":{"x":-7.7380026448476436,"y":9.757045117439352,"z":-10.38742510598958},"floorplan":{"x":-7.105,"y":6.5,"z":-9.226}}}},"createdAt":"2025-02-24T07:45:14.114Z","updatedAt":"2026-11-05T15:01:23.234Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"In reduzierter Formensprache schilderte Claude Monet den Abend am Fluss. Das impulsive Linienspiel wirkt wie rasch hingeworfen, als habe der Maler noch eben vor dem Verschwinden der Sonne das Bild vollenden wollen. Im Licht ihrer letzten Strahlen leuchten einige Zweige rot auf. Obwohl das Bild wie eine Skizze wirkt, hat der Künstler es als eigenständige, vollendete Arbeit angesehen, wie die Signatur belegt.","en":"Claude Monet depicted an evening on the river using a reduced formal vocabulary. The impulsive play of lines seems to be rapidly set down, as if the painter had wanted to complete the composition just before the sun disappeared. Several branches glow in the red light of its last rays. Although the picture has the appearance of a sketch, the artist's signature Indicates that he considered it an independent, completed work"},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"monet_der_fluss","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Fluss.jpg","mimeType":"image/jpeg","filesize":812550,"width":2000,"height":1467,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:16.397Z","updatedAt":"2025-02-19T09:39:16.397Z","id":"67b5a6c472417297712ce7b3","url":"/cms/api/media/file/optimized-Monet_Der%20Fluss.jpg","thumbnailURL":null},"measurements":"54 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b50"},"id":"67bc270da0cfed09eb6ee75f"},{"artwork":{"title":{"de":"Herbst in Jeufosse","en":"Autumn at Jeufosse"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.96,"y":0.86,"z":0.2},"position":{"x":16.488394451963124,"y":-5.576146780851802,"z":23.271219489772054,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":12.03,"y":9.1,"z":25.65},"id":"688db66581df0f999dd06da3"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.583228016077015,"y":1.6899999999999995,"z":23.225232007679125},"id":"688e20b30ea9a6001b10b84f"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.46,"z":0.05},"position":{"x":15.647804394213154,"y":-6.080485738387035,"z":23.25627060786117,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":15.731569890366329,"y":1.163633949991754,"z":23.21655406767756},"id":"688e20b30ea9a6001b10b850"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"9425b027ef61481c835ac953023c122f","rotation":{"x":-4.211370433322252,"y":0.7470808329440446}}},"react3fiber":{"position":{"model":{"x":-5.734194451963123,"y":9.757553219148198,"z":-10.390919489772054},"floorplan":{"x":-4,"y":6,"z":-9.1}}}},"createdAt":"2025-02-24T07:45:14.088Z","updatedAt":"2026-11-05T15:01:21.576Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1884","en":"1884"},"description":{"de":"Die reiche Farbigkeit der herbstlichen Blätter hat Claude Monet in einen Flickenteppich bunt gemischter Farbtupfen aufgelöst. Die Kontraste der reinen, kleinteilig gesetzten Tone erzeugen ein Flimmer, das die Bewegung des Laubes an der Uferböschung und seiner Spiegelungen auf dem Wasser aufnimmt. Bis in die späten 1890er Jahre gehörte der Flusslauf der Seine zu den bevorzugten Motiven des Künstlers.","en":"Claude Monet has transformed the rich colors of the autumn leaves into a patchwork of multicolored daubs of paint. The contrasts between the pure, delicately applied tones create a shimmering effect that picks up on the movement of the leaves along the riverbank and their reflection on the water, The course of the river Seine remained one of the artist's favorite motifs until the late 1890s."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"monet_herbst_in_jeufosse","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Herbst in Jeufosse.jpg","mimeType":"image/jpeg","filesize":833785,"width":2000,"height":1638,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:35.635Z","updatedAt":"2025-02-19T09:39:35.635Z","id":"67b5a6d772417297712ce7f9","url":"/cms/api/media/file/optimized-Monet_Herbst%20in%20Jeufosse.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b40"},"id":"67bc270da0cfed09eb6ee767"},{"artwork":{"title":{"de":"Die Mühle von Limetz","en":"The Mill at Limetz"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.92,"y":1.1,"z":0.2},"position":{"x":11.365610706520993,"y":-5.581094540142167,"z":23.267380846884762,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":6.91,"y":9.1,"z":25.61},"id":"688db69381df0f999dd06dc5"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":11.455258922261772,"y":1.6899999999999995,"z":23.24075129068289},"id":"688e200e0ea9a6001b10b84d"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.46,"z":0.05},"position":{"x":12.153910536799012,"y":-6.08159026138343,"z":23.25267567402575,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":12.25710566154765,"y":1.1829028134519506,"z":23.257496826777302},"id":"688e200e0ea9a6001b10b84e"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"bcaef00d061242c689067d96070b3b3c","rotation":{"x":-1.3812860178485071,"y":-0.6776661785507418}}},"react3fiber":{"position":{"model":{"x":-0.6114107065209922,"y":9.752605459857834,"z":-10.387080846884762},"floorplan":{"x":-0.28,"y":6.5,"z":-9.422}}}},"createdAt":"2025-03-03T14:01:55.504Z","updatedAt":"2026-11-05T15:01:22.707Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":"MB-Mon-39","dating":{"de":"1888","en":"1888"},"description":{"de":"Den Vordergrund der Komposition dominiert das dichte Laubwerk der Bäume, das Monet in satten Schattierungen von Blau, Grün und Violett gestaltet hat. Die steinerne Getreidemühle von Limetz scheint im Hintergrund rechts wie an den Rand gedrängt. Die Wahl des ungewöhnlichen Blickwinkels erhöht den Eindruck von Unmittelbarkeit – ein Hauptmerkmal des Impressionismus.","en":"The composition’s foreground is dominated by the dense foliage of the trees, which Monet painted in rich shades of blue, green and violet. Limetz’s stone flour mill appears to be pushed to the edge in the right-hand background. The choice of the unusual angle heightens the marked sense of immediacy – a key characteristic of Impressionism."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","image":{"alt":"The Mill at Limetz","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Mon-39_MoulinLimetz_1.jpg","mimeType":"image/jpeg","filesize":2097710,"width":1920,"height":2433,"focalX":50,"focalY":50,"createdAt":"2025-03-03T14:01:54.506Z","updatedAt":"2025-03-03T14:01:54.506Z","id":"67c5b6529c762d275ec3ecb2","url":"/cms/api/media/file/MB-Mon-39_MoulinLimetz_1.jpg","thumbnailURL":null},"measurements":"92 x 72,9 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"92 x 72,9 cm"},"id":"67c5b6539c762d275ec3ecc3"},"id":"67c5cb40ba47f3524d942d88"},{"artwork":{"title":{"de":"Klipper","en":"Clipper"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.59,"z":0.65},"position":{"x":6.88746371726187,"y":-5.574463247823054,"z":25.468805027383997,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":2.46,"y":9.1,"z":27.8},"id":"688db63681df0f999dd06d79"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.974130681396423,"y":1.6899999999999995,"z":25.46133577219986},"id":"688e16390ea9a6001b10b84b"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.35},"position":{"x":6.911670858464835,"y":-6.093597292435988,"z":26.150748229209615,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.996113116254371,"y":1.1465200248535528,"z":26.15414197241868},"id":"688e16390ea9a6001b10b84c"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"401aed17dc894715869a70e56232c850","rotation":{"x":-1.7710290551627985,"y":89.99599323425562}}},"react3fiber":{"position":{"model":{"x":3.866736282738131,"y":9.759236752176946,"z":-12.588505027383997},"floorplan":{"x":3.2,"y":6,"z":-11.6}}}},"createdAt":"2025-02-24T07:45:14.893Z","updatedAt":"2026-11-05T15:01:22.575Z","artist":{"lastName":"Signac","firstName":"Paul","lifeDates":"1863–1935","createdAt":"2025-02-24T07:45:12.002Z","updatedAt":"2025-02-24T07:45:12.002Z","id":"67bc238887986af0ae414ace"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1887","en":"1887"},"description":{"de":"Spiegelnde Wasserflächen waren das Hauptthema von Paul Signac. In diesem frühen neoimpressionistischen Gemälde fokussierte er einen von zwei Brücken eingerahmten Abschnitt der Seine In seinem Heimatort Asnières bei Argenteuil. In der Auseinandersetzung mit der impressionistischen Motivwelt entwickelte Signac das pointillistische Verfahren.","en":"Reflecting surfaces of water were Paul Signad's main subject. In this early Neo-Impressionist painting he focused on a stretch of the Seine that is framed by two bridges in his hometown, Asnières, near Argenteull. Signac developed the Pointillist technique while examining the Impressionist repertoire of motifs."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Klipper_DE.mp3","mimeType":"audio/mpeg","filesize":1932775,"createdAt":"2025-03-04T17:19:16.488Z","updatedAt":"2025-03-04T17:19:16.488Z","id":"67c736149c762d275ec48f2a","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Klipper_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Klipper_EN.mp3","mimeType":"audio/mpeg","filesize":2315463,"createdAt":"2025-03-04T17:19:32.538Z","updatedAt":"2025-03-04T17:19:32.538Z","id":"67c736249c762d275ec48f4d","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Klipper_EN.mp3","thumbnailURL":null}}},"id":"67c991c6cf6f1f7f8c0bec3d"}],"hall":"1B3","highlight":null,"image":{"alt":"signac_klipper","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Signac_Klipper.jpg","mimeType":"image/jpeg","filesize":997370,"width":2000,"height":1668,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:18.297Z","updatedAt":"2025-02-19T09:40:18.297Z","id":"67b5a70272417297712ce89e","url":"/cms/api/media/file/optimized-Signac_Klipper.jpg","thumbnailURL":null},"measurements":"46 x 55 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67bc238a87986af0ae414b98"},"id":"67bc270da0cfed09eb6ee73b"},{"artwork":{"title":{"de":"Winter in Moret","en":"Moret in Winter"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.7,"z":0.78},"position":{"x":6.875447801331434,"y":-5.5709588658885,"z":30.550201458605606,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":2.46,"y":9.11,"z":32.87},"id":"688db63a81df0f999dd06d7d"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.987282775777474,"y":1.6999999999999993,"z":30.536585807871262},"id":"688e26550ea9a6001b10b865"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.41,"z":0.35},"position":{"x":6.8897040216149,"y":-6.080967094310134,"z":29.779283957098794,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.018320520461673,"y":1.19443849323883,"z":29.78875365254963},"id":"688e26550ea9a6001b10b866"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c05b0eb32cef4ecdaf637c084d6f1cc0","rotation":{"x":-0.28012484503556123,"y":91.13373993637985}}},"react3fiber":{"position":{"model":{"x":3.8787521986685665,"y":9.7627411341115,"z":-17.669901458605608},"floorplan":{"x":3.313,"y":6.5,"z":-16.514}}}},"createdAt":"2025-02-24T07:45:14.879Z","updatedAt":"2026-11-05T15:01:25.490Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1891","en":"1891"},"description":{"de":"Immer wieder widmete sich Sisley dem Fluss Loing, der im Winter regelmäßig über die Ufer trat. Die Mühle rechts im Bild steht auf einer Brücke des 14. Jahrhunderts. Sisley wählte eine Perspektive, die dieses pittoreske Motiv ausspart. Kahle Pappeln und Schnee, das matte Blau des Wassers und das diffuse Licht des Himmels bringen die winterliche Stimmung in fahlen Farben zum Ausdruck.","en":"Sisley returned again and again to the river Loing, which often flooded during the winter. The mill on the right is built on a fourteenth-century bridge. Sisley chose a perspective that leaves out this picturesque motif. The winter atmosphere is conveyed in pale colors by the leafless trees and snow, the pale blue of the river, and the diffuse light of the sky"},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"sisley_winter_in_moret","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Winter in Moret.jpg","mimeType":"image/jpeg","filesize":845717,"width":2000,"height":1656,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:33.100Z","updatedAt":"2025-02-19T09:40:33.100Z","id":"67b5a71172417297712ce8df","url":"/cms/api/media/file/optimized-Sisley_Winter%20in%20Moret.jpg","thumbnailURL":null},"measurements":"54,5 x 65 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b90"},"id":"67bc270da0cfed09eb6ee73f"},{"artwork":{"title":{"de":"Der Loing bei Moret","en":"The Loing at Moret"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.88,"y":0.73,"z":0.2},"position":{"x":11.358838948946774,"y":-5.571173417863956,"z":32.68393946940426,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":6.87,"y":9.1,"z":35.02},"id":"688db64281df0f999dd06d85"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":11.474017046318428,"y":1.6899999999999995,"z":32.69260690157098},"id":"688e25f50ea9a6001b10b863"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.48,"z":0.05},"position":{"x":12.141659269555264,"y":-6.10596367415573,"z":32.72436081245224,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":12.27320025903705,"y":1.1453503386254416,"z":32.710707603923595},"id":"688e25f50ea9a6001b10b864"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5f1ece8fc8fd4f79a97145c0d5eba9ce","rotation":{"x":-1.8563034178000188,"y":-179.29305150114354}}},"react3fiber":{"position":{"model":{"x":-0.6046389489467732,"y":9.762526582136045,"z":-19.80363946940426},"floorplan":{"x":-0.896,"y":6.5,"z":-18.404}}}},"createdAt":"2025-02-24T07:45:14.186Z","updatedAt":"2026-11-05T15:01:20.863Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"Die Weite von Himmel und Fluss dominiert die Komposition, macht das frische Blau-Weiß zum bestimmenden Farbton des Bildes. Rechts leuchtet das rote Dach einer hölzernen Werft hervor. Links stehen mehrere Personen am Ufer beieinander, die soeben ein Fährmann übergesetzt hat. Solche Details sind typisch für Alfred Sisleys Landschaftsbilder, der darin einen Moment erfasste.","en":"The expansive sky and river dominate this composition with fresh blue and white dominating the picture's overall color scheme. The red roof of a wooden boatyard marks a bright accent on the right. Several people stand together on the left riverbank, where they have just been brought over by a ferryman. Such details are typical elements in Alfred Sisley's landscapes, which capture a particular moment in time."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"sisley_der_loing_bei_moret","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Der Loing bei Moret.jpg","mimeType":"image/jpeg","filesize":910933,"width":2000,"height":1543,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:24.754Z","updatedAt":"2025-02-19T09:40:24.754Z","id":"67b5a70872417297712ce8b7","url":"/cms/api/media/file/optimized-Sisley_Der%20Loing%20bei%20Moret.jpg","thumbnailURL":null},"measurements":"51 x 65,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b7e"},"id":"67bc270da0cfed09eb6ee748"},{"artwork":{"title":{"de":"Wintermorgen","en":"Winter Morning"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.94,"y":0.78,"z":0.2},"position":{"x":13.99752316640741,"y":-5.560710956199538,"z":32.71436354659495,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":9.52,"y":9.11,"z":35.02},"id":"688db63981df0f999dd06d7c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":14.121137565842155,"y":1.6999999999999993,"z":32.69325686050971},"id":"688e25b20ea9a6001b10b861"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.48,"z":0.05},"position":{"x":13.203589293716814,"y":-6.056567835643689,"z":32.710157161497605,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.296352465213099,"y":1.1775541660534647,"z":32.70666718975675},"id":"688e25b20ea9a6001b10b862"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0b8b40a5972b4336a4baaebb89801bd6","rotation":{"x":-3.2252082375428714,"y":-179.87150282733214}}},"react3fiber":{"position":{"model":{"x":-3.243323166407409,"y":9.772989043800463,"z":-19.834063546594955},"floorplan":{"x":-3.131,"y":6.5,"z":-18.37}}}},"createdAt":"2025-02-24T07:45:14.883Z","updatedAt":"2026-11-05T15:01:21.736Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1874","en":"1874"},"description":{"de":"Anders als Claude Monet oder Pierre-Auguste Renoir malte Alfred Sisley ausschließlich Landschaften. Diese morgendliche Winterszene gestaltete er in leuchtender Farbigkeit, setzte das strahlende Blau von Himmel und Fluss gegen die Orangetöne der Büsche und Bäume. Die langen Schatten der Pappeln verleihen der Komposition eine rhythmisierende Spannung.","en":"Unlike Claude Monet and Pierre-Auguste Renoir, Alfred Sisley exclusively painted landscapes. He composed this morning scene in winter using vibrant colors, contrasting the bright blue of the sky and river with the orange tones of the bushes and trees. The long shadows of the poplars endow the composition with a rhythmic tension."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"sisley_wintermorgen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Wintermorgen.jpg","mimeType":"image/jpeg","filesize":894782,"width":2000,"height":1482,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:34.117Z","updatedAt":"2025-02-19T09:40:34.117Z","id":"67b5a71272417297712ce8e4","url":"/cms/api/media/file/optimized-Sisley_Wintermorgen.jpg","thumbnailURL":null},"measurements":"54,5 x 73,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b92"},"id":"67bc270da0cfed09eb6ee73e"},{"artwork":{"title":{"de":"Die Brücke von Argenteuil und die Seine","en":"The Argenteuil Bridge and the Seine"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.88,"z":0.2},"position":{"x":16.72909408195252,"y":-5.5767711306591385,"z":32.7111081123024,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":12.25,"y":9.1,"z":35.08},"id":"688db65e81df0f999dd06d9d"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.84324943183227,"y":1.6899999999999995,"z":32.65693847316979},"id":"688e25210ea9a6001b10b85f"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.55,"z":0.05},"position":{"x":15.898706627303007,"y":-6.1214344806810885,"z":32.70515063569147,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":15.982274933852615,"y":1.1283199629420362,"z":32.68818162158337},"id":"688e25210ea9a6001b10b860"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8fd5f8161f184b1faf4782d0618711b3","rotation":{"x":-1.0617894696344794,"y":-179.7097785162605}}},"react3fiber":{"position":{"model":{"x":-5.97489408195252,"y":9.756928869340863,"z":-19.8308081123024},"floorplan":{"x":-7.3,"y":6,"z":-21.7}}}},"createdAt":"2025-02-24T07:45:14.108Z","updatedAt":"2026-11-05T15:01:26.951Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"Mit ihren wuchtigen gusseisernen Bögen war die nach dem Deutsch-Französischen Krieg von 1870/71 wiederaufgebaute Brücke von Argenteull ein eindrucksvolles Zeugnis französischer Ingenieurskunst. In kühner Komposition nahm Gustave Caillebotte das Miteinander von Natur und Technik in den Blick. Argenteuil, ein Ort der Industrialisierung und des Segelsports in der Nähe von Paris, bot vielen Impressionisten ikonische Motive der Moderne,","en":"The bridge at Argenteuil had been rebuilt after the Franco-German War of 1870-71. With its massive cast-iron arches it was an impressive product of French engineering. In this audacious composition Gustave Caillebotte focused on the relationship between nature and technology. Many of the Impressionists were drawn to Argenteuil, an industrialized suburb of Paris that was also a favorite locale for sailing, offering Iconic motifs of modern life."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Bruecke-von-Argentueil-und Seine_DE.mp3","mimeType":"audio/mpeg","filesize":1878626,"createdAt":"2025-03-04T16:59:42.665Z","updatedAt":"2025-03-04T16:59:42.665Z","id":"67c7317e9c762d275ec48a05","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Bruecke-von-Argentueil-und%20Seine_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte_Bruecke-von-Argentueil-und Seine_EN.mp3","mimeType":"audio/mpeg","filesize":2222258,"createdAt":"2025-03-04T17:00:07.506Z","updatedAt":"2025-03-04T17:00:07.506Z","id":"67c731979c762d275ec48a31","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte_Bruecke-von-Argentueil-und%20Seine_EN.mp3","thumbnailURL":null}}},"id":"67c9911ecf6f1f7f8c0beaeb"}],"hall":"1B3","highlight":true,"image":{"alt":"caillebotte_die_brucke_von_argenteuil_und_die_seine","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_Die Brücke von Argenteuil und die Seine.jpg","mimeType":"image/jpeg","filesize":818374,"width":2000,"height":1586,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:49.073Z","updatedAt":"2025-02-19T09:38:49.073Z","id":"67b5a6a972417297712ce736","url":"/cms/api/media/file/optimized-Caillebotte_Die%20Bru%CC%88cke%20von%20Argenteuil%20und%20die%20Seine.jpg","thumbnailURL":null},"measurements":"65 x 82 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b4c"},"id":"67bc270da0cfed09eb6ee761"},{"artwork":{"title":{"de":"Boote vor Anker auf der Seine in Argenteuil","en":"Boats moored on the Seine at Argenteuil"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.96,"y":0.83,"z":0.2},"position":{"x":19.46086231299228,"y":-5.572308669079227,"z":32.715616167232184,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":14.98,"y":9.1,"z":35.09},"id":"688db69181df0f999dd06dc4"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.574181508538047,"y":1.6959633885095724,"z":32.66571365390913},"id":"688e273a0ea9a6001b10b867"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.55,"z":0.05},"position":{"x":18.64648829461005,"y":-6.096732373742633,"z":32.71040689117902,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":18.772949680613824,"y":1.188594080827229,"z":32.6761766913542},"id":"688e273a0ea9a6001b10b868"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"1c7672914c9d4bab8feb3a7fb3c17121","rotation":{"x":-0.5527383778607368,"y":179.83729483707782}}},"react3fiber":{"position":{"model":{"x":-8.706662312992279,"y":9.761391330920773,"z":-19.835316167232186},"floorplan":{"x":-8.095,"y":6.5,"z":-18.28}}}},"createdAt":"2025-03-03T13:33:19.921Z","updatedAt":"2026-11-05T15:01:22.770Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":"MB-Cai-08","dating":{"de":"1892","en":"1892"},"description":{"de":"Der begeisterte Wassersportler Caillebotte fuhr Regatten und konstruierte Segler. Häufig malte er Boote wie hier am Ufer seines Wohnorts Petit-Gennevilliers mit Blick auf Argenteuil. Darin löste er sich von seinen perspektivisch angelegten Pariser Stadtlandschaften. Die Bilder der Seine zeigen wie die Werke von Monet und Renoir eine freie Pinselschrift.","en":"The enthusiastic water sportsman Caillebotte participated in regattas and designed sailboats. He often painted boats, as seen here on the shore of his residence in Petit-Gennevilliers, with a view towards Argenteuil. In doing so, he moved away from his perspectively structured Paris cityscapes. The paintings of the Seine, like the works of Monet and Renoir, exhibit free brushstrokes."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","image":{"alt":"Boats moored on the Seine at Argenteuil","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Cai-08_Caillebotte_Bateaux_1.jpg","mimeType":"image/jpeg","filesize":313316,"width":1400,"height":1144,"focalX":50,"focalY":50,"createdAt":"2025-03-03T13:33:18.205Z","updatedAt":"2025-03-03T13:33:18.205Z","id":"67c5af9e9c762d275ec3eaa5","url":"/cms/api/media/file/MB-Cai-08_Caillebotte_Bateaux_1.jpg","thumbnailURL":null},"measurements":"60 x 73,7 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5af9f9c762d275ec3eab6"},"id":"67c5cb35ba47f3524d942d87"},{"artwork":{"title":{"de":"Die Steinbrüche in Veneux in der Sonne, Morgen","en":"The Stone Quarries at Veneux in the Sun, Morning"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.95,"y":0.72,"z":0.2},"position":{"x":22.157448556955757,"y":-5.576165063660533,"z":32.713895074555644,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":17.68,"y":9.1,"z":35.08},"id":"688db63881df0f999dd06d7b"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.281312801555494,"y":1.6899999999999995,"z":32.66500090934437},"id":"688e23ce0ea9a6001b10b85b"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.49,"z":0.05},"position":{"x":21.334295093416635,"y":-6.077299046079591,"z":32.7149472998395,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.453133302547172,"y":1.1766898763182838,"z":32.657685031632994},"id":"688e23ce0ea9a6001b10b85c"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"11f0ee6c0d9e46cb9d60ed1d54df6e35","rotation":{"x":-2.0434850856632254,"y":-179.49988082130278}}},"react3fiber":{"position":{"model":{"x":-11.403248556955756,"y":9.757534936339466,"z":-19.833595074555646},"floorplan":{"x":-10.565,"y":6.5,"z":-18.218}}}},"createdAt":"2025-02-24T07:45:14.887Z","updatedAt":"2026-11-05T15:01:20.931Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1880","en":"1880"},"description":{"de":"Hell schimmert der Kalkstein am Ufer der Seine. Alfred Sisley wählte viele Schattierungen für das weiße Material. Den aufgebrochenen Hang gab er in pastosem Farbauftrag wieder. Die leichte Bewegung des Wassers nuancierte er mit horizontalen Pinselstrichen in Grün, Blau and Weiß. Das Nachbardorf seines Wohnorts Moret hielt der Künstler in über 60 Gemälden fest.","en":"The limestone on the shore of the Seine gleams brightly. Alfred Sisley chose a variety of shades for the white material. He used an impasto application of paint to render the fragmented slope. The slight movement of the water is evoked with horizontal brushstrokes in green, blue, and white. The artist painted over sixty works featuring this town, which was close to his home in Moret."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"sisley_die_steinbrueche_in_veneux_in_der_sonne_morgen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Die Steinbrueche in Veneux in der Sonne_Morgen.jpg","mimeType":"image/jpeg","filesize":812917,"width":2000,"height":1367,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:26.332Z","updatedAt":"2025-02-19T09:40:26.332Z","id":"67b5a70a72417297712ce8c1","url":"/cms/api/media/file/optimized-Sisley_Die%20Steinbrueche%20in%20Veneux%20in%20der%20Sonne_Morgen.jpg","thumbnailURL":null},"measurements":"50 x 73,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b94"},"id":"67bc270da0cfed09eb6ee73d"},{"artwork":{"title":{"de":"Bei Moret-sur-Loing","en":"Near Moret-sur-Loing"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.81,"z":0.99},"position":{"x":24.489435555688164,"y":-5.5840560761531455,"z":30.733124969010678,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.06,"y":9.09,"z":33.1},"id":"688db63181df0f999dd06d75"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.626276426631605,"y":1.6799999999999997,"z":30.68143203763776},"id":"688e23230ea9a6001b10b859"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.35},"position":{"x":24.5448478302937,"y":-6.098217406850199,"z":29.913044242092766,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.673449023937316,"y":1.1548922975057818,"z":29.829593895047303},"id":"688e23230ea9a6001b10b85a"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"6433dc9320674adba281d24150f1c0c4","rotation":{"x":-1.1912746889469454,"y":-88.95494683523289}}},"react3fiber":{"position":{"model":{"x":-13.735235555688163,"y":9.749643923846856,"z":-17.852824969010676},"floorplan":{"x":-12.734,"y":6.5,"z":-16.333}}}},"createdAt":"2025-02-24T07:45:14.910Z","updatedAt":"2026-11-05T15:01:23.377Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"1882 übersiedelte Alfred Sisley in das südlich von Paris gelegene Moret-sur-Loing, wo er sich mit der von Flüssen und Kanälen durchzogenen Landschaft auseinandersetzte. Die Holzkonstruktion im Vordergrund könnte zu einer der Bootswerften gehören, die es entlang des industriell genutzten Loing-Kanals gab. Der Anschnitt dieser Konstruktion bringt ein modernes Element in die zeitlose Ansicht.","en":"In 1882 Alfred Sisley moved to Moret-sur-Loing, a town to the south of Paris, where he explored the landscape that was crisscrossed by rivers and canals. The wooden construction in the foreground likely belongs to one of the boatyards that dotted the Loing Canal, which was used for industrial purposes. The detail of this construction adds a modern element to the timeless scenery."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"sisley_bei_moret-sur-loing","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Bei Moret-sur-Loing.jpg","mimeType":"image/jpeg","filesize":904283,"width":2000,"height":1487,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:23.632Z","updatedAt":"2025-02-19T09:40:23.632Z","id":"67b5a70772417297712ce8b2","url":"/cms/api/media/file/optimized-Sisley_Bei%20Moret-sur-Loing.jpg","thumbnailURL":null},"measurements":"54,5 x 73,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414ba4"},"id":"67bc270da0cfed09eb6ee735"},{"artwork":{"title":{"de":"Morgen auf der Marne in Meaux","en":"Morning on the Marne at Meaux"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.54,"z":0.63},"position":{"x":21.06204667259628,"y":-5.582000342918663,"z":27.966926947441305,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.6,"y":9.1,"z":30.33},"id":"688db67881df0f999dd06db1"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.125876964869427,"y":1.689664951728166,"z":27.919321266478732},"id":"688e229b0ea9a6001b10b855"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.57,"z":0.35},"position":{"x":21.070932943775855,"y":-6.128327983764694,"z":27.30881523345093,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.182784196696932,"y":1.132165087572155,"z":27.260105289452344},"id":"688e229b0ea9a6001b10b856"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"10126628cdaf4b169d7428c1a01d82e9","rotation":{"x":-2.0145025107159347,"y":90.05325190842353}}},"react3fiber":{"position":{"model":{"x":-10.30784667259628,"y":9.751699657081337,"z":-15.086626947441305},"floorplan":{"x":-10.3,"y":6,"z":-16.1}}}},"createdAt":"2025-02-24T07:45:14.010Z","updatedAt":"2026-07-06T10:35:28.667Z","artist":{"lastName":"Dubois-Pillet","firstName":"Albert","lifeDates":"1846–1890","createdAt":"2025-02-24T07:45:10.996Z","updatedAt":"2025-02-24T07:45:10.996Z","id":"67bc238687986af0ae414a4b"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1886","en":"1886"},"description":{"de":"1884 hatte sich Albert Dubois-Pillet bei der Gründung der Societé des Artistes Indépendants In Paris hervorgetan - einer progressiven Künstlergemeinschaft, die sich gegen die konservative Ästhetik des Salons wandte. Mit dicht gesetzten Pinselstrichen gab er hier die Atmosphäre eines Frühlingsmorgens wieder. Motivwahl, Kolorit und Komposition entsprechen einer impressionistischen Landschaftsauffassung, die Malweise folgt hingegen dem damals neu aufgekommenen Pointillismus.","en":"In 1884 Albert Dubois-Pillet had distinguished himself at the founding of the Société des artistes indépendants in Paris - a progressive artist group that opposed the conservative aesthetics of the Salon. Here he evokes the atmosphere of a spring morning using densely applied brushstrokes. The choice of motif, colors, and composition correspond to the Impressionists concept of landscape, while the manner of painting follows the burgeoning Pointillist style."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","highlight":null,"image":{"alt":"dubois-pillet_morgen_auf_der_marne_in_meaux","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Dubois-Pillet_Morgen auf der Marne in Meaux.jpg","mimeType":"image/jpeg","filesize":791995,"width":2000,"height":1504,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:59.524Z","updatedAt":"2025-02-19T09:38:59.524Z","id":"67b5a6b372417297712ce768","url":"/cms/api/media/file/optimized-Dubois-Pillet_Morgen%20auf%20der%20Marne%20in%20Meaux.jpg","thumbnailURL":null},"measurements":"28 x 37 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b1c"},"id":"67bc270da0cfed09eb6ee779"},{"artwork":{"title":{"de":"Argenteuil am Spätnachmittag","en":"Argenteuil, Late Afternoon"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.92,"z":1.11},"position":{"x":20.503524278873993,"y":-5.590904891859272,"z":27.963324530454926,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.05,"y":9.09,"z":30.32},"id":"688db66b81df0f999dd06da7"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.62150414147946,"y":1.6679165795247262,"z":27.92179308031974},"id":"688e248e0ea9a6001b10b85d"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.55,"z":0.35},"position":{"x":20.555661386642328,"y":-6.120894776473362,"z":28.768840937110994,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.67403275184989,"y":1.129999999999999,"z":28.73293698423279},"id":"688e248e0ea9a6001b10b85e"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"1413fc730ca34d459d15b102103f1fdb","rotation":{"x":-1.258816087724866,"y":-90.06700288159016}}},"react3fiber":{"position":{"model":{"x":-9.749324278873992,"y":9.742795108140728,"z":-15.083024530454926},"floorplan":{"x":-8.842,"y":6.5,"z":-13.688}}}},"createdAt":"2025-02-24T07:45:14.071Z","updatedAt":"2026-11-05T15:01:21.210Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1872","en":"1872"},"description":{"de":"Zwischen 1871 und 1878 lebte Claude Monet in Argenteuil - einem idyllischen Vorort an der Seine, der zusehends von der Industrialisierung im Umkreis der Hauptstadt erfasst wurde. Schneisenartig lenkt die Uferpromenade den Blick in die Ferne, wo eine traditionelle Villa im Stil des 17. Jahrhunderts von hoch aufragenden Fabrikschornsteinen flankiert wird. Im Licht des späten Nachmittags leuchten Himmel und Fluss in Nuancen von zartem Rosa und Gelb.","en":"Between 1871 and 1878 Claude Monet lived in Argenteuil - an idyllic suburb on the Seine that was noticeably transformed by industrialization in the vicinity of the capital. The promenade directs the viewer's gaze into the distance, where a traditional villa in the style of the seventeenth century is flanked by towering factory chimneys. In the light of the late afternoon, the sky and river glow in nuances of delicate pink and yellow."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Argenteuil-am-Spaetnachmittag_DE.mp3","mimeType":"audio/mpeg","filesize":1440426,"createdAt":"2025-03-04T17:23:28.537Z","updatedAt":"2025-03-04T17:23:28.537Z","id":"67c737109c762d275ec49035","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Argenteuil-am-Spaetnachmittag_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Argenteuil-am-Spaetnachmittag_EN.mp3","mimeType":"audio/mpeg","filesize":1838990,"createdAt":"2025-03-04T17:23:48.831Z","updatedAt":"2025-03-04T17:23:48.831Z","id":"67c737249c762d275ec4905f","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Argenteuil-am-Spaetnachmittag_EN.mp3","thumbnailURL":null}}},"id":"67c99125cf6f1f7f8c0beaff"}],"hall":"1B3","highlight":true,"image":{"alt":"monet_argenteuil_am_spaetnachmittag","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Argenteuil am Spaetnachmittag.jpg","mimeType":"image/jpeg","filesize":651829,"width":2000,"height":1466,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:13.016Z","updatedAt":"2025-02-19T09:39:13.016Z","id":"67b5a6c172417297712ce7a4","url":"/cms/api/media/file/optimized-Monet_Argenteuil%20am%20Spaetnachmittag.jpg","thumbnailURL":null},"measurements":"60 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b38"},"id":"67bc270da0cfed09eb6ee76b"},{"artwork":{"title":{"de":"Der kugelförmige Baum in Argenteuil","en":"The Ball-Shaped Tree, Argenteuil"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.92,"z":1.1},"position":{"x":24.4838590176414,"y":-5.584617478279589,"z":25.178526254987297,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.13,"y":9.07,"z":27.55},"id":"688db69481df0f999dd06dc6"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.611773307952213,"y":1.683771907911056,"z":25.119372032948846},"id":"688e22280ea9a6001b10b853"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.35},"position":{"x":24.533922464820137,"y":-6.068538727788127,"z":26.053391586260364,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.659223389812293,"y":1.171187465545798,"z":26.00593950413945},"id":"688e22280ea9a6001b10b854"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"169b76c536e54a70bb835f797665ba99","rotation":{"x":-1.4466200071495487,"y":-89.23546821380714}}},"react3fiber":{"position":{"model":{"x":-13.7296590176414,"y":9.749082521720412,"z":-12.298226254987297},"floorplan":{"x":-12.885,"y":6.5,"z":-10.987}}}},"createdAt":"2025-03-03T14:12:46.287Z","updatedAt":"2026-11-05T15:01:24.307Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":"MB-Mon-36","credit":{"de":"Anders als bei seinen Seine-Ansichten mit Brücken und Segelschiffen konzentrierte sich Monet hier auf Spiegelungen von Häusern und Bäumen auf der Wasserfläche. Die repräsentativen Villen zeugen vom Wohlstand des Pariser Großbürgertums, das seine Sommerfrische in Argenteuil verbrachte. Wie japanische Holzschnittkünstler setzte der Maler die Komposition aus bildparallelen Streifen zusammen.","en":"Unlike his Seine views with bridges and sailing boats, Monet here concentrated on reflections of houses and trees on the surface of the water. The stately villas bear witness to the wealth of the affluent Parisians, who spent their summer holidays in Argenteuil. Like Japanese woodout artists, the painter composed the composition of parallel stripes."},"dating":{"de":"1876","en":"1876"},"description":{"de":"Das Gemälde zeigt das untere Ende der Uferpromenade von Argenteuil, vom gegenüberliegenden Ort Le Petit Gennevilliers aus gesehen. Anders als bei seinen hier entstandenen Seineansichten mit Brücken und Segelschiffen konzentrierte sich der Maler in diesem Bild auf Spiegelungen von Häusern und Bäumen auf der Wasserfläche. Die repräsentativen Villen zeugen vom Wohlstand des Pariser Großbürgertums, das hier seine Sommerfrische verlebte. Monet setzte die Landschaft am Fluss wie japanische Holzschnittkünstler, die er verehrte, aus bildparallelen Streifen zusammen. ","en":"The painting shows the lower end of the promenade at Argenteuil as seen from across the river at Le Petit Gennevilliers. Unlike the other Seine views he painted in this location showing bridges and sailboats, here Monet concentrates on the reflections of houses and trees on the surface of the water. The handsome villas bear witness to the prosperity of the Parisian upper middle class, who spent their summer holidays here. Like the Japanese woodcut artists he admired so much, Monet composed the river landscape in zones running parallel to the picture plane. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B3","image":{"alt":"Der kugelförmige Baum in Argenteuil","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Mon-36_1.jpg","mimeType":"image/jpeg","filesize":358137,"width":1500,"height":1127,"focalX":50,"focalY":50,"createdAt":"2025-03-03T14:11:50.004Z","updatedAt":"2025-03-03T14:11:50.004Z","id":"67c5b8a69c762d275ec3edf3","url":"/cms/api/media/file/MB-Mon-36_1.jpg","thumbnailURL":null},"measurements":"60,3 x 80,2 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5b8de9c762d275ec3ee14"},"id":"67c5cb4eba47f3524d942d89"},{"artwork":{"title":{"de":"Rue Halévy, Blick aus der sechsten Etage","en":"Rue Halévy, View from the Sixth Floor"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.99,"y":0.85,"z":0.2},"position":{"x":34.2762,"y":-5.6008,"z":23.086,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":29.91,"y":9.17,"z":25.43},"id":"688db67981df0f999dd06db2"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":34.34865869231184,"y":1.6639321325838414,"z":23.014450245514855},"id":"688e432f67c88f001b935300"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.4,"z":0.05},"position":{"x":35.0862,"y":-6.0908,"z":23.086,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":35.17982965698567,"y":1.1911339568792405,"z":22.970048464800254},"id":"688e432f67c88f001b935301"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"6ddcf927a8d1465d8a0b82c8a0a7141a","rotation":{"x":-2.26,"y":0.44}}},"react3fiber":{"position":{"model":{"x":-23.522000000000002,"y":9.7329,"z":-10.205699999999998},"floorplan":{"x":-20.331,"y":6.5,"z":-8.92}}}},"createdAt":"2025-02-24T07:45:13.998Z","updatedAt":"2026-11-05T15:01:20.999Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1878","en":"1878"},"description":{"de":"Der Blick fällt aus dem Fenster einer Mansarde In eine Straßenschlucht im Pariser Zentrum. Das Gebäude der Opéra Garnier ist an der goldenen Figurenbekrönung erkennbar. Im Häuserblock rechts im Bild bezog Caillebotte zwei Jahre später ein Appartement.","en":"The view from a mansard window shows a street in the center of Paris. The Opéra Garnier can be identified only by its golden crowing figures. Two years later Caillebotte moved into an apartment in the block of buildings on the right."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Rue-Halevy_DE.mp3","mimeType":"audio/mpeg","filesize":1670794,"createdAt":"2025-03-04T17:35:28.354Z","updatedAt":"2025-03-04T17:35:28.354Z","id":"67c739e09c762d275ec49381","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Rue-Halevy_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Rue-Halevy_EN.mp3","mimeType":"audio/mpeg","filesize":1904192,"createdAt":"2025-03-04T17:35:48.980Z","updatedAt":"2025-03-04T17:35:48.980Z","id":"67c739f49c762d275ec493a5","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Rue-Halevy_EN.mp3","thumbnailURL":null}}},"id":"67c9912fcf6f1f7f8c0beb1d"}],"hall":"1B4","highlight":true,"image":{"alt":"caillebotte_rue_halevy_blick_aus_der_sechsten_etage","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_Rue_Halevy_Blick_aus_der_sechsten_Etage.jpg","mimeType":"image/jpeg","filesize":949235,"width":2000,"height":1636,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:52.814Z","updatedAt":"2025-02-19T09:38:52.814Z","id":"67b5a6ac72417297712ce74a","url":"/cms/api/media/file/optimized-Caillebotte_Rue_Halevy_Blick_aus_der_sechsten_Etage.jpg","thumbnailURL":null},"measurements":"59,5 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b1a"},"id":"67bc270da0cfed09eb6ee77a"},{"artwork":{"title":{"de":"Rue Halévy, Blick von einem Balkon","en":"Rue Halévy, View from a Balcony"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.9,"y":0.78,"z":0.2},"position":{"x":32.2762,"y":-5.6008,"z":23.086,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":27.91,"y":9.17,"z":25.43},"id":"688db67b81df0f999dd06db3"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.35807554662913,"y":1.6802487175879193,"z":22.921033112153427},"id":"688e42e067c88f001b9352fe"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.4,"z":0.05},"position":{"x":31.4862,"y":-6.0908,"z":23.086,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.512456464833793,"y":1.1547080203765598,"z":22.965865906555493},"id":"688e42e067c88f001b9352ff"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"e807840363aa49c4b12605af47ca36e9","rotation":{"x":-1.5,"y":0.16}}},"react3fiber":{"position":{"model":{"x":-21.522000000000002,"y":9.7329,"z":-10.205699999999998},"floorplan":{"x":-22.173,"y":6.5,"z":-8.92}}}},"createdAt":"2025-02-24T07:45:13.989Z","updatedAt":"2026-11-05T15:01:25.221Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1877","en":"1877"},"description":{"de":"In drei Gemälden nahm Gustave Caillebotte die imposanten Wohnhäuser rund um die Pariser Oper in den Blick. Aus dieser Perspektive verstellen die Balkonpflanzen den freien Ausblick und nötigen den Betrachter, seinen Blick zu schärfen. Das kalte, dunstige Morgenlicht verbindet sich mit dem Silbergrau der Zinkdächer zu einer Symphonie in Blauviolett.","en":"Gustave Callebotte featured the impressive apartment buildings around the Paris Opera in three paintings. From this perspective, the balcony plants block the view, compeling the beholder to look more closely. The cold, hazy morning light is combined with the silver-gray of the zinc roofs to produce a symphony in shades ol blue violet."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","highlight":null,"image":{"alt":"caillebotte_la_rue_halevy_blick_von_einem_balkon","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_La_Rue_Halevy_Blick_von_einem_Balkon.jpg","mimeType":"image/jpeg","filesize":830043,"width":2000,"height":1654,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:50.740Z","updatedAt":"2025-02-19T09:38:50.740Z","id":"67b5a6aa72417297712ce740","url":"/cms/api/media/file/optimized-Caillebotte_La_Rue_Halevy_Blick_von_einem_Balkon.jpg","thumbnailURL":null},"measurements":"54 x 65,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b16"},"id":"67bc270da0cfed09eb6ee77c"},{"artwork":{"title":{"de":"Die Seine bei der Pont Saint-Michel","en":"The Seine at the Pont Saint-Michel"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":1.25,"z":1.54},"position":{"x":28.9538,"y":-5.586399999999999,"z":25.191,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":24.5,"y":9.15,"z":27.47},"id":"688db69681df0f999dd06dc8"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.02277036562619,"y":1.6624524948886819,"z":25.11},"id":"688e425567c88f001b9352fc"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.4,"z":0.35},"position":{"x":28.893800000000002,"y":-6.096399999999999,"z":26.321,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.026512176455647,"y":1.1936297062709438,"z":26.14559752129113},"id":"688e425567c88f001b9352fd"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"4edd9949de53498cb2c743e9a7f8b5fa","rotation":{"x":-1.05,"y":90.12}}},"react3fiber":{"position":{"model":{"x":-18.1996,"y":9.747300000000001,"z":-12.310699999999999},"floorplan":{"x":-17.1,"y":6,"z":-11.2}}}},"createdAt":"2025-03-03T15:18:57.220Z","updatedAt":"2026-07-06T10:35:21.684Z","artist":{"lastName":"Luce","firstName":"Maximilien","createdAt":"2025-03-03T15:11:09.124Z","updatedAt":"2025-03-03T15:11:09.124Z","id":"67c5c68d9c762d275ec3f200"},"catalogNumber":"MB-Luc-01","credit":{"de":"","en":""},"dating":{"de":"1900","en":"1900"},"description":{"de":"Um 1900 fertigte Luce vier Ansichten der Pont Saint-Michel. Seine Darstellungen der dynamischen Großstadt knüpften an die Paris-Bilder etwa von Gustave Caillebotte an. Das Gemälde verbindet die freie Pinselführung der Impressionisten mit der Mosaikstruktur pointillistischer Malerei.","en":"Around 1900, Luce produced four views of the Pont Saint-Michel. His depictions of the dynamic metropolis echoed the Paris paintings of colleagues such as Gustave Caillebotte. Stylistically, the composition is a hybrid between the Impressionists’ free bravura brushwork and the mosaic structure of pointillist painting."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","image":{"alt":"Die Seine bei der Pont Saint-Michel","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Luc-01_Luce_PontSaint-Michel_1.jpg","mimeType":"image/jpeg","filesize":854257,"width":1500,"height":1150,"focalX":50,"focalY":50,"createdAt":"2025-03-03T15:18:17.380Z","updatedAt":"2025-03-03T15:18:17.380Z","id":"67c5c8399c762d275ec3f275","url":"/cms/api/media/file/MB-Luc-01_Luce_PontSaint-Michel_1.jpg","thumbnailURL":null},"measurements":"89,2 x 116,2 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5c8619c762d275ec3f292"},"id":"67c5cb61ba47f3524d942d8b"},{"artwork":{"title":{"de":"Der Louvre, Morgen, Frühling","en":"The Louvre, Morning, Spring"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.83,"z":0.74},"position":{"x":28.913800000000002,"y":-5.5764,"z":30.700999999999997,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":24.46,"y":9.16,"z":32.98},"id":"688db69581df0f999dd06dc7"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.99750688682884,"y":1.6716509051943682,"z":30.628109469243626},"id":"688e449667c88f001b93530c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.55,"z":0.35},"position":{"x":28.9038,"y":-6.1164000000000005,"z":30.001,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.003477400503062,"y":1.1592364359863394,"z":29.938258297779278},"id":"688e449667c88f001b93530d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"239061ae3b034cddad9a12806a47d7ad","rotation":{"x":-3.28,"y":90.25}}},"react3fiber":{"position":{"model":{"x":-18.1596,"y":9.7573,"z":-17.820699999999995},"floorplan":{"x":-17.022,"y":6.5,"z":-16.015}}}},"createdAt":"2025-03-03T15:04:36.061Z","updatedAt":"2026-11-05T15:01:26.400Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":"MB-Pis-07","dating":{"de":"1902","en":"1902"},"description":{"de":"Vereinzelte Akzente in leuchtendem Rot verleihen der morgendlichen Ansicht des Palais du Louvre Frische und Dynamik. Das Gemälde gehört zu einer Gruppe von etwa 60 Paris-Darstellungen, die Pissarro Anfang des 20. Jahrhunderts auf der Île de la Cité anfertigte, dem ältesten Teil der französischen Hauptstadt. Inspiration für die als Werkreihe ausgeführten Gemälde konnte er aus den Serienbildern Claude Monets beziehen.","en":"Isolated accents of bright red lend freshness and dynamism to this morning view of the Palais du Louvre. The painting is one of a group of around 60 depictions of Paris , which Pissarro produced at the beginning of the 20th century on the Île de la Cité, the oldest part of the French capital. The works were executed as a series – a procedure inspired by the example of Claude Monet."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","image":{"alt":"Der Louvre, Morgen, Frühling","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Pis-07_Louvre_1.jpg","mimeType":"image/jpeg","filesize":529403,"width":1024,"height":1230,"focalX":50,"focalY":50,"createdAt":"2025-03-03T15:03:40.591Z","updatedAt":"2025-03-03T15:03:40.591Z","id":"67c5c4cc9c762d275ec3f124","url":"/cms/api/media/file/MB-Pis-07_Louvre_1.jpg","thumbnailURL":null},"measurements":"64,8 x 54 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5c5049c762d275ec3f146"},"id":"67c5cb5aba47f3524d942d8a"},{"artwork":{"title":{"de":"Boulevard Montmartre, Abenddämmerung","en":"Boulevard Montmartre, Twilight"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.94,"y":0.82,"z":0.2},"position":{"x":30.933799999999998,"y":-5.582800000000001,"z":32.8253,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":26.47,"y":9.17,"z":35.24},"id":"688db62381df0f999dd06d68"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.04695221705494,"y":1.6555195620980725,"z":32.88},"id":"688e445767c88f001b93530a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.55,"z":0.05},"position":{"x":30.0838,"y":-6.142800000000001,"z":32.8253,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":30.261855064085285,"y":1.1589043901364526,"z":32.79494864184654},"id":"688e445767c88f001b93530b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"e9968dd7cb2140f48624d45c9236c29e","rotation":{"x":-1.51,"y":-179.48}}},"react3fiber":{"position":{"model":{"x":-20.179599999999997,"y":9.7509,"z":-19.945},"floorplan":{"x":-18.745,"y":6.5,"z":-18.075}}}},"createdAt":"2025-02-24T07:45:15.017Z","updatedAt":"2026-11-05T15:01:20.654Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1897","en":"1897"},"description":{"de":"In einer Serie von 14 Gemälden beschäftigte sich Pissarro mit dem Boulevard Montmartre im Zentrum von Paris. Von seinem Zimmer im Grand Hôtel de Russie blickte er, die Oper im Rücken, auf die belebte Straße, die täglich 20 000 Kutschen passierten, vorbei an teuren Geschäften und dem beliebten Café Tortoni. Dieses Gemälde zeigt den Boulevard mit dem frischen Grün der Bäume im Frühling.","en":"In a series of fourteen paintings Camille Pissarro focused on the Boulevard Montmartre in the center of Paris. From his room in the Grand Hôtel de Russie, with the opera building behind him, he had a view of the busy street on which twenty thousand carriages rattled by every day, past the expensive shops and the popular Café Tortoni. This picture shows the boulevard with fresh green trees in springtime."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","highlight":null,"image":{"alt":"pissarro_boulevard_montmartre_abenddaemmerung","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Boulevard Montmartre_Abenddaemmerung,.jpg","mimeType":"image/jpeg","filesize":902944,"width":2000,"height":1662,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:02.779Z","updatedAt":"2025-02-19T09:40:02.779Z","id":"67b5a6f272417297712ce862","url":"/cms/api/media/file/optimized-Pissarro_Boulevard%20Montmartre_Abenddaemmerung%2C.jpg","thumbnailURL":null},"measurements":"54 x 65 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238b87986af0ae414be8"},"id":"67bc270da0cfed09eb6ee723"},{"artwork":{"title":{"de":"Boulevard de Clichy","en":"Boulevard de Clichy"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.78,"y":0.93,"z":0.2},"position":{"x":32.723800000000004,"y":-5.5928,"z":32.8253,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":28.26,"y":9.16,"z":35.24},"id":"688db64d81df0f999dd06d8e"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.83311686877166,"y":1.6761995857334127,"z":32.79145298939833},"id":"688e442867c88f001b935308"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.55,"z":0.05},"position":{"x":31.9438,"y":-6.142800000000001,"z":32.835300000000004,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.11159149807359,"y":1.152951090549407,"z":32.80923548166444},"id":"688e442867c88f001b935309"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"129421c7c23148f6b04054e89d740494","rotation":{"x":-2.58,"y":179.83}}},"react3fiber":{"position":{"model":{"x":-21.969600000000003,"y":9.7409,"z":-19.945},"floorplan":{"x":-20.585,"y":6.5,"z":-18.079}}}},"createdAt":"2025-02-24T07:45:14.157Z","updatedAt":"2026-11-05T15:01:23.171Z","artist":{"lastName":"Picasso","firstName":"Pablo","lifeDates":"1881-1973","createdAt":"2025-02-24T07:45:11.972Z","updatedAt":"2025-02-24T07:45:11.972Z","id":"67bc238787986af0ae414ab4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© Succession Picasso/VG Bild-Kunst, Bonn 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1901","en":"1901"},"description":{"de":"Künstler aus allen Ländern kamen nach Paris, um Anschluss an die Moderne zu finden. Bei seinem ersten Aufenthalt malte Pablo Picasso eine Straße des bei den Künstlern beliebten Viertels Montmartre im impressionistischen Stil. Das Bild gehört zu einer Gruppe von etwa dreißig Werken, die der 19-Jährige bereits 1901 auf einer Einzelausstellung in der Galerie Ambroise Vollard in Paris zeigen konnte.","en":"Artists from all countries came to Paris to find a connection to the modern era. On his first trip to Paris, Pablo Picasso painted a street in Montmartre, the neighborhood that was popular among artists, in the Impressionist style. The picture is part of a group of about thirty works that the then nineteen year-old artist presented at his solo exhibition in the Galerie Ambroise Vollard in 1901 in Paris."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","highlight":null,"image":{"alt":"Boulevard de Clichy","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"Boulevard de Clichy.png","mimeType":"image/png","filesize":1772031,"width":828,"height":1096,"focalX":50,"focalY":50,"createdAt":"2025-03-02T08:52:14.458Z","updatedAt":"2025-03-02T08:52:14.458Z","id":"67c41c3e02c453468dbd1706","url":"/cms/api/media/file/Boulevard%20de%20Clichy.png","thumbnailURL":null},"measurements":"61,4 x 46,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b6a"},"id":"67bc270da0cfed09eb6ee752"},{"artwork":{"title":{"de":"Allee der Villa des Fleurs in Trouville","en":"Avenue of the Villa des Fleurs in Trouville"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.04,"y":0.89,"z":0.2},"position":{"x":34.5938,"y":-5.582800000000001,"z":32.8253,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":30.13,"y":9.17,"z":35.24},"id":"688db68281df0f999dd06db8"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":34.70393059922978,"y":1.6733615783381468,"z":32.75294892769602},"id":"688e43e667c88f001b935306"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.35,"y":0.55,"z":0.05},"position":{"x":33.723800000000004,"y":-6.132800000000001,"z":32.8553,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":33.86576394340361,"y":1.1600639480337591,"z":32.78652438927639},"id":"688e43e667c88f001b935307"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"286c1b4519fe4d46857f6c5c9ad087b0","rotation":{"x":-1.69,"y":179.65}}},"react3fiber":{"position":{"model":{"x":-23.8396,"y":9.7509,"z":-19.945},"floorplan":{"x":-22.296,"y":6.5,"z":-17.996}}}},"createdAt":"2025-02-24T07:45:13.944Z","updatedAt":"2026-11-05T15:01:23.649Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"Auch im Seebad blieb der Maler ein Flaneur, der zufällige Beobachtungen und Begegnungen festhielt. Hier kommt ihm eine schwarz gekleidete Frau entgegen, die schwer an einem Korb trägt. Sie bewegt sich weg vom Meer, das im Bild-hintergrund zu erahnen ist. Die situative Erfassung des Sonnenlichtes verdankte Caillebotte dem Freilichtstudium mit Renoir im Sommer zuvor.","en":"Even when he was on vacation, the painter remained a flaneur who recorded chance observations and meetings. Here he is approached by a black clad woman who is carrying a basket with difficulty She is moving away from the sea, which can be made out in the distance. The realistic portrayal of sunlight was indebted to the studies en plein air that Caillebotte had executed alongside Renoir during the previous summer."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","highlight":null,"image":{"alt":"caillebotte_allee_der_villa_des_fleurs_in_trouville","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_Allee der Villa des Fleurs in Trouville.jpg","mimeType":"image/jpeg","filesize":990037,"width":1920,"height":1573,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:47.956Z","updatedAt":"2025-02-19T09:38:47.956Z","id":"67b5a6a772417297712ce731","url":"/cms/api/media/file/optimized-Caillebotte_Allee%20der%20Villa%20des%20Fleurs%20in%20Trouville.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b09"},"id":"67bc270da0cfed09eb6ee782"},{"artwork":{"title":{"de":"Paar beim Spaziergang","en":"Couple on a walk"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":1.2,"z":1.45},"position":{"x":37.1931,"y":-5.5893999999999995,"z":27.967200000000002,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":32.74,"y":9.16,"z":30.32},"id":"688db68081df0f999dd06db6"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.27794212133458,"y":1.6750436694013708,"z":27.863184579668722},"id":"688e438e67c88f001b935302"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.55,"z":0.35},"position":{"x":37.1631,"y":-6.109399999999999,"z":28.997200000000003,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.289012821674966,"y":1.1188989691366669,"z":28.918570796977647},"id":"688e438e67c88f001b935303"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"b7e4666ada1d4e8c8ea67aa18fad1c86","rotation":{"x":0.43,"y":-89.68}}},"react3fiber":{"position":{"model":{"x":-26.4389,"y":9.7443,"z":-15.086900000000002},"floorplan":{"x":-24.424,"y":6.5,"z":-13.161}}}},"createdAt":"2025-02-24T07:45:13.955Z","updatedAt":"2026-11-05T15:01:26.122Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"In den 1860er Jahren waren die Badeorte der Normandie zur beliebten Sommerfrische des Pariser Bürgertums geworden. Hier flaniert ein junges Paar, wohl der Künstler und seine Partnerin Charlotte Berthier, entlang der luxuriösen Villa italienne in Trouville. Der rote Sonnenschirm setzt einen Akzent in dem von frischen Grüntönen dominierten Bild. Die Rückenansicht der Figuren ermöglicht die Identifikation des Betrachters, der sich selbst in die Rolle des Urlaubers versetzen kann.","en":"In the 1860s the seaside resorts in Normandy became the most popular summer retreats of the Parisian bourgeoisie. Here a young couple (likely the artist and his partner, Charlotte Berthier) are strolling past the luxurious Villa italienne in Trouville. The red parasoll adds an accent to the picture, in which fresh green tones are dominant The depiction of the figures from behind allows viewers to put themselvers in the role of the vacationers."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Paar-beim-Spaziergang_DE.mp3","mimeType":"audio/mpeg","filesize":1721500,"createdAt":"2025-03-04T17:32:46.333Z","updatedAt":"2025-03-04T17:32:46.333Z","id":"67c7393e9c762d275ec492b4","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Paar-beim-Spaziergang_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Paar-beim-Spaziergang_EN.mp3","mimeType":"audio/mpeg","filesize":2166252,"createdAt":"2025-03-04T17:33:05.067Z","updatedAt":"2025-03-04T17:33:05.067Z","id":"67c739519c762d275ec492df","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Caillebotte-Paar-beim-Spaziergang_EN.mp3","thumbnailURL":null}}},"id":"67c99133cf6f1f7f8c0beb29"}],"hall":"1B4","highlight":true,"image":{"alt":"caillebotte_paar_beim_spaziergang","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_Paar_beim_Spaziergang.jpg","mimeType":"image/jpeg","filesize":810919,"width":2000,"height":1599,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:51.867Z","updatedAt":"2025-02-19T09:38:51.867Z","id":"67b5a6ab72417297712ce745","url":"/cms/api/media/file/optimized-Caillebotte_Paar_beim_Spaziergang.jpg","thumbnailURL":null},"measurements":"100,2 x 125,3 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b0d"},"id":"67bc270da0cfed09eb6ee780"},{"artwork":{"title":{"de":"Studie einer Frau","en":"Study of a Woman"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"rotation":{}}},"react3fiber":{"position":{"model":{},"floorplan":{"x":-17.031,"y":6.5,"z":-10.73}}}},"createdAt":"2025-02-24T07:45:14.198Z","updatedAt":"2026-11-05T15:01:25.091Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1893","en":"1893"},"description":{"de":null,"en":null},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"1B4","highlight":null,"image":{"alt":"renoir_studie_einer_frau","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Studie einer Frau.jpg","mimeType":"image/jpeg","filesize":925127,"width":1809,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:14.204Z","updatedAt":"2025-02-19T09:40:14.204Z","id":"67b5a6fe72417297712ce88a","url":"/cms/api/media/file/optimized-Renoir_Studie%20einer%20Frau.jpg","thumbnailURL":null},"measurements":"55,5 x 46,5 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"previousExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b"],"onDisplay":{"navigator":true,"virtualTour":false},"id":"67bc238a87986af0ae414b84"},"id":"67bc270da0cfed09eb6ee745"},{"artwork":{"title":{"de":"Waldweg","en":"Path in the forest"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.97,"z":0.85},"position":{"x":24.46395797982149,"y":1.5954521521085394,"z":25.225531948021004,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.09,"y":16.27,"z":27.6},"id":"688db62d81df0f999dd06d71"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.592224485844053,"y":8.851135521479398,"z":25.177175522165925},"id":"689098b967c88f001b935316"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.44,"z":0.32},"position":{"x":24.56061732559471,"y":1.0962000150520352,"z":25.999563116362516,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.662822441803165,"y":8.35,"z":25.963575616973703},"id":"689098b967c88f001b935317"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"627ee3a3450f4c569fe716b61629c512","rotation":{"x":0.27676841040908623,"y":-90.3779623230104}}},"react3fiber":{"position":{"model":{"x":-13.70975797982149,"y":16.92915215210854,"z":-12.345231948021004},"floorplan":{"x":-12.9,"y":17,"z":-11}}}},"createdAt":"2025-02-24T07:45:14.926Z","updatedAt":"2026-11-05T15:01:25.279Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1874–1877","en":"1874–1877"},"description":{"de":"Frische Nuancen von hellem Grin und Blau sind mit Tupfen aus reinem Weiß überzogen, die den Eindruck leuchtender Sonnenflecken im Unterholz hervorrufen. Obwohl die ganze Bildfläche mit grünem Laub dicht gefüllt ist, sorgt das dunstige Sonnenlicht für Transparenz. So führt ein Weg in die Bildtiefe, wo eine einzelne Figur steht.","en":"Fresh nuances of bright green and blue are overlaid with dabs of pure white that evoke bright splotches of sunlight in the underbrush. Although the entire surface is covered with green leaves, the hazy sunlight adds a sense of transparency. In this way, a path leads into the depth of the picture space, where a solitary figure stands."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"renoir_waldweg","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Waldweg.jpg","mimeType":"image/jpeg","filesize":881255,"width":1571,"height":1920,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:15.664Z","updatedAt":"2025-02-19T09:40:15.664Z","id":"67b5a6ff72417297712ce894","url":"/cms/api/media/file/optimized-Renoir_Waldweg.jpg","thumbnailURL":null},"measurements":"65,5 x 54 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bae"},"id":"67bc270da0cfed09eb6ee730"},{"artwork":{"title":{"de":"Raureif, eine junge Bäuerin macht Feuer","en":"Hoar-Frost, Peasant Girl Making a Fire"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":1.25,"z":1.25},"position":{"x":20.469955878156945,"y":1.5832393319146698,"z":27.99133175148265,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":13.95,"y":16.27,"z":25.61},"id":"688db64081df0f999dd06d83"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":18.503754373897777,"y":8.86,"z":23.273054178396777},"id":"6890987667c88f001b935314"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.44,"z":0.32},"position":{"x":20.5171088367774,"y":1.084703512870433,"z":28.812712371130516,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.45082044629462,"y":8.342915613726966,"z":23.27108025406182},"id":"6890987667c88f001b935315"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"e05fe7a17f3c4f99ae0b043fe37797d3","rotation":{"x":-1.2298150913027972,"y":-89.17198802969972}}},"react3fiber":{"position":{"model":{"x":-9.715755878156944,"y":16.91693933191467,"z":-15.11103175148265},"floorplan":{"x":-8.200000000000003,"y":17.5,"z":-15.399999999999993}}}},"createdAt":"2025-02-24T07:45:14.194Z","updatedAt":"2026-11-05T15:01:22.000Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1888","en":"1888"},"description":{"de":"In den 1880er Jahren fertigte Camille Pissarro idealisierende Darstellungen des Landlebens an. Hier wärmen sich zwei Bauernkinder an einem kalten Wintermorgen an einem Reisigfeuer: Das transparente Volumen des Rauchs gestaltete er mit einem Gitter von Pinselstrichen. Landschaft und Figuren sind in der Punktmalerei des Neoimpressionismus gehalten.","en":"In the 1880s Camille Pissarro painted idealized images of rural life. Here, two peasant children are warming themselves at a brushwood fire on a cold winter's morning. The transparent volumes of the clouds of smoke consist of a grid of brushstrokes, while the landscape and figures are painted with dots in the style of Neo-Impressionism."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Raureif-junge-Baeuerin-macht-Feuer_DE.mp3","mimeType":"audio/mpeg","filesize":1716492,"createdAt":"2025-03-04T18:18:44.654Z","updatedAt":"2025-03-04T18:18:44.654Z","id":"67c744049c762d275ec49c7f","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Raureif-junge-Baeuerin-macht-Feuer_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Raureif-junge-Baeuerin-macht-Feuer_EN.mp3","mimeType":"audio/mpeg","filesize":1961870,"createdAt":"2025-03-04T18:19:01.647Z","updatedAt":"2025-03-04T18:19:01.647Z","id":"67c744159c762d275ec49ca3","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Raureif-junge-Baeuerin-macht-Feuer_EN.mp3","thumbnailURL":null}}},"id":"67c9910dcf6f1f7f8c0beab5"}],"hall":"2B6","highlight":null,"image":{"alt":"pissarro_raureif_eine_junge_baeuerin_macht_feuer","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Raureif_eine junge Baeuerin macht Feuer.jpg","mimeType":"image/jpeg","filesize":908567,"width":2000,"height":2003,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:09.445Z","updatedAt":"2025-02-19T09:40:09.445Z","id":"67b5a6f972417297712ce871","url":"/cms/api/media/file/optimized-Pissarro_Raureif_eine%20junge%20Baeuerin%20macht%20Feuer.jpg","thumbnailURL":null},"measurements":"92,8 x 92,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67bc238a87986af0ae414b82"},"id":"67bc270da0cfed09eb6ee746"},{"artwork":{"title":{"de":"Landschaft auf der Insel Saint-Martin","en":"Landscape in Ile Saint-Martin"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.97,"z":0.85},"position":{"x":24.49263891207749,"y":1.5934092457582734,"z":30.804119649560693,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.09,"y":16.27,"z":33.18},"id":"688db64981df0f999dd06d8b"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.62970483421152,"y":8.847488360653944,"z":30.756834486643367},"id":"689099ba67c88f001b93531c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.5,"z":0.32},"position":{"x":24.53425907662196,"y":1.0697773269517836,"z":29.994884751876764,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.667634636211673,"y":8.324523197452804,"z":29.93519345711234},"id":"689099ba67c88f001b93531d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c916254605cc41a8869c615f208458a3","rotation":{"x":-1.802747099904602,"y":-90.0893907900911}}},"react3fiber":{"position":{"model":{"x":-13.738438912077488,"y":16.92710924575827,"z":-17.92381964956069},"floorplan":{"x":-13.17,"y":17.5,"z":-16.884}}}},"createdAt":"2025-02-24T07:45:14.165Z","updatedAt":"2026-11-05T15:01:23.777Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"Nachdem Claude Monet 1878 in das kleine Seine-Dorf Vétheuil, etwa 65 Kilometer nördlich von Paris, gezogen war, stand die üppige Feld- und Weidelandschaft im Zentrum seines Schaffens. Menschliche Gegenwart ist oft nur indirekt durch Motive wie Wege oder in der Ferne vage erkennbare Gebäude angedeutet. Hier etwa ist der Kirchturm von Vétheuil weiß leuchtend hinter der Baumreihe zu sehen.","en":"After Claude Monet moved to Vétheuil, a small village on the Seine about sixty-five kilometers north of Paris in 1878, the lush landscape of fields and mea-dows became the focus of his work. Human pres-ence is often only indirectly suggested through motifs such as roads or buildings in the distance that can be vaguely made out. Here, for example, the church tower of Vétheuil shines brightly behind the row of trees."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"monet_landschaft_auf_der_insel_saint-martin","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Landschaft_auf_der_Insel_Saint-Martin.jpg","mimeType":"image/jpeg","filesize":912582,"width":1762,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:37.808Z","updatedAt":"2025-02-19T09:39:37.808Z","id":"67b5a6d972417297712ce803","url":"/cms/api/media/file/optimized-Monet_Landschaft_auf_der_Insel_Saint-Martin.jpg","thumbnailURL":null},"measurements":"73 x 59,7 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b70"},"id":"67bc270da0cfed09eb6ee74f"},{"artwork":{"title":{"de":"Die blühende Wiese","en":"The Flowered Meadow"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.09,"y":0.92,"z":0.2},"position":{"x":22.558846625197763,"y":1.5868893387842569,"z":32.67173349506266,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":18.07,"y":16.26,"z":35.06},"id":"688db64681df0f999dd06d88"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.67273453783162,"y":8.850000000000001,"z":32.628290128477346},"id":"68909a1a67c88f001b93531e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.5,"z":0.05},"position":{"x":21.712822434885364,"y":1.0846548068364767,"z":32.7179110219504,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.809774046069613,"y":8.324106458501268,"z":32.678614411406805},"id":"68909a1a67c88f001b93531f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8db9d663d52f426a893c52d778ea79d4","rotation":{"x":-0.6656106105393548,"y":179.96430610174232}}},"react3fiber":{"position":{"model":{"x":-11.804646625197762,"y":16.920589338784254,"z":-19.791433495062662},"floorplan":{"x":-11.2,"y":17.5,"z":-18.748}}}},"createdAt":"2025-02-24T07:45:14.174Z","updatedAt":"2026-11-05T15:01:25.348Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1885","en":"1885"},"description":{"de":"Auch nach seiner Übersiedelung nach Giverny 1883 widmete sich Monet dem ländlichen Umfeld, Hier führt er den Blick über die hochgewachsenen Gräser zu den spielenden Kinder. Die Wiese bietet den Sinnen zahlreiche Reize. Der Maler bringt dem Betrachter die Grashalme sinnlich nahe, Sie speichern das Licht und die Wärme des Frühlingstages und erinnem an den frischen Geruch einer Weldelandschaft.","en":"After moving to Giverny in 1883, Monet devoted himself to the rural surroundings. Here he guides the viewer's gaze over the high-growing grasses to the playing children. There are numerous things to intrigue the senses in the meadow. The painter makes the blades of grass tangible for viewers. The grass retains the light and warmth of the spring day and evokes the fresh smell of a meadow landscape."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":true,"image":{"alt":"monet_die_bluehende_wiese","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Die bluehende Wiese.jpg","mimeType":"image/jpeg","filesize":970842,"width":2000,"height":1620,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:31.892Z","updatedAt":"2025-02-19T09:39:31.892Z","id":"67b5a6d372417297712ce7ea","url":"/cms/api/media/file/optimized-Monet_Die%20bluehende%20Wiese.jpg","thumbnailURL":null},"measurements":"65 x 80,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b76"},"id":"67bc270da0cfed09eb6ee74c"},{"artwork":{"title":{"de":"Weizenfeld","en":"Wheatfield"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.09,"y":0.92,"z":0.2},"position":{"x":19.852731824496573,"y":1.588870661911724,"z":32.67404244054977,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":15.37,"y":16.26,"z":35.06},"id":"688db66981df0f999dd06da6"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.98185678366978,"y":8.850000000000001,"z":32.7},"id":"68909a6a67c88f001b935320"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.5,"z":0.05},"position":{"x":19.00164911351682,"y":1.0785348789730012,"z":32.7160757788091,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.10934112297227,"y":8.33,"z":32.69513838958832},"id":"68909a6a67c88f001b935321"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"9179401f90ad4fdaaf0c79b5ca7e42cc","rotation":{"x":-0.8470444313511548,"y":-179.81982111225045}}},"react3fiber":{"position":{"model":{"x":-9.098531824496572,"y":16.922570661911724,"z":-19.79374244054977},"floorplan":{"x":-9.126,"y":17.5,"z":-18.813}}}},"createdAt":"2025-02-24T07:45:14.074Z","updatedAt":"2026-11-05T15:01:24.897Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"Mit einer einfachen horizontalen Anordnung aus Landschaft und Himmel komponierte Monet einen Bildraum, den Gruppen von Pappeln akzentuieren. Die Flächen führte er in nuanciertem Pinselduktus aus. Feine Farbabstufungen, differenzierte Binnenstrukturen und das Spiel der Zirruswolken verleihen dem statischen Grund-konzept Lebendigkeit. Wie so oft bei Monet dient auch hier ein Pfad im Vordergrund der Blicklenkung.","en":"With a simple horizontal arrangement of landscape and sky, Monet composed a picture space that accentuates the groups of poplars. He painted the surfaces with nuanced brushwork. Fine gradations of color, sophisticated inner structures, and the play of the cirrus clouds add a sense of exuberance to the overall static concept. As is so often the case in Monet's paintings, a path in the foreground serves to direct the gaze in the composition."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"monet_weizenfeld","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Weizenfeld.jpg","mimeType":"image/jpeg","filesize":775610,"width":2000,"height":1599,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:56.543Z","updatedAt":"2025-02-19T09:39:56.543Z","id":"67b5a6ec72417297712ce849","url":"/cms/api/media/file/optimized-Monet_Weizenfeld.jpg","thumbnailURL":null},"measurements":"65,7 x 82 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b3a"},"id":"67bc270da0cfed09eb6ee76a"},{"artwork":{"title":{"de":"Die Pappeln in Giverny","en":"Poplars at Giverny"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.17,"y":1,"z":0.2},"position":{"x":17.094553123809987,"y":1.5992625982077013,"z":32.724936949798106,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":12.61,"y":16.27,"z":35.06},"id":"688db64b81df0f999dd06d8d"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":17.201847105010724,"y":8.86,"z":32.65593320350121},"id":"68909a9f67c88f001b935322"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.5,"z":0.05},"position":{"x":16.1929662049318,"y":1.0646596082743542,"z":32.721980992372245,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.30058480723631,"y":8.32,"z":32.70809718692816},"id":"68909a9f67c88f001b935323"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"e0064bcd8d9443ec9a253d2ad4c548d5","rotation":{"x":0.8667310232893977,"y":179.79218021429114}}},"react3fiber":{"position":{"model":{"x":-6.340353123809987,"y":16.9329625982077,"z":-19.844636949798108},"floorplan":{"x":-6.734,"y":17.5,"z":-18.842}}}},"createdAt":"2025-02-24T07:45:14.160Z","updatedAt":"2026-11-05T15:01:25.822Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1887","en":"1887"},"description":{"de":"Neben den Getreideschobern waren Pappelreihen ein zentrales Motiv in Monets frühen Jahren in Giverny. Nur die Staffelung der Bäume und die differenzierte Schattierung des Laubes deuten Bildtiefe an. Das Fehlen eines Zentrums und die willkürlich erscheinende Seitenbegrenzung verleihen dem Gemälde etwas Ornamental-Flächiges. Die fehlende Horizontlinie und der Anschnitt der Pappeln erwecken den Eindruck von Entgrenzung.","en":"In addition to grainstacks, rows of poplars were a central motif in Monet's early years in Giverny. Only the layering of the trees and the nuanced shading of their leaves give a suggestion of spatial depth. The lack of a center and the seemingly random lateral selection lend the picture an element of decorative flatness. The missing horizon line and the abrupt cropping of the poplars give an impression that boundaries have been eliminated."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"monet_die_pappeln_in_giverny","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Die Pappeln in Giverny.jpg","mimeType":"image/jpeg","filesize":962070,"width":2000,"height":1588,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:25.021Z","updatedAt":"2025-02-19T09:39:25.021Z","id":"67b5a6cd72417297712ce7db","url":"/cms/api/media/file/optimized-Monet_Die%20Pappeln%20in%20Giverny.jpg","thumbnailURL":null},"measurements":"74 x 92,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b6c"},"id":"67bc270da0cfed09eb6ee751"},{"artwork":{"title":{"de":"Unterholz","en":"Forest Interior"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.73,"z":0.63},"position":{"x":16.08,"y":16.26,"z":30.37,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.08,"y":16.26,"z":30.37},"id":"688db62481df0f999dd06d69"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.66704698744315,"y":8.850000000000001,"z":27.964404699714787},"id":"6890990767c88f001b935318"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.44,"z":0.33},"position":{"x":16.05,"y":15.74,"z":31.03,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.62800771129946,"y":8.333955276497841,"z":28.627280320827364},"id":"6890990767c88f001b935319"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"f34f75d4b469473fb325fc4d1c4723a1","rotation":{"x":-2.26,"y":-90.87}}},"react3fiber":{"position":{"model":{"x":-5.325799999999997,"y":31.5937,"z":-17.4897},"floorplan":{"x":-9.293,"y":17.5,"z":-14.269}}}},"createdAt":"2025-02-24T07:45:15.005Z","updatedAt":"2026-11-05T15:01:25.946Z","artist":{"lastName":"Cézanne","firstName":"Paul","lifeDates":"1839-1906","createdAt":"2025-02-24T07:45:10.990Z","updatedAt":"2025-02-24T07:45:10.990Z","id":"67bc238687986af0ae414a43"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1897/98","en":"1897/98"},"description":{"de":"Mit gebündelten Pinselstrichen in stumpfen Grin, Blau- und Brauntönen stellte Paul Cézanne den Raum dar. Das Unterholz strukturieren parallel aufragende Baumstämme wie Gitterstäbe. Dunkle Farbstriche halten die Vorzeichnung auch im vollendeten Gemälde präsent. Mit verwobenen Flächen und zurückgenommener Farbigkeit wurde Cézanne zu einem Wegbereiter des Kubismus.","en":"Paul Cézanne depicted the space with clusters of brushstrokes in dull tones of green, blue, and brown. The underbrush is structured by tree trunks growing parallel like stanchions. Dark strokes of paint trace the underdrawings, keeping them visible in the completed picture. The intertwining surfaces and the reduced palette of colors made Cézanne a pioneer of Cubism."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Cezanne-Unterholz_DE.mp3","mimeType":"audio/mpeg","filesize":1503339,"createdAt":"2025-03-04T18:33:57.659Z","updatedAt":"2025-03-04T18:33:57.659Z","id":"67c747959c762d275ec49f82","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Cezanne-Unterholz_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Cesanne-Unterholz_EN.mp3","mimeType":"audio/mpeg","filesize":1724469,"createdAt":"2025-03-04T18:34:14.581Z","updatedAt":"2025-03-04T18:34:14.581Z","id":"67c747a69c762d275ec49fa5","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Cesanne-Unterholz_EN.mp3","thumbnailURL":null}}},"id":"67c991a7cf6f1f7f8c0bec35"}],"hall":"2B6","highlight":null,"image":{"alt":"cezanne_unterholz","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Cezanne_Unterholz.jpg","mimeType":"image/jpeg","filesize":986808,"width":1798,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:53.499Z","updatedAt":"2025-02-19T09:38:53.499Z","id":"67b5a6ad72417297712ce74f","url":"/cms/api/media/file/optimized-Cezanne_Unterholz.jpg","thumbnailURL":null},"measurements":"55 x 46 cm","onDisplay":{"navigator":true,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238b87986af0ae414be1"},"id":"67bc270da0cfed09eb6ee724"},{"artwork":{"title":{"de":"Unter den Pappeln","en":"Under the Poplars"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.2,"y":1,"z":0.2},"position":{"x":14.280698394051978,"y":1.5886742961771874,"z":32.69224083305008,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":9.79,"y":16.27,"z":35.06},"id":"688db62881df0f999dd06d6c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":14.387883412014155,"y":8.86,"z":32.7},"id":"68909ae267c88f001b935324"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.44,"z":0.05},"position":{"x":13.37890771082594,"y":1.122666981040723,"z":32.730682592847515,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.47865980317703,"y":8.367802414082595,"z":32.70574883494895},"id":"68909ae267c88f001b935325"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"26457e64ae2340968349f25cd32ded3e","rotation":{"x":-0.5457546233391095,"y":-179.46323150925323}}},"react3fiber":{"position":{"model":{"x":-3.526498394051977,"y":16.922374296177185,"z":-19.81194083305008},"floorplan":{"x":-4.165,"y":17.5,"z":-18.946}}}},"createdAt":"2025-02-24T07:45:14.957Z","updatedAt":"2026-11-05T15:01:22.308Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1887","en":"1887"},"description":{"de":"In einer unbeschwerten Sommerszene feiert Claude Monet das intensiv leuchtende Rot des Mohns. Die Muße der beiden Kinder, umgeben von Blüten und Gräsern, unterstreicht die anmutige Leichtigkeit. Die pastose Oberflächentextur spontaner Pinselstriche gibt die flirrende Farbenpracht des von Sonnenlicht gesättigten Moments wieder.","en":"In this carefree summer scene, Claude Monet celebrates the intensely brilliant red of the poppies. The leisurely attitude of the children, surrounded by flowers and grasses, emphasizes the graceful lightness. The impasto of the surface, composed of spontaneous brushstrokes, reflects the shimmering colors of the sun-filled moment."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":true,"image":{"alt":"monet_unter_den_pappeln","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Unter den Pappeln.jpg","mimeType":"image/jpeg","filesize":975745,"width":2000,"height":1588,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:53.151Z","updatedAt":"2025-02-19T09:39:53.151Z","id":"67b5a6e972417297712ce83a","url":"/cms/api/media/file/optimized-Monet_Unter%20den%20Pappeln.jpg","thumbnailURL":null},"measurements":"73 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bc2"},"id":"67bc270da0cfed09eb6ee728"},{"artwork":{"title":{"de":"Wiesen von Veneux-Nadon","en":"The Meadow at Veneux-Nadon"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.83,"z":0.2},"position":{"x":11.537847436192926,"y":1.5882216035982613,"z":32.63342489123992,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":7.04,"y":16.26,"z":35.06},"id":"688db63081df0f999dd06d74"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":11.643745143880757,"y":8.850000000000001,"z":32.7},"id":"68909b5167c88f001b935326"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.44,"z":0.05},"position":{"x":10.68452673630763,"y":1.0689255350164557,"z":32.725240126268474,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.794139656753442,"y":8.32,"z":32.72759292949696},"id":"68909b5167c88f001b935327"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0f5302b519dd4b1692731dbe92a6b27f","rotation":{"x":-0.6946942886261541,"y":-179.51419648130866}}},"react3fiber":{"position":{"model":{"x":-0.7836474361929255,"y":16.92192160359826,"z":-19.75312489123992},"floorplan":{"x":-1.553,"y":17.5,"z":-19.013}}}},"createdAt":"2025-02-24T07:45:14.913Z","updatedAt":"2026-11-05T15:01:24.442Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"Die schlanken, filigran belaubten Pappeln führen den Blick in die Bildtiefe und geben ihm Halt in der Weite der sommerlichen Landschaft. Mit schimmernden Farbflächen verlieh Alfred Sisley dem eintönig anmutenden Motiv eine irisierende Lebendigkeit und Spannung. Sisley zeigte das Gemälde auf der siebten Gemeinschaftsaus-stellung der Impressionisten 1882, auf der die Gruppe mit Landschaften hervortrat.","en":"The sender poplars with their delicate leaves lead the gaze into the depth of the picture space and give it stability in this wide summer landscape. Through a juxtaposition of shimmering fields of color and a reduction of motifs, Alfred Sisley lends an iridescent vitality and tension to the seemingly monotonous theme. Sisley showed the painting at the Seventh Impressionist Exhibition in 1882, in which the group focused on landscapes."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"sisley_wiesen_von_veneux-nadon","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Wiesen von Veneux-Nadon.jpg","mimeType":"image/jpeg","filesize":785740,"width":2000,"height":1462,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:31.970Z","updatedAt":"2025-02-19T09:40:31.970Z","id":"67b5a70f72417297712ce8da","url":"/cms/api/media/file/optimized-Sisley_Wiesen%20von%20Veneux-Nadon.jpg","thumbnailURL":null},"measurements":"60 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414ba6"},"id":"67bc270da0cfed09eb6ee734"},{"artwork":{"title":{"de":"Die Hügel von Le Chou, Pontoise","en":"The Hills at Le Chou, Pontoise"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.9,"z":0.2},"position":{"x":8.895740391434261,"y":1.6009189058595636,"z":32.68935483396099,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":4.37,"y":16.27,"z":35.06},"id":"688db65181df0f999dd06d92"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":8.967454084561714,"y":8.86,"z":32.7},"id":"68909b9367c88f001b935328"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.38,"z":0.05},"position":{"x":8.069056730650962,"y":1.1181190788202824,"z":32.72052083902256,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":8.114855730620302,"y":8.35,"z":32.742461063693696},"id":"68909b9367c88f001b935329"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"6191f20e2501470ab7e5f09a64ea60b1","rotation":{"x":0.5234989016463032,"y":179.49849137864004}}},"react3fiber":{"position":{"model":{"x":1.8584596085657399,"y":16.934618905859562,"z":-19.809054833960992},"floorplan":{"x":0.991,"y":17.5,"z":-19.091}}}},"createdAt":"2025-02-24T07:45:14.146Z","updatedAt":"2026-11-05T15:01:25.696Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1882","en":"1882"},"description":{"de":"Ein ungewöhnlicher Blick auf einen Hang, diagonal im Vordergrund, verbindet die unmittelbare Nahsicht mit dem in die Tiefe gestaffelten Bildraum. Mit nuancenreicher Farbpalette und kleinteiligem Pinselduktus hat Camille Pissarro ein pulsierendes Gewebe geschaffen, das die lippige Vielfalt von Blumen und Gräser elner Sommer-wiese charakterisiert.","en":"An unusual view of a hillside, seen diagonally in the foreground, combines an extreme closeup with pictorial depth. With a nuanced palette of colors and minute brushstrokes, Camille Pissarro created a pulsating texture that evokes the lush variety of flowers and grasses of a summer meadow."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"pissarro_die_huegel_von_le_chou","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Die Huegel von Le Chou.jpg","mimeType":"image/jpeg","filesize":927247,"width":2000,"height":1632,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:04.745Z","updatedAt":"2025-02-19T09:40:04.745Z","id":"67b5a6f472417297712ce867","url":"/cms/api/media/file/optimized-Pissarro_Die%20Huegel%20von%20Le%20Chou.jpg","thumbnailURL":null},"measurements":"60,3 x 73,6 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b62"},"id":"67bc270da0cfed09eb6ee756"},{"artwork":{"title":{"de":"Verschattete Allee","en":"Shaded Path"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.88,"z":0.74},"position":{"x":6.904251410514388,"y":1.5774027926750032,"z":30.839087951555953,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":2.41,"y":16.26,"z":33.17},"id":"688db63f81df0f999dd06d82"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.004095962080934,"y":8.850000000000001,"z":30.84898026461633},"id":"68909bdb67c88f001b93532a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.38,"z":0.32},"position":{"x":6.904520630075375,"y":1.105620292831354,"z":30.14544674384322,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.019220833707599,"y":8.36,"z":30.162690297461076},"id":"68909bdb67c88f001b93532b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"4d455bf7a4334f379d0e44bdccce3f76","rotation":{"x":-2.7610071576852526,"y":90.74208204813311}}},"react3fiber":{"position":{"model":{"x":3.8499485894856127,"y":16.911102792675003,"z":-17.958787951555955},"floorplan":{"x":3.313,"y":17.5,"z":-17.304}}}},"createdAt":"2025-02-24T07:45:14.202Z","updatedAt":"2026-11-05T15:01:26.199Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1872","en":"1872"},"description":{"de":"Wie die Maler der Generation vor ihnen in Barbizon suchten Pierre-Auguste Renoir und Claude Monet den Wald von Fontainebleau auf. In dieser Ansicht eines Waldwegs, die kaum erkennbar einen Maler bei der Arbeit zeigt, scheint Renoir seinen Vorbildern noch verpflichtet. Aber bereits hier zeigt sich die Auflösung der Formen, die den Impressionismus kennzeichnet.","en":"Like the painters of the previous generation in Barbizon, Pierre-Auguste Renoir and Claude Monet also visited the forest of Fontainebleau. In this view of a forest path, which actually shows a painter at work, Renoir seems to follow the models of his predecessors. However, the dissolution of form is a characteristic of Impressionism."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"renoir_verschattete_allee","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Verschattete Allee.jpg","mimeType":"image/jpeg","filesize":819599,"width":1607,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:14.926Z","updatedAt":"2025-02-19T09:40:14.926Z","id":"67b5a6fe72417297712ce88f","url":"/cms/api/media/file/optimized-Renoir_Verschattete%20Allee.jpg","thumbnailURL":null},"measurements":"61 x 46 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b86"},"id":"67bc270da0cfed09eb6ee744"},{"artwork":{"title":{"de":"Die Orvanne und der Loing-Kanal im Winter","en":"The Orvanne and the Loing Channel in Winter"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.88,"z":0.74},"position":{"x":6.911054007679051,"y":1.5971946861589281,"z":25.239890462928457,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":2.41,"y":16.27,"z":27.56},"id":"688db62f81df0f999dd06d73"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.961879226878593,"y":8.86,"z":25.238835615210764},"id":"6890975a67c88f001b93530e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.53,"z":0.32},"position":{"x":6.921188273185668,"y":1.035021019151018,"z":25.965767516132395,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.0033685452157775,"y":8.288595151383596,"z":25.98346597082415},"id":"6890975a67c88f001b93530f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"9944fce63dc14994b71ea0e9144b2db4","rotation":{"x":-2.3407747756236663,"y":89.9238946725716}}},"react3fiber":{"position":{"model":{"x":3.8431459923209497,"y":16.930894686158926,"z":-12.359590462928457},"floorplan":{"x":3.313,"y":17.5,"z":-12.088}}}},"createdAt":"2025-02-24T07:45:14.919Z","updatedAt":"2026-11-05T15:01:23.989Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1891","en":"1891"},"description":{"de":"In der Fluss- und Kanallandschaft rund um Moret-sur-Loing, etwa 70 Kilometer südlich von Paris, fand Alfred Sisley die Motive selnes Spätwerks zu allen Jahreszeiten. Im Winter 1891 stand er auf dem Landstreifen zwischen dem schiffbaren Loing-Kanal auf der linken und dem Fluss mit seinen Stromschnellen auf der rechten Selte. Sisley zeigt die Parallelität der dicht beieinander legenden Gewässer und die hohen Pappen Im für die impressionistische Malerel ungewöhnlichen Hochformat","en":"The landscape of rivers and canals around Moret-sur-Loing, about seventy kilometers to the south of Paris, and its seasonal changes provided Alfred Sisley with the motifs of his late oeuvre. In the winter of 1881, he stood on the strip of land between the navigable Canal du Loing on the left and the river with its rapids on the right. In this vertical-format work, which is unusual in Impressionism, Sisley draws parallels between the two stretches of water flowing side by side and the tall poplars."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"sisley_die_orvanne_und_der_loing-kanal_im_winter","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Die Orvanne und der Loing-Kanal im Winter.jpg","mimeType":"image/jpeg","filesize":612735,"width":886,"height":1080,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:25.186Z","updatedAt":"2025-02-19T09:40:25.186Z","id":"67b5a70972417297712ce8bc","url":"/cms/api/media/file/optimized-Sisley_Die%20Orvanne%20und%20der%20Loing-Kanal%20im%20Winter.jpg","thumbnailURL":null},"measurements":"73,5 x 60,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414baa"},"id":"67bc270da0cfed09eb6ee732"},{"artwork":{"title":{"de":"Straße nach Berneval","en":"Road to Berneval"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.78,"y":0.67,"z":0.2},"position":{"x":10.479451868782611,"y":1.6218701388314642,"z":23.297808995481677,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":6.01,"y":16.3,"z":25.61},"id":"688db63e81df0f999dd06d81"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.574578388401951,"y":8.89,"z":23.308348675356193},"id":"68909c5567c88f001b93532c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.44,"z":0.05},"position":{"x":9.726074032226816,"y":1.0943363848635197,"z":23.30631402426096,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.78384923405449,"y":8.36,"z":23.274517108316797},"id":"68909c5567c88f001b93532d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"06b7c6192e3f48a0ae59dabe28815c7e","rotation":{"x":-0.8107915070175882,"y":1.4604499175721473}}},"react3fiber":{"position":{"model":{"x":0.2747481312173896,"y":16.95557013883146,"z":-10.417508995481677},"floorplan":{"x":0.403,"y":17.5,"z":-10.057}}}},"createdAt":"2025-02-24T07:45:14.205Z","updatedAt":"2026-11-05T15:01:23.919Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1880","en":"1880"},"description":{"de":"Renoir setzte die Farben in dünnen Schichten auf die weiß grundierte Leinwand. Wie bei einem Aquarell scheint das Licht vom Grund her auf. Der Weg führt den Blick wie ein Trichter aus Licht auf eine Gruppe von drei Figuren in blauer Arbeitskleidung, die von der Muschelente kommen. Miesmuscheln von den Küsten der Normandie wurden als „Auster der Armen* in Paris vertrieben.","en":"Renoir applied the paint in thin layers on a white, primed canvas. As in a watercolor, the light comes from the priming. The road guides the gaze like a funnel of light to a group of three figures in blue working clothes who are coming from the harvesting of mussels. Mussels from the coast of Normandy were sold in Paris as \"oysters of the poor\""},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":true,"image":{"alt":"renoir_strasse_nach_berneval","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Strasse nach Berneval.jpg","mimeType":"image/jpeg","filesize":898271,"width":2000,"height":1633,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:13.469Z","updatedAt":"2025-02-19T09:40:13.469Z","id":"67b5a6fd72417297712ce885","url":"/cms/api/media/file/optimized-Renoir_Strasse%20nach%20Berneval.jpg","thumbnailURL":null},"measurements":"50 x 61 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b88"},"id":"67bc270da0cfed09eb6ee743"},{"artwork":{"title":{"de":"Blick auf Bazincourt, Sonnenuntergang","en":"View of Bazincourt, Sunset"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.74,"y":0.58,"z":0.2},"position":{"x":11.88,"y":16.27,"z":25.61,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":11.88,"y":16.27,"z":25.61},"id":"688db65281df0f999dd06d93"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.431916133744167,"y":8.86,"z":23.25},"id":"6890984367c88f001b935312"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.44,"z":0.05},"position":{"x":11.16,"y":15.75,"z":25.65,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":15.732418249533762,"y":8.34,"z":23.26797050269075},"id":"6890984367c88f001b935313"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"d7ccb8d44da54552a2522fbefa8864fd","rotation":{"x":-3.25,"y":0.34}}},"react3fiber":{"position":{"model":{"x":-1.1258,"y":31.603699999999996,"z":-12.7297},"floorplan":{"x":-5.32,"y":17.5,"z":-9.849}}}},"createdAt":"2025-02-24T07:45:14.143Z","updatedAt":"2026-11-05T15:01:22.972Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1892","en":"1892"},"description":{"de":"Nach einer kurzen Phase, in der sich Camille Pissaro dem Pointillismus zugewandt hatte, gab er diesen langwierigen Arbeitsprozess um 1890 wieder auf. Er kehrte zu einer freieren Malweise zurück, die ihm das schnellere Festhalten momenthafter Licht- und Witterungsverhältnisse ermöglichte. Hier verleiht das intensive Leuchten der untergehenden Sonne der Abendszene einen feierlichen Charakter.","en":"After a short period dedicated to Pointillism, Camille Pissarro gave up this time-consuming technique around 1890. He returned to a freer style of painting that enabled him to capture impressions of light and weather conditions more quickly. Here the intense brightness of the setting sun lends a celebratory atmosphere to the evening scene."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"pissarro_blick_auf_bazincourt_sonnenuntergang","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Blick auf Bazincourt_Sonnenuntergang.jpg","mimeType":"image/jpeg","filesize":937475,"width":2000,"height":1370,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:01.571Z","updatedAt":"2025-02-19T09:40:01.571Z","id":"67b5a6f172417297712ce85d","url":"/cms/api/media/file/optimized-Pissarro_Blick%20auf%20Bazincourt_Sonnenuntergang.jpg","thumbnailURL":null},"measurements":"38 x 55 cm","onDisplay":{"navigator":true,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b60"},"id":"67bc270da0cfed09eb6ee757"},{"artwork":{"title":{"de":"Landschaft von Cagnes","en":"Landscape of Cagnes"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.52,"y":0.4,"z":0.2},"position":{"x":12.359155356350543,"y":1.6075898192942868,"z":23.27754778714145,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":7.89,"y":16.28,"z":25.61},"id":"688db63d81df0f999dd06d80"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":12.447165786854075,"y":8.870000000000001,"z":23.254326998343483},"id":"6890981b67c88f001b935310"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.44,"z":0.05},"position":{"x":12.966918166935065,"y":1.0846292482355033,"z":23.27167220229684,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.045399846723061,"y":8.360510948854575,"z":23.26974291665175},"id":"6890981b67c88f001b935311"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5a0464daa6a644ecba182bb230531870","rotation":{"x":-2.71318485470307,"y":0.6696020878304768}}},"react3fiber":{"position":{"model":{"x":-1.6049553563505423,"y":16.941289819294287,"z":-10.39724778714145},"floorplan":{"x":-1.526,"y":17.5,"z":-10.005}}}},"createdAt":"2025-02-24T07:45:14.208Z","updatedAt":"2026-11-05T15:01:21.928Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1900 (?)","en":"1900 (?)"},"description":{"de":"Skizzenhaft hielt Pierre-Auguste Renoir die Umgebung seines Wohnortes am Mittelmeer fest. Neben Akzenten in Weiß und leuchtendem Gelb trägt der an vielen Stellen belassene Grund zur Lichthaltigkeit der Szenerie bei. Die schnelle Pinselführung verleiht dem unspektakulären Motiv im kleinen Format überraschende Dynamik.","en":"Pierre-Auguste Renoir recorded the surroundings of his Mediterranean home in a sketch-like work. In addition to accents in white and bright yellow, the priming of the canvas shows through in many areas, contributing to the luminosity of the scene. The quick brushwork lends an unexpectedly dynamic force to the unspectacular motif in this small format."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"renoir_landschaft_von_cagnes","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Landschaft von Cagnes.jpg","mimeType":"image/jpeg","filesize":861652,"width":2000,"height":1327,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:12.483Z","updatedAt":"2025-02-19T09:40:12.483Z","id":"67b5a6fc72417297712ce880","url":"/cms/api/media/file/optimized-Renoir_Landschaft%20von%20Cagnes.jpg","thumbnailURL":null},"measurements":"22 x 32,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b8a"},"id":"67bc270da0cfed09eb6ee742"},{"artwork":{"createdAt":"2026-04-16T08:48:21.125Z","updatedAt":"2026-11-05T15:01:27.094Z","onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":null,"hall":"2B6","exhibition":"67b338818635bba96e329691","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"title":{"de":"Heuhaufen in Giverny","en":"Haystacks in Giverny"},"dating":{"de":"1893","en":"1893"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Zwei Jahre nach seiner berühmten Serie der Getreldeschober von 1890/91 griff Monet das Motiv erneut auf. Dieses Gemälde aus dem Frühjahr 1893 gehört zu einer zwelten, dreiteiligen Serie. Im Unterschied zur früheren Werkgruppe Ist die Komposition weiter gefasst: Der größte Schober wird zentral platziert. Zur Seite strebende Bäumen rahmen Ihn. Die hellgrüne Wiese und der von Wolken durchzogene Himmel zeugen vom Zeitpunkt der Heuernte im Frühsommer.","en":"Two years after his famous series of grainstacks from 1890-91, Monet once again returned to this molif. This painting from the spring of 1893 is part of a second, three-part series. In contrast to the earler works, the composition is more expansive: the largest grainstack is placed in the center, framed by trees leaning to either side. The light green meadow and cloud-filled sky bear witness to the season of hay harvest in early summer."},"measurements":null,"credit":{"de":"private Sammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.3800000000000003,"y":1,"z":0.1},"position":{"x":16.578947854004426,"y":1.5956302025691849,"z":23.270701734047442,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.05},"position":{"x":15.629711811599622,"y":1.0663686496569427,"z":23.294351310940478,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"28b87e042425494ba9fe1b7b591a790b","rotation":{"x":-4.867435346708537,"y":0.3942359893890812}}},"react3fiber":{"position":{"model":{"x":-5.824747854004425,"y":16.929330202569183,"z":-10.390401734047442},"floorplan":{"x":-7.23,"y":17.5,"z":-9.829}}}},"guides":[],"id":"69e0a255733620b44d2e8416","image":null},"id":"69e0a4500fafa69c3e709b19"},{"artwork":{"title":{"de":"Getreideschober in der Île-de-France","en":"Grainstacks at Île-de-France"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.73,"y":0.605,"z":0.1},"position":{"x":18.56013845367413,"y":1.594952012137718,"z":23.292934233776684,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.05},"position":{"x":19.350662083829096,"y":1.0765567217135943,"z":23.29240404721107,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"41ace929360c48438b37ade200a8c0c6","rotation":{"x":-1.8799323775705181,"y":0.3279142813248233}}},"react3fiber":{"position":{"model":{"x":-7.8059384536741305,"y":16.928652012137718,"z":-10.412634233776684},"floorplan":{"x":-10.192,"y":17.5,"z":-14.215}}}},"createdAt":"2025-02-24T07:45:13.959Z","updatedAt":"2026-11-05T15:01:19.806Z","artist":{"lastName":"Guillaumin","firstName":"Armand","lifeDates":"1841–1927","createdAt":"2025-02-24T07:45:11.019Z","updatedAt":"2025-02-24T07:45:11.019Z","id":"67bc238787986af0ae414a58"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1894","en":"1894"},"description":{"de":"Claude Monets Serie der Getreideschober hatte das Thema populär gemacht. Der beinahe gleichaltrige Armand Guillaumin griff es wenig später auf. Durch seinen intensiven Farbauftrag und die schärfere Abgrenzung der Flächen verlieren sich Leichtigkeit und atmosphärisches Flirren. Die klar beschriebenen Formen setzen sich vom Impressionismus ab.","en":"Claude Monet's series of grainstacks made the subject popular. Armand Guillaumin, who was roughly the same age as his colleague, soon took up the subject himself. His intensive application of paint and the sharper definition of the surfaces eschew lightness and atmospheric flickering The precise description of forms thus contrasts with the style of Impressionism."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B6","highlight":null,"image":{"alt":"guillaumin_getreideschober_in_der_ile-de-france","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Guillaumin_Getreideschober in der Ile-de-France.jpg","mimeType":"image/jpeg","filesize":819968,"width":2000,"height":1647,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:05.956Z","updatedAt":"2025-02-19T09:39:05.956Z","id":"67b5a6b972417297712ce786","url":"/cms/api/media/file/optimized-Guillaumin_Getreideschober%20in%20der%20Ile-de-France.jpg","thumbnailURL":null},"measurements":"60,5 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af"],"id":"67bc238987986af0ae414b0f"},"id":"67bc270da0cfed09eb6ee77f"},{"artwork":{"title":{"de":"Le Havre. Sonnenuntergang am Meer","en":"Le Havre: Sunset on the Sea"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.97,"z":1.26},"position":{"x":21.090007781982422,"y":1.5925848598168366,"z":28.03005320345797,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.58,"y":16.26,"z":30.38},"id":"688db68381df0f999dd06db9"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.21538664056399,"y":8.850000000000001,"z":27.968547649211796},"id":"6890995467c88f001b93531a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.5,"z":0.32},"position":{"x":21.049058705790856,"y":1.0964342770660653,"z":27.203894167853345,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.14302697201795,"y":8.35,"z":27.158060261428428},"id":"6890995467c88f001b93531b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"d108101e298b4f5d8463025546537489","rotation":{"x":-0.3227667487852449,"y":91.06103963849593}}},"react3fiber":{"position":{"model":{"x":-10.335807781982421,"y":16.926284859816835,"z":-15.149753203457971},"floorplan":{"x":-17.355,"y":17.5,"z":-11.279}}}},"createdAt":"2025-02-24T07:45:13.937Z","updatedAt":"2026-11-05T15:01:20.293Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1885","en":"1885"},"description":{"de":"Neben seinen Darstellungen elegant gekleideter Badegäste an Strandpromenaden malte Eugène Boudin Seestücke und Hafenszenen. Der als „König des Himmels\" gefeierte Maler widmete sich dem vielfarbigen Licht der untergehenden Sonne, das er in feinen Abstufungen erfasste, Boudin konzentrierte sich wie vor ihm William Turner auf die Kraft des Lichts, die die Konturen auflöst.","en":"In addition to his pictures of elegantty clothed bathing guests on beach promenades, Eugène Boudin painted seascapes and harbor scenes. The artist, who was celebrated as \"king of the sky,\" focused on the multicolored light of the setting sun, which he captured in fine gradations. Like William Turner before him, Boudin concentrated on the power of the light that dissolves contours."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"alt":"boudin_le_havre_sonnenuntergang_am_meer","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Boudin_Le Havre_Sonnenuntergang am Meer.jpg","mimeType":"image/jpeg","filesize":668145,"width":2000,"height":1401,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:47.152Z","updatedAt":"2025-02-19T09:38:47.152Z","id":"67b5a6a772417297712ce72c","url":"/cms/api/media/file/optimized-Boudin_Le%20Havre_Sonnenuntergang%20am%20Meer.jpg","thumbnailURL":null},"measurements":"65 x 92,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b07"},"id":"67bc270da0cfed09eb6ee783"},{"artwork":{"title":{"de":"Le Havre. Der Außenhafen bei Sonnenuntergang","en":"Le Havre: The Outer Harbor at Sunset"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.71,"z":0.92},"position":{"x":28.910750306575363,"y":1.5774515137564193,"z":30.74836079381764,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":24.43,"y":16.25,"z":33.14},"id":"688db65081df0f999dd06d91"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.035958050985556,"y":8.848982870803683,"z":30.689370905139548},"id":"6890a84867c88f001b935344"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.33},"position":{"x":28.91425374741648,"y":1.0517119165980897,"z":29.96673437569786,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.012809938642942,"y":8.3,"z":29.89710216956188},"id":"6890a84867c88f001b935345"},{"exhibition":"67b338818635bba96e329691","position":{"x":29.01503596329804,"y":8.30126449647222,"z":29.90904606911903},"id":"6890a68d67c88f001b935341"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"62583d8f03394d46aca25a013835692f","rotation":{"x":-0.73,"y":90.07}}},"react3fiber":{"position":{"model":{"x":-18.15655030657536,"y":16.91115151375642,"z":-17.86806079381764},"floorplan":{"x":-17.213,"y":17.5,"z":-16.332}}}},"createdAt":"2025-02-24T07:45:14.149Z","updatedAt":"2026-11-05T15:01:22.242Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1882","en":"1882"},"description":{"de":"Nach Marseille besaß Le Havre den zweitgrößten Hafen Frankreichs. Boudins Darstellung des modernisierten Außenhafens lässt die wirtschaftliche Bedeutung richt erkennen. Die kurz vor dem Versinken tie' stehende Sonne ist in der Mittelachse des Bldes gezeigt. Diese Frontalität kommt in der niederländischen Tradition nicht vor. Die Vorbilder sind Nicolas Poussin und William Turner. Boudin erzielt über die Spiegelung des Himmels im Wasser eine einheitliche Farbstimmung des Bildes.","en":"After Marseille, Le Havre was the second-largest port in France. Boudin's depiction of the modernized outer harbor does not disclose its economic significance. The sun, which is about to set, is positioned in the center of the picture. This frontality does not exist in the Dutch tradition of seascapes; it is modeled after Nicolas Poussin and William Turner. Boudin achieved a unified mood by allowing the sky to reflect in the water."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Bou-04_Boudin_Le-Havre-Der-Aussenhafen-bei-Sonnenuntergang_1.jpg","mimeType":"image/jpeg","filesize":423543,"width":1500,"height":1083,"focalX":50,"focalY":50,"createdAt":"2025-08-04T12:21:11.210Z","updatedAt":"2025-08-04T12:21:11.210Z","id":"6890a5b7b453dc80562ba0b4","url":"/cms/api/media/file/MB-Bou-04_Boudin_Le-Havre-Der-Aussenhafen-bei-Sonnenuntergang_1.jpg","thumbnailURL":null},"measurements":"54,5 x 74,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b64"},"id":"67bc270da0cfed09eb6ee755"},{"artwork":{"title":{"de":"Fécamp. Das Hafenbecken","en":"Fécamp: The Inner Harbor"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.48,"y":0.39,"z":0.2},"position":{"x":30.8951,"y":1.5802000000000014,"z":32.924200000000006,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":26.41,"y":16.26,"z":35.34},"id":"688db68581df0f999dd06dbb"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.005693224822952,"y":8.84482644113747,"z":32.878354588918086},"id":"6890a4ca67c88f001b93533c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.49,"z":0.05},"position":{"x":30.3251,"y":1.0801999999999996,"z":32.8842,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":30.43644121252893,"y":8.339182642404971,"z":32.86423444457211},"id":"6890a4ca67c88f001b93533d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"191f3e960ab54f05a8a88fea4a6f73fc","rotation":{"x":-3.22,"y":179.64}}},"react3fiber":{"position":{"model":{"x":-20.1409,"y":16.913899999999998,"z":-20.043900000000008},"floorplan":{"x":-19.239,"y":17.5,"z":-18.683}}}},"createdAt":"2025-02-24T07:45:13.912Z","updatedAt":"2026-11-05T15:01:19.702Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"Anders als traditionelle Hafenbilder, die den Blick auf das offene Meer richten, wählte Boudin die Perspektive auf die Mole. Die Kaimauer trennt Himmel und Wasser. Diese Teilung betont die Reflexionen des Himmels auf dem Wasser. In der Verwendung von Rosa, Gelb und Hellblau kündigt sich die Lichtmalerei des Impressionismus an.","en":"Unlike traditional harbor pictures that direct the gaze to the open sea, Boudin chose the perspective from the quayside. The quay wall separates the sky from the water. This division emphasizes the reflections of the sky on the water. The use of pink, yellow, and light blue heralds the light-illed paintings of Impressionism"},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"alt":"boudin_fecamp_das_hafenbecken","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Boudin_Fecamp_Das Hafenbecken.jpg","mimeType":"image/jpeg","filesize":868082,"width":2000,"height":1505,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:44.025Z","updatedAt":"2025-02-19T09:38:44.025Z","id":"67b5a6a472417297712ce71d","url":"/cms/api/media/file/optimized-Boudin_Fecamp_Das%20Hafenbecken.jpg","thumbnailURL":null},"measurements":"26,5 x 35 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Holz","en":"Oil on panel"},"id":"67bc238987986af0ae414b03"},"id":"67bc270da0cfed09eb6ee785"},{"artwork":{"title":{"de":"Camaret. Der Hafen","en":"Camaret: The Port"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.84,"y":0.62,"z":0.2},"position":{"x":32.6051,"y":1.5802000000000014,"z":32.924200000000006,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":28.12,"y":16.26,"z":35.34},"id":"688db62581df0f999dd06d6a"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.72182231072728,"y":8.850000000000001,"z":32.84434540781057},"id":"6890a48e67c88f001b93533a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.49,"z":0.05},"position":{"x":31.8751,"y":1.0701999999999998,"z":32.8842,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.97591716729014,"y":8.323645838493542,"z":32.846702595658954},"id":"6890a48e67c88f001b93533b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8cf7d8ea6aeb46a0b180ce6e41f18b06","rotation":{"x":-0.99,"y":179.93}}},"react3fiber":{"position":{"model":{"x":-21.8509,"y":16.913899999999998,"z":-20.043900000000008},"floorplan":{"x":-20.726,"y":17.5,"z":-18.647}}}},"createdAt":"2025-02-24T07:45:14.986Z","updatedAt":"2026-11-05T15:01:23.712Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1876","en":"1876"},"description":{"de":"Eugène Boudin gab die wechselnden Lichtverhältnisse im Hafen, den bewegten Himmel, die unzähligen Graustufen der Wolken wieder. Im Kontrast dazu sind die Schiffe in kräftigen Grün- und Rottönen gemalt. Mit der tief liegenden Horizontlinie folgte Boudin der niederländischen Tradition des 17. Jahrhunderts, die dem Himmel den größten Teil der Bildfläche einräumte.","en":"Eugène Boudin rendered the changing light conditions in the harbor, the animated sky, and the countless tones of gray in the clouds. In contrast to this, the ships are represented in tones of green and red. Boudin's low-lying horizon followed the seventeenth-century Dutch tradition by which the largest portion of the picture surface was devoted to the sky."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"alt":"boudin_honfleur_der_hafen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Boudin_Honfleur_Der Hafen.jpg","mimeType":"image/jpeg","filesize":649161,"width":2000,"height":1457,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:46.007Z","updatedAt":"2025-02-19T09:38:46.007Z","id":"67b5a6a672417297712ce727","url":"/cms/api/media/file/optimized-Boudin_Honfleur_Der%20Hafen.jpg","thumbnailURL":null},"measurements":"41 x 63 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bd4"},"id":"67bc270da0cfed09eb6ee725"},{"artwork":{"title":{"de":"Honfleur. Der Hafen","en":"Honfleur: The Port"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.37,"y":0.3,"z":0.2},"position":{"x":34.2951,"y":1.5802000000000014,"z":32.924200000000006,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":29.81,"y":16.26,"z":35.34},"id":"688db68481df0f999dd06dba"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":34.40537673057674,"y":8.846467243097473,"z":32.84610632053207},"id":"6890a44b67c88f001b935338"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.49,"z":0.05},"position":{"x":33.7851,"y":1.0302000000000007,"z":32.8842,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":33.88329697169921,"y":8.3,"z":32.85483581464589},"id":"6890a44b67c88f001b935339"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"335d4c402e5345ed9f063926bd654573","rotation":{"x":1.04,"y":179.41}}},"react3fiber":{"position":{"model":{"x":-23.540899999999997,"y":16.913899999999998,"z":-20.043900000000008},"floorplan":{"x":-22.184,"y":17.5,"z":-18.057}}}},"createdAt":"2025-02-24T07:45:13.924Z","updatedAt":"2026-11-05T15:01:20.368Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1858–1862","en":"1858–1862"},"description":{"de":"Mit der Hafenstadt Honfleur, gegenüber von Le Havre an der Mündung der Seine gelegen, war Eugène Boudin seit seiner Jugend vertraut. Mit der Mauer der Mole hob er die Hafenarchitektur hervor und fand so einen modernen Zugriff: Boudin stellte den Hafen als Umschlagplatz von Waren und Station von Reisenden vor und thematisierte, wie Waren aus Rouen lber Honfleur nach England gebracht wurden.","en":"Since his childhood, Eugène Boudin had been acquainted with Honfleur, the port located opposite Le Havre in the estuary of the Seine. In his emphasis on the harbor architecture with the stone quayside, he found a modern approach: Boudin presented the harbor as a hub for the transferal of merchandise and a station for travelers, demonstrating how goods were sent from Rouen via Honfleur to England."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Boudin-Honfleur-der-Hafen_DE.mp3","mimeType":"audio/mpeg","filesize":1728073,"createdAt":"2025-03-04T18:43:43.010Z","updatedAt":"2025-03-04T18:43:43.010Z","id":"67c749df9c762d275ec4a1ed","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Boudin-Honfleur-der-Hafen_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Boudin-Honfleur-der-Hafen_EN.mp3","mimeType":"audio/mpeg","filesize":2091019,"createdAt":"2025-03-04T18:44:03.034Z","updatedAt":"2025-03-04T18:44:03.034Z","id":"67c749f39c762d275ec4a211","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Boudin-Honfleur-der-Hafen_EN.mp3","thumbnailURL":null}}},"id":"67c99135cf6f1f7f8c0beb31"}],"hall":"2B7","highlight":null,"image":{"alt":"boudin_honfleur_der_hafen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Boudin_Honfleur_Der Hafen.jpg","mimeType":"image/jpeg","filesize":649161,"width":2000,"height":1457,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:46.007Z","updatedAt":"2025-02-19T09:38:46.007Z","id":"67b5a6a672417297712ce727","url":"/cms/api/media/file/optimized-Boudin_Honfleur_Der%20Hafen.jpg","thumbnailURL":null},"measurements":"19,5 x 26,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Karton","en":"Oil on cardboard"},"id":"67bc238987986af0ae414b05"},"id":"67bc270da0cfed09eb6ee784"},{"artwork":{"title":{"de":"Die Themse","en":"The Thames"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.78,"z":0.71},"position":{"x":37.228300000000004,"y":1.5814000000000021,"z":28.9125,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":32.77,"y":16.26,"z":31.32},"id":"688db65381df0f999dd06d94"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.30623796706625,"y":8.856659458781463,"z":28.827828248557545},"id":"6890a3b967c88f001b935336"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.33},"position":{"x":37.1683,"y":1.051400000000001,"z":29.532500000000002,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.312605648496756,"y":8.302365207153242,"z":29.471785181558733},"id":"6890a3b967c88f001b935337"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"a6a5aad43c3648fbb03ec7a3092b05b7","rotation":{"x":-0.26,"y":-89.24}}},"react3fiber":{"position":{"model":{"x":-26.474100000000004,"y":16.915100000000002,"z":-16.032200000000003},"floorplan":{"x":-25.5,"y":17,"z":-16.5}}}},"createdAt":"2025-02-24T07:45:14.140Z","updatedAt":"2026-11-05T15:01:24.577Z","artist":{"lastName":"Morisot","firstName":"Berthe","lifeDates":"1841–1895","createdAt":"2025-02-24T07:45:11.952Z","updatedAt":"2025-02-24T07:45:11.952Z","id":"67bc238787986af0ae414aa6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1875","en":"1875"},"description":{"de":"Als kräftiger Akzent zieht der rote Schlot eines modernen Eisenschiffs den Blick auf sich. Der dünne Farbauftrag verleiht dem Ölgemälde den Anschein eines luftigen Aquarells. Während eines Aufenthaltes in London studierte die Malerin die Werke William Turners in der National Gallery. Sie inspirierten sie zu dieser Darstellung der Themse, dem einzigen Gemälde, das bei ihrem Aufenthalt entstand.","en":"The strong accent of the red smokestack of a modern steel ship draws attention to itself. The thin application of paint gives the picture the appearance of an airy watercolor. During a stay in London, Morisot studied the works of William Turner at the National Gallery. They inspired her to paint this depiction of the Thames, which is the only picture that she produced during her stay."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b343f28635bba96e329739","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Morisot-die-Themse_DE.mp3","mimeType":"audio/mpeg","filesize":1741219,"createdAt":"2025-03-04T18:45:58.456Z","updatedAt":"2025-03-04T18:45:58.456Z","id":"67c74a669c762d275ec4a2bd","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Morisot-die-Themse_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Morisot-die-Themse_EN.mp3","mimeType":"audio/mpeg","filesize":2110245,"createdAt":"2025-03-04T18:46:14.191Z","updatedAt":"2025-03-04T18:46:14.191Z","id":"67c74a769c762d275ec4a2e1","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Morisot-die-Themse_EN.mp3","thumbnailURL":null}}},"id":"67c99118cf6f1f7f8c0bead9"}],"hall":"2B7","highlight":null,"image":{"alt":"morisot_die_themse","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Morisot_Die Themse.jpg","mimeType":"image/jpeg","filesize":792269,"width":1775,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:58.496Z","updatedAt":"2025-02-19T09:39:58.496Z","id":"67b5a6ee72417297712ce853","url":"/cms/api/media/file/optimized-Morisot_Die%20Themse.jpg","thumbnailURL":null},"measurements":"46 x 38 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b5e"},"id":"67bc270da0cfed09eb6ee758"},{"artwork":{"title":{"de":"Der Hafen von Le Havre am Abend","en":"The Port of Le Havre, Night Effect"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.87,"z":1.11},"position":{"x":37.228300000000004,"y":1.5814000000000021,"z":27.2325,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":32.77,"y":16.26,"z":29.64},"id":"688db66781df0f999dd06da4"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.24319887319625,"y":8.850527986694054,"z":27.146280317674332},"id":"6890a7a967c88f001b935342"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.54,"z":0.33},"position":{"x":37.1683,"y":1.0014000000000003,"z":26.3625,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.2888219774128,"y":8.27,"z":26.290335006176438},"id":"6890a7a967c88f001b935343"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"dad6c3b4245846ef83d7130348972d74","rotation":{"x":0.03739349966779192,"y":-90.14695613820066}}},"react3fiber":{"position":{"model":{"x":-26.474100000000004,"y":16.915100000000002,"z":-14.352200000000002},"floorplan":{"x":-25.035,"y":17.5,"z":-13.154}}}},"createdAt":"2025-02-24T07:45:14.084Z","updatedAt":"2026-11-05T15:01:22.643Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1872","en":"1872"},"description":{"de":"In London hatte Claude Monet den größten Hafen der Welt gesehen. Kurz nach seiner Rückkehr malte er in Le Havre, wo er seine Jugend verbracht hatte, das Bild Impression, Sonnenaufgang - sein bis heute wohl bekanntestes Gemälde, mit der er sich auf der ersten Impressionisten-Ausstellung 1874 in Paris hervorgetan hatte. Vom selben Blickpunkt aus malte Monet als Pendant diese Nachtszene in der gleichen skizzenhaften Vehemenz. Weiße Farbtupfen stehen für die moderne Gasbeleuchtung.","en":"Claude Monet had seen the largest harbor in the world in London Soon after his return to France, he painted Impression: Sunrise in Le Havre, where he had spent his childhood. The work remains Monet's most iconic composition and was shown at the First Impressionist Exhibition in Paris in 1874. Monet painted this companion piece from the same vantage point, a nocturnal scene executed with the same sketch-like determination. Dabs of white paint represent modern gas lighting."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Hafen-von-le-Havre-am-Abend_DE.mp3","mimeType":"audio/mpeg","filesize":1884260,"createdAt":"2025-03-04T18:49:28.282Z","updatedAt":"2025-03-04T18:49:28.282Z","id":"67c74b389c762d275ec4a3a0","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Hafen-von-le-Havre-am-Abend_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Hafen-von-le-Havre-am-Abend_EN.mp3","mimeType":"audio/mpeg","filesize":2224348,"createdAt":"2025-03-04T18:49:44.966Z","updatedAt":"2025-03-04T18:49:44.966Z","id":"67c74b489c762d275ec4a3c3","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Hafen-von-le-Havre-am-Abend_EN.mp3","thumbnailURL":null}}},"id":"67c99123cf6f1f7f8c0beaf9"}],"hall":"2B7","highlight":true,"image":{"alt":"monet_der_hafen_von_le_havre_am_abend","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Hafen von Le Havre am Abend.jpg","mimeType":"image/jpeg","filesize":732522,"width":2000,"height":1477,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:19.235Z","updatedAt":"2025-02-19T09:39:19.235Z","id":"67b5a6c772417297712ce7bd","url":"/cms/api/media/file/optimized-Monet_Der%20Hafen%20von%20Le%20Havre%20am%20Abend.jpg","thumbnailURL":null},"measurements":"60 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":false,"id":"67bc238a87986af0ae414b3e"},"id":"67bc270da0cfed09eb6ee768"},{"artwork":{"title":{"de":"Der Hafen von Zaandam","en":"The Port of Zaandam"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1,"y":0.72,"z":0.2},"position":{"x":34.1111,"y":1.580700000000002,"z":23.1043,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":29.64,"y":16.26,"z":25.52},"id":"688db64a81df0f999dd06d8c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":34.189076869058525,"y":8.854790875505978,"z":23.083912315951643},"id":"6890a1e967c88f001b935332"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.4,"z":0.05},"position":{"x":34.9311,"y":1.0907,"z":23.1043,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":35.022346445596924,"y":8.33820580294961,"z":23.030125236319446},"id":"6890a1e967c88f001b935333"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"3f41a556e03f46eab48287579b432598","rotation":{"x":-3.15,"y":-1}}},"react3fiber":{"position":{"model":{"x":-23.3569,"y":16.9144,"z":-10.223999999999998},"floorplan":{"x":-22.297,"y":17.5,"z":-9.2}}}},"createdAt":"2025-02-24T07:45:14.163Z","updatedAt":"2026-11-05T15:01:21.350Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1871","en":"1871"},"description":{"de":"Monet zeigt den Moment der untergehenden Sonne, in dem die Gelb- und Rottöne in der Spiegelung des Wassers am intensivsten sind. Die hölzerne Duckdalbe rechts ist eine Blicksperre, die ein Irritationsmoment in die ruhige Abendstimmung einfügt. Die leicht bewegte Wasseroberfläche erscheint als Mosaik breiter Pinselstriche.","en":"Monet shows the moment during sunset in which the yellow and red tones in the reflections on the water are most intense. The structure on the right blocks the view, which adds a jarring element to the quiet evening atmosphere. The slight movement on the surface of the water appears as a mosaic of broad brushstrokes."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"alt":"monet_der_hafen_von_zaandam","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Hafen von Zaandam.jpg","mimeType":"image/jpeg","filesize":438180,"width":1920,"height":1219,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:19.855Z","updatedAt":"2025-02-19T09:39:19.855Z","id":"67b5a6c772417297712ce7c2","url":"/cms/api/media/file/optimized-Monet_Der%20Hafen%20von%20Zaandam.jpg","thumbnailURL":null},"measurements":"47,5 x 74 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":false,"id":"67bc238a87986af0ae414b6e"},"id":"67bc270da0cfed09eb6ee750"},{"artwork":{"title":{"de":"Schiffe in Zaandam","en":"Boats at Zaandam"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1,"y":0.72,"z":0.2},"position":{"x":32.4411,"y":1.580700000000002,"z":23.1043,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":27.97,"y":16.26,"z":25.52},"id":"688db65681df0f999dd06d96"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.52399811904241,"y":8.836451442658273,"z":23.076370721676053},"id":"6890a19767c88f001b935330"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.44,"z":0.05},"position":{"x":31.6411,"y":1.0607000000000006,"z":23.1343,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.670484341165245,"y":8.305268375880164,"z":23.0247740287246},"id":"6890a19767c88f001b935331"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"ea50451b34f34180b603d03ba0b994db","rotation":{"x":-1.66,"y":-0.93}}},"react3fiber":{"position":{"model":{"x":-21.686899999999998,"y":16.9144,"z":-10.223999999999998},"floorplan":{"x":-20.462,"y":17.5,"z":-9.271}}}},"createdAt":"2025-02-24T07:45:14.133Z","updatedAt":"2026-11-05T15:01:20.145Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1871","en":"1871"},"description":{"de":"Holland war ein Ziel für Landschaftsmaler, die sich vom akademischen Klassizismus absetzen wollten. In der kleinen Stadt Zaandam bei Amsterdam malte Monet von Juni bis Oktober 1871 ein Dutzend Ansichten des Hafens und der Häuser am Damm zu verschiedenen Tageszeiten. Die flatternden Wimpel der Segelmasten markieren die Windrichtung und zeigen Monets Streben nach photographischer Momenthaftigkeit.","en":"Holland was a destination for landscape painters who wanted to distance themselves from Neoclassicism. Monet created a dozen views of the port of Zaandam near Amsterdam and the buildings on the dam at different times of day between June and October 1871. The billowing pennants of the sailboat masts show the direction in which the wind is blowing and indicate that Monet had the ambition to achieve photographic accuracy."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B7","highlight":null,"image":{"alt":"monet_schiffe_in_zaandam","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Schiffe in Zaandam.jpg","mimeType":"image/jpeg","filesize":663831,"width":2000,"height":1221,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:45.202Z","updatedAt":"2025-02-19T09:39:45.202Z","id":"67b5a6e172417297712ce81c","url":"/cms/api/media/file/optimized-Monet_Schiffe%20in%20Zaandam.jpg","thumbnailURL":null},"measurements":"44,5 x 72,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b5a"},"id":"67bc270da0cfed09eb6ee75a"},{"artwork":{"title":{"de":"Mühle von Edam","en":"Mill of Edam"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.95,"z":1.11},"position":{"x":28.949857311967914,"y":1.5902972431891527,"z":25.33133634312414,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":24.43,"y":16.27,"z":27.7},"id":"688db62c81df0f999dd06d70"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":29.03635198934886,"y":8.849466109318596,"z":25.254305701551626},"id":"6890a0cd67c88f001b93532e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.44,"z":0.33},"position":{"x":28.913013474331756,"y":1.0717545845275362,"z":26.175984397306262,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.989736177581506,"y":8.318046094007704,"z":26.13689041658112},"id":"6890a0cd67c88f001b93532f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"4e65d14affb04c7b9035f056f49ee6e2","rotation":{"x":-1.74,"y":89.81}}},"react3fiber":{"position":{"model":{"x":-18.195657311967913,"y":16.923997243189152,"z":-12.451036343124139},"floorplan":{"x":-17,"y":17,"z":-11.4}}}},"createdAt":"2025-02-24T07:45:14.929Z","updatedAt":"2026-07-06T10:35:24.052Z","artist":{"lastName":"Signac","firstName":"Paul","lifeDates":"1863–1935","createdAt":"2025-02-24T07:45:12.002Z","updatedAt":"2025-02-24T07:45:12.002Z","id":"67bc238887986af0ae414ace"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1896","en":"1896"},"description":{"de":"Wie Monet reiste Paul Signac nach Holland und malte dort pittoreske Motive. Nach zahlreichen Aquarellen in Edam am ljsselmeer fertigte er dieses Gemälde im Atelier in Saint-Tropez. Signac trug die Farben mosaikartig auf. Sie bilden um die Sonne - Kraftlinien vergleichbar - konzentrische Kreise. Gras und Wolken erfasste er mit einem gitterartigen Farbauftrag.","en":"Like Monet, Paul Signac traveled to Holland and painted picturesque motifs there. After executing numerous watercolors in Edam on the lisselmeer, he painted this picture in his atelier in Saint-Tropez. Signac's application of the paint resembles a mosaic. The brushstrokes form concentric circles around the sun, similar to lines of energy. In the grass and clouds the paint is applied in a grid formation."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Edamer-Muehle_DE.mp3","mimeType":"audio/mpeg","filesize":1855464,"createdAt":"2025-03-04T18:55:37.633Z","updatedAt":"2025-03-04T18:55:37.633Z","id":"67c74ca99c762d275ec4a538","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Edamer-Muehle_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Edamer-Muehle_EN.mp3","mimeType":"audio/mpeg","filesize":2172939,"createdAt":"2025-03-04T18:55:57.708Z","updatedAt":"2025-03-04T18:55:57.708Z","id":"67c74cbd9c762d275ec4a55c","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-Edamer-Muehle_EN.mp3","thumbnailURL":null}}},"id":"67c991b7cf6f1f7f8c0bec39"}],"hall":"2B7","highlight":true,"image":{"alt":"signac_muehle_von_edam","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Signac_Muehle von Edam.jpg","mimeType":"image/jpeg","filesize":996393,"width":2000,"height":1608,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:19.996Z","updatedAt":"2025-02-19T09:40:19.996Z","id":"67b5a70372417297712ce8a3","url":"/cms/api/media/file/optimized-Signac_Muehle%20von%20Edam.jpg","thumbnailURL":null},"measurements":"65,2 x 81,4 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bb0"},"id":"67bc270da0cfed09eb6ee72f"},{"artwork":{"title":{"de":"Granatäpfel","en":"Pomegranates"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.7,"y":0.47,"z":0.2},"position":{"x":-5.323199999999999,"y":1.6109999999999989,"z":23.6631,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-9.78,"y":16.29,"z":25.94},"id":"688db63c81df0f999dd06d7f"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-5.226491237347294,"y":8.875079572715357,"z":23.73840749611846},"id":"6890ad8367c88f001b935360"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.45,"z":0.05},"position":{"x":-5.8632,"y":1.1109999999999989,"z":23.713099999999997,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-5.762072146820315,"y":8.379999999999999,"z":23.73384465609201},"id":"6890ad8367c88f001b935361"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"22da1f84b58e4310b862fa9c9d28d0f1","rotation":{"x":-1.62,"y":-1.22}}},"react3fiber":{"position":{"model":{"x":16.0774,"y":16.944699999999997,"z":-10.7828},"floorplan":{"x":15.337,"y":17.5,"z":-10.837}}}},"createdAt":"2025-02-24T07:45:14.211Z","updatedAt":"2026-11-05T15:01:25.157Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1913","en":"1913"},"description":{"de":"Dekorativ liegen Granatäpfel und Feigen auf einem weißen Tuch arrangiert. Der Kontrast der Komplementärfarben Rot und Grün bringt sie zum Leuchten. Die dynamische Pinselführung lässt den engen Bildraum pulsieren. Renoir übertrug die Erfahrungen der Freilichtmalerei auf alle Genres. Nichts steht fest, alles ist Empfindung.","en":"Pomegranates and figs are arranged decoratively on a white cloth. The contrast between the comple-mentary colors red and green make them shine. The crowded pictorial space seems to pulse through the use of dynamic brushwork. Renoir transferred the experiences of plein-air painting to all genres: nothing is certain, and everything is sensation."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"renoir_granataepfel","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Granataepfel.jpg","mimeType":"image/jpeg","filesize":861627,"width":2000,"height":1159,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:11.381Z","updatedAt":"2025-02-19T09:40:11.381Z","id":"67b5a6fb72417297712ce87b","url":"/cms/api/media/file/optimized-Renoir_Granataepfel.jpg","thumbnailURL":null},"measurements":"27 x 46,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b8c"},"id":"67bc270da0cfed09eb6ee741"},{"artwork":{"title":{"de":"Stillleben mit spanischer Melone","en":"Still Life with a Honeydew Melon"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.99,"y":1.2,"z":0.2},"position":{"x":-6.6832,"y":1.6109999999999989,"z":23.6631,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.14,"y":16.29,"z":25.94},"id":"688db64781df0f999dd06d89"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.592105073330726,"y":8.870709399467483,"z":23.745412152532168},"id":"6890ad4267c88f001b93535e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.45,"z":0.05},"position":{"x":-7.3831999999999995,"y":1.1109999999999989,"z":23.713099999999997,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.315323085569468,"y":8.361779014506029,"z":23.715223149642487},"id":"6890ad4267c88f001b93535f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"b62adc2327824bea83acfb215456f0cb","rotation":{"x":-2.92,"y":-0.31}}},"react3fiber":{"position":{"model":{"x":17.4374,"y":16.944699999999997,"z":-10.7828},"floorplan":{"x":16.504,"y":17.5,"z":-10.889}}}},"createdAt":"2025-02-24T07:45:14.171Z","updatedAt":"2026-11-05T15:01:25.761Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1879","en":"1879"},"description":{"de":"Das herbstliche Stillleben Monets steht in der Tradition der flämischen Malerei des 17. Jahrhunderts, die mit überreichen Arrangements südlicher Früchte Wohlstand und Lebensfreude zum Ausdruck brachte. Die wie zum sofortigen Verzehr angeschnittene Melone regt den Geschmackssinn an.","en":"This autumn still life by Monet follows the tradition of Flemish painting of the seventeenth century in which sumptuous arrangements of southern fruits symbolized prosperity and the enjoyment of life. The sliced melon, seemingly ready for immediate consumption, stimulates the sense of taste."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"monet_stillleben_mit_spanischer_melone","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Stillleben mit spanischer Melone.jpg","mimeType":"image/jpeg","filesize":805448,"width":1625,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:50.477Z","updatedAt":"2025-02-19T09:39:50.477Z","id":"67b5a6e672417297712ce830","url":"/cms/api/media/file/optimized-Monet_Stillleben%20mit%20spanischer%20Melone.jpg","thumbnailURL":null},"measurements":"90 x 68 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b74"},"id":"67bc270da0cfed09eb6ee74d"},{"artwork":{"title":{"de":"Honfleur. Das Bauerngut Saint-Siméon. Personen bei Tisch","en":"Honfleur: The St-Siméon Farm; Seated Figures"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.53,"y":0.29,"z":0.2},"position":{"x":-7.9432,"y":1.6010000000000009,"z":23.6631,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-12.4,"y":16.28,"z":25.94},"id":"688db68781df0f999dd06dbc"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.8489494005195795,"y":8.866071313784149,"z":23.712026856349578},"id":"6890ace667c88f001b93535a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.45,"z":0.05},"position":{"x":-8.443200000000001,"y":1.0809999999999995,"z":23.713099999999997,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-8.353562493090042,"y":8.3313224190085,"z":23.718270210187534},"id":"6890ace667c88f001b93535b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c0f559c854f64c68ba595048ac3b2afc","rotation":{"x":-1.19,"y":-0.76}}},"react3fiber":{"position":{"model":{"x":18.697400000000002,"y":16.9347,"z":-10.7828},"floorplan":{"x":17.686,"y":17.5,"z":-11.436}}}},"createdAt":"2025-02-24T07:45:13.905Z","updatedAt":"2026-11-05T15:01:25.417Z","artist":{"lastName":"Boudin","firstName":"Eugène","lifeDates":"1824–1898","createdAt":"2025-02-24T07:45:11.960Z","updatedAt":"2025-02-24T07:45:11.960Z","id":"67bc238787986af0ae414aae"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1855–1857","en":"1855–1857"},"description":{"de":"Die für Eugène Boudin ungewöhnlich anekdotische Szene schildert das einfache Landleben auf dem Gehöft Saint-Siméon in Honfleur bei Le Havre. 1854 hatte sich Boudin hier eingemietet und Anhänger der Freilichtmalerei um sich versammelt. Zu dieser frühen Künstlerkolonie an der Mündung der Seine gehörten später auch Gustave Courbet und Claude Monet.","en":"This scene, which is unusually anecdotal for a work by Eugène Boudin, describes simple country life at the Saint-Siméon farm in Honfleur, near Le Havre. In 1854 Boudin rented space there and brought together followers of plein-air painting. Gustave Courbet and Claude Monet later joined this early artist colony on the Seine estuary."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"boudin_honfleur_das_bauerngut_saint-simeon","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Boudin_Honfleur_Das Bauerngut Saint-Simeon.jpg","mimeType":"image/jpeg","filesize":517780,"width":2000,"height":832,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:44.939Z","updatedAt":"2025-02-19T09:38:44.939Z","id":"67b5a6a472417297712ce722","url":"/cms/api/media/file/optimized-Boudin_Honfleur_Das%20Bauerngut%20Saint-Simeon.jpg","thumbnailURL":null},"measurements":"17 x 40,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Holz","en":"Oil on panel"},"id":"67bc238987986af0ae414b01"},"id":"67bc270da0cfed09eb6ee786"},{"artwork":{"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.78,"z":0.77},"position":{"x":-7.44012192770459,"y":1.608166353044804,"z":28.031451854482825,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.94,"y":16.29,"z":30.33},"id":"688db68f81df0f999dd06dc2"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.328853554320005,"y":8.868298011364491,"z":28.09449613639366},"id":"6890acaf67c88f001b935358"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.37,"z":0.33},"position":{"x":-7.438607881985544,"y":1.1368237733871842,"z":28.7424967824607,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.3429568731864245,"y":8.40098795941991,"z":28.793688689778687},"id":"6890acaf67c88f001b935359"},{"exhibition":"68f753818c90c86166dd78af","position":{"x":-7.3429568731864245,"y":8.40098795941991,"z":28.793688689778687},"id":"692745205d14c00b4c7da6d7"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"f13a8a756772410d9b01b13400ccfea5","rotation":{"x":-2.4,"y":-89.89}}},"react3fiber":{"position":{"model":{"x":18.194321927704593,"y":16.9418663530448,"z":-15.151151854482825},"floorplan":{"x":17.362,"y":17.5,"z":-15.018}}}},"createdAt":"2025-03-03T13:12:27.959Z","updatedAt":"2026-11-05T15:01:22.071Z","title":{"de":"Stillleben","en":"Still Life"},"artist":{"lastName":"Bonnard","firstName":"Pierre","lifeDates":"1867-1947","createdAt":"2025-03-03T13:12:24.932Z","updatedAt":"2025-03-03T13:12:24.932Z","id":"67c5aab89c762d275ec3e819"},"catalogNumber":"MB-Bon-01","credit":{"de":"Bonnard bezeichnete sich einmal selbst als „den Letzten der Impressionisten\". In seinen Gemälden verband er Anleihen aus der Malerei Claude Monets mit der intensiven Farbigkeit der Fauvisten. Die gedrungene Perspektive und der eng gewählte Bildausschnitt lassen das Stillleben traumartig verfremdet wirken.","en":"Bonnard once described himself as \"the last of the Impressionists\". In his works, he combined borrowings from Claude Monet's painting with the Fauvists' intense coloration. Due to the distorted perspective and the narrow cropping of the pictorial field, the modest still life appears strangely oneiric."},"dating":{"de":"1939","en":"1939"},"description":{"de":"Bonnard bezeichnete sich einmal selbst als „den Letzten der Impressionisten“. In seinen Gemälden verband er Anleihen aus der Malerei Claude Monets mit der intensiven Farbigkeit der Fauvisten. Die gedrungene Perspektive und der eng gewählte Bildausschnitt lassen das Stillleben traumartig verfremdet wirken.","en":"Bonnard once described himself as “the last of the Impressionists”. In his works, he combined borrowings from Claude Monet’s painting with the Fauvists’ intense coloration. Due to the distorted perspective and the narrow cropping of the pictorial field, the modest still life appears strangely oneiric."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","image":{"alt":"Still Life","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Bon-01_Bonnard_Stillleben_1.jpg","mimeType":"image/jpeg","filesize":1908643,"width":1920,"height":1943,"focalX":50,"focalY":50,"createdAt":"2025-03-03T13:14:02.856Z","updatedAt":"2025-03-03T13:14:02.856Z","id":"67c5ab1a9c762d275ec3e86e","url":"/cms/api/media/file/MB-Bon-01_Bonnard_Stillleben_1.jpg","thumbnailURL":null},"measurements":"53,3 x 52,7 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5aabb9c762d275ec3e829"},"id":"67c5cb25ba47f3524d942d85"},{"artwork":{"title":{"de":"Mein Haus in Moret","en":"My House at Moret"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.82,"z":1.09},"position":{"x":-6.882829417255091,"y":1.6005254929123063,"z":28.052750291385642,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.34,"y":16.28,"z":30.35},"id":"688db62981df0f999dd06d6d"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.781467076184899,"y":8.85707443938986,"z":28.092707647847558},"id":"6890a9ef67c88f001b935346"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.3},"position":{"x":-6.931805000593359,"y":1.1010588619408193,"z":27.21987819602349,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.830743713300871,"y":8.37,"z":27.278022099048087},"id":"6890a9ef67c88f001b935347"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"40a6c1d7600442818eabf8db4d71e426","rotation":{"x":-3.89,"y":89.38}}},"react3fiber":{"position":{"model":{"x":17.637029417255093,"y":16.934225492912304,"z":-15.172450291385642},"floorplan":{"x":16.464,"y":17.5,"z":-14.989}}}},"createdAt":"2025-02-24T07:45:14.954Z","updatedAt":"2026-11-05T15:01:26.265Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1892","en":"1892"},"description":{"de":"Am Fenster seines Ateliers malte Sisley den blühenden Flieder im Garten. Der Ausschnitt scheint willkürlich wie bei einer Photographie. Das Blauviolett, das in hier anzog, findet sich in den Fassaden und an den Dächer der umstehenden Häuser. Auch die Frau und das Kind auf dem Gartenweg fügen sich in den Zusammenklang der Blautöne ein.","en":"Sisley painted the blooming ilacs in his garden from the window of his studio. The cropping seems random, as is often the case in photography. The blue-violet color that attracted him hare is also seen in the façades and the roots of the surrounding houses. Even the woman and child on the garden path are included in this harmony of the color blue."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"sisley_mein_haus_in_moret","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Mein Haus in Moret.jpg","mimeType":"image/jpeg","filesize":873713,"width":2000,"height":1476,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:27.522Z","updatedAt":"2025-02-19T09:40:27.522Z","id":"67b5a70b72417297712ce8c6","url":"/cms/api/media/file/optimized-Sisley_Mein%20Haus%20in%20Moret.jpg","thumbnailURL":null},"measurements":"53,5 x 72,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bc0"},"id":"67bc270da0cfed09eb6ee729"},{"artwork":{"title":{"de":"Der Apfelbaum","en":"The Apple Tree"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.87,"z":0.96},"position":{"x":-4.4209,"y":1.5984000000000016,"z":30.5054,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.86,"y":16.28,"z":32.81},"id":"688db68d81df0f999dd06dc1"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.320703541396498,"y":8.870000000000001,"z":30.54754805475938},"id":"6890aa5067c88f001b935348"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.32},"position":{"x":-4.430899999999999,"y":1.0983999999999998,"z":31.325400000000002,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.268068304813112,"y":8.360810952493122,"z":31.36410245846559},"id":"6890aa5067c88f001b935349"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"82c353eadc93404fbc100f8f727a3c6f","rotation":{"x":-0.7,"y":-90.7}}},"react3fiber":{"position":{"model":{"x":15.1751,"y":16.9321,"z":-17.625100000000003},"floorplan":{"x":14.597,"y":17.5,"z":-17.265}}}},"createdAt":"2025-03-03T12:48:38.505Z","updatedAt":"2026-11-05T15:01:24.642Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"credit":{"de":"","en":""},"dating":{"de":"1879","en":"1879"},"description":{"de":"Mit dieser Momentaufnahme, gemalt in der Nähe des Ortes Vétheuil, lenkt Monet den Blick auf die Pracht eines in voller Blüte stehenden Apfelbaums vor wolkenschwerem Himmel – verheißungsvoll und vergänglich wie die ziehenden Wolken. Obstbäume am Fuß der Hügel von Chantemesle mit der Kirche von Vétheuil im Hintergrund, das Dorf vom gegenüberliegenden Seineufer aus und der erste selbst angelegte Garten beschäftigten den Maler seit seinem Umzug von Argenteuil in das abgelegene Seinedorf im Jahr zuvor. ","en":"In this scene, painted near Vétheuil, Monet captures the fleeting splendor of an apple tree in full bloom against a cloud-filled sky—as promising and ephemeral as the passing clouds. Since the previous year, when he had left Argenteuil and moved to the secluded village on the Seine, Monet had occupied himself with painting the fruit trees at the foot of the hill of Chantemesle with the church of Vétheuil in the background, the village as seen from the other side of the river, and his first garden."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","image":{"alt":"Der Apfelbaum","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"DerApfelbaumNew.jpg","mimeType":"image/jpeg","filesize":565314,"width":1400,"height":1171,"focalX":50,"focalY":50,"createdAt":"2025-03-03T12:47:18.751Z","updatedAt":"2025-03-03T12:47:18.751Z","id":"67c5a4d69c762d275ec3e64d","url":"/cms/api/media/file/DerApfelbaumNew.jpg","thumbnailURL":null},"measurements":"54,2 x 65,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5a5269c762d275ec3e673"},"id":"67c5cb1eba47f3524d942d84"},{"artwork":{"title":{"de":"Wilder Garten bei Le Petit Gennevilliers","en":"Wild Garden at Le Petit Gennevilliers"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":1.01,"z":1.1},"position":{"x":-4.4209,"y":1.5984000000000016,"z":32.4954,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.86,"y":16.28,"z":34.8},"id":"688db68c81df0f999dd06dc0"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.31809234733205,"y":8.870000000000001,"z":32.55902023440902},"id":"6890aa9167c88f001b93534a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.36},"position":{"x":-4.450900000000001,"y":1.0983999999999998,"z":33.3454,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.268804324282652,"y":8.37,"z":33.39844579557338},"id":"6890aa9167c88f001b93534b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"16d30068e1984bc1997f2393c772f3c5","rotation":{"x":-3.06,"y":-89.47}}},"react3fiber":{"position":{"model":{"x":15.1751,"y":16.9321,"z":-19.615099999999998},"floorplan":{"x":14.597,"y":17.5,"z":-19.268}}}},"createdAt":"2025-03-03T12:39:56.439Z","updatedAt":"2026-11-05T15:01:24.244Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":"MB-Cai-07","dating":{"de":"um 1882–1884","en":"ca. 1882–1884"},"description":{"de":"Nach 1882 setzte sich Caillebotte vermehrt mit der Landschaftsmalerei auseinander. Seine Motive fand er im Umfeld seines Landhauses in dem nahe Paris gelegenen Seine-Dorf Le Petit Gennevilliers. Die leuchtende Farbgestaltung und freie Pinselführung verweisen auf den Einfluss der Gartenbilder Claude Monets.","en":"After 1882, Caillebotte increasingly focused on landscape painting. Numerous depictions were dedicated to the surroundings of his house in the Seine village of Le Petit Gennevilliers near Paris. The application of high-keyed colors and the free brushwork evidence the influence of Claude Monet’s garden paintings."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","image":{"alt":"Wilder Garten bei Le Petit Gennevilliers","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"WilderGartenbeiLePetitGennevilliers.png","mimeType":"image/png","filesize":3137153,"width":1280,"height":1097,"focalX":50,"focalY":50,"createdAt":"2025-03-03T12:40:37.717Z","updatedAt":"2025-03-03T12:40:37.717Z","id":"67c5a3459c762d275ec3e539","url":"/cms/api/media/file/WilderGartenbeiLePetitGennevilliers.png","thumbnailURL":null},"measurements":"63,7 x 74,2 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5a31c9c762d275ec3e509"},"id":"67c5cb0dba47f3524d942d83"},{"artwork":{"title":{"de":"Der Birnbaum","en":"The Pear Tree"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.67,"z":0.6},"position":{"x":-4.450900000000001,"y":1.5984000000000016,"z":34.3154,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.89,"y":16.28,"z":36.62},"id":"688db63581df0f999dd06d78"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.32337377386589,"y":8.86360915739681,"z":34.37011808788432},"id":"6890aad367c88f001b93534c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.36},"position":{"x":-4.4609000000000005,"y":1.1184000000000012,"z":34.9554,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.265328625391448,"y":8.37389420985659,"z":35.00576853046934},"id":"6890aad367c88f001b93534d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"74c0101d27304440bdc1876cc81f0fa0","rotation":{"x":-4.36,"y":-89.34}}},"react3fiber":{"position":{"model":{"x":15.205100000000002,"y":16.9321,"z":-21.4351},"floorplan":{"x":14.597,"y":17.5,"z":-21.22}}}},"createdAt":"2025-02-24T07:45:14.896Z","updatedAt":"2026-11-05T15:01:26.333Z","artist":{"lastName":"Renoir","firstName":"Pierre-Auguste","lifeDates":"1841–1919","createdAt":"2025-02-24T07:45:11.993Z","updatedAt":"2025-02-24T07:45:11.993Z","id":"67bc238787986af0ae414ac4"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1877","en":"1877"},"description":{"de":"Der schiefe Baumstamm lenkt den Blick des Betrachters zur Bildmitte. Um das Zentrum entfaltet sich das flirrende Spiel der Blätter in herbstlichem Gelborange. Das vom Wind bewegte Blattwerk ist in pastosen Pinselstrichen ausgeführt. Der Komplementärkontrast zum Hellblau des Himmels verstärkt die Leuchtkraft der Farben.","en":"The crooked trunk guides the viewer's gaze to the center of the picture space, around which the shimmering play of yellow and orange autumn foliage unfolds. The leaves that are stirred by the wind are executed in rich impasta The complementary contrast to the light blue of the sky increases the luminosity of the colors."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"renoir_der_birnbaum","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Renoir_Der Birnbaum.jpg","mimeType":"image/jpeg","filesize":938301,"width":1770,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:10.223Z","updatedAt":"2025-02-19T09:40:10.223Z","id":"67b5a6fa72417297712ce876","url":"/cms/api/media/file/optimized-Renoir_Der%20Birnbaum.jpg","thumbnailURL":null},"measurements":"46,1 x 37,7 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b9a"},"id":"67bc270da0cfed09eb6ee73a"},{"artwork":{"title":{"de":"Fenster mit Nelken, Gerberoy","en":"Window with Carnations, Gerberoy"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.11,"y":1.31,"z":0.2},"position":{"x":-6.9308,"y":1.5779999999999994,"z":36.1796,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.42,"y":16.27,"z":38.51},"id":"688db67e81df0f999dd06db5"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.8041050876512115,"y":8.86,"z":36.26861964253873},"id":"6890ab1c67c88f001b93534e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.46,"z":0.05},"position":{"x":-7.8208,"y":1.048,"z":36.229600000000005,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.671229369324418,"y":8.337061634170649,"z":36.292620125603925},"id":"6890ab1c67c88f001b93534f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c4893d3d554349b990313ebd708abf9d","rotation":{"x":-2.49,"y":-179.3}}},"react3fiber":{"position":{"model":{"x":17.685000000000002,"y":16.911699999999996,"z":-23.299300000000002},"floorplan":{"x":16.555,"y":17.5,"z":-21.741}}}},"createdAt":"2025-02-24T07:45:13.972Z","updatedAt":"2026-11-05T15:01:20.218Z","artist":{"lastName":"Le Sidaner","firstName":"Henri","lifeDates":"1862–1939","createdAt":"2025-02-24T07:45:11.044Z","updatedAt":"2025-02-24T07:45:11.044Z","id":"67bc238787986af0ae414a5c"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1908","en":"1908"},"description":{"de":"Der Blick aus dem Haus des Künstlers führt in den Garten. Ein gedeckter Tisch vor geöffnetem Fenster war eines der Lieblingsmotive von Henri Le Sidaner, das er in etwa 80 Gemälden varlierte. Mit dem Erzählerischen, der melancholischen Stimmung und der gedämpften Tonalität hat sich Le Sidaner von seinem Vorbild Claude Monet entfernt.","en":"The view from the artist's house shows the garden. A set table in front of an open window was one of Henri Le Sidaner's favorite motifs, which he varied in around eighty works. Le Sidaner distanced himself from his role model Claude Monet through his use of narrative, the melancholy atmosphere, and muted tones."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Le-Sidaner-Fenster-mit-Nelken_DE.mp3","mimeType":"audio/mpeg","filesize":1562496,"createdAt":"2025-03-05T10:10:00.019Z","updatedAt":"2025-03-05T10:10:00.019Z","id":"67c822f89c762d275ec4d20e","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Le-Sidaner-Fenster-mit-Nelken_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Le-Sidaner-Fenster-mit-Nelken_EN.mp3","mimeType":"audio/mpeg","filesize":1951421,"createdAt":"2025-03-05T10:10:31.294Z","updatedAt":"2025-03-05T10:10:31.294Z","id":"67c823179c762d275ec4d234","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Le-Sidaner-Fenster-mit-Nelken_EN.mp3","thumbnailURL":null}}},"id":"67c99131cf6f1f7f8c0beb25"}],"hall":"2B8","highlight":true,"image":{"alt":"le_sidaner_fenster_mit_nelken_gerberoy","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Le Sidaner_Fenster mit Nelken_Gerberoy.jpg","mimeType":"image/jpeg","filesize":849784,"width":1733,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:07.816Z","updatedAt":"2025-02-19T09:39:07.816Z","id":"67b5a6bb72417297712ce790","url":"/cms/api/media/file/optimized-Le%20Sidaner_Fenster%20mit%20Nelken_Gerberoy.jpg","thumbnailURL":null},"measurements":"100 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b12"},"id":"67bc270da0cfed09eb6ee77e"},{"artwork":{"title":{"de":"Flieder und Pfingstrosen in zwei Vasen","en":"Lilacs and Peonies in Two Vases"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.97,"y":1.17,"z":0.2},"position":{"x":-9.290799999999999,"y":1.588000000000001,"z":36.1796,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-13.78,"y":16.28,"z":38.51},"id":"688db67c81df0f999dd06db4"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-9.14601251587981,"y":8.870000000000001,"z":36.301569564062184},"id":"6890ab5a67c88f001b935350"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.33,"y":0.46,"z":0.05},"position":{"x":-10.1108,"y":1.0579999999999998,"z":36.2196,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-9.95522806138552,"y":8.34,"z":36.297026245317205},"id":"6890ab5a67c88f001b935351"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8775e5e44d4e4767913780a83bc9f036","rotation":{"x":-2.34,"y":179.98}}},"react3fiber":{"position":{"model":{"x":20.045,"y":16.9217,"z":-23.299300000000002},"floorplan":{"x":19.294,"y":17.5,"z":-21.741}}}},"createdAt":"2025-02-24T07:45:13.984Z","updatedAt":"2026-11-05T15:01:19.906Z","artist":{"lastName":"Caillebotte","firstName":"Gustave","lifeDates":"1848–1894","createdAt":"2025-02-24T07:45:11.927Z","updatedAt":"2025-02-24T07:45:11.927Z","id":"67bc238787986af0ae414a94"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"1881 erwarb Gustave Caillebotte ein Landhaus in dem Seine-Dorf Le Petit-Gennevilliers gegenüber von Argenteuil. Dort legte er einen Blumengarten mit einem Gewächshaus für Orchideen an. Mit Monet, ebenfalls ein leidenschaftlicher Gärtner, tauschte er sich aus. Angeregt durch dessen Vorbild fertigte er 25 Stillleben mit Blumen aus seinem Garten an.","en":"In 1881 Gustave Caillebotte purchased a country house in the Seine village of Le Petit-Gennevilliers across from Argenteuil. There he set up a flower garden with a greenhouse for orchids. He exchanged ideas about horticulture with Monet, who was also a passionate gardener. Inspired by his example, Caillebotte painted twenty-five still lifes with flowers from his garden."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"caillebotte_flieder_und_pfingstrosen_in_zwei_vasen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Caillebotte_Flieder und Pfingstrosen in zwei Vasen.jpg","mimeType":"image/jpeg","filesize":981797,"width":1706,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:49.812Z","updatedAt":"2025-02-19T09:38:49.812Z","id":"67b5a6a972417297712ce73b","url":"/cms/api/media/file/optimized-Caillebotte_Flieder%20und%20Pfingstrosen%20in%20zwei%20Vasen.jpg","thumbnailURL":null},"measurements":"92 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b14"},"id":"67bc270da0cfed09eb6ee77d"},{"artwork":{"title":{"de":"Der Garten von Vétheuil","en":"The Garden at Vétheuil"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.94,"z":1.1},"position":{"x":-11.6425,"y":1.6090000000000018,"z":33.1129,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-16.18,"y":16.28,"z":35.39},"id":"688db65881df0f999dd06d98"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.51495405378214,"y":8.86695167986077,"z":33.16886772504592},"id":"6890aba567c88f001b935352"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.33},"position":{"x":-11.652500000000002,"y":0.7890000000000015,"z":32.4829,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.576832157193662,"y":8.05,"z":32.53086055961159},"id":"6890aba567c88f001b935353"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"3bf9d263365e41d8a10b9384f8a9e3c6","rotation":{"x":-1.75,"y":91.08}}},"react3fiber":{"position":{"model":{"x":22.396700000000003,"y":16.942700000000002,"z":-20.232600000000005},"floorplan":{"x":19.992,"y":17.5,"z":-16.948}}}},"createdAt":"2025-02-24T07:45:14.127Z","updatedAt":"2026-11-05T15:01:25.886Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1881","en":"1881"},"description":{"de":"Den Blick irritieren Baumgeäst und Pflanzgestänge. Die uninszeniert wirkende Komposition widerspricht dem akademischen Bildaufbau. Sie verleiht dem Gemälde von Monets Garten Im Seine-Dorf Vétheull den modernen Charakter einer spontanen Momentaufnahme. Es gehört zu den ersten Bildern Monets, die - ohne menschliche Figuren - nur noch dem Blühen gewidmet sind.","en":"This view is partially blocked by tree branches and planting rods. Seemingly unarranged, the composition does not adhere to academic rules, giving the scene In Monet's garden in the Seine village of Vétheull the modern character of a spontaneous snapshot. It is one of the first pictures by Monet that is devoid of human figures and exclusively devoted to blossoming plants."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2B8","highlight":null,"image":{"alt":"monet_der_garten_von_vetheuil","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Garten von Vetheuil.jpg","mimeType":"image/jpeg","filesize":927802,"width":2000,"height":1585,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:17.740Z","updatedAt":"2025-02-19T09:39:17.740Z","id":"67b5a6c572417297712ce7b8","url":"/cms/api/media/file/optimized-Monet_Der%20Garten%20von%20Vetheuil.jpg","thumbnailURL":null},"measurements":"59,5 x 74,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":false,"id":"67bc238a87986af0ae414b56"},"id":"67bc270da0cfed09eb6ee75c"},{"artwork":{"title":{"de":"Garten und Hühnerstall von Octave Mirbeau, Les Damps","en":"Garden and henhouse at Octave Mirbeau's, Les Damps"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":1.09,"z":1.27},"position":{"x":-11.6425,"y":1.6090000000000018,"z":29.912899999999997,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-16.18,"y":16.28,"z":32.19},"id":"688db64e81df0f999dd06d8f"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.545395976277478,"y":8.845366456471236,"z":29.9568071220162},"id":"6890ac0167c88f001b935354"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.33},"position":{"x":-11.6425,"y":0.7990000000000013,"z":29.282899999999998,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.55314104674901,"y":8.033815533200604,"z":29.327902955744864},"id":"6890ac0167c88f001b935355"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"cac2b5e90a43459fac000e326b6e343c","rotation":{"x":-0.82,"y":90.01}}},"react3fiber":{"position":{"model":{"x":22.396700000000003,"y":16.942700000000002,"z":-17.032599999999995},"floorplan":{"x":19.992,"y":17.5,"z":-20.016}}}},"createdAt":"2025-02-24T07:45:14.154Z","updatedAt":"2026-11-05T15:01:24.116Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1892","en":"1892"},"description":{"de":"Der Schriftsteller Octave Mirbeau, ein enger Freund von Monet und Pissarro, teilte die Begeisterung für Gärten. Pissarro malte den von Ihm angelegten Blumengarten In Les Damps In der Normandie als Feler der Farben. Diese bürgerliche Idylle steht im Gegensatz zu Mirbeaus antlautoritären und antibürgerlichen Schriften.","en":"The writer Octave Mirbeau, a close friend of Monet and Pissarro, shared the artists' enthusiasm for gardens. Pissarro painted the garden that Mirbeau planted in Les Damps in Normandy as a celebration of colors. This bourgeois idyll stands in contrast to Mirbeau's antiauthoritarian and antibourgeois writings."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Garten-und-Huehnerstall-bei-Octave-Mirbeau_DE.mp3","mimeType":"audio/mpeg","filesize":1328998,"createdAt":"2025-03-05T10:19:47.353Z","updatedAt":"2025-03-05T10:19:47.353Z","id":"67c825439c762d275ec4d3d1","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Garten-und-Huehnerstall-bei-Octave-Mirbeau_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Garten-und-Huehnerstall-bei-Octave-Mirbeau_EN.mp3","mimeType":"audio/mpeg","filesize":1641714,"createdAt":"2025-03-05T10:20:12.344Z","updatedAt":"2025-03-05T10:20:12.344Z","id":"67c8255c9c762d275ec4d3f6","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Garten-und-Huehnerstall-bei-Octave-Mirbeau_EN.mp3","thumbnailURL":null}}},"id":"67c99115cf6f1f7f8c0beacf"}],"hall":"2B8","highlight":null,"image":{"alt":"pissarro_garten_und_huehnerstall_von_octave_mirbeau","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Garten und Huehnerstall von Octave Mirbeau.jpg","mimeType":"image/jpeg","filesize":975458,"width":2000,"height":1602,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:06.082Z","updatedAt":"2025-02-19T09:40:06.082Z","id":"67b5a6f672417297712ce86c","url":"/cms/api/media/file/optimized-Pissarro_Garten%20und%20Huehnerstall%20von%20Octave%20Mirbeau.jpg","thumbnailURL":null},"measurements":"73,3 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b68"},"id":"67bc270da0cfed09eb6ee753"},{"artwork":{"title":{"de":"Die Rosensträucher im Garten von Montgeron","en":"The Rose Bushes in the Garden at Montgeron"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.96,"z":1.18},"position":{"x":-11.632500000000002,"y":1.6189999999999998,"z":26.7229,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-16.17,"y":16.29,"z":29},"id":"688db65f81df0f999dd06d9e"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.552615324012498,"y":8.872647275538553,"z":26.776682024991867},"id":"6890ac5667c88f001b935356"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.33},"position":{"x":-11.612499999999999,"y":0.7789999999999999,"z":26.0929,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.582526530874649,"y":8.021689644514524,"z":26.13495230059483},"id":"6890ac5667c88f001b935357"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"9323f8dca034477698914109ae062803","rotation":{"x":-1.99,"y":90.73}}},"react3fiber":{"position":{"model":{"x":22.386700000000005,"y":16.9527,"z":-13.8426},"floorplan":{"x":19.7,"y":17,"z":-12.6}}}},"createdAt":"2025-02-24T07:45:14.104Z","updatedAt":"2026-11-05T15:01:25.027Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1876","en":"1876"},"description":{"de":"Claude Monet fertigte diese Gartenszene als Auftragsarbeit auf dem Anwesen des Textilhändlers Ernest Hoschedé im Pariser Vorort Montgeron an. Den klassisch angelegten Bildraum durchbrach der Maler, indem er die blühenden Sträucher ungewöhnlich nah im Vordergrund platzierte. Diese Anlage könte auf die Bestimmung der Komposition als Wanddekoration zurückzuführen sein, die einen Ausblick in die Landschaft simulieren sollte.","en":"Claude Monet was commissioned to create this garden scene on the grounds of the textile merchant Ernest Hoschedé's home in the Parisian suburb of Montgeron. The artist disrupted the classically composed picture space by placing the blossoming bushes unusually close in the foreground. This arrangement could be due to the purpose of the composition as a wall decoration that was to simulate a view into the landscape."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Rosenstraeucher-im-Garten-Montgeron_DE.mp3","mimeType":"audio/mpeg","filesize":1468596,"createdAt":"2025-03-05T10:22:41.076Z","updatedAt":"2025-03-05T10:22:41.076Z","id":"67c825f19c762d275ec4d496","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Rosenstraeucher-im-Garten-Montgeron_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Rosenstraeucher-im-Garten-Montgeron_EN.mp3","mimeType":"audio/mpeg","filesize":1803881,"createdAt":"2025-03-05T10:23:07.423Z","updatedAt":"2025-03-05T10:23:07.423Z","id":"67c8260b9c762d275ec4d4bc","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Rosenstraeucher-im-Garten-Montgeron_EN.mp3","thumbnailURL":null}}},"id":"67c9911fcf6f1f7f8c0beaed"}],"hall":"2B8","highlight":true,"image":{"alt":"monet_die_rosenstraeucher_im_garten_von_montgeron","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Die Rosenstraeucher im Garten von Montgeron.jpg","mimeType":"image/jpeg","filesize":851699,"width":2000,"height":1481,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:30.052Z","updatedAt":"2025-02-19T09:39:30.052Z","id":"67b5a6d272417297712ce7e5","url":"/cms/api/media/file/optimized-Monet_Die%20Rosenstraeucher%20im%20Garten%20von%20Montgeron.jpg","thumbnailURL":null},"measurements":"61 x 82 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b4a"},"id":"67bc270da0cfed09eb6ee762"},{"artwork":{"title":{"de":"Raureif in Pontoise","en":"Hoarfrost at Pontoise"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.17,"y":0.86,"z":0.2},"position":{"x":-5.904100000000001,"y":1.6145000000000014,"z":2.3752999999999997,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-10.32,"y":16.26,"z":4.68},"id":"688db67381df0f999dd06dad"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-5.884854590979287,"y":8.850000000000001,"z":2.3773491883177176},"id":"6890d12e67c88f001b93537c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.43,"z":0.05},"position":{"x":-6.814100000000001,"y":1.1545000000000005,"z":2.3453000000000004,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.791885435747528,"y":8.37375828432829,"z":2.408210164248326},"id":"6890d12e67c88f001b93537d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"98d73a9738ec4dbfb3c831981b9feabd","rotation":{"x":-1.97,"y":179.87}}},"react3fiber":{"position":{"model":{"x":16.6583,"y":16.9482,"z":10.505},"floorplan":{"x":15.695,"y":17.5,"z":9.528}}}},"createdAt":"2025-02-24T07:45:14.047Z","updatedAt":"2026-11-05T15:01:20.511Z","artist":{"lastName":"Loiseau","firstName":"Gustave","lifeDates":"1865–1935","createdAt":"2025-02-24T07:45:11.071Z","updatedAt":"2025-02-24T07:45:11.071Z","id":"67bc238787986af0ae414a70"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906","en":"1906"},"description":{"de":"In vielen impressionistischen Landschaften finden sich Fabrikschornsteine als Zeichen der Moderne, aber selten sind sie mit ihren Rauchwolken derart prominent in Szene gesetzt, Mit kurzen Pinselstrichen erfasste Gustave Loiseau die Anmutung der mit Raureif überzogenen Felder und Bäume. Der pastose Farbauftrag bildet ihre Oberfläche nach.","en":"Although many impressionist landscapes include factory chimneys as symbols of the modern era, it is unusual for them to be featured as prominently as they are here. Gustave Loiseau captured the appearance of fields and trees covered with hoar frost using short brushstrokes. The impasto imitates their surfaces."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"loiseau_raureif_in_pontoise","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Loiseau_Raureif in Pontoise.jpg","mimeType":"image/jpeg","filesize":880254,"width":2000,"height":1304,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:10.274Z","updatedAt":"2025-02-19T09:39:10.274Z","id":"67b5a6be72417297712ce79a","url":"/cms/api/media/file/optimized-Loiseau_Raureif%20in%20Pontoise.jpg","thumbnailURL":null},"measurements":"60 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b2c"},"id":"67bc270da0cfed09eb6ee771"},{"artwork":{"title":{"de":"Blick auf Bazincourt, Schnee, Sonnenuntergang","en":"View of Bazincourt, Snow Effect, Sunset"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.63,"y":0.57,"z":0.2},"position":{"x":-7.7040999999999995,"y":1.6244999999999994,"z":2.3752999999999997,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-12.12,"y":16.27,"z":4.68},"id":"688db64f81df0f999dd06d90"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.6853475121014325,"y":8.864632679863961,"z":2.3642116052950586},"id":"6890d0eb67c88f001b93537a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.43,"z":0.05},"position":{"x":-8.354099999999999,"y":1.1244999999999994,"z":2.3453000000000004,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-8.314515737155489,"y":8.34911010242082,"z":2.4160966707293903},"id":"6890d0eb67c88f001b93537b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"1631ba04a1da40eab7afcd1b9980c485","rotation":{"x":0.36,"y":179.29}}},"react3fiber":{"position":{"model":{"x":18.4583,"y":16.958199999999998,"z":10.505},"floorplan":{"x":17.346,"y":17.5,"z":9.488}}}},"createdAt":"2025-02-24T07:45:14.152Z","updatedAt":"2026-11-05T15:01:24.704Z","artist":{"lastName":"Pissarro","firstName":"Camille","lifeDates":"1830–1903","createdAt":"2025-02-24T07:45:12.938Z","updatedAt":"2025-02-24T07:45:12.938Z","id":"67bc238887986af0ae414aff"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1892","en":"1892"},"description":{"de":"Immer wieder, zu allen Tages- und Jahreszeiten, hielt Pissarro diesen Blick fest. Hier sind Himmel und Schneefläche in ähnlich pastosem Pinselduktus gestaltet, allerdings in der Farbtemperatur unterschieden. Nicht nur die von der Sonne angestrahlten Wolken, sondern auch die violetten Bäume vermitteln einen warmen Farbeindruck.","en":"Pissarro painted this view again and again, at all times of the day, and in all seasons. The sky and the snow-covered ground are composed with a similar impasto, although the temperature of the colors varies. Both the clouds that are illuminated by the sun and the violet trees convey an overall warm impression."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Blick-auf-Bazincourt-Schnee-Sonnenuntergang_DE.mp3","mimeType":"audio/mpeg","filesize":1271406,"createdAt":"2025-03-05T11:04:36.684Z","updatedAt":"2025-03-05T11:04:36.684Z","id":"67c82fc49c762d275ec4dec7","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Blick-auf-Bazincourt-Schnee-Sonnenuntergang_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Blick-auf-Bazincourt-Schnee-Sonnenuntergang_EN.mp3","mimeType":"audio/mpeg","filesize":1511729,"createdAt":"2025-03-05T11:05:01.908Z","updatedAt":"2025-03-05T11:05:01.908Z","id":"67c82fdd9c762d275ec4deec","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Pissarro-Blick-auf-Bazincourt-Schnee-Sonnenuntergang_EN.mp3","thumbnailURL":null}}},"id":"67c99115cf6f1f7f8c0bead1"}],"hall":"2A8","highlight":null,"image":{"alt":"pissarro_blick_auf_bazincourt_schnee_sonnenuntergang","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Pissarro_Blick auf Bazincourt_Schnee_Sonnenuntergang.jpg","mimeType":"image/jpeg","filesize":963016,"width":2000,"height":1612,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:00.062Z","updatedAt":"2025-02-19T09:40:00.062Z","id":"67b5a6f072417297712ce858","url":"/cms/api/media/file/optimized-Pissarro_Blick%20auf%20Bazincourt_Schnee_Sonnenuntergang.jpg","thumbnailURL":null},"measurements":"32 x 41 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b66"},"id":"67bc270da0cfed09eb6ee754"},{"artwork":{"title":{"de":"Raureif in Giverny","en":"Frost at Giverny"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.85,"z":1.04},"position":{"x":-7.491054950153115,"y":1.6015509769877656,"z":-1.8780038565135668,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.32,"y":16.28,"z":0.42},"id":"688db67481df0f999dd06dae"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.469169077883005,"y":8.870000000000001,"z":-1.8295691285127142},"id":"6890d08767c88f001b935378"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.32},"position":{"x":-7.453000330045186,"y":1.0998704751111918,"z":-1.1725899429138467,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.419849558929969,"y":8.36854393989383,"z":-1.1003099222738109},"id":"6890d08767c88f001b935379"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0b1f4eb2aef44876a20951423a00726e","rotation":{"x":-2.18,"y":-91.12}}},"react3fiber":{"position":{"model":{"x":18.245254950153118,"y":16.935250976987763,"z":14.758303856513567},"floorplan":{"x":17.41,"y":17.5,"z":13.621}}}},"createdAt":"2025-02-24T07:45:14.041Z","updatedAt":"2026-11-05T15:01:24.052Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1885","en":"1885"},"description":{"de":"Claude Monet gliederte die Landschaft in Bodenfläche, Bäume und Himmel lediglich durch unterschiedliche Strichführungen und die Akzentuierung von Weiß, Rosa- und Blaunuancen. Die Bereiche fließen ineinander, die Formen sind nur skizzenhaft angedeutet. Den Eindruck von Räumlichkeit vermitteln allein die beiden Figuren links im Bild. Die Vehemenz der Pinselstriche macht den Malprozess deutlich.","en":"Claude Monet subdivided the landscape into ground surface, trees, and sky by merely using different brushstrokes and accentuating with white, pink, and blue nuances. These subdivisions are fluid, and the forms are indicated in a sketch-like manner Only the two figures on the left contribute an impression of spatial depth. The vigor of the brushstrokes emphasizes the process of painting."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"monet_raureif_in_giverny","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Raureif in Giverny.jpg","mimeType":"image/jpeg","filesize":798813,"width":2000,"height":1507,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:41.978Z","updatedAt":"2025-02-19T09:39:41.978Z","id":"67b5a6dd72417297712ce812","url":"/cms/api/media/file/optimized-Monet_Raureif%20in%20Giverny.jpg","thumbnailURL":null},"measurements":"54 x 71 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b2a"},"id":"67bc270da0cfed09eb6ee772"},{"artwork":{"title":{"de":"Blick auf den Puy de Dôme","en":"View of Puy de Dôme"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.89,"z":1.04},"position":{"x":-6.956510963720136,"y":1.6004782504747854,"z":-1.8942298600194647,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-11.32,"y":16.28,"z":0.41},"id":"688db67781df0f999dd06db0"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.894786254224539,"y":8.859641585502446,"z":-1.842904263823524},"id":"6890c82267c88f001b935362"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.32},"position":{"x":-6.922397171607406,"y":1.1641355272228617,"z":-2.649810327086395,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-6.930516750601276,"y":8.4,"z":-2.603439038426124},"id":"6890c82267c88f001b935363"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8d38e104e3074b66a8923af7c7009daa","rotation":{"x":-2.36,"y":89.34}}},"react3fiber":{"position":{"model":{"x":17.71071096372014,"y":16.934178250474783,"z":14.774529860019465},"floorplan":{"x":16.136,"y":17.5,"z":13.666}}}},"createdAt":"2025-02-24T07:45:14.034Z","updatedAt":"2026-11-05T15:01:20.440Z","artist":{"lastName":"Guillaumin","firstName":"Armand","lifeDates":"1841–1927","createdAt":"2025-02-24T07:45:11.019Z","updatedAt":"2025-02-24T07:45:11.019Z","id":"67bc238787986af0ae414a58"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1899","en":"1899"},"description":{"de":"In seinen Landschaften bewies Armand Guillaumin eine Vorliebe für starke Farbakkorde. Den größten Teil des Gemäldes nimmt die Schneefläche ein, die in zahlreichen feinen Abstufungen von Blau und Rosa gehalten ist. Die Betonung von Fläche und Kontur weist auf eine stilistische Entfernung vom Impressionismus hin.","en":"Armand Guillaumin had a preference for strong color combinations in his landscapes. Most of the surface of this picture is taken up by the expanse of snow that is depicted in fine gradations of blue and pink. The emphasis of the surfaces and contours indicates a stylistic distancing from Impressionism."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"guillaumin_blick_auf_den_puy_de_dome","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Guillaumin_Blick auf den Puy de Dome.jpg","mimeType":"image/jpeg","filesize":890141,"width":2000,"height":1601,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:04.739Z","updatedAt":"2025-02-19T09:39:04.739Z","id":"67b5a6b872417297712ce781","url":"/cms/api/media/file/optimized-Guillaumin_Blick%20auf%20den%20Puy%20de%20Dome.jpg","thumbnailURL":null},"measurements":"65 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b26"},"id":"67bc270da0cfed09eb6ee774"},{"artwork":{"title":{"de":"Bei Louveciennes","en":"Near Louveciennes"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.61,"z":0.78},"position":{"x":-4.4902999999999995,"y":1.5907,"z":-4.1922999999999995,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.86,"y":16.27,"z":-1.89},"id":"688db63281df0f999dd06d76"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.4386264902588985,"y":8.86,"z":-4.138579510934694},"id":"6890cb8467c88f001b935364"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.32},"position":{"x":-4.430300000000001,"y":1.1207000000000011,"z":-3.4722999999999997,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.407168394128162,"y":8.402768716718553,"z":-3.4211756899305032},"id":"6890cb8467c88f001b935365"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c15aa22c929549f6a0465a12b200ad92","rotation":{"x":-3.12,"y":-89.64}}},"react3fiber":{"position":{"model":{"x":15.2445,"y":16.9244,"z":17.0726},"floorplan":{"x":14.473,"y":17.5,"z":15.93}}}},"createdAt":"2025-02-24T07:45:14.906Z","updatedAt":"2026-11-05T15:01:23.105Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1873","en":"1873"},"description":{"de":"In kühler Farbigkeit hat Alfred Sisley hier den Eindruck eines spätherbstlichen Abends wiedergegeben. Die schlichte Landschaft des bei Paris gelegenen Ortes war von Nutzgärten geprägt. Sisley, der dort in den Jahren 1870 bis 1874 wonte, erprobte an den beiläufigen Motiven eine dynamische, impressionistische Pinselschrift.","en":"The cool colors used by Alfred Sisley here evoke a late autumn evening. The austere landscape of the town near Paris was dotted with kitchen gardens, Sisley, who lived there from 1870 to 1874, experimented with incidental subjects using a dynamic, Impressionist brushstroke."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"sisley_bei_louveciennes","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Bei Louveciennes.jpg","mimeType":"image/jpeg","filesize":900126,"width":2000,"height":1374,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:22.449Z","updatedAt":"2025-02-19T09:40:22.449Z","id":"67b5a70672417297712ce8ad","url":"/cms/api/media/file/optimized-Sisley_Bei%20Louveciennes.jpg","thumbnailURL":null},"measurements":"38 x 55,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414ba2"},"id":"67bc270da0cfed09eb6ee736"},{"artwork":{"title":{"de":"Schnee in Louveciennes","en":"Snow Effect in Louveciennes"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.78,"z":0.89},"position":{"x":-4.410299999999999,"y":1.6007000000000016,"z":-5.862299999999999,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.78,"y":16.28,"z":-3.56},"id":"688db62a81df0f999dd06d6e"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.43896016864756,"y":8.86378318320482,"z":-5.817154456197726},"id":"6890cc4367c88f001b935366"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.32},"position":{"x":-4.430300000000001,"y":1.1106999999999996,"z":-5.0923,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.410429807502876,"y":8.379999999999999,"z":-5.058736181144928},"id":"6890cc4367c88f001b935367"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"8cab2590a6af47d39cfffa56df00e6fc","rotation":{"x":-4.15,"y":-90.79}}},"react3fiber":{"position":{"model":{"x":15.1645,"y":16.9344,"z":18.7426},"floorplan":{"x":14.473,"y":17.5,"z":17.56}}}},"createdAt":"2025-02-24T07:45:14.949Z","updatedAt":"2026-11-05T15:01:25.560Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1874","en":"1874"},"description":{"de":"Dieses Winterbild entstand 1874 - dem Jahr, in dem Alfred Sisley mit seiner Teilnahme an der ersten Impressionisten-Ausstellung in Paris auf sich aufmerksam machte. Der starke Schlagschatten im Vordergrund lenkt den Blick des Betrachters zur Gruppe der Spaziergänger. Sie verleiht dem Gemälde etwas Momenthaftes.","en":"This winter picture was painted in 1874- the year in which Alfred Sisley attracted attention with his participation in the First Impressionist Exhibition in Paris. The strong shadows cast in the foreground lead the viewer's gaze to the group of strollers, lending an element of instantaneity to the painting."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Sissley-Schnee-in-Louvecjennes_DE.mp3","mimeType":"audio/mpeg","filesize":1452633,"createdAt":"2025-03-05T10:55:50.299Z","updatedAt":"2025-03-05T10:55:50.299Z","id":"67c82db69c762d275ec4dc0f","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Sissley-Schnee-in-Louvecjennes_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Sissley-Schnee-in-Louvecjennes_EN.mp3","mimeType":"audio/mpeg","filesize":1747040,"createdAt":"2025-03-05T10:56:11.055Z","updatedAt":"2025-03-05T10:56:11.055Z","id":"67c82dcb9c762d275ec4dc33","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Sissley-Schnee-in-Louvecjennes_EN.mp3","thumbnailURL":null}}},"id":"67c991b0cf6f1f7f8c0bec37"}],"hall":"2A8","highlight":true,"image":{"alt":"sisley_schnee_in_louveciennes","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Schnee_in_Louveciennes.jpg","mimeType":"image/jpeg","filesize":710636,"width":2000,"height":1646,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:29.669Z","updatedAt":"2025-02-19T09:40:29.669Z","id":"67b5a70d72417297712ce8d0","url":"/cms/api/media/file/optimized-Sisley_Schnee_in_Louveciennes.jpg","thumbnailURL":null},"measurements":"54 x 65 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414bbd"},"id":"67bc270da0cfed09eb6ee72a"},{"artwork":{"title":{"de":"Straße in Louveciennes, Schnee","en":"Road to Louveciennes, Snow Effect"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.86,"z":1.13},"position":{"x":-4.410299999999999,"y":1.5907,"z":-7.6723,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.78,"y":16.27,"z":-5.37},"id":"688db64181df0f999dd06d84"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.428886524428663,"y":8.86,"z":-7.622196898509298},"id":"6890cd3067c88f001b935368"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.32},"position":{"x":-4.440300000000001,"y":1.1207000000000011,"z":-6.7623,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.407633769765795,"y":8.39,"z":-6.743858503620457},"id":"6890cd3067c88f001b935369"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5c2098adc5bd40cebfcb60cd55288a58","rotation":{"x":-1.93,"y":-90.25}}},"react3fiber":{"position":{"model":{"x":15.1645,"y":16.9244,"z":20.552599999999998},"floorplan":{"x":14.473,"y":17.5,"z":19.242}}}},"createdAt":"2025-02-24T07:45:14.190Z","updatedAt":"2026-11-05T15:01:24.177Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1874","en":"1874"},"description":{"de":"Von Pierre-Auguste Renoir ist der Ausspruch überliefert, gemalter Schnee solle alle Farben der Umgebung widerspiegeln und daher nie in reinem Weiß wiedergegeben werden. Hier hat Alfred Sisley die Formen der schneebedeckten Landschaft mit warmen Schattierungen von Hellblau und Rosa herausgearbeitet.","en":"Pierre-Auguste Renoir is said to have stated that painted snow should reflect all colors in its surroundings and should thus never be depicted using pure white. Here Alfred Sisley has worked out the forms of the snow-covered landscape with warm shadows of light blue and pink."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"sisley_strasse_in_louveciennes_schnee","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Strasse in Louveciennes_Schnee.jpg","mimeType":"image/jpeg","filesize":648554,"width":2000,"height":1418,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:30.796Z","updatedAt":"2025-02-19T09:40:30.796Z","id":"67b5a70e72417297712ce8d5","url":"/cms/api/media/file/optimized-Sisley_Strasse%20in%20Louveciennes_Schnee.jpg","thumbnailURL":null},"measurements":"65 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b80"},"id":"67bc270da0cfed09eb6ee747"},{"artwork":{"title":{"de":"Raureif, Martini-Sommer","en":"White Hoarfrost, Saint Martin's Summer"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.66,"z":0.77},"position":{"x":-4.410299999999999,"y":1.5907,"z":-9.4423,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-8.78,"y":16.27,"z":-7.14},"id":"688db63481df0f999dd06d77"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.4390758547939795,"y":8.856370235823224,"z":-9.39780726218909},"id":"6890cd8667c88f001b93536a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.43,"z":0.32},"position":{"x":-4.420299999999999,"y":1.0907,"z":-8.7423,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-4.418213723975734,"y":8.36,"z":-8.692480210169434},"id":"6890cd8667c88f001b93536b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0de4f54dc7364740bb1c81cece5fe07d","rotation":{"x":-1.7,"y":-91.06}}},"react3fiber":{"position":{"model":{"x":15.1645,"y":16.9244,"z":22.3226},"floorplan":{"x":14.473,"y":17.5,"z":20.982}}}},"createdAt":"2025-02-24T07:45:14.904Z","updatedAt":"2026-11-05T15:01:21.071Z","artist":{"lastName":"Sisley","firstName":"Alfred","lifeDates":"1839–1899","createdAt":"2025-02-24T07:45:12.907Z","updatedAt":"2025-02-24T07:45:12.907Z","id":"67bc238887986af0ae414afa"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1874","en":"1874"},"description":{"de":"Der Titel des Gemäldes bezieht sich auf eine Wettererscheinung, die häufig um den Sankt-Martins-Tag am 11. November auftritt. Dabei kommt es noch so spät im Jahr zu überraschend hohen Temperaturen. Gleichwohl kann es dabei auch Bodenfrost geben, wie Alfred Sisley an den weißlichen Resten des Raureifs in den Furchen des Weges zeigte.","en":"The title of the painting refers to an unseasonable weather phenomenon that frequently occurs on Saint Martin's Day on November 11. Although temperatures can rise to surprising heights at this late time of the year, it can also coincide with ground frost, as Alfred Sisley showed here with the white residue of the hoarfrost in the furrows of the road."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"sisley_raureif_martini-sommer","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Sisley_Raureif, Martini-Sommer.jpg","mimeType":"image/jpeg","filesize":781063,"width":2000,"height":1665,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:28.760Z","updatedAt":"2025-02-19T09:40:28.760Z","id":"67b5a70c72417297712ce8cb","url":"/cms/api/media/file/optimized-Sisley_Raureif%2C%20Martini-Sommer.jpg","thumbnailURL":null},"measurements":"46,5 x 55,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414ba0"},"id":"67bc270da0cfed09eb6ee737"},{"artwork":{"title":{"de":"Eisschollen in Bennecourt","en":"Floes at Bennecourt"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.22,"y":0.79,"z":0.2},"position":{"x":-5.9549,"y":1.5931999999999995,"z":-11.0991,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-10.33,"y":16.27,"z":-8.81},"id":"688db65d81df0f999dd06d9c"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-5.954239438326554,"y":8.86,"z":-11.029860219065537},"id":"6890cddd67c88f001b93536c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.43,"z":0.05},"position":{"x":-5.0349,"y":1.0732,"z":-11.079099999999999,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-5.047848970214357,"y":8.34,"z":-11.029735746877336},"id":"6890cddd67c88f001b93536d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"b618fb7dfd31409d826ee99fa19f92c4","rotation":{"x":-0.5,"y":-0.06}}},"react3fiber":{"position":{"model":{"x":16.7091,"y":16.926899999999996,"z":23.9794},"floorplan":{"x":15.68,"y":17.5,"z":21.656}}}},"createdAt":"2025-02-24T07:45:14.111Z","updatedAt":"2026-11-05T15:01:26.672Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1893","en":"1893"},"description":{"de":"Obgleich der Eisgang auf einem großen Fluss oft gewaltige Naturkräfte freisetzt, zeigte ihn Claude Monet als stillen Moment in zarten Farbabstufungen. Die Spiegelung der Bäume auf der glatten Wasserfläche der Seine neben den kleinen Inseln von Eisschollen erscheint wie eine Vorwegnahme der Seerosenbilder, die Monets Spätwerk bestimmen sollten.","en":"Although ice drifts on a large river often reflect the immense force of nature, Claude Monet showed them here, in delicately shaded colors, as a quiet moment. The juxtaposition of the reflection of the trees on the smooth surface of the Seine with the small ice floes seems to anticipate the water-lily pictures that would define Monets late oeuvre."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Eisschollen-in-Bennecourt_DE.mp3","mimeType":"audio/mpeg","filesize":1447938,"createdAt":"2025-03-05T10:49:58.783Z","updatedAt":"2025-03-05T10:49:58.783Z","id":"67c82c569c762d275ec4da68","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Eisschollen-in-Bennecourt_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Eisschollen-in-Bennecourt_EN.mp3","mimeType":"audio/mpeg","filesize":1787164,"createdAt":"2025-03-05T10:50:15.118Z","updatedAt":"2025-03-05T10:50:15.118Z","id":"67c82c679c762d275ec4da8b","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Eisschollen-in-Bennecourt_EN.mp3","thumbnailURL":null}}},"id":"67c9911dcf6f1f7f8c0beae9"}],"hall":"2A8","highlight":null,"image":{"alt":"monet_eisschollen_in_bennecourt","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Eisschollen in Bennecourt.jpg","mimeType":"image/jpeg","filesize":983894,"width":2000,"height":1197,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:33.180Z","updatedAt":"2025-02-19T09:39:33.180Z","id":"67b5a6d572417297712ce7ef","url":"/cms/api/media/file/optimized-Monet_Eisschollen%20in%20Bennecourt.jpg","thumbnailURL":null},"measurements":"60 x 100 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b4e"},"id":"67bc270da0cfed09eb6ee760"},{"artwork":{"title":{"de":"Der Tümpel im Schnee","en":"The Pond, Snow Effect"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.04,"y":0.85,"z":0.2},"position":{"x":-8.0249,"y":1.5832000000000015,"z":-11.069099999999999,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-12.4,"y":16.26,"z":-8.78},"id":"688db69081df0f999dd06dc3"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-8.045307065301849,"y":8.850000000000001,"z":-10.971229277947845},"id":"6890ce5d67c88f001b93536e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.36,"z":0.05},"position":{"x":-7.1349,"y":1.1332000000000004,"z":-11.079099999999999,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-7.133567516931462,"y":8.4,"z":-11.035335537492564},"id":"6890ce5d67c88f001b93536f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"b86ce456e5a8451894da4396a708a85a","rotation":{"x":-3.34,"y":-0.01}}},"react3fiber":{"position":{"model":{"x":18.7791,"y":16.9169,"z":23.949399999999997},"floorplan":{"x":17.705,"y":17.5,"z":21.656}}}},"createdAt":"2025-03-03T13:24:21.135Z","updatedAt":"2026-11-05T15:01:25.629Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":"MB-Mon-35","credit":{"de":"In der Mittagssonne gehen die Menschen auf dem freien, schneebedeckten Feld in der Nähe von Monets Wohnhaus in Argenteuil spazieren. Der Künstler fing den unbeschwerten Moment und die Lichtfülle ein und setzte komplementäres Gelb gegen Blau, Orange gegen Violett.","en":"People walk in the midday sun in the open, snow-covered field near Monet's home in Argenteuil. The artist captured the light-hearted moment and the abundance of light, setting complementary yellow against blue, orange against violet"},"dating":{"de":"1874/75","en":"1874/75"},"description":{"de":"Nach seiner Rückkehr aus London, wo Monet während des Deutsch-Französischen Kriegs von 1870/71 Zuflucht gesucht hatte, kehrte der Künstler nicht nach Paris zurück, die Stadt seiner Studienjahre. Wie viele seiner Künstlerfreunde zog er in einen der kleineren an der Seine gelegenen Orte, die von Paris aus gut zu erreichen waren. In der Mittagssonne gehen die Menschen auf dem freien, schneebedeckten Feld in der Nähe von Monets Wohnhaus in Argenteuil spazieren. Monet fing den unbeschwerten Moment und die Lichtfülle ein und setzte komplementäres Gelb gegen Blau, Orange gegen Violett.","en":"After his return from London, where he had sought refuge during the Franco-Prussian War of 1870–71, Monet did not return to the Paris of his student days. Instead, like many of his artist friends, he moved to one of the smaller towns along the Seine that were easily accessible from Paris.  Here, figures stroll across an open, snow-covered field in the midday sun, not far from the artist’s home in Argenteuil. Monet captured the carefree moment and radiant light, juxtaposing complementary colors such as orange and blue, yellow and violet. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","image":{"alt":"The Pond, Snow Effect","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Mon-35_1.jpg","mimeType":"image/jpeg","filesize":568143,"width":1500,"height":1122,"focalX":50,"focalY":50,"createdAt":"2025-03-03T13:24:17.507Z","updatedAt":"2025-03-03T13:24:17.507Z","id":"67c5ad819c762d275ec3e98f","url":"/cms/api/media/file/MB-Mon-35_1.jpg","thumbnailURL":null},"measurements":"60,6 x 81,7 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c5ad859c762d275ec3e9a0"},"id":"67c5cb2cba47f3524d942d86"},{"artwork":{"title":{"de":"Raureif","en":"Frost"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.82,"y":0.71,"z":0.2},"position":{"x":-10.084900000000001,"y":1.5931999999999995,"z":-11.0991,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-14.46,"y":16.27,"z":-8.81},"id":"688db66d81df0f999dd06da9"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-10.103593265409819,"y":8.86,"z":-10.974836821259998},"id":"6890cea267c88f001b935370"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.32,"y":0.46,"z":0.05},"position":{"x":-9.3649,"y":1.113199999999999,"z":-11.059099999999999,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-9.379530347745563,"y":8.379999999999999,"z":-11.02306063862985},"id":"6890cea267c88f001b935371"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c8429e30f3684c0587edab59e771f509","rotation":{"x":-1.52,"y":-1.26}}},"react3fiber":{"position":{"model":{"x":20.839100000000002,"y":16.926899999999996,"z":23.9794},"floorplan":{"x":19.681,"y":17.5,"z":21.656}}}},"createdAt":"2025-02-24T07:45:14.065Z","updatedAt":"2026-11-05T15:01:22.444Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1875","en":"1875"},"description":{"de":"Seite an Seite malten Claude Monet und Pierre-Auguste Renoir (Musée de l'Orangerie, Paris) diese winterliche Landschaft. Beide wählten feine Braun- und Blaunuancen, Monet allerdings brachte mit gelblichem Licht und einem Hauch Rot einen wärmeren Ton in seine Ansicht. Er führte das Geäst mit kräftigem Pinselstrich aus, während Renoir die Büsche feingliedriger ausarbeitete.","en":"Standing side by side, Claude Monet and Plerre-Auguste Renoir painted the same view of this garden in winter. Both used finely nuanced shades of brown and blue, although Monet added an element of warmth to his view by means of yellowish light and a touch of red. He executed the branches with strong brushstrokes, while Renoir's depiction of the bushes is more fillgree (Musée de l'Orangerie, Paris)."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"monet_raureif","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Raureif.jpg","mimeType":"image/jpeg","filesize":998867,"width":2000,"height":1630,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:43.994Z","updatedAt":"2025-02-19T09:39:43.994Z","id":"67b5a6df72417297712ce817","url":"/cms/api/media/file/optimized-Monet_Raureif.jpg","thumbnailURL":null},"measurements":"50 x 61 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b34"},"id":"67bc270da0cfed09eb6ee76d"},{"artwork":{"title":{"de":"Limetz im Schnee","en":"Snow Effect at Limetz"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.88,"z":1.02},"position":{"x":-11.4786,"y":1.5972000000000008,"z":-7.7218,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-15.92,"y":16.28,"z":-5.43},"id":"688db4c2d3190a965ad7e4e0"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.5680043555692,"y":8.870000000000001,"z":-7.657608199846915},"id":"6890cef967c88f001b935372"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.32},"position":{"x":-11.568600000000002,"y":1.1071999999999989,"z":-8.4918,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.643472918387847,"y":8.370672505488448,"z":-8.430624040709448},"id":"6890cef967c88f001b935373"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"d2d67814a0704e09b69559d253ea63d7","rotation":{"x":-2.79,"y":90.49}}},"react3fiber":{"position":{"model":{"x":22.2328,"y":16.9309,"z":20.6021},"floorplan":{"x":19.992,"y":17.5,"z":18.988}}}},"createdAt":"2025-02-24T07:45:15.037Z","updatedAt":"2026-11-05T15:01:26.603Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1886","en":"1886"},"description":{"de":"Mit zahlreichen Perspektivlinien ist das Gemälde klassisch auf einen zentralen Fluchtpunkt ausgerichtet. Aber diese Formstrenge unterläuft Claude Monet, indem er selbstbewusst mit schwungvollen Pinselzügen die strikten Linien der Kompositionselemente auflockert. Auch die Figur in der Mitte des Weges ist nur noch angedeutet.","en":"The painting is composed in a classic manner with numerous perspective lines receding to a central vanishing point. However, Claude Monet toned down this formal austerity by self-assuredly softening the strict lines of the compositional elements with energetic brushstrokes. Similarly, the figure in the center of the road is only hinted at."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"monet_limetz_im_schnee","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Limetz im Schnee.jpg","mimeType":"image/jpeg","filesize":948295,"width":2000,"height":1590,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:38.981Z","updatedAt":"2025-02-19T09:39:38.981Z","id":"67b5a6da72417297712ce808","url":"/cms/api/media/file/optimized-Monet_Limetz%20im%20Schnee.jpg","thumbnailURL":null},"measurements":"65 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238b87986af0ae414bfa"},"id":"67bc270da0cfed09eb6ee721"},{"artwork":{"title":{"de":"Ortseingang von Giverny im Winter","en":"Coming into Giverny in Winter"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.92,"z":1.07},"position":{"x":-11.5986,"y":1.5972000000000008,"z":-4.3718,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-16.04,"y":16.28,"z":-2.08},"id":"688db67081df0f999dd06dab"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.556488137122372,"y":8.849202268796011,"z":-4.324937309744357},"id":"6890cf3d67c88f001b935374"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.46,"z":0.32},"position":{"x":-11.568600000000002,"y":1.1071999999999989,"z":-5.1318,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.616228882074099,"y":8.37402157263705,"z":-5.056994508854374},"id":"6890cf3d67c88f001b935375"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"27d52b9aefc44184825a26ba0a4630f5","rotation":{"x":-3.27,"y":89.34}}},"react3fiber":{"position":{"model":{"x":22.352800000000002,"y":16.9309,"z":17.2521},"floorplan":{"x":19.992,"y":17.5,"z":15.791}}}},"createdAt":"2025-02-24T07:45:14.056Z","updatedAt":"2026-11-05T15:01:20.795Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1885","en":"1885"},"description":{"de":"Mit groben und sicheren Pinselzügen hat Claude Monet die zart gedämpften Farbtöne des Abendhimmels erfasst, die der schneebedeckte Weg reflektiert. Die Lebendigkeit der Lichteffekte nimmt die Dynamik der Komposition auf, die der ornamental geschwungene Baumstamm und die scharfe Biegung des Weges bestimmen.","en":"Claude Monet captured the delicately muted colors of the evening sky that are reflected in the snow-covered road using coarse and confident brushstrokes. The vivid light effects articulate the dynamics of the composition that is dominated by the ornamental form of the tree trunk and the sharp bend of the road."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":null,"image":{"alt":"monet_ortseingang_von_giverny_im_winter","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Ortseingang von Giverny im Winter.jpg","mimeType":"image/jpeg","filesize":856155,"width":2000,"height":1597,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:40.335Z","updatedAt":"2025-02-19T09:39:40.335Z","id":"67b5a6dc72417297712ce80d","url":"/cms/api/media/file/optimized-Monet_Ortseingang%20von%20Giverny%20im%20Winter.jpg","thumbnailURL":null},"measurements":"65 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b30"},"id":"67bc270da0cfed09eb6ee76f"},{"artwork":{"title":{"de":"Schlittschuhläufer in Giverny","en":"Skaters at Giverny"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.85,"z":1.08},"position":{"x":-11.5986,"y":1.6071999999999989,"z":-1.0517999999999998,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":-16.04,"y":16.29,"z":1.24},"id":"688db67281df0f999dd06dac"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.56066622533098,"y":8.879999999999999,"z":-0.9780732133247905},"id":"6890cf8467c88f001b935376"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.37,"z":0.32},"position":{"x":-11.588600000000001,"y":1.1071999999999989,"z":-1.8117999999999999,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":-11.572394697111777,"y":8.379999999999999,"z":-1.7251907632018075},"id":"6890cf8467c88f001b935377"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"2043ace1102d4242b8b262783890894f","rotation":{"x":-1.31,"y":89.94}}},"react3fiber":{"position":{"model":{"x":22.352800000000002,"y":16.9409,"z":13.9321},"floorplan":{"x":19.992,"y":17.5,"z":12.642}}}},"createdAt":"2025-02-24T07:45:14.052Z","updatedAt":"2026-11-05T15:01:22.509Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1899","en":"1899"},"description":{"de":"Das warme Orangegelb der untergehenden Sonne, durchsetzt mit rosa und blauen Akzenten, ist der bestimmende Farbton, mit dem Claude Monet die Komposition in fast abstrakter Manier gegliedert hat. Die Bewegung der Schlittschuhläufer und die Neigung der Pappeln geben dem Bild eine Dynamik, die der starren Kälte entgegensteht,","en":"The warm orange-yellow color of the setting sun, combined with pink and blue accents, dominates this composition, which Claude Monet arranged in an almost abstract way. The movement of the skaters and the inclination of the poplars lend a dynamism to the picture that is at odds with the bitter cold."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A8","highlight":true,"image":{"alt":"monet_schlittschuhlaeufer_in_giverny","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Schlittschuhlaeufer in Giverny.jpg","mimeType":"image/jpeg","filesize":979437,"width":2000,"height":1460,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:46.778Z","updatedAt":"2025-02-19T09:39:46.778Z","id":"67b5a6e272417297712ce821","url":"/cms/api/media/file/optimized-Monet_Schlittschuhlaeufer%20in%20Giverny.jpg","thumbnailURL":null},"measurements":"60 x 80 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b2e"},"id":"67bc270da0cfed09eb6ee770"},{"artwork":{"title":{"de":"Der Hafen bei Sonnenuntergang, Opus 236 (Saint-Tropez)","en":"The Port at sunset, Opus 236 (Saint-Tropez)"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.97,"z":1.13},"position":{"x":20.39946565803747,"y":1.6135460513054467,"z":-2.0739144584001634,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.04,"y":16.27,"z":0.31},"id":"688db64481df0f999dd06d86"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.4494993447962,"y":8.856791768567989,"z":-2.078581509256053},"id":"6890d67b67c88f001b935396"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.47,"z":0.34},"position":{"x":20.456994037488446,"y":1.072798016274504,"z":-1.3212980019567893,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.49558646303672,"y":8.321798305446695,"z":-1.2399999999999998},"id":"6890d67b67c88f001b935397"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"3a2e8c34fe164287b87fbce23f4c6830","rotation":{"x":-6.931042393952616,"y":-88.0884074316713}}},"react3fiber":{"position":{"model":{"x":-9.64526565803747,"y":16.947246051305445,"z":14.954214458400163},"floorplan":{"x":-8.2,"y":17,"z":15.4}}}},"createdAt":"2025-02-24T07:45:14.183Z","updatedAt":"2026-11-05T15:01:23.444Z","artist":{"lastName":"Signac","firstName":"Paul","lifeDates":"1863–1935","createdAt":"2025-02-24T07:45:12.002Z","updatedAt":"2025-02-24T07:45:12.002Z","id":"67bc238887986af0ae414ace"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1892","en":"1892"},"description":{"de":"1892 überführte Signac seine Yacht „Olympia\" nach Saint-Tropez - damals ein Fischerort wie viele andere -, wo er ein Haus am Meer erwarb. Noch im selben Jahr entstand dort dieses Gemälde. Die in Punkten aufgetragenen Komplementärfarben Violett und Orange lassen das Bild vibrieren, Das Licht wird nicht mehr als eine den Gegenstand umhüllende Atmosphäre gestaltet, sonder als reizgebende Partikel.","en":"In 1892 Signac transferred his yacht Olympia to Saint-Tropez, still a fishing village at the time, where he bought a house on the coast. He painted this picture there that same year. The application of the complementary colors violet and orange in tiny dots cause the picture to vibrate. Light is no longer designed as an atmosphere that surrounds an object, but instead as stimulating particles."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-der-Hafen-bei-Sonnenuntergang_DE.mp3","mimeType":"audio/mpeg","filesize":1828233,"createdAt":"2025-03-05T11:34:38.659Z","updatedAt":"2025-03-05T11:34:38.659Z","id":"67c836ce9c762d275ec4e672","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-der-Hafen-bei-Sonnenuntergang_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-der-Hafen-bei-Sonnenuntergang_EN.mp3","mimeType":"audio/mpeg","filesize":2181300,"createdAt":"2025-03-05T11:35:05.332Z","updatedAt":"2025-03-05T11:35:05.332Z","id":"67c836e99c762d275ec4e697","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Signac-der-Hafen-bei-Sonnenuntergang_EN.mp3","thumbnailURL":null}}},"id":"67c9910ecf6f1f7f8c0beabb"}],"hall":"2A6","highlight":true,"image":{"alt":"signac_der_hafen_bei_sonnenuntergang_opus_236","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Signac_Der Hafen bei Sonnenuntergang_Opus 236.jpg","mimeType":"image/jpeg","filesize":880361,"width":1920,"height":1539,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:16.424Z","updatedAt":"2025-02-19T09:40:16.424Z","id":"67b5a70072417297712ce899","url":"/cms/api/media/file/optimized-Signac_Der%20Hafen%20bei%20Sonnenuntergang_Opus%20236.jpg","thumbnailURL":null},"measurements":"65 x 81,3 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67bc238a87986af0ae414b7c"},"id":"67bc270da0cfed09eb6ee749"},{"artwork":{"title":{"de":"Der Strand von Fécamp","en":"The Beach at Fécamp"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.61,"z":0.82},"position":{"x":20.942818799974443,"y":1.5921287554158816,"z":-2.053783279007753,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":16.59,"y":16.26,"z":0.34},"id":"688db66481df0f999dd06da2"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.97617113038789,"y":8.850000000000001,"z":-2.056072160666087},"id":"6890d5e967c88f001b935390"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.34},"position":{"x":20.97347569617055,"y":1.084703954879723,"z":-2.816330714802554,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.00326502080004,"y":8.37,"z":-2.7185587544987944},"id":"6890d5e967c88f001b935391"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"a5abbc5290864f248eacf3419c9df4ed","rotation":{"x":-3.3495961365980933,"y":89.15647917375294}}},"react3fiber":{"position":{"model":{"x":-10.188618799974442,"y":16.92582875541588,"z":14.934083279007753},"floorplan":{"x":3.364,"y":17.5,"z":11.355}}}},"createdAt":"2025-02-24T07:45:14.091Z","updatedAt":"2026-11-05T15:01:26.534Z","artist":{"lastName":"Loiseau","firstName":"Gustave","lifeDates":"1865–1935","createdAt":"2025-02-24T07:45:11.071Z","updatedAt":"2025-02-24T07:45:11.071Z","id":"67bc238787986af0ae414a70"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"um 1910","en":"ca. 1910"},"description":{"de":"1893 stellte Gustave Loiseau erstmals auf dem Salon des Independants in Paris mit den Neoimpressionisten aus. Nach einer pointillistischen Phase entwickelte er eine eigene Spielart postimpressionistischer Malerei, bediente sich aber häufig der Motive Claude Monets. Auch diese skizzenhaft ausgeführte Ansicht entstand auf den Spuren seines Vorbilds.","en":"In 1893 Gustave Loiseau exhibited with the Neo-Impressionists for the first time at the Salon des Indépendants in Paris. Following a period of Pointillism, he developed his own individual style of Post-Impressionist painting, although he frequently borrowed motifs from Claude Monet. This sketch-like view was also created in the footsteps of his role model."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"loiseau_der_strand_von_fecamp","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Loiseau_Der_Strand_von_Fecamp.jpg","mimeType":"image/jpeg","filesize":820660,"width":2000,"height":1250,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:08.925Z","updatedAt":"2025-02-19T09:39:08.925Z","id":"67b5a6bc72417297712ce795","url":"/cms/api/media/file/optimized-Loiseau_Der_Strand_von_Fecamp.jpg","thumbnailURL":null},"measurements":"38 x 62 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b42"},"id":"67bc270da0cfed09eb6ee766"},{"artwork":{"title":{"de":"Blick auf Bucht mit Segelboot","en":"View of the Bay with Sailboat"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.1,"y":0.54,"z":0.65},"position":{"x":24.518366861062166,"y":1.6105495652135748,"z":0.6822283857276287,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.56,"z":0.3},"position":{"x":24.499068968621113,"y":1.0772984570045252,"z":-0.10026346791941354,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"2a6ce2a5d8df454a95bc430896717ec5","rotation":{"x":-2.7274706459595532,"y":-89.57449862026706}}},"react3fiber":{"position":{"model":{"x":-13.764166861062165,"y":16.944249565213575,"z":12.198071614272372},"floorplan":{"x":-7.409,"y":17.5,"z":9.784}}}},"createdAt":"2025-02-24T07:45:14.178Z","updatedAt":"2026-11-05T15:01:26.011Z","artist":{"lastName":"Moret","firstName":"Henry","lifeDates":"1856–1913","createdAt":"2025-02-24T07:45:11.953Z","updatedAt":"2025-02-24T07:45:11.953Z","id":"67bc238787986af0ae414aa8"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1912","en":"1912"},"description":{"de":"Henry Moret, der mit Paul Gauguin im bretonischen Pont-Aven gemalt hatte, wandte sich nach 1900 dem Impressionismus zu. Wie viele seiner Landschaften zeigt auch dieses Bild den Einfluss Claude Monets, der die bretonische Küste 1886 bereist hatte. Die in der Sonne leuchtenden Felsen umschließen die Bucht wie eine Klammer. Ein Boot mit rotem Segel belebt die menschenleere Szenerie.","en":"Henry Moret, who had painted with Paul Gauguin in Pont-Aven in Brittany, changed his style to Impressionism alter 1900. As in many of his land-scapes, this picture is clearly inspired by Claude Monet, who had traveled along the coast of Brittany in 1886. The sunlit clilfs surround the bay like a clamp. A boat with a red sail creates an accent in the scene that is devold of people."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"moret_blick_auf_bucht_mit_segelboot","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Moret_Blick auf Bucht mit Segelboot.jpg","mimeType":"image/jpeg","filesize":935045,"width":2000,"height":1665,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:57.801Z","updatedAt":"2025-02-19T09:39:57.801Z","id":"67b5a6ed72417297712ce84e","url":"/cms/api/media/file/optimized-Moret_Blick%20auf%20Bucht%20mit%20Segelboot.jpg","thumbnailURL":null},"measurements":"54 x 65 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"previousExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","68f753818c90c86166dd78af"],"onDisplay":{"navigator":true,"virtualTour":true},"id":"67bc238a87986af0ae414b78"},"id":"67bc270da0cfed09eb6ee74b"},{"artwork":{"createdAt":"2026-04-16T08:48:20.178Z","updatedAt":"2026-11-05T15:01:27.059Z","onDisplay":{"navigator":true,"virtualTour":true},"highlight":false,"catalogNumber":null,"hall":"2A6","exhibition":"67b338818635bba96e329691","artist":{"lastName":"Moret","firstName":"Henry","lifeDates":"1856–1913","createdAt":"2025-02-24T07:45:11.953Z","updatedAt":"2025-02-24T07:45:11.953Z","id":"67bc238787986af0ae414aa8"},"title":{"de":"Die Passage du Four, Finistère","en":"The Passage du Four, Finistère"},"dating":{"de":"1899","en":"1899"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Henry Moret bereiste die Bretagne und die Normandie und malte ihre felsigen Küsten-landschaften. Dieser Blick auf eine für ihre starken Strömungen bekannte Schifffahrtsroute entstand im bretonischen Département Finistère im äußersten Westen Frankreichs. Moret verband Violetttone, wie sie für die Farbpalette des Neoimpressionismus charakteristisch sind, mit einem bereits von Claude Monet aufgegriffenen Motiv.","en":"Henry Moret traveled through Brittany and Normandy, painting their rocky coastal landscapes. This view of a shipping route that was notorious for its strong currents was created in the Breton department of Finistère, located in the far west of France. Moret combined violet tones, characteristic of the Neo-Impressionist palette, with a motif that had already been explored by Claude Monet."},"measurements":"54 x 64,5 cm","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"copyrightArtist":null,"copyrightFoto":null,"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.645,"y":0.54,"z":0.1},"position":{"x":22.67909535073489,"y":1.6091345944698345,"z":2.6323687461469465,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"48524c8bcb2548148cfa09249a638e8e","rotation":{"x":-2.858629451642129,"y":179.28555090504307}}},"react3fiber":{"position":{"model":{"x":-11.92489535073489,"y":16.942834594469833,"z":10.247931253853054},"floorplan":{"x":-5.444,"y":17.5,"z":9.754}}}},"guides":[],"id":"69e0a254733620b44d2e8401","image":null},"id":"69e0a4500fafa69c3e709b18"},{"artwork":{"title":{"de":"Steilküste von Aval","en":"The Cliff and the Porte d’Aval"},"modelData":{"matterport":{"insideView":{"sweepId":"04dc0b60d9b64777b16036f6a041a62a","rotation":{"x":-0.97,"y":179.71}},"artworkCollisionBox":{"geometry":{"x":1,"y":0.86,"z":0.2},"position":{"x":18.33,"y":16.28,"z":5.02,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":18.33,"y":16.28,"z":5.02},"id":"688db65481df0f999dd06d95"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.772123198508208,"y":8.870000000000001,"z":2.6551389577009465},"id":"6890d64e67c88f001b935394"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.4,"z":0.05},"position":{"x":17.47,"y":15.8,"z":5.07,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.931724351405638,"y":8.39,"z":2.642063567926367},"id":"6890d64e67c88f001b935395"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-7.575799999999997,"y":31.6137,"z":7.8603000000000005},"floorplan":{"x":-10.9,"y":17,"z":8.9}}}},"createdAt":"2025-02-24T07:45:14.137Z","updatedAt":"2026-04-03T08:22:21.071Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1885","en":"1885"},"description":{"de":"Wiederholt besuchte Claude Monet den für seine spektakuläre Steilküste bekannten Badeort Étretatin der Normandie. Für dieses Gemälde passte er den Moment ab, in dem die Sonne durch die Öffnung des markanten Steinbogens Porte d'Aval fiel - ein beliebtes Motiv in zeitgenössischen Drucken und Photographien.","en":"Claude Monet paid repeated visits to the resort of Étretat in Normandy that was famous for its spectacular cliffs. For this painting he waited for the moment when the sun shone through the opening of the distinctive natural stone arch of the Porte d'Aval - a popular motif in contemporary prints and photographs."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":false,"image":{"alt":"monet_steilkueste_von_aval","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Steilkueste von Aval.jpg","mimeType":"image/jpeg","filesize":804694,"width":2000,"height":1599,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:49.386Z","updatedAt":"2025-02-19T09:39:49.386Z","id":"67b5a6e572417297712ce82b","url":"/cms/api/media/file/optimized-Monet_Steilkueste%20von%20Aval.jpg","thumbnailURL":null},"measurements":"65 x 81 cm","onDisplay":{"navigator":false,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b5c"},"id":"67bc270da0cfed09eb6ee759"},{"artwork":{"title":{"de":"Port-en-Bessin","en":"Port-en-Bessin"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.44,"y":0.85,"z":0.2},"position":{"x":17.487577672016272,"y":1.6057524505557135,"z":2.691255512296614,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":13.08,"y":16.28,"z":5.06},"id":"688db63781df0f999dd06d7a"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":17.519964149143874,"y":8.870000000000001,"z":2.6670440183063735},"id":"6890d6c167c88f001b935398"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.47,"z":0.05},"position":{"x":16.37105359982565,"y":1.101662570461625,"z":2.7001663452230176,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.4,"y":8.347454046825979,"z":2.673438386471822},"id":"6890d6c167c88f001b935399"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5bb57af0d9bc417eb37bea0bb9638454","rotation":{"x":-1.3354582592711495,"y":178.98583624362436}}},"react3fiber":{"position":{"model":{"x":-6.733377672016271,"y":16.939452450555713,"z":10.189044487703386},"floorplan":{"x":-6.3,"y":17,"z":8.9}}}},"createdAt":"2025-02-24T07:45:14.890Z","updatedAt":"2026-07-06T10:35:25.619Z","artist":{"lastName":"Signac","firstName":"Paul","lifeDates":"1863–1935","createdAt":"2025-02-24T07:45:12.002Z","updatedAt":"2025-02-24T07:45:12.002Z","id":"67bc238887986af0ae414ace"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1883","en":"1883"},"description":{"de":"Diese Strandszene malte Paul Signac wie sein Vorbild Claude Monet noch in der freien Natur vor dem Motiv. Er erfasste Meer und Felsen in rhythmischen, langen Pinselsetzungen. Nur ein Jahr später entwickelte Signac mit seinem Malerkollegen Georges Seurat eine grundlegend neue Malweise, den Pointillismus. Sie setzten einzelne Farbpunkte nebeneinander, die sich im Auge des Betrachters mischen sollten.","en":"Like his role model Claude Monet, Paul Signac painted this beach scene outdoors in front of the motif. The sea and cliffs are indicated with rhythmic, long brushstrokes. Just one year later, Signac and his colleague Georges Seurat developed a radically new painting style, Pointilism They juxtaposed individual dots of paint that were to mix in the eye of the beholder."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"signac_port-en-bessin","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Signac_Port-en-Bessin.jpg","mimeType":"image/jpeg","filesize":770535,"width":2000,"height":1069,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:21.165Z","updatedAt":"2025-02-19T09:40:21.165Z","id":"67b5a70572417297712ce8a8","url":"/cms/api/media/file/optimized-Signac_Port-en-Bessin.jpg","thumbnailURL":null},"measurements":"69 x 129 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b96"},"id":"67bc270da0cfed09eb6ee73c"},{"artwork":{"title":{"de":"Stierkampf","en":"Bullfight"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.91,"y":0.77,"z":0.2},"position":{"x":12.257519512287958,"y":1.6133491413323016,"z":2.6810271139728155,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":7.86,"y":16.28,"z":5.06},"id":"688db68181df0f999dd06db7"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":12.309778058497107,"y":8.870000000000001,"z":2.6977541942304653},"id":"6890d6ff67c88f001b93539a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.47,"z":0.05},"position":{"x":13.07937757996687,"y":1.0855138422874142,"z":2.702107346331312,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.106065239673983,"y":8.35,"z":2.682742305636324},"id":"6890d6ff67c88f001b93539b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"7ff37511141045e9a750416b932e1146","rotation":{"x":-0.2878239767374219,"y":-178.96054812675834}}},"react3fiber":{"position":{"model":{"x":-1.5033195122879572,"y":16.9470491413323,"z":10.199272886027185},"floorplan":{"x":-0.9,"y":17,"z":8.9}}}},"createdAt":"2025-02-24T07:45:13.951Z","updatedAt":"2026-07-06T10:35:29.452Z","artist":{"lastName":"Cross","firstName":"Henri-Edmond","lifeDates":"1856–1910","createdAt":"2025-02-24T07:45:12.877Z","updatedAt":"2025-02-24T07:45:12.877Z","id":"67bc238887986af0ae414ae6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1891/92","en":"1891/92"},"description":{"de":"Cross erfasste die Stierkampfarena von Paris mit einer Ausschnitthaftigkeit, die dem neuen Medium der Photographie entsprach. Die Zuschauer mit ihren modischen Hüten sind in dunklem Violett gemalt. Das Fernglas verbindet sie mit dem Tanz der Toreros um den Stier. Cross insenierte an dieser Stelle die größte Nähe zu dem im Maßstab entrückten Schaukampf.","en":"Cross depicted Paris's arena for bullfighting with a cut-out technique borrowed from the new medium of photography. The spectators with their fashionable hats are painted in dark violet. The binoculars connect them with the toreros' dance around the bull. In this instance, Cross exaggerated the proximity of the bullfighting figures by modifying their scale."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"cross_stierkampf","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Cross_Stierkampf.jpg","mimeType":"image/jpeg","filesize":997125,"width":2000,"height":1498,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:57.446Z","updatedAt":"2025-02-19T09:38:57.446Z","id":"67b5a6b172417297712ce75e","url":"/cms/api/media/file/optimized-Cross_Stierkampf.jpg","thumbnailURL":null},"measurements":"46 x 61 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238987986af0ae414b0b"},"id":"67bc270da0cfed09eb6ee781"},{"artwork":{"title":{"de":"Aquarell nach „Stierkampf“","en":"Watercolor after \"Bullfight\""},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.67,"y":0.31,"z":0.55},"position":{"x":10.305870092443914,"y":0.9342043421123886,"z":1.8784018415735668,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":5.96,"y":15.63,"z":4},"id":"688db62b81df0f999dd06d6f"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.391829663926792,"y":8.22,"z":1.639362181590709},"id":"6890d72567c88f001b93539c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.35,"z":0.05},"position":{"x":9.61101888114038,"y":1.1390918723883647,"z":2.6757669097145937,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.630706196719485,"y":8.4,"z":2.662299902142966},"id":"6890d72567c88f001b93539d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"495f2222a8fb4ad9a77dac4ea1fcd7a9","rotation":{"x":-47.81678137337487,"y":-177.4673247743535}}},"react3fiber":{"position":{"model":{"x":0.4483299075560865,"y":16.267904342112388,"z":11.001898158426433},"floorplan":{"x":-0.2,"y":17,"z":10.4}}}},"createdAt":"2025-02-24T07:45:14.933Z","updatedAt":"2026-07-06T10:35:23.367Z","artist":{"lastName":"Cross","firstName":"Henri-Edmond","lifeDates":"1856–1910","createdAt":"2025-02-24T07:45:12.877Z","updatedAt":"2025-02-24T07:45:12.877Z","id":"67bc238887986af0ae414ae6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1893","en":"1893"},"description":{"de":"Mit seinem Aquarell griff Cross das Motiv des Gemäldes Stierkampf auf und fasste den Ausschnitt noch enger. Er überführte ein pointillistisches Gemälde in eine andere Technik, doch bleibt die Wirkung des mosaikartigen Darstellungsverfahrens dabei erhalten.","en":"In this watercolor Cross returned to the motif of the Bullfight in an even tighter close-up. Although the Pointillist painting is transferred to a different medium, the effect of the mosaic-like technique is retained."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"cross_aquarell_nach_stierkampf","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Cross_Aquarell nach Stierkampf.jpg","mimeType":"image/jpeg","filesize":965426,"width":2000,"height":1648,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:55.028Z","updatedAt":"2025-02-19T09:38:55.028Z","id":"67b5a6af72417297712ce754","url":"/cms/api/media/file/optimized-Cross_Aquarell%20nach%20Stierkampf.jpg","thumbnailURL":null},"measurements":"19,4 x 23,8 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Aquarell auf Papier","en":"Watercolor on paper"},"id":"67bc238a87986af0ae414bb2"},"id":"67bc270da0cfed09eb6ee72e"},{"artwork":{"title":{"de":"Der Strand von Saint-Clair","en":"The Beach at Saint-Clair"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.82,"z":0.93},"position":{"x":6.475907208872533,"y":1.5909486036195244,"z":0.7845694837323858,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":1.96,"y":16.27,"z":3.12},"id":"688db63b81df0f999dd06d7e"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.461698870271024,"y":8.86,"z":0.7948208104624552},"id":"6890d77867c88f001b9353a0"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.34},"position":{"x":6.402521298926162,"y":1.108486395408099,"z":-0.0036147396109322827,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.434763618027727,"y":8.36,"z":0.009945173971250998},"id":"6890d77867c88f001b9353a1"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"fa0b8d779c5d45a59b37cf83dba9daaa","rotation":{"x":-2.6472142765377877,"y":91.70661837536935}}},"react3fiber":{"position":{"model":{"x":4.278292791127468,"y":16.924648603619524,"z":12.095730516267615},"floorplan":{"x":3,"y":17,"z":10.9}}}},"createdAt":"2025-02-24T07:45:14.872Z","updatedAt":"2026-07-06T10:35:26.402Z","artist":{"lastName":"Cross","firstName":"Henri-Edmond","lifeDates":"1856–1910","createdAt":"2025-02-24T07:45:12.877Z","updatedAt":"2025-02-24T07:45:12.877Z","id":"67bc238887986af0ae414ae6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1896","en":"1896"},"description":{"de":"1891 war Cross an die Côte d'Azur gezogen, die er in pointillistischen Gemälden zu einem irdischen Paradies verklärte. Die wie Juwelen funkelnden Farben und der Schimmer der untergehenden Sonne verleihen dem Pinienwäldchen eine feierliche Abendstimmung. Das intensive Kolorit zeugt von Cross' Austausch mit seinem Freund Paul Signac, der sich ebenfalls am Mittelmeer niedergelassen hatte.","en":"In 1891 Cross moved to the Côte d'Azur, which he glorified as an earthly paradise in his Pointillist paintings. The jewellike colors and the shimmering of the setting sun bestow a celebratory evening atmosphere on the grove of pines. The intense colors attest to Cross's exchange with his friend Paul Signac, who also settled on the Mediterranean."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"cross_der_strand_von_saint-clair","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Cross_Der Strand von Saint-Clair.jpg","mimeType":"image/jpeg","filesize":975703,"width":2000,"height":1660,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:56.225Z","updatedAt":"2025-02-19T09:38:56.225Z","id":"67b5a6b072417297712ce759","url":"/cms/api/media/file/optimized-Cross_Der%20Strand%20von%20Saint-Clair.jpg","thumbnailURL":null},"measurements":"54 x 65 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b8e"},"id":"67bc270da0cfed09eb6ee740"},{"artwork":{"title":{"de":"Der Rio della Salute","en":"The Rio della Salute"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.93,"y":1.07,"z":0.2},"position":{"x":6.28,"y":16.29,"z":-4.37,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":6.28,"y":16.29,"z":-4.37},"id":"688db62281df0f999dd06d67"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.673518557994635,"y":8.879999999999999,"z":-6.714508552880355},"id":"6890d34867c88f001b935382"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":7.09,"y":15.79,"z":-4.42,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":11.47325156144567,"y":8.379999999999999,"z":-6.77391317244053},"id":"6890d34867c88f001b935383"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"6a316281f91d4591bae6bf9bb18acb6b","rotation":{"x":-0.71,"y":-0.36}}},"react3fiber":{"position":{"model":{"x":4.474200000000001,"y":31.6237,"z":17.2503},"floorplan":{"x":-0.758,"y":17.5,"z":18.747}}}},"createdAt":"2025-02-24T07:45:15.021Z","updatedAt":"2026-11-05T15:01:23.583Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1908","en":"1908"},"description":{"de":"Wie viele Maler hatte Venedig auch Claude Monet in den Bann geschlagen. Während seines zehnwöchigen Aufenthalts 1908 fertigte er 37 Gemälde: die letzte Werkreihe, die außerhalb seines Gartens in Giverny entstand. Monet interessierte das momenthafte Zusammentreffen mehrfarbiger Häuser, Brücken und leuchtender Wasserflächen.","en":"Like many painters, Claude Monet was captivated by Venice. During a ten-week stay in 1908 he completed thirty-seven pictures, the last series that was created outside of his garden in Giverny. Monet was interested in the instantaneous juxtapositions of multicolored buildings, bridges, and shimmering surfaces of water."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":true,"image":{"alt":"monet_der_rio_della_salute","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Rio della Salute.jpg","mimeType":"image/jpeg","filesize":916634,"width":1720,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:22.550Z","updatedAt":"2025-02-19T09:39:22.550Z","id":"67b5a6ca72417297712ce7d1","url":"/cms/api/media/file/optimized-Monet_Der%20Rio%20della%20Salute.jpg","thumbnailURL":null},"measurements":"81 x 65 cm","onDisplay":{"navigator":true,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238b87986af0ae414bea"},"id":"67bc270da0cfed09eb6ee722"},{"artwork":{"title":{"de":"Der Palazzo Ducale","en":"The Palazzo Ducale"},"modelData":{"matterport":{"insideView":{"sweepId":"bad4a3e5cfaf4428942df94fd94616ae","rotation":{"x":-1.51,"y":0.71}},"artworkCollisionBox":{"geometry":{"x":1.16,"y":0.84,"z":0.2},"position":{"x":8.63,"y":16.29,"z":-4.37,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":8.63,"y":16.29,"z":-4.37},"id":"688db66081df0f999dd06d9f"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.02131082481231,"y":8.870666545181594,"z":-6.726307149735026},"id":"6890d38067c88f001b935384"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":9.54,"y":15.77,"z":-4.41,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.942968727488866,"y":8.347779936001483,"z":-6.776797882577959},"id":"6890d38067c88f001b935385"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":2.1242,"y":31.6237,"z":17.2503},"floorplan":{"x":-2.3,"y":17,"z":21.2}}}},"createdAt":"2025-02-24T07:45:14.100Z","updatedAt":"2026-04-03T08:21:33.106Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1908","en":"1908"},"description":{"de":"Der Dogenpalast ist klar konturiert, während die weiteren Bauten am Canal Grande und den Campanile di San Marco ein Nebelschleier umhüllt. Die im Schatten liegenden Anlegepfähle rechts - die sogenanten pali - verstärken die Tiefenwirkung des Bildraums. Dieser erinnert mit seinen atmosphärischen Farbabstufungen an Gemälde William Turners, die Claude Monet In London studiert hatte.","en":"The contours of the Doge's Palace are clearly outlined, while the other buildings on the Grand Canal and Saint Mark's Campanile are veiled in mist The mooring posts on the right, known as pall, intensity the impression of depth in the work With its atmospheric gradations of color, the picture space is reminiscent of William Turner's paintings, which Claude Monet studied in London."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"monet_der_palazzo_ducale","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Palazzo Ducale.jpg","mimeType":"image/jpeg","filesize":731194,"width":2000,"height":1311,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:21.777Z","updatedAt":"2025-02-19T09:39:21.777Z","id":"67b5a6c972417297712ce7cc","url":"/cms/api/media/file/optimized-Monet_Der%20Palazzo%20Ducale.jpg","thumbnailURL":null},"measurements":"57 x 92 cm","onDisplay":{"navigator":false,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b48"},"id":"67bc270da0cfed09eb6ee763"},{"artwork":{"title":{"de":"Les Petites-Dalles bei Ebbe","en":"Low Tide at Les Petites-Dalles"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.94,"z":1.08},"position":{"x":9.899530317147269,"y":1.5960972677304057,"z":-2.040221803077576,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.14,"y":16.25,"z":3.15},"id":"688db66281df0f999dd06da1"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.510393474064983,"y":8.84,"z":0.718485732680485},"id":"6890d62067c88f001b935392"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.49,"z":0.34},"position":{"x":9.997185994422383,"y":1.0663309567583388,"z":-1.291202282557261,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.537793663430296,"y":8.308639440205084,"z":-0.13482454986254366},"id":"6890d62067c88f001b935393"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"f931f859e0434fcda1304b1adec71b5a","rotation":{"x":-3.8164285693011846,"y":-89.60089172629792}}},"react3fiber":{"position":{"model":{"x":0.854669682852732,"y":16.929797267730404,"z":14.920521803077577},"floorplan":{"x":-13.241,"y":17.5,"z":11.802}}}},"createdAt":"2025-02-24T07:45:14.094Z","updatedAt":"2026-11-05T15:01:21.416Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1884","en":"1884"},"description":{"de":"Les Petites-Dalles ist ein kleiner Badeort in der Nähe von Fécamp, der für seine weiß leuchtenden Steilklippen bekannt ist. Claude Monet wählte einen Blickwinkel, der ihre Monumentalität hervorhebt. Die Felsen waren ihm nicht nur Motiv, sondemn Projektionsfläche für die Reflexe von Wasser und Sonnenlicht. Die starken Farbkontraste steiger die Dramatik der Szene, in der Monet die Strandbesucher mit wenigen Pinseltupfen andeutet.","en":"Les Petites-Dalles is a small resort near Fécamp that is known for its shining white cliffs. Claude Monet chose a perspective that emphasizes their monumentality. For him the cliffs were not just a motif, but also a projection surface for reflected water and sunlight. The strong contrasts of color heighten the dramatic effect of the scene, in which Monet indicates the bathers using just a few dabs of paint."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-les-Petites-Dalles-bei-Ebbe_DE.mp3","mimeType":"audio/mpeg","filesize":1510851,"createdAt":"2025-03-05T11:29:05.083Z","updatedAt":"2025-03-05T11:29:05.083Z","id":"67c835819c762d275ec4e52c","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-les-Petites-Dalles-bei-Ebbe_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-les-Petites-Dalles-bei-Ebbe_EN.mp3","mimeType":"audio/mpeg","filesize":1842753,"createdAt":"2025-03-05T11:29:29.875Z","updatedAt":"2025-03-05T11:29:29.875Z","id":"67c835999c762d275ec4e558","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-les-Petites-Dalles-bei-Ebbe_EN.mp3","thumbnailURL":null}}},"id":"67c99121cf6f1f7f8c0beaf3"}],"hall":"2A6","highlight":null,"image":{"alt":"monet_die_petites-dalles_bei_ebbe","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Die Petites-Dalles bei Ebbe.jpg","mimeType":"image/jpeg","filesize":894148,"width":2000,"height":1622,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:26.777Z","updatedAt":"2025-02-19T09:39:26.777Z","id":"67b5a6ce72417297712ce7e0","url":"/cms/api/media/file/optimized-Monet_Die%20Petites-Dalles%20bei%20Ebbe.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b44"},"id":"67bc270da0cfed09eb6ee765"},{"artwork":{"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.91,"z":1.12},"position":{"x":10.49832004713842,"y":1.5990746142882304,"z":-2.013930197489512,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":5.6,"y":16.28,"z":0.31},"id":"688db68881df0f999dd06dbd"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.950290996581426,"y":8.862105832349103,"z":-2.0382208948139935},"id":"6890d25d67c88f001b93537e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.34},"position":{"x":10.497232565055683,"y":1.144367643658434,"z":-2.7826083998626885,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.937005077357307,"y":8.379999999999999,"z":-1.2499999999999998},"id":"6890d25d67c88f001b93537f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5b14babca5194d3086b280dc4e8c1c10","rotation":{"x":-2.0716714270163568,"y":91.04038066733315}}},"react3fiber":{"position":{"model":{"x":0.25587995286158005,"y":16.932774614288228,"z":14.894230197489513},"floorplan":{"x":1,"y":17,"z":15.4}}}},"createdAt":"2025-03-03T11:45:07.059Z","updatedAt":"2026-11-05T15:01:21.800Z","title":{"de":"Rio San Trovaso, Venedig","en":"Rio San Trovaso, Venice"},"artist":{"lastName":"Cross","firstName":"Henri-Edmond","lifeDates":"1856–1910","createdAt":"2025-02-24T07:45:12.877Z","updatedAt":"2025-02-24T07:45:12.877Z","id":"67bc238887986af0ae414ae6"},"catalogNumber":"MB-Cro-04","dating":{"de":"1903/04","en":"1903/04"},"description":{"de":"Das Gemälde gehört zu einer Reihe von Arbeiten, die Cross nach einem längeren Aufenthalt in Venedig 1903 anfertigte. Im gleißenden Licht der Mittagssonne ist der Kanal in einen leuchtenden Dunstschleier gehüllt. Der pastose Auftrag der juwelenartigen Farben ist charakteristisch für Cross’ späte pointillistische Werke.","en":"The painting belongs to a group of compositions, which Cross executed after a longer sojourn in Venice. In the glaring light of the midday sun, the canal is shrouded in a luminous haze. The impasto application of jewel-like colors is characteristic of the artist’s late pointillist works."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","image":{"alt":"Rio San Trovaso","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"RioSanTrovaso.png","mimeType":"image/png","filesize":3922820,"width":1400,"height":1106,"focalX":50,"focalY":50,"createdAt":"2025-03-03T11:45:01.956Z","updatedAt":"2025-03-03T11:45:01.956Z","id":"67c5963d9c762d275ec3dff1","url":"/cms/api/media/file/RioSanTrovaso.png","thumbnailURL":null},"measurements":"73 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67c596439c762d275ec3dffe"},"id":"67c5cacfba47f3524d942d80"},{"artwork":{"title":{"de":"Der Palazzo Contarini","en":"The Palazzo Contarini"},"modelData":{"matterport":{"insideView":{"sweepId":"60b1690c47a44ab698895f97defc2834","rotation":{"x":-1.44,"y":-0.72}},"artworkCollisionBox":{"geometry":{"x":1.25,"y":1.05,"z":0.2},"position":{"x":11.11,"y":16.28,"z":-4.37,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":11.11,"y":16.28,"z":-4.37},"id":"688db67581df0f999dd06daf"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":15.494013277917906,"y":8.870000000000001,"z":-6.73},"id":"6890d3bd67c88f001b935386"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":12.05,"y":15.78,"z":-4.4,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.44328010832026,"y":8.37,"z":-6.785316977459554},"id":"6890d3bd67c88f001b935387"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-0.35579999999999856,"y":31.6137,"z":17.2503},"floorplan":{"x":-4.1,"y":17,"z":21.2}}}},"createdAt":"2025-02-24T07:45:14.038Z","updatedAt":"2026-04-03T08:21:33.083Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1908","en":"1908"},"description":{"de":"Indem Claude Monet vom Palazzo Contarini nur einen Ausschnitt in Frontalansicht zeigt, reduziert er die Fassade auf eine ornamentale Fläche. Auch deren Spiegelung im Wasser beschränkt sich auf einige dunkle Stellen. Wie in seinen zeitgleich entstandenen Seerosenbildern komponierte er das Gemälde aus einer einzigen Farbe und ihren Nuancen.","en":"By depicting the Palazzo Contarini in a cropped frontal view, Claude Monet reduced the façade to an ornamental surface. The reflection of the palace in the water is also limited to several dark areas. As in his contemporaneous water-lily pictures, he composed the painting using a single color and its nuances."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":true,"image":{"alt":"monet_der_palazzo_contarini","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Palazzo Contarini.jpg","mimeType":"image/jpeg","filesize":809366,"width":2000,"height":1573,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:20.772Z","updatedAt":"2025-02-19T09:39:20.772Z","id":"67b5a6c872417297712ce7c7","url":"/cms/api/media/file/optimized-Monet_Der%20Palazzo%20Contarini.jpg","thumbnailURL":null},"measurements":"73 x 92 cm","onDisplay":{"navigator":false,"virtualTour":false},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b28"},"id":"67bc270da0cfed09eb6ee773"},{"artwork":{"title":{"de":"Antibes, das Fort","en":"The Fort of Antibes"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.2,"y":1.03,"z":0.2},"position":{"x":11.400230036429356,"y":1.5927235455447115,"z":-6.710555794662623,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":1.96,"y":16.27,"z":-2.47},"id":"688db65781df0f999dd06d97"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.451463543279377,"y":8.86,"z":-4.819290645265577},"id":"6890d29867c88f001b935380"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":12.287029864639615,"y":1.1293777564349727,"z":-6.749432761115437,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":6.4267212596356895,"y":8.36,"z":-3.9004804953214625},"id":"6890d29867c88f001b935381"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c753469a392e47a193d85161cedb51ea","rotation":{"x":-1.290443408591787,"y":0.21718973048676643}}},"react3fiber":{"position":{"model":{"x":-0.6460300364293552,"y":16.92642354554471,"z":19.590855794662623},"floorplan":{"x":-1.592,"y":17.5,"z":9.663}}}},"createdAt":"2025-02-24T07:45:14.131Z","updatedAt":"2026-11-05T15:01:23.841Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1888","en":"1888"},"description":{"de":"Monet zeigt die Altstadt von Antibes, einem aufstrebenden Touristenort an der Côte d'Azur, vor der Silhouette der schneebedeckten Alpen. Um das intensive Licht des Südens in Farbmaterie umzusetzen, steigerte er die Leuchtkraft der Farben. Er ging vom Weiß aus und hellte die Farbwerte von Blau, Rot, Grün und Orange damit auf.","en":"Monet shows the historical center of Antibes, a burgeoning tourist site on the Côte d'Azur, against the silhouette of the snow-covered Alps. He increased the luminosity of the colors to convey the intense southern light in paint. Starting with white and adding other colors, he lightened the tonal values to produce blue, red, green, and orange hues."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"monet_antibes_das_fort","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Antibes das Fort.jpg","mimeType":"image/jpeg","filesize":857057,"width":2000,"height":1596,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:11.938Z","updatedAt":"2025-02-19T09:39:11.938Z","id":"67b5a6bf72417297712ce79f","url":"/cms/api/media/file/optimized-Monet_Antibes%20das%20Fort.jpg","thumbnailURL":null},"measurements":"65 x 81 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b58"},"id":"67bc270da0cfed09eb6ee75b"},{"artwork":{"title":{"de":"Antibes von den Gärten von Salis aus","en":"Antibes Seen from the Salis Gardens"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.21,"y":0.97,"z":0.2},"position":{"x":13.901665475345048,"y":1.6092883964535951,"z":-6.728465061754945,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":6.05,"y":16.27,"z":0.33},"id":"688db68981df0f999dd06dbe"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.532168991677025,"y":8.852294104628108,"z":-2.025580112293434},"id":"6890d74e67c88f001b93539e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.38,"z":0.05},"position":{"x":14.819297126906845,"y":1.127762891132117,"z":-6.735369661265417,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.472158748741274,"y":8.373290619357592,"z":-2.8467131028062513},"id":"6890d74e67c88f001b93539f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"988ffaab63f549e79d9e55646dad633a","rotation":{"x":-0.2608156863760731,"y":0.8090909331876962}}},"react3fiber":{"position":{"model":{"x":-3.1474654753450473,"y":16.942988396453593,"z":19.608765061754944},"floorplan":{"x":0.375,"y":17.5,"z":9.582}}}},"createdAt":"2025-03-03T11:57:55.437Z","updatedAt":"2026-11-05T15:01:20.723Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":"MB-Mon-40","credit":{"de":"Der Blick fällt durch die verschatteten Bäume. Monet malte von den Gärten von La Salis aus die Stadt Antibes auf der anderen Seite der Bucht. Im Winter 1888 entstanden vier Gemälde dieser Ansicht zu verschiedenen Tageszeiten. Hier ging es Monet um das sanfte Licht der Morgendämmerung und die Spiegelungen auf dem Wasser.","en":"The view falls through the shaded trees. Monet painted the town of Antibes on the other side of the bay from the gardens of La Salis, In the winter of 1888, he created four paintings of this view at different times of day. Here, Monet was focused on the gentle light of dawn and the reflections on the water."},"dating":{"de":"1888","en":"1888"},"description":{"de":"Der Blick fällt durch die verschatteten Bäume. Monet malte von den Gärten von La Salis aus die Stadt Antibes auf der anderen Seite der Bucht. Im Winter 1888 entstanden vier Gemälde dieser Ansicht zu verschiedenen Tageszeiten. Hier ging es Monet um das sanfte Licht der Morgendämmerung und die Spiegelungen auf dem Wasser.","en":"The view falls through the shaded trees. Monet painted the town of Antibes on the other side of the bay from the gardens of La Salis. In the winter of 1888, he created four paintings of this view at different times of day. Here, Monet was focused on the gentle light of dawn and the reflections on the water."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","image":{"alt":"AntibesGaertenSalis","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"AntibesGaertenSalis.png","mimeType":"image/png","filesize":4412938,"width":1600,"height":1134,"focalX":50,"focalY":50,"createdAt":"2025-03-03T11:57:51.519Z","updatedAt":"2025-03-03T11:57:51.519Z","id":"67c5993f9c762d275ec3e19a","url":"/cms/api/media/file/AntibesGaertenSalis.png","thumbnailURL":null},"measurements":"65 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67c599439c762d275ec3e1a7"},"id":"67c5caf4ba47f3524d942d81"},{"artwork":{"title":{"de":"Villen in Bordighera","en":"Villas at Bordighera"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.05,"y":0.9,"z":0.2},"position":{"x":17.909268849889024,"y":1.6106952203987872,"z":-6.711027801189067,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":13.53,"y":16.28,"z":-4.37},"id":"688db66f81df0f999dd06daa"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":17.921283580852418,"y":8.848089490846121,"z":-6.73},"id":"6890d50267c88f001b935388"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":18.73688477431164,"y":1.0985210336910396,"z":-6.752122098028964,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":18.765648476110236,"y":8.342502233242513,"z":-6.790284410713948},"id":"6890d50267c88f001b935389"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"dd4e3a74cf9945f7b62f9c387d4dd8b9","rotation":{"x":-0.8035378425703974,"y":-0.49803844403473424}}},"react3fiber":{"position":{"model":{"x":-7.155068849889023,"y":16.944395220398786,"z":19.591327801189067},"floorplan":{"x":-6.449,"y":17.5,"z":18.897}}}},"createdAt":"2025-02-24T07:45:14.061Z","updatedAt":"2026-11-05T15:01:26.740Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1884","en":"1884"},"description":{"de":"Farbenpracht und Exotik der mediterranen Pflanzenwelt faszinierten Claude Monet bei seiner ersten längeren Reise an die Riviera. In Bordighera malte er den Garten der Villa Garnier, die der Erbauer der Pariser Oper dort für sich errichtet hatte. Indem Monet die Palme ins Zentrum des Bildes rückte, machte er den Bau des berühmten Architekten zur Randerscheinung.","en":"On his first extended visit to the Riviera, Claude Monet was fascinated by the splendid colors and the exoticism of Mediterranean plants. In Bordighera he painted the garden of the Villa Garnier which the architect of the Paris Opera had constructed there for himself. By shifting the palm tree to the center of the picture, he understated the work of the famous architect"},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"monet_villen_in_bordighera","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Villen in Bordighera.jpg","mimeType":"image/jpeg","filesize":982468,"width":2000,"height":1640,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:55.393Z","updatedAt":"2025-02-19T09:39:55.393Z","id":"67b5a6eb72417297712ce844","url":"/cms/api/media/file/optimized-Monet_Villen%20in%20Bordighera.jpg","thumbnailURL":null},"measurements":"61 x 74 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b32"},"id":"67bc270da0cfed09eb6ee76e"},{"artwork":{"title":{"de":"Strada Romana in Bordighera","en":"Strada Romana at Bordighera"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.97,"y":0.83,"z":0.2},"position":{"x":20.253353050816745,"y":1.6271211097065879,"z":-6.7555586987761735,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":15.87,"y":16.29,"z":-4.37},"id":"688db66c81df0f999dd06da8"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.254561969357205,"y":8.879999999999999,"z":-6.73},"id":"6890d52d67c88f001b93538a"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.42,"z":0.05},"position":{"x":21.10038894776013,"y":1.1039575573196354,"z":-6.76835421860417,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.123053876176872,"y":8.35,"z":-6.779999999999999},"id":"6890d52d67c88f001b93538b"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"0e7b551b4565419683050822101915de","rotation":{"x":-0.4978934263472017,"y":0.32920347975469433}}},"react3fiber":{"position":{"model":{"x":-9.499153050816744,"y":16.960821109706586,"z":19.635858698776175},"floorplan":{"x":-8.71,"y":17.5,"z":18.958}}}},"createdAt":"2025-02-24T07:45:14.068Z","updatedAt":"2026-11-05T15:01:24.374Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1884","en":"1884"},"description":{"de":"Auch in Bordighera malte Monet scheinbar willkürlich gewählte Ansichten. Bei diesem Blick auf die menschenleere Strada Romana zeigt der Maler keine pittoresken Sehenswürdigkeiten, sondern eine wie zufällig ausgewählte Straßenszene. Sein Thema waren Licht und Atmosphäre eines frühen Nachmittags im Süden.","en":"Even in Bordighera Monet painted views that seem to be chosen at random. In this depiction of the deserted Strada Romana that is devoid of people, the painter was not presenting any picturesque sights, but instead showed a street scene that seemed incidental. The light and atmosphere of an early afternoon in the south are the real subject here."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Strada-Romana-in-Bordighera_DE.mp3","mimeType":"audio/mpeg","filesize":2162204,"createdAt":"2025-03-05T11:20:19.202Z","updatedAt":"2025-03-05T11:20:19.202Z","id":"67c833739c762d275ec4e2e6","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Strada-Romana-in-Bordighera_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Strada-Romana-in-Bordighera_EN.mp3","mimeType":"audio/mpeg","filesize":2748052,"createdAt":"2025-03-05T11:20:38.623Z","updatedAt":"2025-03-05T11:20:38.623Z","id":"67c833869c762d275ec4e311","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-Strada-Romana-in-Bordighera_EN.mp3","thumbnailURL":null}}},"id":"67c99125cf6f1f7f8c0beb01"}],"hall":"2A6","highlight":null,"image":{"alt":"monet_strada_romana_in_bordighera","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Strada Romana in Bordighera.jpg","mimeType":"image/jpeg","filesize":790047,"width":2000,"height":1604,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:51.761Z","updatedAt":"2025-02-19T09:39:51.761Z","id":"67b5a6e772417297712ce835","url":"/cms/api/media/file/optimized-Monet_Strada%20Romana%20in%20Bordighera.jpg","thumbnailURL":null},"measurements":"66 x 81,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b36"},"id":"67bc270da0cfed09eb6ee76c"},{"artwork":{"title":{"de":"Bordighera, Italien","en":"Bordighera, Italy"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.01,"y":0.87,"z":0.2},"position":{"x":22.532892364526706,"y":1.608780545921394,"z":-6.6966231821800815,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":18.16,"y":16.27,"z":-4.37},"id":"688db64881df0f999dd06d8a"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.55980514613432,"y":8.86,"z":-6.755482366627057},"id":"6890d56767c88f001b93538c"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.34,"y":0.34,"z":0.05},"position":{"x":23.35041634595542,"y":1.0887227958138803,"z":-6.7431820691507545,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":23.380000000000003,"y":8.335914735062511,"z":-6.799321985085298},"id":"6890d56767c88f001b93538d"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c4777abc6d274d21a717e23009c8af00","rotation":{"x":0.2344789545305087,"y":0.08177297287855832}}},"react3fiber":{"position":{"model":{"x":-11.778692364526705,"y":16.94248054592139,"z":19.57692318218008},"floorplan":{"x":-10.981,"y":17.5,"z":19.035}}}},"createdAt":"2025-02-24T07:45:14.168Z","updatedAt":"2026-11-05T15:01:23.042Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1884","en":"1884"},"description":{"de":"Monet spielte mit den Ausschnitttechniken der Photographie. In jenen Jahren vermarkteten Photographen die italienischen Kistenlandschaften bereits massenhaft als Paesaggio italiano, Sie hatten auch die Rahmung des Landschaftsausschnitts durch Pinien populär gemacht. In der Nachfolge Monets reisten viele Maler ans Mittelmeer. Paul Signac und Henri-Edmond Cross ließen sich dort nieder.","en":"Monet experimented with the cropping techniques of photography. At that time, photographers were already marketing the landscape of the Italian coast as paesaggio italiano on a massive scale. They had also established the popular device of framing the landscape view with pine trees. Following Monet, many painters traveled to the Mediterranean Paul Signac and Henr-Edmond Cross settled there permanently."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"monet_bordighera_italien","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Bordighera_Italien.jpg","mimeType":"image/jpeg","filesize":997208,"width":2000,"height":1631,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:14.015Z","updatedAt":"2025-02-19T09:39:14.015Z","id":"67b5a6c272417297712ce7a9","url":"/cms/api/media/file/optimized-Monet_Bordighera_Italien.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b72"},"id":"67bc270da0cfed09eb6ee74e"},{"artwork":{"title":{"de":"Kante der Steilküste bei Pourville","en":"Edge of the Cliff at Pourville"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.72,"z":0.93},"position":{"x":24.51036577647827,"y":1.6128479227942274,"z":-4.810145378291402,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":20.14,"y":16.28,"z":-2.41},"id":"688db66181df0f999dd06da0"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.528004879555684,"y":8.870000000000001,"z":-4.835613963571914},"id":"6890d5b267c88f001b93538e"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42,"z":0.34},"position":{"x":24.529449173285368,"y":1.1227953340897057,"z":-3.970369395696334,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.53144494143604,"y":8.361517167456746,"z":-3.98775391559479},"id":"6890d5b267c88f001b93538f"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"400a2bbcd9ce4f5eb6199bc400209004","rotation":{"x":-0.002086046843285728,"y":-91.06643349585477}}},"react3fiber":{"position":{"model":{"x":-13.75616577647827,"y":16.946547922794228,"z":17.6904453782914},"floorplan":{"x":-13.324,"y":17.5,"z":17.153}}}},"createdAt":"2025-02-24T07:45:14.097Z","updatedAt":"2026-11-05T15:01:26.464Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1882","en":"1882"},"description":{"de":"Monet malte nicht nur touristische Sehenswürdigkeiten wie die Porte d'Aval. Hier wählte er ein marginales Motiv. Spektakulär aber ist die Perspektive. Wie bei einer Photographie ist die mit Gras bewachsene Steilkante fokussiert, während Meeresfläche, Himmel und das Felsenband der Bucht in der Ferne verschwimmen.","en":"Monet did not only paint tourist destinations such as the Porte d'Aval. Here he chose a marginal motif and made it spectacular by means of perspective. Similar to a photograph, the grassy edge of the cliff is in sharp focus, while the surface of the sea, the sky, and the cliffs of the bay in the distance are blurred."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A6","highlight":null,"image":{"alt":"monet_kante_der_steilkueste_bei_pourville","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Kante der Steilkueste bei Pourville.jpg","mimeType":"image/jpeg","filesize":941154,"width":2000,"height":1471,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:36.645Z","updatedAt":"2025-02-19T09:39:36.645Z","id":"67b5a6d872417297712ce7fe","url":"/cms/api/media/file/optimized-Monet_Kante%20der%20Steilkueste%20bei%20Pourville.jpg","thumbnailURL":null},"measurements":"60,5 x 81,5 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b46"},"id":"67bc270da0cfed09eb6ee764"},{"artwork":{"title":{"de":"Der Seerosenteich","en":"The Water-Lily Pond"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.97,"y":1.31,"z":0.2},"position":{"x":33.3,"y":1.53,"z":2.88,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":28.86,"y":16.29,"z":5.15},"id":"688db66881df0f999dd06da5"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":33.29366509455498,"y":8.879999999999999,"z":2.72082329567539},"id":"6890da2967c88f001b9353aa"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.05},"position":{"x":31.91,"y":1.13,"z":2.88,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.840000000000003,"y":8.313184692188424,"z":2.764809782904673},"id":"6890da2967c88f001b9353ab"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"61b4d1d6d8df4dbb9394c1eb04cde60a","rotation":{"x":-2.34,"y":178.8}}},"react3fiber":{"position":{"model":{"x":-22.545799999999996,"y":16.863699999999998,"z":10.0003},"floorplan":{"x":-19.855,"y":17.5,"z":19.499}}}},"createdAt":"2025-02-24T07:45:14.079Z","updatedAt":"2026-11-05T15:01:24.960Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1918","en":"1918"},"description":{"de":"Die Konzentration auf den Wasserspiegel des Seerosenteichs führt zu einer nie dagewesenen Flächigkeit im Landschaftsbild. Reflexionen der Trauerweiden und der Wolken sind als Farbschlieren gegenwärtig. Das Bild lässt sich über seine Begrenzungen hinaus weiterdenken. Zur Entstehungszeit des Gemäldes begann Monet mit den Seerosen-Panoramen, die nach seinem Tod im Musée de l'Orangerie in Paris installiert wurden.","en":"The artist's focus on the surface of the water-lily pond results in a flatness that is unprecedented in landscape painting. Reflections of the weeping willow and the clouds are indicated with smudges of paint. The picture can be imagined beyond its edges. Around the time this painting was created, Monet began working on the water-lily panoramas that were installed in the Musée de l'Orangerie after his death."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-der-Seerosenteich-um-1918_DE.mp3","mimeType":"audio/mpeg","filesize":2037630,"createdAt":"2025-03-05T12:05:45.627Z","updatedAt":"2025-03-05T12:05:45.627Z","id":"67c83e199c762d275ec4ec09","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-der-Seerosenteich-um-1918_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-der-Seerosenteich-um-1918_EN.mp3","mimeType":"audio/mpeg","filesize":2471362,"createdAt":"2025-03-05T12:06:08.690Z","updatedAt":"2025-03-05T12:06:08.690Z","id":"67c83e309c762d275ec4ec30","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Monet-der-Seerosenteich-um-1918_EN.mp3","thumbnailURL":null}}},"id":"67c99123cf6f1f7f8c0beafb"}],"hall":"2A7","highlight":null,"image":{"alt":"monet_der_seerosenteich","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Der Seerosenteich.jpg","mimeType":"image/jpeg","filesize":667130,"width":2000,"height":1308,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:23.537Z","updatedAt":"2025-02-19T09:39:23.537Z","id":"67b5a6cb72417297712ce7d6","url":"/cms/api/media/file/optimized-Monet_Der%20Seerosenteich.jpg","thumbnailURL":null},"measurements":"131 x 197 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b3c"},"id":"67bc270da0cfed09eb6ee769"},{"artwork":{"createdAt":"2026-04-16T08:48:22.040Z","updatedAt":"2026-11-05T15:01:27.019Z","onDisplay":{"navigator":true,"virtualTour":false},"highlight":false,"catalogNumber":null,"hall":"2A7","exhibition":"67b338818635bba96e329691","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"title":{"de":"Blühende Seerosen","en":"Flowering Waterlilies"},"dating":{"de":"1914–1917","en":"1914–1917"},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"description":{"de":"Seit 1905 verzichtete Monet in seinen Seerosenbildern auf die Darstellung der Welt oberhalb der Horizontlinie. Blume und Himmel tauchen auch in diesem Bild nur noch als ausschnitthafte Spiegelungen auf dem Wasser auf. Die Komposition ist ohne Raumtiefe angelegt, was dem Bad den Eindruck von Grenzenlosigkeit verleiht. Zwischen den pastosen Pinselstrichen ist an manchen Stellen noch die Leinwand sichtbar. Mit seiner freien Pinselführung und dem expressiven Kolorit wurde Monet zum Wegbereiter der Abstraktion im 20. Jahrhundert.","en":"After 1905, Monet no longer represented the world above the horizon line in his water lily paintings. Trees and sky appear only as fragmentary reflections on the water in this work. The composition is rendered without spatial depth, giving the painting a sense of boundlessness. Between the impasto brushstrokes, the canvas remains visible in some places. Through his free brushwork and expressive use of color, Monet paved the way for the emergence of abstract art in the twentieth century."},"measurements":"160,3 x 180 cm","credit":{"de":"Privatsammlung","en":"Private Collection"},"copyrightArtist":null,"copyrightFoto":"Jens Ziehe, Berlin","modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.1,"y":1.6030000000000002,"z":1.8},"position":{"x":28.891360904627533,"y":1.5838480115643092,"z":0.7136031827637883,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.56,"z":0.3},"position":{"x":28.899002481194294,"y":1.0409192428703367,"z":-0.6304671845403478,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"69c9d521cbea4ec58d3ed16f63473036","rotation":{"x":-0.193863303172199,"y":90.50156363473296}}},"react3fiber":{"position":{"model":{"x":-18.13716090462753,"y":16.917548011564307,"z":12.166696817236211},"floorplan":{"x":-25.66,"y":17.5,"z":14.786}}}},"guides":[],"image":{"createdAt":"2026-04-16T09:30:15.674Z","updatedAt":"2026-04-16T09:30:15.900Z","exhibition":"67b338818635bba96e329691","type":"artwork-image","url":"/cms/api/media/file/Claude_Monet_Nymphe_as_en_fleur_1.jpg","filename":"Claude_Monet_Nymphe_as_en_fleur_1.jpg","mimeType":"image/jpeg","filesize":990757,"width":3000,"height":2653,"focalX":50,"focalY":50,"thumbnailURL":null,"id":"69e0ac27c02be5d7c28566a2"},"id":"69e0a256733620b44d2e842b"},"id":"69e0a4500fafa69c3e709b1a"},{"artwork":{"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.81,"z":0.92},"position":{"x":28.9,"y":1.55,"z":-4.77,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":24.45,"y":16.28,"z":-2.39},"id":"688db68a81df0f999dd06dbf"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.91748714479118,"y":8.85897097519367,"z":-4.827730940653659},"id":"6890d8f167c88f001b9353a2"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.56,"z":0.3},"position":{"x":28.89,"y":1,"z":-3.8,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":28.88972460676123,"y":8.347460968535385,"z":-3.926382454823571},"id":"6890d8f167c88f001b9353a3"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"031bbc81520f4baf98a2945448d8146d","rotation":{"x":-1.98,"y":87.16}}},"react3fiber":{"position":{"model":{"x":-18.145799999999998,"y":16.883699999999997,"z":17.6503},"floorplan":{"x":-20.687,"y":17.5,"z":10.008}}}},"createdAt":"2025-03-03T12:05:09.654Z","updatedAt":"2026-11-05T15:01:21.863Z","title":{"de":"Das Parlament. Sonnenuntergang","en":"Houses of Parliament, Sunset"},"artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":"MB-Mon-38","credit":{"de":"","en":""},"dating":{"de":"1900–1903","en":"1900–1903"},"description":{"de":"In London interessierte sich Monet für das Zusammenspiel von leuchtenden Wasserflächen und imposanten architektonischen Strukturen. Hier ragen die Türme von Westminster Palace als tiefblaue Silhouette in den violett gefärbten Abendhimmel empor. Oben rechts setzt der rotglühende Sonnenball einen markanten Akzent.","en":"In London, Monet was interested in the interplay of luminous surfaces of water and imposing architectural structures. Here, the towers of Westminster Palace rise as a deep blue silhouette into the violet-tinted evening sky. At the top right, the glowing ball of the sun sets a striking red accent."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A7","image":{"alt":"Das Parlament. Sonnenuntergang","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"DasParlamentSonnenuntergang.png","mimeType":"image/png","filesize":1724390,"width":1242,"height":1085,"focalX":50,"focalY":50,"createdAt":"2025-03-03T12:05:07.249Z","updatedAt":"2025-03-03T12:05:07.249Z","id":"67c59af39c762d275ec3e2be","url":"/cms/api/media/file/DasParlamentSonnenuntergang.png","thumbnailURL":null},"measurements":"81,2 x 92 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67c59af59c762d275ec3e2ca"},"id":"67c5caffba47f3524d942d82"},{"artwork":{"title":{"de":"Verschneiter Getreideschober in der Sonne","en":"Grainstack in the Sunlight, Snow Effect"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1,"y":0.65,"z":0.2},"position":{"x":31.71,"y":1.51,"z":-6.91,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":27.31,"y":16.27,"z":-4.5},"id":"688db65981df0f999dd06d99"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":31.69414091262455,"y":8.86,"z":-6.992925276788537},"id":"6890d92a67c88f001b9353a4"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.05},"position":{"x":32.6,"y":1.05,"z":-6.92,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":32.666136373383466,"y":8.34,"z":-6.991849349743744},"id":"6890d92a67c88f001b9353a5"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"02c57dda3c88410abd7af0a0debcd2b9","rotation":{"x":-3.66,"y":1.57}}},"react3fiber":{"position":{"model":{"x":-20.9558,"y":16.8437,"z":19.790300000000002},"floorplan":{"x":-17.411,"y":17.5,"z":17.329}}}},"createdAt":"2025-02-24T07:45:14.121Z","updatedAt":"2026-11-05T15:01:21.141Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1891","en":"1891"},"description":{"de":"Monets Serie der Getreideschober thematisiert den jahreszeitlichen Wandel der Landschaft und die je nach Tageszeit unterschiedlichen Wirkungen des Sonnenlichts. Monet erfasste die charakteristische Lichtstimmung eines kalten Wintertags und beschrieb die Reflexionen aut dem schneebedeckten Ackerboden in zarten Tönen von Gelb und Orange.","en":"Monet's series of grainstacks examine the seasonal change of the landscape and the varying influence of sunlight according to the time of day. Monet captured the characteristic mood of the light on a cold winter's day and described the reflections on the snow-covered field in delicate tones of yellow and orange."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A7","highlight":null,"image":{"alt":"monet_verschneiter_getreideschober_in_der_sonne","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Verschneiter Getreideschober in der Sonne.jpg","mimeType":"image/jpeg","filesize":839690,"width":2000,"height":1293,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:54.202Z","updatedAt":"2025-02-19T09:39:54.202Z","id":"67b5a6ea72417297712ce83f","url":"/cms/api/media/file/optimized-Monet_Verschneiter%20Getreideschober%20in%20der%20Sonne.jpg","thumbnailURL":null},"measurements":"65 x 100 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onLoan":true,"id":"67bc238a87986af0ae414b54"},"id":"67bc270da0cfed09eb6ee75d"},{"artwork":{"title":{"de":"Getreideschober","en":"Grainstacks"},"modelData":{"matterport":{"insideView":{"sweepId":"14797a5f9ea142c4872d373b7e89b116","rotation":{"x":-3.61,"y":-3.46}},"artworkCollisionBox":{"geometry":{"x":0.93,"y":0.73,"z":0.2},"position":{"x":34.2,"y":1.51,"z":-6.89,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":29.74,"y":16.26,"z":-4.5},"id":"688db64581df0f999dd06d87"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":34.13665820963508,"y":8.850000000000001,"z":-6.94527899966775},"id":"6890d95e67c88f001b9353a6"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3,"y":0.56,"z":0.05},"position":{"x":34.99,"y":0.99,"z":-6.9,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":35.047004258746114,"y":8.29,"z":-7.007242432380185},"id":"6890d95e67c88f001b9353a7"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-23.445800000000002,"y":16.8437,"z":19.7703},"floorplan":{"x":-23.4,"y":17,"z":17}}}},"createdAt":"2025-02-24T07:45:14.181Z","updatedAt":"2026-11-05T15:01:21.280Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1890","en":"1890"},"description":{"de":"In einer umfangreichen Serie von 25 Gemälden widmete sich Monet den Getreideschobern, die in der Nähe seines Hauses in Giverny auf den Feldern standen. Systematisch nahm er sie bei unterschiedlichen Licht- und Witterungsverhältnissen in den Bllck. Her führt Monet den Blick diagonal entlang einer Reihe von Schobern in die Bildtlete. Die Sonnenstrahlen kreuzen diese Diagonale. Die leuchtende Farbigkeit kudminiert an den Rändern des vorderen Schobers.","en":"In an extensive series of twenty-five paintings Monet focused on the grainstacks that stood in the fields near his house in Giverny. He examined them systematically in different light and weather conditions. In this composition Monet directs the gaze diagonally along a row of grainstacks into the depth of the picture space. The rays of sunshine cut across this diagonal. The bright play of colors culminates on the edges of the grainstack in the foreground."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A7","highlight":true,"image":{"exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Mon-26_Monet_Getreideschober_1.jpg","mimeType":"image/jpeg","filesize":540040,"width":1400,"height":1111,"focalX":50,"focalY":50,"createdAt":"2025-03-26T14:23:38.298Z","updatedAt":"2025-03-26T14:23:38.298Z","id":"67e40dead87736b29ccf9a05","url":"/cms/api/media/file/MB-Mon-26_Monet_Getreideschober_1.jpg","thumbnailURL":null},"measurements":"73 x 92,5 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b7a"},"id":"67bc270da0cfed09eb6ee74a"},{"artwork":{"createdAt":"2026-04-16T08:48:22.777Z","updatedAt":"2026-04-20T10:00:20.713Z","onDisplay":{"navigator":false,"virtualTour":false},"highlight":false,"catalogNumber":null,"hall":"2A7","exhibition":"67b338818635bba96e329691","artist":{"createdAt":"2026-04-16T08:48:22.738Z","updatedAt":"2026-04-16T08:48:22.738Z","lastName":"Murillo","firstName":"Oscar","lifeDates":"","id":"69e0a256733620b44d2e8440"},"title":{"de":"Woge (gesellschaftliche Linsentrübung)","en":"surge (social cataracts)"},"dating":{"de":"2025","en":"2025"},"technique":{"de":"Öl, Ölstift und Sprühfarbe auf Leinwand","en":"Oil, oil stick, and spray paint on canvas"},"description":{"de":"Oscar Murillo malt die Bilder seiner Serie Surge (Woge), indem er die Leinwände auf den Boden legt und zunächst einzelne Wörter aufsprüht. Dann trägt er Schicht für Schicht mit Ölstiften leuchtende Farbe auf, bis eine pastose Struktur die Fläche bedeckt. Der Titelzusatz social cataracts verweist auf Monets Erkrankung am grauen Star, medizinisch als Katarakt bezeichnet. Murillo weitet Monets individuellen Verlust des Augenlichts zum Sinnbild für das Gesehene und Nichtgesehene in unserer Gesellschaft aus. In Monets Leben und Werk erkennt er das Potenzial zu einer Wahrnehmungs-verschiebung.","en":"To create the works in the Surge series, Oscar Murillo begins by laying the canvas on the floor and spray-painting individual words. He then builds up layers of vibrant paint using oil sticks to create a thick, textured surface. The addition of social cataracts in the title refers to Claude Monet's struggle with cataracts. Murillo transforms Monet's individual loss of sight into a metaphor for what is seen and not seen in society. In Monet's life and work, Murillo recognizes the potential for a shift in perception."},"measurements":"Dreiteilig, gesamt / In three parts, overall 250 x 750 cm","credit":{"de":null,"en":"Courtesy of the artist"},"copyrightArtist":"Oscar Murillo","copyrightFoto":"Tim Bowditch & Reinis Lismanis","modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.1,"y":2.5,"z":7.5},"position":{"x":37.03137526408875,"y":1.75920101910858,"z":-2.102260319387578,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{},"position":{"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"02ef5af7f2704d9da4360cbe25cb8213","rotation":{"x":0.6967129949296502,"y":-88.87981779767439}}},"react3fiber":{"position":{"model":{"x":-26.27717526408875,"y":17.092901019108577,"z":14.982560319387577},"floorplan":{"x":-25.783593750000065,"y":17.5,"z":14.754492187499968}}}},"guides":[],"image":{"createdAt":"2026-04-20T09:59:47.216Z","updatedAt":"2026-04-20T09:59:47.349Z","exhibition":"67b338818635bba96e329691","type":"artwork-image","url":"/cms/api/media/file/Murillo_surge.jpg","filename":"Murillo_surge.jpg","mimeType":"image/jpeg","filesize":214131,"width":960,"height":358,"focalX":50,"focalY":50,"thumbnailURL":null,"id":"69e5f9133fa835c223a2c384"},"id":"69e0a256733620b44d2e8442"},"id":"69e0a4500fafa69c3e709b1b"},{"artwork":{"title":{"de":"Seerosen","en":"Water Lilies"},"modelData":{"matterport":{"insideView":{"sweepId":"5a74be21f24e421eb7b12aa30c754dcc","rotation":{"x":2.23,"y":-90.91}},"artworkCollisionBox":{"geometry":{"x":0.2,"y":2,"z":2},"position":{"x":37.1,"y":1.66,"z":-2.02,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":32.74,"y":16.47,"z":0.35},"id":"688db65a81df0f999dd06d9a"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.09829124746068,"y":9.059999999999999,"z":-2.120599442902048},"id":"6890d9a667c88f001b9353a8"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.56,"z":0.3},"position":{"x":37.16,"y":0.91,"z":-0.69,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":37.15633227115849,"y":8.34,"z":-0.6759539547727154},"id":"6890d9a667c88f001b9353a9"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-26.3458,"y":16.993699999999997,"z":14.9003},"floorplan":{"x":-25.6,"y":17,"z":15.7}}}},"createdAt":"2025-02-24T07:45:14.118Z","updatedAt":"2026-11-05T15:01:23.513Z","artist":{"lastName":"Monet","firstName":"Claude","lifeDates":"1840–1926","createdAt":"2025-02-24T07:45:12.909Z","updatedAt":"2025-02-24T07:45:12.909Z","id":"67bc238887986af0ae414afc"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1914–1917","en":"1914–1917"},"description":{"de":"In Giverny ließ Claude Monet 1893 einen Wassergarten gestalten, der von japanischen Vorbildern inspiriert war. Fast 30 Jahre widmete er sich nahezu ausschließlich dem Motiv des mit Seerosen bepflanzten Teichs. Das Fehlen eines Horizonts und räumlicher Tiefe vermittelt etwas Grenzen-loses. Damit sowie mit der freien Pinselführung und dem expressiven Kolorit wurde Monet zum Wegbereiter der Abstraktion im 20. Jahrhundert.","en":"In 1893 Claude Monet had a water garden designed in Giverny that was inspired by Japanese examples. For nearly thirty years he devoted himself almost exclusively to the motif of the water-lily pond. The lack of a horizon and spatial depth imparts an air of boundlessness. In this way, combined with his use of free brushwork and expressive colors, Monet became a pioneer of abstraction in the twentieth century."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"2A7","highlight":true,"image":{"alt":"monet_seerosen","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Monet_Seerosen.jpg","mimeType":"image/jpeg","filesize":807849,"width":2000,"height":2007,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:48.100Z","updatedAt":"2025-02-19T09:39:48.100Z","id":"67b5a6e472417297712ce826","url":"/cms/api/media/file/optimized-Monet_Seerosen.jpg","thumbnailURL":null},"measurements":"200 x 200 cm","onDisplay":{"navigator":false,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"id":"67bc238a87986af0ae414b52"},"id":"67bc270da0cfed09eb6ee75e"},{"artwork":{"title":{"de":"Der Wald","en":"The Forest"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.2,"y":0.84364808207984,"z":0.9517932511936109},"position":{"x":6.888689947500142,"y":-13.026253629450478,"z":25.299641332383846,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":7.009454851435596,"y":-5.776742551111417,"z":25.321873955251366},"id":"688db62e81df0f999dd06d72"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.015441655001431,"y":-5.775230090258131,"z":25.32540913897832},"id":"6890dcc667c88f001b9353ac"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.42132297654565587,"z":0.3314718336831884},"position":{"x":6.893660040913358,"y":-13.52299139706136,"z":26.09681406286901,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":7.010887227097392,"y":-6.232048353586807,"z":26.23696949994324},"id":"6890dcc667c88f001b9353ad"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"ca002a6fdbd947278056ea79f157b9ef","rotation":{"x":-1.8937320204676786,"y":90.33695297773038}}},"react3fiber":{"position":{"model":{"x":3.865510052499859,"y":2.307446370549522,"z":-12.419341332383846},"floorplan":{"x":3.313,"y":-6.5,"z":-12.08}}}},"createdAt":"2025-02-24T07:45:14.923Z","updatedAt":"2026-11-05T15:01:21.647Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1914–1918","en":"1914–1918"},"description":{"de":"Mit dem Weg ins Unterholz erinnerte Vlaminck an die Vorgeschichte des Impressionismus im Wald von Fontainebleau. Expressiv wirkende, breite, pastose Pinselstriche geben der Komposition eine feste geometrische Struktur. Vlamincks Drängen in die Abstraktion ist eine Zuspitzung von Monets Motto, dass es nicht darauf ankomme, was man male, sondern wie man es male.","en":"Vlaminck recalled the early history of Impressionism in the forest of Fontainebleau with this path in the underbrush. Broad and expressive impasto gives the composition a strong geometric structure. Vlaminck’s incentive to paint abstractly is an intensification of Monet’s motto: it is not important what you paint, but how you paint it."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_der_wald","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Der Wald.jpg","mimeType":"image/jpeg","filesize":959881,"width":2000,"height":1645,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:35.024Z","updatedAt":"2025-02-19T09:40:35.024Z","id":"67b5a71372417297712ce8e9","url":"/cms/api/media/file/optimized-Vlaminck_Der%20Wald.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","onDisplay":{"navigator":true,"virtualTour":true},"technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bac"},"id":"67bc270da0cfed09eb6ee731"},{"artwork":{"title":{"de":"Dorfstraße","en":"Village road"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.9567790146683354,"y":0.8499253627569432,"z":0.20005998880924342},"position":{"x":10.36639489187377,"y":-13.033452404014222,"z":23.271938461765167,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.502301375992717,"y":-5.779612198418049,"z":23.31379969364249},"id":"6890defd67c88f001b9353ae"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3671771471191872,"y":0.4332113680318112,"z":0.05},"position":{"x":9.538209060358184,"y":-13.512437114160255,"z":23.253694233757546,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.570673638522486,"y":-6.210647231609302,"z":23.284425185186972},"id":"6890defd67c88f001b9353af"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"915c5efec54245d18d06ead022fae36a","rotation":{"x":-0.21550986390549104,"y":0.180226522214884}}},"react3fiber":{"position":{"model":{"x":0.3878051081262317,"y":2.300247595985778,"z":-10.391638461765167},"floorplan":{"x":1.011,"y":-6.5,"z":-9.994}}}},"createdAt":"2025-02-24T07:45:14.938Z","updatedAt":"2026-11-05T15:01:22.834Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1911","en":"1911"},"description":{"de":"Maurice de Vlaminck übernahm von Cézanne die geometrische Zergliederung, wandte aber einen satten Farbauftrag an. Die Farbtöne sind düster und dramatisch, die Perspektive der Häuser ist verzerrt. Der aus einer Musikerfamilie stammende Vlaminck, der auch als Kontrabassist auftrat, arbeitete auch in seiner Malerei mit dynamischen Rhythmen. ","en":"Maurice de Vlaminck adapted Cézanne’s geometric dissection of forms but preferred a richer application of paint. The color tones are dark and dramatic, and the perspective of the houses is distorted. Vlaminck, who came from a family of musicians and also played the double bass, worked with dynamic rhythms in his painting as well."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Vla-05_Vlaminck_Dorfstrasse_1.jpg","mimeType":"image/jpeg","filesize":377861,"width":1400,"height":1159,"focalX":50,"focalY":50,"createdAt":"2025-07-29T11:23:39.109Z","updatedAt":"2025-07-29T11:23:39.109Z","id":"6888af3b08af80711004cce7","url":"/cms/api/media/file/MB-Vla-05_Vlaminck_Dorfstrasse_1.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bb6"},"id":"67bc270da0cfed09eb6ee72c"},{"artwork":{"title":{"de":"Landschaft mit roten Dächern","en":"Landscape with red roofs"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.9567790146683354,"y":0.8499253627569432,"z":0.20005998880924342},"position":{"x":12.333222614975845,"y":-13.02853742886332,"z":23.34790594082291,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":12.438865406979705,"y":-5.773749281693429,"z":23.28888018358758},"id":"6890df5f67c88f001b9353b0"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3471771471191872,"y":0.4332113680318112,"z":0.05},"position":{"x":13.164679789858779,"y":-13.519320330904161,"z":23.263818754628364,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.344695527727438,"y":-6.215963202389747,"z":23.281346597890774},"id":"6890df5f67c88f001b9353b1"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"a5e823ee4f284a2b850ab35809fb8923","rotation":{"x":0.8064988614223247,"y":-0.05300897548771619}}},"react3fiber":{"position":{"model":{"x":-1.5790226149758446,"y":2.30516257113668,"z":-10.467605940822908},"floorplan":{"x":-1.038,"y":-6.5,"z":-9.935}}}},"createdAt":"2025-02-24T07:45:14.941Z","updatedAt":"2026-11-05T15:01:22.374Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"o. J.","en":"o. J."},"description":{"de":"Die Steigerung des Ausdrucks zeigt sich im unvermischten Rot, das Baumstämme zu entzünden scheint. In der Landschaft und an den Hausdächern findet es seinen Widerschein. Der Kontrast mit satten Grüntönen verstärkt die expressive Wirkung dieser Farbe. Ein grau bedeckter Himmel kündet von bevorstehendem Regen. ","en":"The increase in expression is demonstrated by the unmixed red that seems to set the tree trunks on fire. This is reflected in the landscape and on the roofs of the houses. The contrast with rich green tones reinforces the expressive effect of these colors. The gray, cloudy sky heralds impending rain."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_landschaft_mit_roten_daechern","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Landschaft mit roten Daechern.jpg","mimeType":"image/jpeg","filesize":725021,"width":2000,"height":1638,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:40.829Z","updatedAt":"2025-02-19T09:40:40.829Z","id":"67b5a71872417297712ce902","url":"/cms/api/media/file/optimized-Vlaminck_Landschaft%20mit%20roten%20Daechern.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bb8"},"id":"67bc270da0cfed09eb6ee72b"},{"artwork":{"title":{"de":"Landschaft bei Cassis","en":"Landscape near Cassis"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.7498853130998632,"y":0.6307821113486873,"z":0.20005998880924342},"position":{"x":16.527901766494995,"y":-13.027292164184031,"z":23.271159694000428,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.65359566458614,"y":-5.77454180997918,"z":23.27790871043704},"id":"6890e00867c88f001b9353b2"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3471771471191872,"y":0.5524155289801297,"z":0.05},"position":{"x":15.78348711445234,"y":-13.609670225833064,"z":23.264744422866347,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":15.820316672532567,"y":-6.293708046558918,"z":23.275810619798307},"id":"6890e00867c88f001b9353b3"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"5b0b321f86d3412897d52eae2aab8aea","rotation":{"x":-0.4020319765619907,"y":-0.8173514561053149}}},"react3fiber":{"position":{"model":{"x":-5.773701766494995,"y":2.306407835815969,"z":-10.390859694000428},"floorplan":{"x":-4.884,"y":-6.5,"z":-9.801}}}},"createdAt":"2025-02-24T07:45:13.993Z","updatedAt":"2026-11-05T15:01:26.879Z","artist":{"lastName":"Derain","firstName":"André","lifeDates":"1880–1954","createdAt":"2025-02-24T07:45:10.994Z","updatedAt":"2025-02-24T07:45:10.994Z","id":"67bc238687986af0ae414a49"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1907/08","en":"1907/08"},"description":{"de":"Mit Cassis wählte Derain einen Ort aus, den bereits Signac gemalt hatte. Während der Pointillist sich auf die Bucht und das Meer konzentriert hatte, zeigte Derain den Ortsrand und fasste Signacs Motiv der roten Felsen der Bucht mit Pinien ein. Derain steigerte den Kontrast durch das flächige Schwarzblau und -grün der Bäume. Ihre Stämme rahmen und zergliedern die Szene gleichermaßen, das Auge des Betrachters springt zwischen den dunklen und hellen Partien des Bildes hin und her. ","en":"When he painted Cassis, Derain was choosing a locale that had already been painted by Signac. While the Pointillist had concentrated on the bay and the sea, Derain showed the periphery of the town and bordered it with Signac’s motif of the red cliffs and the bay with pine trees. Derain increased the contrast by means of the black-blue and black-green surfaces of the trees. Their trunks simultaneously frame and fragment the scene, and the eye of the beholder jumps back and forth between the dark and light areas of the composition. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"derain_landschaft_bei_cassis","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Derain_Landschaft bei Cassis.jpg","mimeType":"image/jpeg","filesize":633397,"width":2000,"height":1629,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:38:58.343Z","updatedAt":"2025-02-19T09:38:58.343Z","id":"67b5a6b272417297712ce763","url":"/cms/api/media/file/optimized-Derain_Landschaft%20bei%20Cassis.jpg","thumbnailURL":null},"measurements":"44,5 x 55 cm","technique":{"de":"Öl auf Holz","en":"Oil on wood"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238987986af0ae414b18"},"id":"67bc270da0cfed09eb6ee77b"},{"artwork":{"title":{"de":"Landschaft auf Korsika","en":"Landscape on Corsica"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.78730856626794,"y":0.6778566376382481,"z":0.20005998880924342},"position":{"x":18.42651833413331,"y":-13.026623938948434,"z":23.273217078183603,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":18.54508065670979,"y":-5.772043200302876,"z":23.274201728212677},"id":"6890e0d067c88f001b9353b4"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3671771471191872,"y":0.5524155289801297,"z":0.05},"position":{"x":19.160118013150758,"y":-13.597471157856807,"z":23.275593537356734,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":19.389384817514745,"y":-6.291694760075234,"z":23.274666783009383},"id":"6890e0d067c88f001b9353b5"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"ed40dba2448e4f229574cb3c4c5df750","rotation":{"x":0.641529995582678,"y":0.7171543205703879}}},"react3fiber":{"position":{"model":{"x":-7.672318334133308,"y":2.3070760610515655,"z":-10.392917078183602},"floorplan":{"x":-6.876,"y":-6.5,"z":-9.693}}}},"createdAt":"2025-02-24T07:45:11.041Z","updatedAt":"2026-11-05T15:01:19.985Z","artist":{"lastName":"Herbin","firstName":"Auguste","lifeDates":"1882–1960","createdAt":"2025-02-23T13:55:07.470Z","updatedAt":"2025-02-23T13:55:07.470Z","id":"67bb28bbec5e544214490b71"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1907","en":"1907"},"description":{"de":"Auguste Herbin hatte zusammen mit Henri Matisse im südfranzösischen Küstenort Collioure zur fauvistischen Expressivität der Farben gefunden. 1907 lernte er den deutschen Kunsthändler Wilhelm Uhde kennen, der ihn nach Korsika einlud. Die dort entstandenen, lichterfüllten Ansichten der Hafenstadt Bastia und ihrer Umgebung verhalfen dem Künstler zum Durchbruch. Uhde erwarb eine Gruppe dieser Werke, der Pariser Kunsthändler Ambroise Vollard sicherte sich den gesamten Atelierbestand. ","en":"With Henri Matisse, Auguste Herbin had discovered the Fauvist expressivity of colors in the village of Collioure on the southern coast of France. In 1907 he met the German art dealer Wilhelm Uhde, who invited him to Corsica. The paintings he created there, light-filled views in and around the port of Bastia helped the artist make his breakthrough. Uhde bought a group of these works, and the Parisian art dealer Ambroise Vollard snapped up all of the works in the studio."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"herbin_landschaft_auf_korsika","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Herbin_Landschaft auf Korsika.jpg","mimeType":"image/jpeg","filesize":885390,"width":2000,"height":1666,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:07.103Z","updatedAt":"2025-02-19T09:39:07.103Z","id":"67b5a6bb72417297712ce78b","url":"/cms/api/media/file/optimized-Herbin_Landschaft%20auf%20Korsika.jpg","thumbnailURL":null},"measurements":"46 x 55 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238787986af0ae414a5a"},"id":"67bc270da0cfed09eb6ee787"},{"artwork":{"title":{"de":"Weizenfeld in der Normandie","en":"Wheatfield in Normandy"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.7333583189087867,"y":0.6718788060112785,"z":0.20005998880924342},"position":{"x":22.59478893125781,"y":-13.031873022250334,"z":23.274599270046796,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":22.790169644076546,"y":-5.7727313442665436,"z":23.2450150161242},"id":"6890ec1967c88f001b9353b6"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.3671771471191872,"y":0.4059449511006776,"z":0.05},"position":{"x":21.87390223767248,"y":-13.531874217243317,"z":23.25667185568829,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.96731785878579,"y":-6.236359754169946,"z":23.227734896290034},"id":"6890ec1967c88f001b9353b7"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"078396fb9e4e425a90ebeabd0cd42b96","rotation":{"x":0.14150147664464074,"y":0.22731433984002777}}},"react3fiber":{"position":{"model":{"x":-11.840588931257809,"y":2.301826977749666,"z":-10.394299270046796},"floorplan":{"x":-10.859,"y":-6.5,"z":-9.615}}}},"createdAt":"2025-02-24T07:45:14.020Z","updatedAt":"2026-11-05T15:01:22.900Z","artist":{"lastName":"Dufy","firstName":"Raoul","lifeDates":"1877–1953","createdAt":"2025-02-24T07:45:11.012Z","updatedAt":"2025-02-24T07:45:11.012Z","id":"67bc238787986af0ae414a52"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1935","en":"1935"},"description":{"de":"Raoul Dufy nahm ein Bildthema auf, das mit dem Impressionismus verbunden war – den leuchtenden Weizenfeldern Monets. Er spielt mit dem großen Vorbild. Über leuchtenden Farbflächen zeichnete er die Umrisslinien eines Dorfes und hob symbolhaft einzelne Ähren des Kornfelds hervor. Er transponierte die Leichtigkeit Monets in eine dekorative, ironische Heiterkeit.","en":"Raoul Dufy chose a subject that was closely associated with Impressionism: Monet’s luminous fields of wheat. Playing with the famous model, he drew the contours of a village over glowing fields of color and symbolically emphasized individual spikes of wheat. He transposed Monet’s lightness into a decorative and ironic cheerfulness."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"dufy_weizenfeld_in_der_normandie","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Dufy_Weizenfeld in der Normandie.jpg","mimeType":"image/jpeg","filesize":920190,"width":2000,"height":1664,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:02.694Z","updatedAt":"2025-02-19T09:39:02.694Z","id":"67b5a6b672417297712ce777","url":"/cms/api/media/file/optimized-Dufy_Weizenfeld%20in%20der%20Normandie.jpg","thumbnailURL":null},"measurements":"46 x 55 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414b20"},"id":"67bc270da0cfed09eb6ee777"},{"artwork":{"title":{"de":"Das weiße Segel","en":"The White Sail"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.20005998880924342,"y":0.8311686326638085,"z":0.9725925016836073},"position":{"x":24.472132622532154,"y":-13.037781781519064,"z":25.308292138152396,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.655142164673016,"y":-5.784099534043365,"z":25.2667723777537},"id":"6890ed0867c88f001b9353b8"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.4508085368836357,"z":0.3671771471191872},"position":{"x":24.533140369580625,"y":-13.563290598982265,"z":26.126462229487977,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.671348367527848,"y":-6.268864071610577,"z":26.192862792019273},"id":"6890ed0867c88f001b9353b9"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"2fb2ea80f7e340f0b16f65e931e163ef","rotation":{"x":-0.7314682160742896,"y":-90.06057202349787}}},"react3fiber":{"position":{"model":{"x":-13.717932622532153,"y":2.2959182184809364,"z":-12.427992138152396},"floorplan":{"x":-12.577,"y":-6.5,"z":-11.192}}}},"createdAt":"2025-02-24T07:45:14.017Z","updatedAt":"2026-11-05T15:01:24.507Z","artist":{"lastName":"Dufy","firstName":"Raoul","lifeDates":"1877–1953","createdAt":"2025-02-24T07:45:11.012Z","updatedAt":"2025-02-24T07:45:11.012Z","id":"67bc238787986af0ae414a52"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906","en":"1906"},"description":{"de":"Der fauvistische Maler Raoul Dufy gebrauchte die Ölfarbe mit der Leichtigkeit der Aquarellmalerei. Geschlängelte Pinselstriche geben die Spiegelungen der Masten auf der bewegten Wasseroberfläche wieder. Das normannische Dorf im Hintergrund und das Pferdefuhrwerk am Kai sind lediglich angedeutet. Das Motiv verbindet Dufys Gemälde mit Paul Signacs Der Hafen bei Sonnenuntergang, Opus 236 (Saint-Tropez), die Malerei ist jedoch grundverschieden. ","en":"The Fauve painter Raoul Dufy handled oil paint with the lightness of watercolors. The reflections of the masts are rendered with meandering brushstrokes on the agitated surface of the water. The forms of the Norman village in the background and the horse-drawn carriage on the quay are only alluded to. The motif links Dufy’s composition to Signac’s The Port at Sunset, Opus 236 (Saint-Tropez), although the styles of painting are entirely different."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"dufy_das_weisse_segel","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Dufy_Das weisse Segel.jpg","mimeType":"image/jpeg","filesize":755500,"width":2000,"height":1562,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:00.461Z","updatedAt":"2025-02-19T09:39:00.461Z","id":"67b5a6b472417297712ce76d","url":"/cms/api/media/file/optimized-Dufy_Das%20weisse%20Segel.jpg","thumbnailURL":null},"measurements":"57 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414b1e"},"id":"67bc270da0cfed09eb6ee778"},{"artwork":{"title":{"de":"Seine-Ufer bei Bougival","en":"Banks of the Seine at Bougival"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.20005998880924353,"y":0.7110067097758775,"z":0.8994855915051988},"position":{"x":20.459763397396397,"y":-13.025898601938053,"z":27.993190606994816,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":17.5207737497935,"y":-5.767057853280069,"z":32.71012511327496},"id":"6890f13367c88f001b9353c2"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.4759205270003918,"z":0.341530623494563},"position":{"x":20.456529979500033,"y":-13.566595418111284,"z":28.75627305608729,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":16.63825319168135,"y":-6.269051961389825,"z":32.723135239219076},"id":"6890f13367c88f001b9353c3"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"fe7e1aeed2c441aeaa83f00b78f1cc77","rotation":{"x":0.37341285720399237,"y":-89.37874349063064}}},"react3fiber":{"position":{"model":{"x":-9.705563397396396,"y":2.307801398061947,"z":-15.112890606994815},"floorplan":{"x":-6.600000000000017,"y":-6.600000000000007,"z":-21.399999999999903}}}},"createdAt":"2025-02-24T07:45:14.936Z","updatedAt":"2026-11-05T15:01:23.301Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906","en":"1906"},"description":{"de":"Vlaminck ließ den systematischen Farbauftrag der Neoimpressionisten weit hinter sich. Seine dynamische Pinselschrift erinnert an Monets Gemälde Herbst in Jeufosse. Vlaminck legt das Gewicht auf den Rhythmus der einzelnen Pinselstriche. Sie werden länger, unruhiger und lösen sich vom Motiv. Er lieferte kein Naturäquivalent mehr wie Monet, ihm ging es um den Ausdruckswert der Farbe.  ","en":"Vlaminck left the Neo-Impressionists’ systematic application of paint far behind him. His dynamic brushwork is reminiscent of Monet’s painting Autumn at Jeufosse. Vlaminck emphasizes the rhythm of the individual brushstrokes, which become longer, more restless, and liberate themselves from the motif. Instead of trying to achieve an equivalent of nature like Monet, he was more interested in the expressive value of color."},"exhibition":"67b338818635bba96e329691","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"fileGroup":{"file":{"de":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Vlaminck-Seine-Ufer-bei-Bougival_DE.mp3","mimeType":"audio/mpeg","filesize":1511477,"createdAt":"2025-08-04T18:10:58.481Z","updatedAt":"2025-08-04T18:10:58.481Z","id":"6890f7b2b453dc80562bccaf","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Vlaminck-Seine-Ufer-bei-Bougival_DE.mp3","thumbnailURL":null},"en":{"exhibition":"67b338818635bba96e329691","type":"audio-guide-adults","filename":"Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Vlaminck-Seine-Ufer-bei-Bougival_EN.mp3","mimeType":"audio/mpeg","filesize":1789253,"createdAt":"2025-08-04T18:11:22.248Z","updatedAt":"2025-08-04T18:11:22.248Z","id":"6890f7cab453dc80562bcd01","url":"/cms/api/media/file/Audio-Sammlung-Plattner-2020-Tour-Erwachsene-Vlaminck-Seine-Ufer-bei-Bougival_EN.mp3","thumbnailURL":null}}},"id":"6890f52b2cd0e82723613b89"}],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_seine-ufer_bei_bougival","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Seine-Ufer bei Bougival.jpg","mimeType":"image/jpeg","filesize":780613,"width":2000,"height":1485,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:43.417Z","updatedAt":"2025-02-19T09:40:43.417Z","id":"67b5a71b72417297712ce90c","url":"/cms/api/media/file/optimized-Vlaminck_Seine-Ufer%20bei%20Bougival.jpg","thumbnailURL":null},"measurements":"54 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":false,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bb4"},"id":"67bc270da0cfed09eb6ee72d"},{"artwork":{"title":{"de":"Der Strand von Sainte-Adresse","en":"The Beach of Sainte-Adresse"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.20005998880924353,"y":0.6544292281447897,"z":0.7548710217308605},"position":{"x":24.5226810573054,"y":-13.039765469420681,"z":30.717378295750738,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.65461618793463,"y":-5.791423917811144,"z":30.679531178806414},"id":"6890eedd67c88f001b9353bc"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.4068807408408309,"z":0.341530623494563},"position":{"x":24.525722800183413,"y":-13.528160123989935,"z":29.99315537234028,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":24.682445858241355,"y":-6.236052960679078,"z":29.848985334912033},"id":"6890eedd67c88f001b9353bd"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"226fb5d27d0f41fb8dc70211dfb745bc","rotation":{"x":-0.7064076968851786,"y":-90.17760438589094}}},"react3fiber":{"position":{"model":{"x":-13.7684810573054,"y":2.293934530579319,"z":-17.837078295750736},"floorplan":{"x":-12.499999999999996,"y":-6.600000000000007,"z":-19.39999999999998}}}},"createdAt":"2025-02-24T07:45:14.025Z","updatedAt":"2026-11-05T15:01:20.065Z","artist":{"lastName":"Dufy","firstName":"Raoul","lifeDates":"1877–1953","createdAt":"2025-02-24T07:45:11.012Z","updatedAt":"2025-02-24T07:45:11.012Z","id":"67bc238787986af0ae414a52"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906","en":"1906"},"description":{"de":"Für sein Gemälde des Stadtstrandes von Le Havre richtete Dufy den Blick auf die Seebrücke. Anders als bei den Impressionisten erhalten Dufys Strandszenen ihr Licht nicht mehr vom wechselhaften Lichtgeschehen eines bewölkten Himmels. Dufys Himmel sind oft von einem undurchdringlichen Blau, das keine atmosphärischen Qualitäten mehr aufweist. ","en":"Dufy turned his view to the pier in this painting of the beach in Le Havre. Unlike the Impressionists, Dufy’s beach scenes are no longer illuminated by the variable light of a cloudy sky. Dufy’s skies are rendered in an impenetrable blue devoid of atmospheric qualities. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"dufy_der_strand_von_sainte-adresse","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Dufy_Der_Strand_von_Sainte-Adresse.jpg","mimeType":"image/jpeg","filesize":820671,"width":2000,"height":1673,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:01.658Z","updatedAt":"2025-02-19T09:39:01.658Z","id":"67b5a6b572417297712ce772","url":"/cms/api/media/file/optimized-Dufy_Der_Strand_von_Sainte-Adresse.jpg","thumbnailURL":null},"measurements":"46 x 55 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":false,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414b22"},"id":"67bc270da0cfed09eb6ee776"},{"artwork":{"title":{"de":"Die Angler","en":"The Fishermen"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.9880360981866876,"y":0.8601835429140818,"z":0.20005998880924353},"position":{"x":21.606892524418175,"y":-13.024763511975719,"z":32.673405300545106,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.15901130822848,"y":-5.7797334823549145,"z":32.69407407900766},"id":"6890efda67c88f001b9353be"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.341530623494563,"y":0.4068807408408309,"z":0.05},"position":{"x":20.798979933315422,"y":-13.508203923867322,"z":32.71816667724023,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.260932717952624,"y":-6.223462739302722,"z":32.705946300836764},"id":"6890efda67c88f001b9353bf"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"c3146539cebe4d6fae77713b73294b29","rotation":{"x":-0.009727679743057056,"y":-179.4888195755195}}},"react3fiber":{"position":{"model":{"x":-10.852692524418174,"y":2.308936488024281,"z":-19.793105300545108},"floorplan":{"x":-8.941,"y":-6.5,"z":-18.739}}}},"createdAt":"2025-02-24T07:45:14.899Z","updatedAt":"2026-11-05T15:01:20.580Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1907","en":"1907"},"description":{"de":"Die mit ruhigem, geduldigem Warten verbundene Tätigkeit des Angelns kontrastiert Vlaminck mit der Ungeduld seiner Pinselschrift. Er war der einzige Künstler unter den Fauvisten, der sich mit dem Attribut der Wildheit – fauve heißt wild – identifizierte. Dass er sich das Malen wie Van Gogh als Autodidakt beigebracht hatte, verstärkte die Identifikation mit dem Vorbild. ","en":"Vlaminck contrasts the activity of fishing, which is associated with quiet, patient waiting, with the impatience of his brushwork. Among the Fauves, he was the only artist who identified with the attribute of wildness—fauves means “wild beasts.” The fact that he had taught himself to paint, like Van Gogh, made his identification with this role model even stronger. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_die_angler","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Die Angler.jpg","mimeType":"image/jpeg","filesize":865048,"width":2000,"height":1642,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:36.183Z","updatedAt":"2025-02-19T09:40:36.183Z","id":"67b5a71472417297712ce8ee","url":"/cms/api/media/file/optimized-Vlaminck_Die%20Angler.jpg","thumbnailURL":null},"measurements":"60 x 73 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414b9c"},"id":"67bc270da0cfed09eb6ee739"},{"artwork":{"title":{"de":"Rueil, das Bootshaus","en":"Rueil, the boathouse"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.8013374951008563,"y":0.67497789491742,"z":0.20005998880924353},"position":{"x":18.30252702542467,"y":-13.023102016847131,"z":32.71974049217552,"exhibitionDependent":[{"exhibition":"67b343f28635bba96e329739","position":{"x":0,"y":0,"z":0},"id":"688db62681df0f999dd06d6b"},{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.499186689517895,"y":-5.771382194355657,"z":28.017831960447424},"id":"6890f07a67c88f001b9353c0"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.341530623494563,"y":0.4759205270003918,"z":0.05},"position":{"x":17.582535608099853,"y":-13.540367989544167,"z":32.71470475414315,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.525766044680395,"y":-6.250838493916422,"z":28.862042708969405},"id":"6890f07a67c88f001b9353c1"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"ba02382894fe40c5bd2056b8408570b6","rotation":{"x":0.19136062866915748,"y":179.74261905022118}}},"react3fiber":{"position":{"model":{"x":-7.548327025424669,"y":2.3105979831528685,"z":-19.83944049217552},"floorplan":{"x":-5.884,"y":-6.5,"z":-18.837}}}},"createdAt":"2025-02-24T07:45:14.970Z","updatedAt":"2026-11-05T15:01:21.489Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906","en":"1906"},"description":{"de":"Während sich viele Fauvisten mit der Landschaft Südfrankreichs befassten, lag Maurice de Vlamincks Fokus auf der Umgebung seines Wohnorts Rueil bei Paris. Hier malte er das Bootshaus des Restaurants La Fournaise auf der Île de Chatou, wo sich auch das Atelier befand, das er sich mit André Derain teilte. Er erfasste die vertraute Umgebung in harten Anschnitten und mit vehementem Pinselduktus. ","en":"While many Fauve painters focused on the landscape of southern France, Maurice de Vlaminck concentrated on the surroundings of his home in Rueil near Paris. Here he painted the boathouse of the restaurant La Fournaise on the Île de Chatou, which was also the location of the studio he shared with André Derain. He captured the familiar surroundings using drastic cropping and vigorous impasto. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_rueil_das_bootshaus","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Rueil_das Bootshaus.jpg","mimeType":"image/jpeg","filesize":895811,"width":2000,"height":1665,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:41.997Z","updatedAt":"2025-02-19T09:40:41.997Z","id":"67b5a71972417297712ce907","url":"/cms/api/media/file/optimized-Vlaminck_Rueil_das%20Bootshaus.jpg","thumbnailURL":null},"measurements":"54,7 x 65,7 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bca"},"id":"67bc270da0cfed09eb6ee726"},{"artwork":{"title":{"de":"Die Brücke von Chatou","en":"The Bridge at Chatou"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":1.0861040126202703,"y":0.9038424715282163,"z":0.20005998880924353},"position":{"x":15.057831673190892,"y":-13.028519221488038,"z":32.652580652507254,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":10.601143138269748,"y":-5.78016954262975,"z":32.72633023960963},"id":"6890f24267c88f001b9353c6"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.341530623494563,"y":0.4778272612961064,"z":0.05},"position":{"x":14.20104352854198,"y":-13.555682734870498,"z":32.711290975760896,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.65065566501331,"y":-6.262458849411175,"z":32.72256360655016},"id":"6890f24267c88f001b9353c7"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"f5fb91ad5138408991ee50f3004c88e7","rotation":{"x":-2.144901616754813,"y":-179.794603733214}}},"react3fiber":{"position":{"model":{"x":-4.303631673190891,"y":2.305180778511962,"z":-19.772280652507256},"floorplan":{"x":-2.87,"y":-6.5,"z":-18.949}}}},"createdAt":"2025-02-24T07:45:14.901Z","updatedAt":"2026-11-05T15:01:24.769Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1906/07","en":"1906/07"},"description":{"de":"Maurice de Vlaminck gehörte zum Freundeskreis der Fauvisten, deren grelle Farbgestaltung die Malerei seit dem Jahr 1905 revolutionierte. Mit schwarzen Konturen definierte der Maler Brücke und Häuser an der Seine. Mit diesen Motiven blieben die Fauvisten der impressionistischen Landschaftsmalerei verbunden. In der Festigkeit der Komposition und der Intensität der Farben erzielten sie dagegen expressionistischen Ausdruck. ","en":"Maurice de Vlaminck belonged to the circle of friends of the Fauves, whose glaring color compositions had revolutionized painting since 1905. The painter defined the bridges and buildings on the Seine with black contours. Through these motifs the Fauves remained linked to Impressionist landscape painting. Conversely, the tightness of the composition and the intensity of the somber colors give their works an Expressionist element. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"vlaminck_die_bruecke_von_chatou","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Vlaminck_Die Bruecke von Chatou.jpg","mimeType":"image/jpeg","filesize":867860,"width":2000,"height":1467,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:40:37.248Z","updatedAt":"2025-02-19T09:40:37.248Z","id":"67b5a71572417297712ce8f3","url":"/cms/api/media/file/optimized-Vlaminck_Die%20Bruecke%20von%20Chatou.jpg","thumbnailURL":null},"measurements":"52,5 x 71,5 cm","technique":{"de":"Öl auf Karton auf Holz","en":"Oil on cardboard, mounted on panel"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414b9e"},"id":"67bc270da0cfed09eb6ee738"},{"artwork":{"title":{"de":"Die Brücke","en":"The Bridge"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.5793011113823656,"y":0.5161282790806496,"z":0.20005998880924353},"position":{"x":11.83151190686383,"y":-13.020785266559239,"z":32.71759282827675,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":14.068592744596282,"y":-5.779413852210285,"z":32.72455641500043},"id":"6890f1c467c88f001b9353c4"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.341530623494563,"y":0.43734967078934184,"z":0.05},"position":{"x":12.456587575702786,"y":-13.518422053686411,"z":32.72048384877235,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":13.33846746301419,"y":-6.222603792985327,"z":32.728080643320936},"id":"6890f1c467c88f001b9353c5"}]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"f0e78a012ec74d21b913042e58caca9f","rotation":{"x":0.08993135189196831,"y":-179.49282798181034}}},"react3fiber":{"position":{"model":{"x":-1.0773119068638284,"y":2.312914733440761,"z":-19.837292828276752},"floorplan":{"x":-0.261,"y":-6.5,"z":-19.001}}}},"createdAt":"2025-02-24T07:45:14.967Z","updatedAt":"2026-11-05T15:01:22.164Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"o. J.","en":"o. J."},"description":{"de":"Maurice de Vlaminck gehörte zum Freundeskreis der Fauvisten, deren grelle Farbgestaltung die Malerei seit dem Jahr 1905 revolutionierte. Mit schwarzen Konturen definierte der Maler Brücke und Häuser an der Seine. Mit diesen Motiven blieben die Fauvisten der impressionistischen Landschaftsmalerei verbunden. In der Festigkeit der Komposition und der Intensität der Farben erzielten sie dagegen expressionistischen Ausdruck. ","en":"Maurice de Vlaminck belonged to the circle of friends of the Fauves, whose glaring color compositions had revolutionized painting since 1905. The painter defined the bridges and buildings on the Seine with black contours. Through these motifs the Fauves remained linked to Impressionist landscape painting. Conversely, the tightness of the composition and the intensity of the somber colors give their works an Expressionist element. "},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Vla-09_Vlaminck_Die-Bruecke_1.jpg","mimeType":"image/jpeg","filesize":467216,"width":1400,"height":1162,"focalX":50,"focalY":50,"createdAt":"2025-07-29T11:35:44.130Z","updatedAt":"2025-07-29T11:35:44.130Z","id":"6888b21008af80711004d246","url":"/cms/api/media/file/MB-Vla-09_Vlaminck_Die-Bruecke_1.jpg","thumbnailURL":null},"measurements":"38,4 x 46,4 cm","technique":{"de":"Öl auf Leinwand auf Holz","en":"Oil on canvas, laid down on panel"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["68f753818c90c86166dd78af"],"id":"67bc238a87986af0ae414bc8"},"id":"67bc270da0cfed09eb6ee727"},{"artwork":{"title":{"de":"Stadtviertel Saint-Michel, Bougival","en":"Saint-Michel district, Bougival"},"modelData":{"matterport":{"artworkCollisionBox":{"geometry":{"x":0.1,"y":1.1100000000000003,"z":1.3000000000000003},"position":{"x":6.892421195025512,"y":-13.027416366170566,"z":30.760646879550865,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.3999999999999999,"z":0.3},"position":{"x":6.888202018647674,"y":-13.494480087952164,"z":29.812017263413527,"exhibitionDependent":[]},"rotation":{"x":0,"y":0,"z":0}},"insideView":{"sweepId":"e03a78b9a2574cfda3e1f42b24a88693","rotation":{"x":-0.7008473784604505,"y":90.49652835018797}}},"react3fiber":{"position":{"model":{"x":3.861778804974489,"y":2.3062836338294335,"z":-17.880346879550864},"floorplan":{"x":3.313,"y":-6.5,"z":-17.025}}}},"createdAt":"2025-02-24T07:45:14.916Z","updatedAt":"2026-11-05T15:01:24.833Z","artist":{"lastName":"Vlaminck","firstName":"Maurice de","lifeDates":"1876–1958","createdAt":"2025-02-24T07:45:12.896Z","updatedAt":"2025-02-24T07:45:12.896Z","id":"67bc238887986af0ae414af6"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":"© VG Bild-Kunst, Bonn, 2021","credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1913","en":"1913"},"description":{"de":"Bougival hatten in den 1860er Jahren schon Pierre-Auguste Renoir und Claude Monet besucht. 50 Jahre später näherte sich Maurice de Vlaminck über die Rezeption Cézannes der kubistischen Formensprache an: Wie weiße Kuben leuchten die Steinfassaden aus dem Bildraum hervor.","en":"Maurice de Viaminck painted this picture in Bougival, a place that Renoir and Monet had already visited in the 1860s. Fifty years later Vlaminck approached the language of Cubism through his study of Cézanne: the stone façades are illuminated like white cubes in the picture space."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"Vlaminck_Stadtviertel-Saint-Michel-Bougival","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"MB-Vla-06_Vlaminck_Stadtviertel-Saint-Michel-Bougival_1.jpg","mimeType":"image/jpeg","filesize":591651,"width":1700,"height":1373,"focalX":50,"focalY":50,"createdAt":"2025-08-28T13:09:40.528Z","updatedAt":"2025-08-28T13:09:40.528Z","id":"68b055148c90c86166ca1d47","url":"/cms/api/media/file/MB-Vla-06_Vlaminck_Stadtviertel-Saint-Michel-Bougival_1.jpg","thumbnailURL":null},"measurements":"81 x 100 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"onDisplay":{"navigator":true,"virtualTour":true},"previousExhibitions":["67b343f28635bba96e329739","6836f8f22ef108b9d9b0a31b","67b338818635bba96e329691"],"id":"67bc238a87986af0ae414ba8"},"id":"67bc270da0cfed09eb6ee733"},{"artwork":{"title":{"de":"Szene in einer Pariser Brasserie","en":"Scene in a Parisian Brasserie"},"modelData":{"matterport":{"insideView":{"sweepId":"d0f44b67237b4ca19f829997f6606889","rotation":{"x":-0.6344211008338487,"y":89.79413307828138}},"artworkCollisionBox":{"geometry":{"x":0.20005998880924353,"y":0.7111686326638084,"z":0.6925925016836071},"position":{"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":21.03665203712717,"y":-5.776004701408401,"z":28.032570738563265},"id":"6890ee1a67c88f001b9353ba"}]},"rotation":{"x":0,"y":0,"z":0}},"infoCollisionBox":{"geometry":{"x":0.05,"y":0.5042433803997903,"z":0.3671771471191872},"position":{"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":20.999013563472666,"y":-6.271992240641394,"z":27.265045254023487},"id":"6890ee1a67c88f001b9353bb"}]},"rotation":{"x":0,"y":0,"z":0}}},"react3fiber":{"position":{"model":{"x":-10.60000000000003,"y":3.1000000000000014,"z":-15.79999999999998},"floorplan":{"x":-10.900000000000002,"y":-6.600000000000007,"z":-14.999999999999996}}}},"createdAt":"2025-02-24T07:45:14.030Z","updatedAt":"2025-11-14T14:36:45.940Z","artist":{"lastName":"Friesz","firstName":"Émile-Othon","lifeDates":"1879–1949","createdAt":"2025-02-24T07:45:11.014Z","updatedAt":"2025-02-24T07:45:11.014Z","id":"67bc238787986af0ae414a54"},"catalogNumber":null,"copyrightArtist":null,"copyrightFoto":null,"credit":{"de":"Sammlung Hasso Plattner","en":"Hasso Plattner Collection"},"dating":{"de":"1905/06","en":"1905/06"},"description":{"de":"Wie die Impressionisten malte auch der Fauvist Émile-Othon Friesz Szenen in Pariser Cafés und Brasserien. Wie in den früheren Gemälden dieses Genres sitzen die drei Gäste isoliert am Tisch, als hätten sie nichts miteinander zu tun. Die unharmonisch gewählten Farben wirken so verstörend wie das apathische Miteinander. Der Kronleuchter im Widerschein des Spiegels betont die zentrale Position der Frau mit dem roten Hut, die provozierend aus dem Bild blickt.","en":"Like the Impressionists, the Fauve Émile-Othon Friesz also painted scenes in Parisian cafés and brasseries. As in the earlier compositions of this genre, the three guests sit isolated at the table, as though they had nothing to do with each other. The choice of discordant colors seems as disconcerting as the apathetic meeting. The chandelier that is reflected in the mirror emphasizes the woman in the center who wears a red hat and provocatively stares out of the picture."},"exhibition":"67b338818635bba96e329691","guides":[],"hall":"0B1","highlight":null,"image":{"alt":"friesz_szene_in_einer_pariser_brasserie","exhibition":"67b338818635bba96e329691","type":"artwork-image","filename":"optimized-Friesz_Szene in einer Pariser Brasserie.jpg","mimeType":"image/jpeg","filesize":928564,"width":1968,"height":2160,"focalX":50,"focalY":50,"createdAt":"2025-02-19T09:39:03.723Z","updatedAt":"2025-02-19T09:39:03.723Z","id":"67b5a6b772417297712ce77c","url":"/cms/api/media/file/optimized-Friesz_Szene%20in%20einer%20Pariser%20Brasserie.jpg","thumbnailURL":null},"measurements":"49 x 45,5 cm","technique":{"de":"Öl auf Leinwand","en":"Oil on canvas"},"previousExhibitions":["68f753818c90c86166dd78af"],"onDisplay":{"navigator":false,"virtualTour":false},"id":"67bc238a87986af0ae414b24"},"id":"67bc270da0cfed09eb6ee775"}],"createdAt":"2025-02-17T13:24:17.428Z","updatedAt":"2026-11-05T15:01:27.147Z","modelData":{"matterportModelId":"jAJ6v5m58aX","startingPoint":{"foyer":{"sweepId":"","xRotation":null,"yRotation":null},"exhibition":{"sweepId":"8ff9cd5330004f758223692a688e8bdd","xRotation":-10.77,"yRotation":-97.03,"loadingBackgroundImage":{"alt":"loading-background-impressionism","exhibition":"67b338818635bba96e329691","type":"loading-bg-image","filename":"loading-background-impressionism.jpg","mimeType":"image/jpeg","filesize":73696,"width":2878,"height":1618,"focalX":50,"focalY":50,"createdAt":"2025-02-22T10:08:54.946Z","updatedAt":"2025-02-22T10:08:54.946Z","id":"67b9a236134df66d977d92b5","url":"/cms/api/media/file/loading-background-impressionism.jpg","thumbnailURL":null}}},"sensorOffset":{"position":{"x":0,"y":0,"z":0}},"coordinateOffset":{"position":{"x":10.7542,"y":14.6837,"z":12.8803},"axisFlip":{"x":-1,"y":1,"z":-1}},"disabledSweeps":[{"sweepId":"4a274fcb5f594547b7b45afb003e9b9f","hall":"1B3","id":"688a2c273a1282001bc8f894"},{"sweepId":"93bf0972c7764d67b49a05950961a07f","hall":"1B3","id":"688a2c883a1282001bc8f895"},{"sweepId":"1c7672914c9d4bab8feb3a7fb3c17121","hall":"1B3","id":"688a39c83a1282001bc8f896"}]},"slug":"impressionismus","guides":[{"guide":{"type":"audioAdults","cover":"67b8b42f134df66d977d8f70","exhibition":"67b338818635bba96e329691","duration":61,"name":{"de":"Impressionismus. audioAdults"},"title":{"de":"Impressionismus."},"subtitle":{"de":"Die Sammlung Hasso Plattner"},"description":{"de":"Die Sammlung Hasso Plattner erlaubt einen einzigartigen Einblick in die französische Malerei des Impressionismus und seine Weiterentwicklung nach 1900. Erfahren Sie, welche Umstände überhaupt zur Entstehung dieser neuartigen Kunstströmung führten, lernen Sie wichtige Malerpersönlichkeiten näher kennen und entdecken Sie die stilistische Entwicklung der Malerei von der Mitte des 19. Jahrhunderts bis zum Fauvismus."},"createdAt":"2025-03-06T10:06:22.089Z","updatedAt":"2025-03-06T10:06:22.089Z","id":"67c9739ed68852d60cbb7c43"},"id":"67c973a971240d5b05e9053c"}],"fullName":{"de":"Impressionismus. Die Sammlung Hasso Plattner","en":"Impressionism. The Hasso Plattner Collection"},"prologue":{"de":"https://prolog.museum-barberini.de/de/16314/impressionismus","en":"https://prolog.museum-barberini.de/en/16314/impressionism"},"subtitle":{"de":"Die Sammlung Hasso Plattner","en":"The Hasso Plattner Collection"},"title":{"de":"Impressionismus","en":"Impressionism"},"entryInfoWall":{"description":{"de":"In den 1860er Jahren fanden sich in Paris junge Maler zusammen: Claude Monet, Camille Pissarro, Pierre Auguste Renoir und Alfred Sisley. 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. Their paintings continue to captivate us with their concentration on transitory moments. With over 110 Impressionist and Post-Impressionist works, the Museum Barberini shows the collection of its founder Hasso Plattner. Among these are 40 paintings by Claude Monet, making it the largest group of compositions by this painter in Europe outside of France. The presentation of these works reveals both the range of subject matter and the artistic explosiveness of Impressionism. Prof. Dr. h.c. mult. Hasso Plattner is one of the most distinguished businessmen in Germany and an entrepreneur of international standing. For many years he has supported scholarship in Germany and abroad. As a collector he focuses on paintings with an open visual vocabulary that involve the viewer."},"guides":[],"modelData":{"infoCollisionBox":{"geometry":{"x":3.1399999999999926,"y":2.23,"z":0.1},"position":{"x":9.005727054103838,"y":-5.009221539391791,"z":32.73140341182601,"exhibitionDependent":[{"exhibition":"6836f8f22ef108b9d9b0a31b","position":{"x":9.31,"y":2.26,"z":32.77},"id":"688e37a87080e41820ff4557"},{"exhibition":"67b343f28635bba96e329739","position":{"x":4.65,"y":9.65,"z":35.06},"id":"688e390f7080e41820ff4558"},{"exhibition":"67b338818635bba96e329691","position":{"x":9.081661266491572,"y":-5.021495022535799,"z":32.69744339268519},"id":"69bd231072d5786b609cf2dd"}]}},"insideView":{"sweepId":"62f5627847334cf3b5b6f1e3e9d8387e","rotation":{"x":15.500326607306825,"y":-179.74246542221493}}}},"id":"67b338818635bba96e329691"}],"missing":{"artworks":[],"artists":[],"guides":[],"media":[]}}