Villa Liebermann am Wannsee
7 Oct 2018 – 14 Jan 2019
The year 2018 marks the 80th anniversary of the 1938 exhibition ‘Twentieth Century German Art‘ shown at the New Burlington Galleries in London, the largest international response to the National Socialist campaign against so-called ‘degenerate art’. The 1938 exhibition presented more than three hundred works of German modern art by artists facing persecution in Germany – in an attempt to defend them on the world stage. The show, which turned out to be a great success in terms of press reviews and visitor numbers, was also one of the most significant émigré projects of the period.
Most of the paintings, sculptures and works on paper – many of which were for sale – had been sent to London by scores of Germans living in exile: collectors, dealers and artists scattered across Europe at various stages of their flight from the Third Reich. The painter Max Liebermann was among the best-represented artists as the exhibition showed at least 22 of his works. His widow Martha Liebermann was also among the lenders to London: she sent Liebermann’s Portrait of Albert Einstein, which was also for sale.
The exhibition was organized in collaboration with the Wiener Library, London. A substantial catalogue by Lucy Wasensteiner and Martin Faass (ISBN 978-3-03850-049-0) has been published alongside. More information at: http://www.liebermann-villa.de/en/london1938.html
The Orléans Collection: Tastemaking, Networks and Legacy
New Orleans Museum of Art, January 11-13, 2019
The New Orleans Museum of Art and the Frick Center for the History of Collecting will host a symposium in conjunction with ‘The Orléans Collection’ exhibition dedicated to the collecting and collection of Philippe II duc d’Orléans (1674–1723) on view at the New Orleans Museum of Art October 26, 2018 through January 27, 2019
Collecting over just over two decades, Philippe II d’Orléans amassed one of the most important collections of European paintings in the history of art, which he displayed in his Palais-Royal in Paris. This celebrated collection assembled over 500 masterpieces of European Art and this landmark exhibition reunites a representative group of forty works to tell the complex story of the collection’s formation and character and the impact of the sales of the collection in London during the French revolution, a watershed event in the history of collecting.
The Orléans Collection exhibition catalogue essays offer an overview of the collection, Philippe’s relationship with his court painter Antoine Coypel, the refurbishment of the Palais-Royal during the regency, his collecting of Venetian, Dutch and Flemish and Bolognese Art, contemporary artists studying the collection, and a review of the circumstances of the collection’s dispersal. The catalogue’s extensive Appendix transcribes the earliest 1727 publication of the collection tracing picture to their current locations.
The symposium seeks to expand beyond the scope of the catalogue and consider a wider range of relationships concerning Philippe d’Orléans’s taste and the impact the collection had for generations of collectors and artists, and an increasingly wider public throughout the eighteenth century. Subjects of interest might include: Philippe II’s patronage network; fellow collectors and trends in collecting in Paris; dealers and the art market in eighteenth century
Paris; connections with contemporary collections in the German principalities; the ‘Orléans Effect’ in Great Britain and later entrance in public collections.
Travel can be provided to a limited number of applicants.
To propose a paper, please submit a message of interest and 300 word abstract by September 30, 2018 to: email@example.com
Vanessa I. Schmid, Ph.D., Senior Research Curator for European Art, New Orleans Museum of Art
Matthäikirchplatz 6, 10785 Berlin
Mo 14 – 20 Uhr, Di – Fr 9 – 20 Uhr, Sa + So 11 – 18 Uhr
German Sales 1901 – 1929
5. Juli – 5. September 2018
Eine Sonderpräsentation der Kunstbibliothek – Staatliche Museen zu Berlin im Rahmen des Forschungsprojekts „Kunst – Auktionen – Provenienzen. Der deutsche Kunsthandel im Spiegel der Auktionskataloge der Jahre 1901 bis 1929“ in Kooperation mit der Universitätsbibliothek Heidelberg und dem Getty Research Institute, Los Angeles
Kunstversteigerungen etablierten sich in Deutschland, Österreich und der Schweiz ab der Mitte des 19. Jahrhunderts. Hochwertige Kunstwerke trafen auf internationale Käufer und erzielten Preise, die mit Pariser, Londoner und Amsterdamer Versteigerungsresultaten konkurrieren konnten. In der Sonderpräsentation „German Sales 1901 – 1929“ werden im Foyer der Kunstbibliothek erste Ergebnisse des von der Deutschen Forschungsgemeinschaft (DFG) geförderten Forschungs- und Digitalisierungsprojekts „Kunst – Auktionen – Provenienzen. Der deutsche Kunsthandel im Spiegel der Auktionskataloge der Jahre 1901 bis 1929“ vorgestellt.
Hungarian artists exhibiting at the ‘Galerie Der Sturm‘ in Berlin, 1913-1932
This March, Galerie Le Minotaure and Galerie Alain Le Gaillard, both in Paris – assisted by Krisztina Passuth, the doyenne of modern Hungarian art history and avant-garde specialist – team up for an exhibition presenting a particular episode in the history of the European avant-garde of the first decades of the XXth century: Hungarian artists exhibiting at the ‘Galerie Der Sturm‘ in Berlin, 1913-1932.
Lecture by Niko Munz, Royal Collection Trust
“The Lost Collection: Charles I and Whitehall Palace, a Digital Initiative”
Monday, 16 April 2018, 6:15pm
Institute for Art History
University of Vienna
Seminar Room 1
Die große Jubiläums-Ausstellung “Charles I: King and Collector” an der Royal Academy of Arts, welche in Kooperation mit dem Royal Collection Trust stattfindet, wird von einem innovativen digitalen Projekt begleitet. Dieses widmet sich der Rekonstruktion der gesamten Sammlung des Monarchen und zeichnet digital die Wege der in den Inventaren der königlichen Sammlung verzeichneten Kunstwerke zu ihren heutigen Standorten nach. Niko Munz, Assistant Curator beim Royal Collection Trust, wird dieses digitale Ausstellungsprojekt am 16. April 2018 im Rahmen eines Vortrags am Wiener Institut für Kunstgeschichte vorstellen.
for more information see http://www.darthist.at/newsreader/vchc-darthist-at.html
Cologne and its Journey towards an Arts Capital –
Between Protest and Progressivity in the 60s and 70s
Opening on 20 July 2017, 6.00 p.m.
Universität zu Köln
Universität- und Stadtbibliothek
By launching the Kunstmarkt Köln, today’s Art Cologne, as the first art fair for Modern and Contemporary art in 1967, the city of Cologne experienced a major impulse on its way to becoming an arts capital. Therefore, this exhibition’s focus is both on the art fair itself as well as on the events and happenings, which stood in direct opposition to the fair and were even triggered by it. The “Straßenaktion der Organisation für Direkte Demokratie durch Volksabstimmung” (see cover photo), initiated in 1970 by Joseph Beuys, Hans Peter Alvermann, Wolf Vostell, Klaus Staeck and gallery owner Helmut Rywelski, can be seen as a prominent example for this. In addition, selected protagonists from the prosperous gallery and art trade scene of the late 60s were examined: what happened over the course of the democratization of art in those years, which were shaped by vigor, progressivity and protest?
The exhibition was curated by students in conjunction with Günter Herzog and Nadine Oberste-Hetbleck.
The exhibits are shown in dialogue with the video-text portrait “Helga Müller – ein Fragment” by video artist Sabine Bürger.
Universität zu Köln
Jun.-Prof. Dr. Nadine Oberste-Hetbleck
Invitation (87okb, .pdf)