Museum Wiesbaden
Location | Wiesbaden, Germany |
---|---|
Coordinates | 50°04′39″N 8°14′45″E / 50.07750°N 8.24583°E |
The Museum Wiesbaden is a two-branch museum of art and natural history in the Hessian capital of Wiesbaden, Germany. It is one of the three Hessian State museums, in addition to the museums in Kassel and Darmstadt.
History
The foundation of the originally three museums traces back to the citizens of the city and to
Under the responsibility of the newly founded associations, but controlled by the
Following the death of the Duke, the Hereditary Prince's Palace at
According to plans by architect
The first to open was the Gemäldegalerie on 1 October 1915. In the same year the Natural Sciences Collection was also able to move into the new building, but it was not until after the end of the First World War that the Natural Sciences Museum and the Museum of Nassau Antiquities reopened on 15 July 1920.
Half of the picture gallery was to be used for changing exhibitions, which were carried out by the Nassauischer Kunstverein in the 1920s and early 1930s. During this time, citizens of Wiesbaden also contributed to important additions to the collections. The natural science collections showed systematic exhibitions on topics of geology, paleontology and biology. Ecological aspects were also presented for the first time.
During the
After their return, a collection was rebuilt from the 1950s onwards with very few resources. Clemens Weiler[1] played a major role in the construction of the Alexej von Jawlensky-Collection, which is today the most important collection of the house.[2] The Natural Science Museum was largely rebuilt by Friedrich Heineck, who was impeached of office during the war. It was the aim of the museum to show in particular info on the biomes in the exhibitions. The reconstruction was not entirely successful, partly because rooms were still being used by other people (e. g. by an American library and an urban archive).
In 1973 the three museums came into the possession of the state of Hesse. Since that time they have been united in a three-division house, the Museum Wiesbaden. The Nassauischer Kunstverein ("Nassau Kunstverein"), which had previously been housed in the museum, was moved to the historic villa on Wilhelmstraße 15 in the immediate vicinity. Since 2010 Alexander Klar has been director of the museum. He succeeds Volker Rattemeyer, who ran the museum for 23 years. Under his leadership, in 2007 it was elected by the International Association of Art Critics (Association Internationale des Critiques d' Art (AICA)) as Museum of the Year.[3]
From 1994 to 1997, the Kassel architects Schultze and Schulze completely renovated the rooms of the art collection, from 2003 to 2006 the roofs, the entrance area and the lecture hall and opened up new exhibition rooms of the art collection. From 2007 to 2012, the north and south wings were to be renovated. In the north wing, the natural history collection can be shown again from 2013 onwards. According to press reports and reports from the state government, the collection of Nassauian antiquities SNA was handed over to the city of Wiesbaden in 2009. The Old Masters are to be shown in the freed south wing.
From 1994 to 1997, the Kassel architects Schultze and Schulze completely renovated the rooms of the art collection, from 2003 to 2006 the roofs, the entrance area and the lecture hall and opened up new exhibition rooms of the art collection. From 2007 to 2012, the north and south wings were renovated. Since 2013, the natural history collection is now on show in the north wing.
The chronological sequence was abandoned in favour of spaces on the themes "religion", "portrait", "mythology", "still life" and "landscape".[6]
Art collection
The museum's art collection dates back to the former collection of Johann Isaak von Gerning from Frankfurt. Through purchases, donations and loans, the art collection has become one of the most important in Germany, especially in the area of the 19th and 20th centuries. The Museum Wiesbaden endeavours to identify
Sculptures
Sculptures do not play a significant role in the art collection of the Museum Wiesbaden. However, some interesting works are represented. French sculpture of the late 19th and early 20th centuries is presented with a work by one of its main representatives, Aristide Maillol's Badende. The German sculptors of the first half of the 20th century are represented by Max Klinger (portrait bust of Friedrich Nietzsche, ca. 1910), Franz von Stuck, Georg Kolbe, Wilhelm Lehmbruck, Gerhard Marcks, Emy Roeder and Ernst Barlach (Der Tod, 1925).[8]
Graphic art
Compared to the collection of paintings, the graphic art collection is less important. Work before 1800 is scarce. In the 19th century, on the other hand, there are a number of works by Ludwig Knaus, Arnold Böcklin, Hans von Marées and Max Slevogt, among others. In the first half of the 20th century, the expressionists stand out, especially Alexej von Jawlensky (see Alexej von Jawlensky-Collection, excellently represented with drawings, woodcuts and Lithographs). These include works by Die Brücke-artists such as Ernst Ludwig Kirchner, Erich Heckel and Karl Schmidt-Rottluff, as well as works by the artists of the Blaue Reiter-Editorial Association. Of particular note are works by Franz Marc, August Macke and above all Wassily Kandinsky's watercolour Allerheiligen ("All Saints", 1910) from the collection of Hanna Bekker vom Rath.
Works by other artists of the time, such as Edvard Munch, Otto Dix, Oskar Kokoschka, Käthe Kollwitz and Pablo Picasso, can also be found. Constructivist works, including those by László Moholy-Nagy, the artist couple Robert Michel and Ella Bergmann-Michel, as well as Friedrich Vordemberge-Gildewart, form another focal point of the collection. The graphic art collection after 1945 is extensive, which is why only a few names are mentioned here. Informalism is represented by works by Karl Otto Götz, Otto Greis and Bernard Schultze. Further sheets from the 1940s and 1950s come from Willi Baumeister, HAP Grieshaber and above all from the extensive Ernst Wilhelm Nay collection. Minimalist tendencies are shown in the works of Sol LeWitt. Pop art is represented by Thomas Bayrle, among others.
Old Masters
Compared to the 19th and 20th century collections, the
Late German Gothic and Renaissance art is represented by the Master of the Heisterbach Altar, the Master of the Holy Family, Lucas Cranach the Elder, Bartholomew Bruyn the Elder and Hans Muelich. The German Baroque and Classicism is represented by Johann Conrad Seekatz and January Zick, Nicolas Treu, Johann Georg Platzer und Angelika Kauffmann (Bildnis Johann Isaak von Gerning, 1798 – "Portrait of Johann Isaak von Gerning"). English painting is represented by Joshua Reynolds.
19th-century collection
The 19th century is excellently represented in the collection. Although the great names and French
The
The Leibl-Kreis in Munich is represented extensively, especially by Wilhelm Trübner, but also Hans Thoma, Carl Schuch and Otto Scholderer are present with paintings in the collection. French realism is featured with works by Gustave Courbet, Jean-François Millet and Charles-François Daubigny, while Russian realism is represented by a work by the Alexej von Jawlensky teacher Ilya Repin from the Ernst Alfred Aye Collection.
The collection of this century ends with the works of the main representatives of German Impressionism, Max Liebermann and above all Lovis Corinth, of whom the museum owns five paintings (Portrait von Frau Halbe, 1898) as well as Oskar Moll (Havelkähne, 1907) and Christian Rohlfs.
Jawlensky-Collection
The works of the Russian artist
Remarkable among the Still lifes is the painting Stillleben mit schwarzer Vase ("Still Life with Black Vase", 1910) and among the paintings of landscapes by Jawlensky the work Blaue Berge ("Blue Mountains", 1912). The collection of graphics include lithographs such as Liegender weiblicher Akt("Lying female nude", 1912) and drawings including Konstantinowka mit geneigtem Kopf ("Konstantinovka with inclined head", circa 1912). Most recently, the collection has been extended by eleven paintings and three drawings from the Hanna Bekker vom Rath Collection in 1987, including the portrait Bildnis Marianne von Werefkin ("Portrait of Marianne von Werefkin") from 1906.
From 17 September 2021, to March 2022 the museum shows Alles! 100 Jahre Jawlensky in Wiesbaden (All! 100 years of Jawlensky in Wiesbaden) – an anniversary show celebrating the history of the collection with a complete exhibition of the works of expressionist Alexej von Jawlensky.[9]
Expressionists and the Hanna Bekker vom Rath collection
Even before
Constructivist artists
Constructivist art is a focal theme in the collection of the Museum Wiesbaden. Although some of the big names are missing, the collection still offers a good overview. Among others, László Moholy-Nagy with his painting Architektur III (1920), Erich Buchholz, Walter Dexel as well as the post-war artists Klaus Staudt, Günter Fruhtrunk and François Morellet are included here. There are large complexes of works by the artist couple Robert Michel and Ella Bergmann-Michel, Anton Stankowski, and above all by Friedrich Vordemberge-Gildewart with the painting complex K 116 (1940). His archive is maintained by the museum.
Art since 1945
The
These artists are followed by abstract painting artists such as Rupprecht Geiger, Ulrich Erben, Bruno Erdmann and Gotthard Graubner. The ZERO group and kinetic art are featured by artists such as Günther Uecker with his work Spirale Weiß ("White spiral", 1963), Rolf Kissel, Hermann Goepfert, Heinz Mack and Adolf Luther. Also Sigmar Polke and, above all, Gerhard Richter belong to the collection. The museum possesses five paintings by Richter, including the famous Ein Wunder rettete ("A Miracle Saved", 1964). Surrealism is illustrated by two paintings by Max Ernst.
In 1962 the legendary first Fluxus Festival[10] took place in the museum. Of this period, the museum holds works by Joseph Beuys, Wolf Vostell and Nam June Paik. His work Zen for Head (1962) is part of the collection. The American post-war art[11] is featured by some of its main protagonists by works of Mark Rothko, Ad Reinhardt and Agnes Martin. Also listed in the collection are artists such as Sol LeWitt, Donald Judd, Robert Mangold, Fred Sandback, Dan Flavin and Brice Marden. The museum also has the largest collection of works (graphics, paintings and objects) by the German-American Eva Hesse. One of her works is the wall object Eighter from Decatur (1965). The painting of the 1970s and 1980s is portrayed by artists such as Georg Baselitz with his work Stillleben ("Still Life", 1969), Eugen Schönebeck, Jörg Immendorff and Thomas Bayrle.
An outstanding focus of the collection is the installation- and object art of the last thirty years. The most important artists in the collection are Dietrich Helms, Jeppe Hein, Rebecca Horn, Thomas Huber, Vollrad Kutscher, Ingeborg Lüscher, Christiane Möbus, Norbert Radermacher, Franz Erhard Walther and Dorothee von Windheim with her work Fassade III (in English Facade III) (1979). In addition, there are works of international artists such as Ilya Kabakov with his work Der Rote Waggon ("The Red Wagon", 1991), Micha Ullman, Richard Serra, Jochen Gerz with his composition Der Transsibirische-Prospekt ("Trans-Siberian View", 1977) and Christian Boltanski. Modernist sculpture is represented by Katsura Funakoshi with his work of art A Tale of the Sphinx (2004).
Art awards
Although the Museum Wiesbaden does not award any art awards itself, two of them are closely linked to the museum.
Alexej von Jawlensky Prize
On the occasion of the 50th anniversary of his death in 1991, the city of Wiesbaden established the Alexei von Jawlensky Prize, endowed with 18,000 Euros.
The previous laureates were:
- 1991: Agnes Martin
- 1996: Robert Mangold
- 2001: Brice Marden
- 2006: Rebecca Horn
- 2010: Ellsworth Kelly
- 2014: Richard Serra[12]
Otto Ritschl Prize
The Otto Ritschl Prize was established by the Museumsverein Otto Ritschl e. V. in 2001. Otto Ritschl (1885–1976) was an important German post-war artist who lived in Wiesbaden until his death. An international jury awards the prize at irregular intervals, which is associated with a cash reward and an exhibition at the Museum Wiesbaden.[13]
The previous laureates were:
- 2001 Gotthard Graubner
- 2003 Ulrich Erben
- 2009 Kazuo Katase
- 2015 Katharina Grosse
Natural history collections
The originally independent Museum of Natural History in Wiesbaden was founded in 1829 by citizens of the region with the support of the Duke together with the Nassauischer Verein für Naturkunde (Nassau Association for Natural History). The beginning of the 19th century was marked by industrialization and enormous discoveries in the natural sciences. This is how the desire for a permanent institution was born. On the one hand, this offered the opportunity to establish an important place of education for the public and, on the other hand, to promote internal research. These goals are still pursued by today's natural history collections. One can find more information on this at the site of the Museum Wiesbaden.[14]
Scientific collections
Originally the collection was intended to cover nature of the
About one million individual objects and series are available to science and public relations. Several thousand first described specimens serve in particular research into biodiversity. With few exceptions, the collection survived the Second World War. A large part of the collection is documented in catalog, on index cards and digitally. Larger gaps exist especially in the areas of geology and invertebrate animals. Digital photographs are also available of numerous items in the collection.
General geology and mineralogy
The
Geological history
Three
The Mainz Basin bears witness to the impressive world of life in the Paleogene. In this warmer phase after the extinction of the dinosaurs, the Mainz basin was regularly connected to the surrounding seas, in between these connections were lost, the inland sea sweetened out, a lake was formed and finally the water disappeared completely. In this change numerous animal species lived here, so there are traces of, amongst others, Manatees, Basking sharks, reef-forming mussel banks, but also land creatures, such as the Deinotherium, which was found in Eppelsheim.
Especially artefacts from the Taunus originate from the
Repatriation
In 2023 the museum was one of seven German museums and universities to return Māori and Moriori remains to the Museum of New Zealand Te Papa Tongarewa in New Zealand.[15][16]
References
- ISBN 978-3-8062258-4-6.
- ^ "Museum Wiesbaden". www.wiesbaden.de. Retrieved 5 November 2017.
- ^ "Auszeichnung für großes ehrenamtliches Engagement" [Award for great voluntary work]. Frankfurt-live.com. 20 August 2010. Archived from the original on 7 November 2017. Retrieved 5 November 2017.
- ^ "Neuer Glanz für das Museum Wiesbaden" [New splendour for the Museum Wiesbaden]. Verwaltung.hessen.de. Retrieved 5 November 2017.
- ^ "Sammlung Nassauischer Altertümer" [Collection of Nassau Antiquities]. www.wiesbaden.de. Retrieved 5 November 2017.
- ^ "Museum Wiesbaden". Museen-in-hessen.de. Retrieved 5 November 2017.
- ^ "Die Suche nach Nazi-Raubkunst in Museen" [The Search for Nazi Robbery in Museums]. www.focus.de. 7 November 2014. Retrieved 11 November 2017Article written by dpa news agency
{{cite web}}
: CS1 maint: postscript (link) - ^ "Kollwitz und Barlach – Im Tod vereint. 29 Jul 2016 — 23 Okt 2016" [Kollwitz and Barlach – united in death. 29 Jul 2016 – 23 Oct 2016]. museum-wiesbaden.de. Archived from the original on 12 November 2017. Retrieved 11 November 2017.
- ^ "Alles! 100 Jahre Jawlensky in Wiesbaden" [All" 100 years of Jawlensky in Wiesbaden]. museum wiesbaden. Retrieved 27 September 2021.
- ^ Hellmuth Vensky (12 September 2012). "50 Jahre Fluxus: Kaputt gemacht, kaputt gelacht. Wenn am Ende eines Konzerts das Klavier in Trümmern liegt, waren keine Hooligans am Werk, sondern Künstler: Die Kunstrichtung Fluxus wird 50" [50 years of Fluxus: Broken down, laughed down. When at the end of a concert the piano lies in ruins, there were no hooligans at work, but artists: the art movement Fluxus turns 50]. www.zeit.de (in German). Retrieved 25 February 2018.
- ^ Jeanne Willette (21 January 2012). "Post-War-Culture in America. From Modernism to Post-Modernism". arthistoryunstuffed.om. Retrieved 25 February 2018.
- ^ "Alexej-von-Jawlensky-Preis 2014". www.wiesbaden.de. Retrieved 15 April 2018.
- ^ "Museumsverein Otto Ritschl". museum-wiesbaden.de. Retrieved 15 April 2018.
- ^ "Museum Wiesbaden. Naturhistorische Sammlungen. 183 Jahre Naturwissenschaft" [Museum Wiesbaden. Natural history Collections. 183 Years of Science]. www.mwnh.de. Retrieved 15 April 2018.
- ^ Kolirin, Lianne (14 June 2023). "Mummified heads of Māori ancestors returned to New Zealand from Germany". CNN. Retrieved 15 June 2023.
- ^ "Germany returns the remains of 95 Indigenous people to New Zealand". euronews. 14 June 2023. Retrieved 15 June 2023.
Further reading
- Bernhard Pinsker; Wiesbaden Verein f. Nassauische Altertumskunde u. Geschichtsforschung e.V., eds. (1 January 1993), 200000 Jahre Kultur und Geschichte in Nassau. Dargestellt an Objekten der Sammlung Nassauischer Altertümer des Museums Wiesbaden [200000 years of culture and history in Nassau. Presented with objects from the collection of Nassau antiquities of the Museum Wiesbaden] (in German), Wiesbaden, ISBN 978-3-922027-89-8)
{{citation}}
: CS1 maint: location missing publisher (link - Walter Czysz (1 August 2004), 175 Jahre Nassauischer Verein für Naturkunde und Naturwissenschaftliche Sammlung des Museums Wiesbaden. 1829–2004 [175 Years Nassau Society for Natural History and Natural Science Collection of the Museum Wiesbaden. 1829–2004] (in German), Wiesbaden: Nassauischer Verein für Naturkunde, ISBN 978-3-9809749-1-2
- Volker Rattemeyer; Renate Petzinger, eds. (2007), Das Museum Wiesbaden. Museum des Jahres 2007 [The Museum Wiesbaden. Museum of the Year 2007] (in German), Wiesbaden: Museum Wiesbaden, ISBN 978-3-89258-073-7
- Alexander Klar (1 October 2015), Die Kunstsammlungen: Museum Wiesbaden [The art collections: Museum Wiesbaden], München: Hirner, ISBN 978-3-7774-2464-4
- Roman Zieglgänsberger (18 September 2021), Alles! 100 Jahre Jawlensky in Wiesbaden. Ausstellung im Museum Wiesbaden bis zum 27. März 2022. Der Katalog ist zugleich Jawlensky-Bestandsverzeichnis des Hauses [Exhibition at the Museum Wiesbaden until March 27, 2022. The catalog is at the same time the Jawlensky inventory of the house], München: Hirner, ISBN 978-3-7774-3746-0