Book out soon: Anke Matelowski, Die Berliner Secession 1899-1937. 

Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal

 

Anke Matelowski. Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal
24 x 17 cm, ca. 650 Seiten, 400 Abbildungen.
Fadenheftung, Lesebändchen, Halbleinen
Euro 68.00 / CHF 75.00 ISBN 978-3-03850-033-9

out in October 2017

 

As much as the myth adheres to the Berlin Secession of being the birthplace of “Classical Modernism” in Germany, it is, likewise, a relatively little researched subject. As a matter of fact, neither its date of foundation nor its dissolution has been established so far. The best known protagonists of the Berlin Secession were Max Liebermann, Walter Leistikow, Lovis Corinth and Max Slevogt and their merit was to bring Impressionism to Germany in the years heavy with imperial, representational subjects and, thus, to begin a new era for art in Germany. With the dissolution of the Secession in the Spring of 1913, however, the role seemed exhausted after a splendid dozen years.

About the time of the Berlin Secession after 1913 little is known. In her study, Anke Matelowski now closes this gap. From largely unknown sources, she has been able to establish the founding history of the Secession as well as the years of the First World War, the Weimar Republic until the time of National Socialism. Great detail is paid to the various aspects of this history: the exhibitions, membership structure, buildings and premises available to the association, its relationship with local authorities and towards official art policies, cooperations with other artists’ associations, strategies for coping with political and economic crises, etc.

Matelowski supplements her account with extensive lists, which provide reliable data about members, board members and exhibitions for the first time. Similarly, she provides information about the groupings that split from, competed or co-operated with the Secession. The work sets a new standard for the most important modernist art association in modern Germany.

Source: verlag@nimbusbooks.ch, www.nimbusbooks.ch

Apply today: CONF, 70 years and counting: The Final Opportunity? (London, 12 Sept, 2017)

12 September 2017
National Gallery, London

For more information or to register an interest, email:   internationalconferencelondon2017@culture.gov.uk

Registrations closing on 31 August

Conference Programme

It is estimated that 20 per cent of Europe’s cultural treasures were stolen or plundered by Nazi Germany, most notably from Jewish families, and over 100,000 of these works are still lost, presumed to be in both public and private collections.

70 Years and Counting: The Final Opportunity? will focus on efforts to identify and return works of art lost during the Nazi-era and particularly on how efforts in this area can be accelerated at this late date. The issue is an international one and international cooperation is essential for the achievement of the goal of providing fair and just solutions.

The Washington Principles provide the framework for each stage of the process, from provenance research and its publication, to access to records, to the provision of national claims processes and fair and just solutions. Provenance research is crucial to the process, as is the ability to locate the substantive evidence of the loss and disposal of objects, without both of which national claims panels will be limited in their range and impact.

Without adequate claims processes, justice will remain unavailable in many places or restricted to those few who seek it through the courts. For the existing national claims processes and committees, the questions they encounter as time progresses become ever more critical and central to upholding the very commitment by the international community to provide justice, however difficult that may be and however long that may take.

The Conference will take stock of achievements and explore the current dilemmas and issues faced by those working in each of these essential areas, concluding with a series of recommendations for accelerating progress. The main sessions of the Conference will consist of panel discussions on key themes, following each of which there will be an opportunity for questions from the audience.

70 Years and Counting: The Final Opportunity? Is sponsored by the Commission for Looted Art in Europe.

 

PROGRAMME

09.00 Conference opens, refreshments available

10.00 Welcome: Dr Gabriele Finaldi, Director, National Gallery

10.05 Outline of the day: Clare Pillman, DCMS Director for Culture, Tourism and Sport

10.10 Sponsor: David Lewis, Co-Chair, Commission for Looted Art in Europe

10.15 Keynote address: John Glen MP, Minister for the Arts, Heritage and Tourism

10.30 Session 1: Lost Art: Experience of claimants and institutions
Chair: Sir Paul Jenkins KCB, QC, Former Head of the UK Government Legal Department

Panel:
Dr Antonia Boström, Keeper of Sculpture, Metalwork, Ceramics & Glass, Victoria and Albert Museum, London
Imke Gielen, Lawyer, von Trott zu Solz Lammek, Berlin
Simon Goodman, Author of The Orpheus Clock
Anne Webber, Co-Chair, Commission for Looted Art in Europe

The Panel will consider how effective the existing claims processes are for works of art in both public and private collections, the difficulties of making claims in countries that do not have national claims processes or a commitment to return and the role that governments, panels and researchers already play or could play in the provision of justice. It will look at the usefulness of existing provenance research and its publication, consider the challenges faced by claimants in locating missing works of art and accessing records, and explore the contribution and response of museums, art experts and the art trade.

11.40 Short break

11.50 Session 2: National claims processes
Chair: Sir Donnell Deeny, Chair UK Spoliation Advisory Panel

Panel:
Professor Jan Bank, Member, Restitutions Committee, The Netherlands
Dr Reinhard Binder-Krieglstein, Alternate Member, Art Restitution Advisory Board, Austria
Michel Jeannoutot, Chair, Commission for the Compensation of Victims of Spoliation, France
Professor Reinhard Rürup, Deputy Chair, Advisory Commission, Germany

The Panel will consider the national processes in place across Europe for resolving claims and will look at their success, impartiality and effectiveness. It will look at the emergence of different rulings on the same case in different countries, whether the wishes of museums to keep works of art should be taken into account and the existing barriers to progress. The Panel will consider a wide range of questions including the following. Is there greater scope for information sharing and collaboration between the committees and how should the issue of claims and the passage of time be resolved? Is time limitation part of a fair and just solution and should claimants of the second and third generations or unrelated heirs have lesser rights to recover lost works of art? This session will also report on discussions from the previous day between the committees of the UK, Austria, France, Germany and The Netherlands.

1.00pm LUNCH

2.00pm Session 3: Unlocking the archives: accessibility and disclosure
Chair: Richard Aronowitz-Mercer, Head of Restitution, Sotheby’s Europe

Panel:
Dr Christian Fuhrmeister, Project Leader, Research Department, Zentralinstitut für Künstgeschichte, Munich
Kristian Jensen, Head of Collections and Curation, British Library
Dr Johannes Nathan, Nathan Fine Art (Potsdam, Zurich)/International Art Market Studies Association
Margreeth Soeting, Member of the Research Staff, Stedelijk Museum, Amsterdam

The Panel will look at what progress has been made in undertaking and publishing provenance research and in identifying and providing access to museum, art trade, archival and other records. It will discuss the information that is already publicly available and whether its publication is effective, timely and clear, the records that remain inaccessible and what more can be done to publish both works of art and essential records. The Panel will consider what barriers exist to information sharing and accessibility and how these might be overcome.

3.15pm Session 4: Private Collections
Chair: Pierre Valentin, Constantine Cannon, Partner, Art & Cultural Property

Panel:
Monica Dugot, International Director of Restitution, Christie’s
Martin Levy, H. Blairman & Sons Ltd, art dealer and member of the Spoliation Advisory Panel
Katrin Stoll, Managing Partner, Neumeister Auction House, Munich
Isabel von Klitzing, Provenance research and art consulting

The Panel will consider the issue of looted works in private collections including how private collectors can protect themselves from buying looted art, where they can go for advice and how they can be encouraged to research their collections and reach equitable solutions. The Panel will also discuss the difficulties for claimants in finding works in private collections and how they might seek to recover them, and explore the role of national claims processes and others in providing guidance and fair and just solutions.

4.30pm Refreshments

5.15pm Session 5: The Way Forward
Tony Baumgartner, Deputy Chair of the Spoliation Advisory Panel and Partner at Clyde & Co, will review and summarise the day, noting the conclusions and recommendations reached by each panel and will propose how these might be taken forward in fulfilment of the aims and objectives of the Conference.

6.15pm Drinks Reception

Book presentation and panel discussion (Berlin, 20 Sept, 17)

Panel discussion of the forthcoming research on the foundation of the Gemäldegalerie with Bénédicte Savoy, Neville Rowley, and Robert Skwirblies on the occasion of the new publication:

Robert Skwirblies. Altitalienische Malerei als preußisches Kulturgut Gemäldesammlungen, Kunsthandel und Museumspolitik 1797–1830. Ars et Scientia, 13. Berlin/Boston: De Gruyter, 2017.

Location: Central Hall of the Gemäldegalerie, Kulturforum, Berlin
Date: 20 September 2017, 6.30pm

On the podium:

Welcome:

Moderation

  • Sarah Salomon, Research Assistant at Gemäldegalerie and Skulpturensammlung

Download:

 Partner

Logos_Altitalienische Malerei_2_mit Rahmen

 

CONF: The Brummer Galleries in Paris and New York (NY, Oct 13-14, 2017)

Symposium

The MetMuseum

The Brummer Galleries in Paris and New York: From Antiquities to the Avant-Garde

Museum curators and other scholars consider the influence of the early 20th-century art dealers Joseph and Ernest Brummer and their galleries in Paris and New York.

Organized across six curatorial departments at The Met, this symposium provides an opportunity to highlight and assess original research on this renowned art dealing firm.

Program and Register here

The Met Hosts Inaugural Exchange of Pioneering Provenance Research Program

The first German/American Provenance Research Exchange Program (PREP), which brings together museum and research-institute professionals from both countries who specialize in Holocaust-era provenance projects, was hosted by The Met February 6 to 10. Among the program’s highlights was a panel discussion on February 10 that was open to the public and introduced by Director Thomas Campbell. Panelists included The Met’s Sharon Cott, Senior Vice President, Secretary, and General Counsel, and other figures who support provenance research.

PREP is a pioneering three-year program that gathers 21 German and American grant recipients, the Steering Committee members, and guest speakers twice a year to compare methodologies, ascertain resources, and network among experts. The week-long program at The Met was the first of six systematic exchanges; it will be followed by Berlin in the fall, Los Angeles and Munich in 2018, and Washington, D.C., and Dresden in 2019. Christel Force, Associate Research Curator, Department of Modern and Contemporary Art, is on the Steering Committee and worked with Rebecca Noonan Murray, Special Counsel, Office of the Senior Vice President, Secretary, and General Counsel, to host the group here at The Met.

PREP is organized by the Smithsonian Provenance Research Initiative, Washington, D.C., and the Stiftung Preußischer Kulturbesitz, Berlin, and four partner institutions: The Metropolitan Museum of Art; The Getty Research Institute, Los Angeles; the Staatlichen Kunstsammlungen Dresden; and the Zentralinstitut für Kunstgeschichte, Munich. The new Deutsches Zentrum Kulturgutverluste, Magdeburg, is a consultative participant in the program.

PREP New York’s concluding panel discussion, titled “German/ American Exchange on Nazi-Era Provenance Research: A Discussion with Museum Leaders,” was held in the Bonnie J. Sacerdote Lecture Hall. In addition to Sharon, the speakers were Lynn Nicholas, independent scholar and author of The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War; Hermann Parzinger, President, Stiftung Preussischer Kulturbesitz, Berlin; Richard Kurin, Acting Provost and Under Secretary for Museums and Research, Smithsonian Institution,  Washington, D.C.; and Thomas W. Gaehtgens, Director, Getty Research Institute, Los Angeles.

Major support for PREP comes from the German Program for Transatlantic Encounters, financed by the European Recovery Program, and the German Federal Government Commissioner for Culture and the Media.

For more information about PREP, go to provenance.si.edu/jsp/prep.aspx.

Read this on Academia.edu: Lucia Corazza, Il mercato di quadri nella Venezia del Cinquecento

Lucia Corazzo, Il mercato di quadri nella Venezia del Cinquecento

Questa tesi di laurea si propone di indagare le dinamiche del mercato di quadri nella Venezia del Cinquecento, inteso come un fenomeno composto da domanda ed offerta dove l’oggetto al centro dello scambio è il dipinto non commissionato. Presupponendo l’unicità e l’importanza del contesto, il lavoro viene organizzato seguendo la logica della “vita” del dipinto quindi dalla sua produzione, alla messa in vendita ed infine all’acquisto. Nella parte dedicata alla produzione si parla della Corporazione dei Dipintori, dei regolamenti di produzione (con gli illeciti più comuni) e delle botteghe…

This thesis aims to investigate the market dynamics of paintings in Venice of the sixteenth century, understood as a demand and supply phenomenon where the object at the center of the exchange is the un-commissioned painting. By assuming the uniqueness and importance of the context, the work is organized following the logic of the “life” of the painting, therefore from its production, sale and finally its purchase. The first part examines the Guild of the Painters, production regulations (with the most common illicitities) and workshops …

…CONTINUE here

CFP: Urban Walking – The Flâneur as an Icon of Metropolitan Culture (Jena, March 2018)

CFP: Urban Walking – The Flâneur as an Icon of Metropolitan Culture in Literature and Other Media – Jena 03/18

Friedrich-Schiller-Universität Jena
Institut für Anglistik und Amerikanistik
09.03.2018-10.03.2018
Deadline: 15.10.2017

Since Walter Benjamin’s ground-breaking investigation into the Parisian flâneur of the nineteenth century, the practises of the peripatetic observer of city life have informed literary, cultural, and sociological studies of urban life. As a seismograph of the metropolis, walking through the city, observing and describing the urban environment, the flâneur reflects the dynamics and effects of modern city life, such as the encounter with anonymous crowds and modern mass culture or the significance of evanescent impressions and perceptions in a fashion that has eschewed a theoretical consensus so far. Continue reading “CFP: Urban Walking – The Flâneur as an Icon of Metropolitan Culture (Jena, March 2018)”