Kunsthalle Hamburg

The art museum is home to several major art collections and spanning the arc from the Middle Ages to the modern and contemporary art.

The museum consists of three interconnected buildings between the main railway station, the railway tracks, the Glockengießerwall and the Alster on the former bastion Vincent Hamburg ramparts. The entire exhibition and event space adds up to more than 13,000 square meters. A traditional focus of the collection is the 19th century. The museum also has departments for Old Masters and Modern Art. The art of the present is addressed in a separate building complex. The Graphic Collection includes more than 120,000 sheets. The library of the Hamburg Kunsthalle includes more than 175,000 volumes, including about 3,000 illustrated books and artist's books.

• 2.1 Alfred Lichtwark
• 2.2 Gustav Pauli
• 2.3 Between 1933 and 1946
• 2.4 After 1945

• 3.1 Ground Floor 3.1.1 Prints and Drawings
• 3.1.2 Art in Hamburg
• 3.1.3 Coin Collection at Café Liebermann
• 3.1.4 German Impressionism

• 3.2.1 Old Masters
• 3.2.2 Gallery of the 19th century
• 3.2.3 Modernism

• 4.1 Awards

Building complex

The building complex at Kunsthalle is made up of old building (1863 to 69), new construction (1909, 1912-21 ) and Gallery of Contemporary Art ( 1993-96 ).

Architecture

Old building

The original building was created from designs by Georg Theodor Schirrmacher and Hermann von der Hude based on the Berlin Schinkel school. The facade of the building is designed in the elegant style of the Italian Renaissance in Brick artist portraits in terracotta. Altogether there are 36 medallions at the edges of the core construction and corner buildings. The implementation of the life-size sandstone figures, which are exemplary for the genres of painting, sculpture, architecture and engraving was, in the 19th century, depending on the payment delight of Hamburg citizens. The selection and placement of unknown sculptors sculptures created by well-known artists is a complex system with a specific order basis. The fully three-dimensional figures of Michelangelo and Raphael, which are highlighted on the main facade by framing aedicules, this is the starting point.

As with almost all museum buildings in the 19th century, the Kunsthalle glass roofs were installed in the old building. Sooting gas lamps or candles were not an option because of the protection concept for the art on. Through the glass roofs of the sunlight fell on the underlying luminous ceilings of milky glass and so managed ideal lighting conditions: the visitor was not blinded, illuminated paintings evenly and there was no space wasted through windows. This design brought alongside the many advantages but also some serious disadvantages: The rooms were only on sunny days, mostly fully illuminated 10 to 14 clock and the roof was hard to isolate, so that on heating in winter was not thinking. Even the roofs with time were water and air permeable, so that ever formed condensation and the steel structure attack. From the eye of the museum visitor these defects were due to the milk discs for decades but hidden from the beginning of the 20th century decided the city and the museum management to clean up. The glass ceiling remained the building but despite tremendous additional costs have been preserved and renewed consuming. Uwe Schneede, from 1991 to 2006 director of the Hamburger Kunsthalle, this expressed itself as follows: "We wanted to make the clear historical boundaries again. Now everyone who walks through the building, can understand its architecture, its symmetry, the importance of the staircase, the great breath of the clear atmosphere in the exhibition rooms. "

For the wall color, however, a compromise was chosen for the renovation compared to the original state. To emphasize the small paintings in their own color scheme more, a mixed sound was chosen instead of the formerly bright white. It was elected to a bright blue and aubergine, soft gray color with delicate under-and overtones. A harmonious, neutral and taken back tone, which is to sensitize the eye when illuminated with daylight for the differentiation of the colors and forms of art.

During the renovation, the building equipment was modernized. There was a fire protection concept with escape and rescue plans, which served as the basis for the realization of the new fire alarm and emergency lighting systems, created. A supply and extract air conditioning, swells by 15,000 cubic meters per hour of conditioned air into the seven exhibition rooms, was built. Each showroom is now equipped with temperature and humidity sensors. The building automation system based on security parameters controlling day and night sudden changes in humidity and temperature. If unforeseen deviations, the entire ventilation system is switched off. In the walls in the exhibition rooms on the 1st floor over 1000 meters of copper pipe were laid in the base area under plaster. The hot water in the pipes are heat to the walls from, and thus ensures a uniform heating of the exhibition space, which in turn, that the air must be less wetted in order to meet the climatic conditions required.

New

The first drafts of the new building built heritage and Albert Alfred Lichtwark as planning. The implementation carried out by Fritz Schumacher. With the generally unadorned neoclassical facades in limestone and with cupola rotunda, the new building stands conspicuously on the building. Also in the new building, which raised the exhibition space to a total of about 6000 square meters, were skylights, however, recovered without glass ceilings.

Gallery of Contemporary Art

The building according to plans by Oswald Mathias Ungers consists of a sloped base building in red, Swedish granite and a cuboid in bright, Portuguese limestone. The five-story cube with an exhibition area of ​​5600 square meters is broken by a central hall. Even the mullioned windows and the square floor tiles, which have been fitted so that they would not be cut, underline the typical for the Cologne architect binding to the cube shape. Also opened in 2012, situated on the plateau - level café-restaurant "The Cube" with 80 seats outside and 80 seats in the bright interior, is no exception.

In the building, which is accessed via a long ways from the old building, modern art and works of pop art is shown in changing exhibitions.

History

Hamburg citizens, members of the Art Association was founded in 1817, postulated in 1846 the requirements for an art museum in the Hanseatic city. The city provided then a plot of land available on which the designed by Berlin architects Schirrmacher and von der Hude brick building was erected. On 22 December 1865, the foundation stone Down, celebrated the topping-out ceremony on 12 October of the same year and August 20, 1869 celebrated the opening. The construction costs amounted to 618,000 marks, 316,000 were worn by citizens of Hamburg, 250,000 came from the state treasury and 52,000 Mark of interest. In the early years the collection was dominated by donations and acquisitions in the first taste of the time.

Gustav Christian Schwabe in 1886 founded the Kunsthalle a collection of 128 paintings. In order to create space, according to plans by Hans Zimmermann several corner pavilions and a 1909 to the southwest directed hall were built. This complex advanced Fritz Schumacher from 1912 to 1919 with an annexe of limestone rock, with the characteristic today for the construction of the dome.

The second extension was highly controversial because of the expected cost. In 1985, the competition was announced, resulting in the determination of the prize winner Oswald Mathias Ungers 1986. Seven years later, the foundation stone was laid for the Gallery of Contemporary Art near the Lombard bridge and celebrated the topping-out ceremony in October 1994. In October 1995, a second cost increase to 104.3 million marks was known. Initially, the Senate had approved nearly 74 million. In summer 1996, the building was ready for occupancy. On February 24, 1997 and was the opening, spoke at the Federal President Roman Herzog, mayor Henning Voscherau and the painter Georg Baselitz, instead.

From 2003 to 2006, the Gründerbau was - under the direction of the Hamburg Real Estate Management Co., Ltd. ( IMPF ) - refurbished. In addition to the façade and the roof and the technical building equipment has been adapted to the state of the art.

In May 2010, defects in the fire dampers in the ventilation system of the Gallery of Contemporary Art were known.

Brick, detail

Brick, detail

Forecourt

Age stairway

Gallery

Stair hall

Staircase Gallery of Contemporary Art

History of the collection

Alfred Lichtwark

Only Alfred Lichtwark which commenced its operations in 1886 as the first director of the Kunsthalle, provided a systematically structured collection: " We do not want a museum that stands there and waits, but an institute that engages Worked in the artistic education of our population. "

Under his aegis, a collection of medieval art in Hamburg with works such as the Grabow altar of Master Bertram, the Lichtwark sent for back to Hamburg, after he was identified as the former main altar of the Church of Saint Peter was born. Other medieval masterpieces come from Meister Francke and his successors.

However, the focus of the acquisitions was on the art of the 19th century. These include works by Max Liebermann, was friends with the Lichtwark, Lovis Corinth, Anders Zorn, Edouard Vuillard, Pierre Bonnard and others who painted at the suggestion Lichtwark views of the city of Hamburg. Theodor Hagen was represented by several harbor pictures. He made the work of Philipp Otto Runge and especially by Caspar David Friedrich to a broad public. With Adolf Menzel and Wilhelm Leibl targeted more works by contemporary artists were acquired.

For several bequests (including the collection Hudtwalcker / Wesselhöft ), a collection of Dutch painters and the Print Room. The enthusiasm for the French Impressionists, is attributed to the influence of Max Liebermann.

In Lichtwark term also includes the acquisition of 2499 coins and medals, some of which are exhibited in the Numismatic fell.

His pioneering exercises in the contemplation of works of art, and later disseminated in lectures and books, founded the museum education.

Gustav Pauli

Lichtwark successor Gustav Pauli, who came in 1914 by the Bremen Kunsthalle in Hamburg, was the existence of the Prints and Drawings scientifically worked up. He expanded the collection with artists of Expressionism, such as Oskar Kokoschka and Franz Marc. Not least because of its commitment to modernity, Pauli had to give up his post on September 30, 1933. For political reasons, he had been on leave for months before.

Between 1933 and 1946

Since autumn 1933, the Director of the State Art School, the interior designer Hermann Maetzig the Kunsthalle initiated, an interim basis. After he had borrowed about 900 pictures from art galleries ownership to decorate offices and service rooms, he was on leave in the spring of 1934. His successor, Wilhelm Freiherr small Schmit of Lengefeld was until August 1937 executive director of the Kunsthalle. In May 1934, Harald Busch Director of the Gemäldegalerie. According to the " Congress of the art" in the fall of 1934 in Nuremberg, he received the notice on November 30, 1935 and had left the Kunsthalle. In 1936, Werner Kloos successor of Bush, first as an assistant for the art gallery, then on 1 April 1938 as a curator. Finally, he held the position as a full director of the Hamburger Kunsthalle from 9 November 1941. During his tenure, the Propaganda Ministry under Joseph Goebbels, who had secured the Reich Chamber of Culture to access the arts hosted in 1937 the "degenerate art ". This propaganda prepared action meant solely for the Kunsthalle the loss of more than a thousand works of modernism. Adolf Ziegler confiscated 1937 72 paintings, among them masterpieces such as Kokoschka Bride of the Wind, by Marc The Mandrill and Buveuse assoupie ( eingeschlafene drinker ) by Pablo Picasso, also major works by Emil Nolde and Ernst Ludwig Kirchner. There were 296 watercolors, pastels and drawings, 926 etchings, woodcuts and lithographs and eight sculptures. Some of them have been sold abroad, but a large part was deliberately destroyed.

After 1945

Kunsthalle director after the end of World War II were Carl Georg Heise ( 1946-1956 ), Alfred Hentzen ( 1956-1969 ), Werner Hofmann ( 1969-1990 ). In July 1978, the Kunsthalle underwent a spectacular art robbery headlines. During a renovation measure, the alarm system was turned off. This vulnerability exploited unknown burglars to steal 22 paintings worth at that time about two million marks from the Kunsthalle. From 1990 to 2006 Uwe M. Schneede headed the museum, it was followed in 2006 by Hubertus Gassner.

Collections

Ground floor

Prints and Drawings

The collection includes more than 100,000 sheets, ranging from the 15th century to the present. The focus is, among other French graphic of the 19th century, Italian printmaking, German Expressionists as well as works by Horst Janssen.

Art in Hamburg

Here are the pictures of Hamburg from the 19th century by Outer Alster lake, city silhouette and port are displayed.

Coin Collection in Café Liebermann

The Café Liebermann on the ground floor consists of a hall with six pairs of columns. In lateral display cases are coins and medals. On the narrow side of the room is a sculpture ( bronze cast from the plaster model ) issued with the title The Princesses Luise and Friederike of Prussia Johann Gottfried Schadow ( 1764-1850 ). The hall serves as a museum café with flair.

German Impressionism

This collection includes the 20th century by Georg Kolbe sculptures, Paul Hamann ( 1891-1973 ) and others. for example

• Georg Kolbe: The Dancer (1913/1919)
• Georg Kolbe: Big Night ( 1926-1930 ). Bronze casting.
• Paul Hamann: Bertolt Brecht ( 1930). Head.

Other sculptures are outside on the square in front of the rotunda and on the center island of the pedestrian crossing over the Glockengießerwall.

First Floor

The collections of Old Masters, 19th Century and Modernism located on the 1st floor.

Old Masters

• German art before 1400-1800
• Dutch painting of the 17th century
• Italian Painting 1350-1800
• French paintings from the 16th to 18th centuries

Images following painters are exhibited: Meister Bertram, Rembrandt, Peter Paul Rubens, Canaletto.

Gallery of the 19th century

The gallery exhibits several pictures of Caspar David Friedrich, for example, the painting The Sea of ​​Ice, to the sketches he made in 1820 at the Dresden River Elbe in the cold winter.

More images by Philipp Otto Runge and Edouard Manet.

Caspar David Friedrich: The Wanderer above the Sea of ​​Fog, 1818

Caspar David Friedrich: The Sea of ​​Ice, 1823/24

Wilhelm Leibl: Three Women in Church, 1891

Jean -Léon Gérôme: Phryne before the Areopagus, 1861

Modernism

In the Department of Classical Modern paintings and sculptures by artists such as Wilhelm Lehmbruck, Edvard Munch, Emil Nolde, Paul Klee, Ernst Ludwig Kirchner, Max Beckmann and Lyonel Feininger up George Grosz and Max Ernst are issued.

Ernst Ludwig Kirchner: Self-Portrait with Model, 1910, oil on canvas

Franz Marc: Monkey Frieze, 1911, oil on canvas

Paul Klee: The Golden Fish, 1925, oil and watercolor on paper on cardboard

Paul Klee: Revolution of the Viaduct, 1937, oil on oil primer on cotton on stretchers

Exhibitions from 2010

In recent times, numerous exhibitions took place, in which also supplements the Hamburg stocks were shown. In addition, more spaces for contemporary artists have been created.

With the acquisition of the Thalia Theater formerly associated space of the theater at the Kunsthalle ( tik ) was added a further exhibition space, which is known as Hubertus -Wald- Forum after the patron. This exposed area was - was used as a lecture room - since the construction of the building. Only in 1972 the Second Stage of the Thalia Theater had moved there. Until the establishment of the Hubertus -Wald- Forum, Hamburg Kunsthalle had no separate exhibition spaces; so each of the collections had to be self- cleared for special exhibitions.

In the basement of the Gallery of Contemporary temporary exhibitions since 2010 also.

• 2010: poplife with works by Martin Kippenberger, Keith Haring, Takashi Murakami. An exhibition organized by Tate Modern in collaboration with the Hamburg Kunsthalle.
• 2010/11: Kirchner. Hamburger Kunsthalle. ( Drawings, prints, 15 paintings, photographs).
• 2010/11: Kosmos Runge. The morning of romance, Hamburger Kunsthalle.
• 2011: Roni Horn. photographs
• 2011: Bruegel, Rembrandt & Co. Dutch Drawings 1450-1850
• 2011: Marc Brandenburg. drawing
• 2011/12: Max Liebermann. Pioneer of Modern Art
• 2012: Tired Heroes: Ferdinand Hodler - Aleksandr Dejneka - Neo Rauch
• 2013/14: in the Gallery of Contemporary Art ( basement ): Denmark advent of modernity. The Hirschsprung Collection of Eckerberg to Hammershøi, September 20, 2013 to January 12, 2014
• 2013/14: Eva Hesse: One More than One, November 29, 2013 to March 2, 2014

Awards

2009 received the Kunsthalle by the International Association of Art Critics AICA for the special exhibition Sigmar Polke. We Petty Bourgeois! Contemporaries and contemporaries the award show of the year.

Financing

Since 1999, the Hamburger Kunsthalle - as well as other museums in Hamburg - an independent foundation. The purpose of this form of business is to enable an independent economies of the line. Nevertheless, the foundations for years do not come out of the red. The current operation is funded by grants from the city and the Kunsthalle lamented a "structural underfunding ". End of 2009, the annual deficit of the Kunsthalle was 1.905 million euros. According to managing director Roman Passarge was an annual under-funding of 800,000 euros, the remaining amount can be explained by the effects of the financial crisis and the drastic loss of sponsorship.

The budget at a glance (as of 2010): The Museum Foundation has an endowment in the amount of 0.51 Euro. The operation - electricity and heating on the staff up to the cost for special exhibitions - the Foundation financed Hamburger Kunsthalle more than 50 % of own revenues (admission revenues, sponsorships, revenues from restaurants, parks and shops) and the grant of the Free and Hanseatic City of Hamburg ( FHH). The Kunsthalle received annually by 2010 almost 11 million euros in grants through the city, which is a building rent flow back alone 5 million to the city and about 3.8 million are bound as personnel costs. The total budget was without renting of a building about 11 million euros, including the rent around 16 million euros. The Culture Senator demanded savings. ( The Hamburger Kunsthalle is one of the few museums that pay as a public body rent to the public sector, for comparison metrics are commonly used without rent. ) In the grant of FHH, a purchasing budget of 322,000 euros was included in since creation of the foundation to operating budget flows to balance the budget. Purchases are made possible in the Hamburger Kunsthalle through the generous donations and donations of associations, foundations and individuals.

But is the budget of the house in a nationwide comparison with nearly two dozen houses in other cities (such as the Kunstmuseum Stuttgart, the Sprengel Museum Hannover and the Städel in Frankfurt ) is relatively low. The average contributions to these houses are at 25 euros per visitor, the Kunsthalle receives against 13 euros. The grants per exhibition space are lower than average. This is 859 euros per square meter, the Kunsthalle figure is only 483 Euro. Management errors could be a cause of permanent deficit. In 2010, the theme of the public, as the director Gaßner the closing of the announced " Galerie der Gegenwart " for half a year - allegedly because of smaller fire protection measures, actually probably to save by reducing the guard and energy costs 200,000 euros, the budget requirements of the Senate to reach.