Martin Kippenberger, Two Proletarian Women Inventors on their Way to the Inventors´Congress, 1984, Städel Museum, Frankfurt am Main
September 29, 2006 to April 9, 2007
Martin Kippenberger: Work until it's all sorted out – Pictures, 1984/85
For the first time, thanks to the generous donation by the Frankfurt Trade Fair, the Staedel Museum now possesses a work by Martin Kippenberger (1953–1997), one of the most versatile and eagerly experimental artists of the late 20th century. We would like to honour this donation with an exhibition of six pictures by Kippenberger in the museum‘s Kuppelsaal. In the years 1984/85, "Two Proletarian Women Inventors on their Way to the Inventors‘ Congress” was painted as part of a group of ironical and provocative pictures that derived their themes from the pictorial world of communism.
The paintings represent a German artist looking back, from a 1980s perspective, at the period when Russia was undergoing a new awakening. The ideology of work, the self-liberation of the proletariat, and collective living were catch-phrases that Kippenberger pointedly picked up on in a close-knit, pseudo-futuristic and also pseudo-constructivist verbal and visual language.
His attitude is one of resignation, reflecting the course of history and the presence of the Cold War. Yet this ever-restless artist is not concerned with apportioning blame or being in the right. On the contrary, he points out the simple truth that dealing with the traps and trickery of this world is something that has to be learned, and that life itself, in all its banality, is hidden behind all those symbolic layers of meaning.
The selection of paintings on display demonstrates the greatness of Kippenberger‘s attempt to interlink truth and falsehood on the one hand with documentary visual reporting and pure fiction on the other. The artist embeds himself deeply in his chosen landscape of ideas and motifs in order to comment on it from the inside out – and here he is expecting a response from the public, because talking about things over and over again has always been one of the overriding features of Kippenberger‘s oeuvre.
Johannes Verspronck, Portrait of a Lady in an Armchair, ca. 1642-1645, Städel Museum, Frankfurt am Main, Photo: David Hall
November 7, 2006 to April 9, 2007 - Gallery Facing the Main
Focus on Johannes Verspronck: Portrait of a Lady in an Armchair, ca. 1642-1645 (Inv.No 703)
The "Portrait of a Woman in an Armchair" by Johannes Verspronck will be presented to the public again for the first time in decades. Once highly esteemed – a gallery photograph dated 1905 proves its prominent hanging beside the freshly-purchased "Blinding of Samson" by Rembrandt – the portrait was put into storage after World War II because of its poor condition and a change in the collection’s hanging.
Thanks to the recent restoration resulting from the detailed examination as part of the cataloguing of Dutch baroque paintings, the Staedel collection has now regained an important work of art. In the exhibition the portrait by Johannes Verspronck is being displayed next to the Staedels’ double portraits of a married couple by Frans Hals. Known only to a few people today, Verspronck during the 17th century was, together with Frans Hals, one of the most sought-after portraitists active in the flourishing city of Haarlem. Nevertheless the two artists were not direct competitors: each of them found their clients in various social circles and created – almost as a trade mark – a highly individual brush-stroke that appealed to the different tastes of their customers.
The presentation is part of a new exhibition concept that enables associative access to the different levels of meaning in baroque portraiture: "mind maps" with pictures of famous personalities, enhanced by town-views and historical maps of Haarlem, bring to life the artistic situation of the two portrait painters and introduce their clients with their specific social context. Costume details emphasize the representative function of such paintings. The genesis of Verspronck's "Portrait of a Woman in an Armchair" is shown as well as the extensive restoration, the results of which can now be compared with the painting's former condition. A further focus is placed on the portrait's provenance from one of the best known collections in Hanau from Goethe's time.
Claude Monet, The Artist´s Garden at Giverny, 1895, Stiftung Sammlung E.G. Bührle, Zürich
November 24, 2006 to March 11, 2007 - Städel Annex, Ground and Upper Floors
The Painter’s Garden. Design, Inspiration, Delight
Gardens offer people protection, relaxation and inspiration. They are a place of retreat from the turmoil of everyday life, mirrors of the soul, a budding source of inspiration, and an inexhaustible store of ideas for new images. Over the course of the centuries, they have inspired artists to produce many masterpieces. This exhibition is devoted to the motif of the garden in fine art – spanning all epochs and genres – and presents its diverse portrayal with more than 200 exemplary works from internationally significant museums and collections.
The painted garden is as varied as its interpretations: the mediaeval garden of Paradise represents a magical sphere from which all evil remains excluded; Peter Paul Rubens gathers society groups at play in grandiose palace gardens; Jean-Antoine Watteau and Jean-Honoré Fragonard abduct the viewer into splendid gardens of love. The psychological interpretation of the garden began with the Enlightenment. Caspar David Friedrich sees himself as a mediator between man and nature, while Carl Spitzweg gives us an insight into small, bourgeois gardens. Finally, the studio windows of Adolf Menzel, Carl Blechen and Lovis Corinth no longer look out on small green refuges, but on narrow, neglected backyards - the first consequences of industrialisation.
Impressionists such as Claude Monet laid out lushly planted, imaginative gardens in order to depict them in colourful images submerged in bright light. In the paintings of Auguste Renoir, Camille Pissarro and Eduard Manet, man and nature enter into a symbiotic relationship. But this close relationship may also be expressed in a different form, and Vincent van Gogh used the garden as a field of projection for his personal melancholy.
Foreign countries have always attracted artists and scientists to the same extent. Humboldt’s expeditions brought a wealth of plants to Europe, and subsequently these added a new opulence to palm houses, botanical gardens and private gardens. Paul Klee was also drawn to unknown lands. He permitted himself to be inspired by their vegetation’s variety of colours and forms and so arrived at new modes of artistic expression. The concentrated view of individual plants in studies by Georg Flegel and herbaria by Goethe or Paul Klee demonstrates not only an artistic interest, but also considerable botanical knowledge.
As a delightful sphere of experience, a place of peace and a source of inspiration, the garden has always been a productive topic in fine art, and visitors to the exhibition will become aware of its splendour and innumerable facets.
This project is also presented at:
Kunstbau der Städtischen Galerie im Lenbachhaus, Munich April 5 to July 8, 2007
Giovanni Domenico Tiepolo, Puchinellos's father brings home his bride, Städel Museum, Frankfurt am Main, Property of the Städelsche Museums-Verein e.V.
November 3, 2006 to January 28, 2007 - Department of Prints and Drawings
From Titian to Tiepolo. Venetian Drawings from the Collection of the Städel Museum
The Department of Prints and Drawings at the Städel Museum holds one of the most important collections of Venetian drawings in Germany. Due to the generous support of the Gabriele Busch-Hauck Foundation, the valuable pieces ranging from the 15th to the 18th century have been subject to scientific research over the past two years.The results will now be presented to a broader public.
For many years Venice was an independent centre of the arts, and the special character of the city on the lagoon and its art made it distinctly different from other Italian cities such as Florence or Rome. Far more than in painting, the art of drawing comprises very different functions: quickly sketched figure studies express the personal viewpoint of the artist; designs for altarpieces and frescoes reveal the struggle to find aesthetic solutions; autonomous pictorial compositions prove how drawings were regarded and collected as works in their own right; portraits and ‘vedutes’ provide vivid depictions of the reality at that time.
The exhibition presents a highly varied selection of 80 drawings taken from the comprehensive stock of roughly 300 pieces. They will be presented next to specific examples of printmaking that underline the close links between the two graphic media. The exhibition provides a wide-ranging overview of Venetian drawings from the Renaissance to the Rococo era. Aside from works by Titian, Tintoretto and Veronese there is further emphasis on the renaissance of Venetian art during the 18th century showing drawings by artists such as Pellegrini, Giambattista and Domenico Tiepolo, Piazzetta, Canaletto and Francesco Guardi.
Barnaba da Modena, Madonna with Child, Städel Museum, Frankfurt am Main
July 7 to October 22, 2006 - Städel Annex, Ground Floor
Cult Image. Altarpiece and Devontional Painting from Duccio to Perugino
The Städel exhibition "Cult Image: Altarpiece and Devotional Painting from Duccio to Perugino” traces the development of the Italian altarpiece and – intimately interwoven with it – Italian panel painting between the thirteenth and the late fifteenth century. Many of the works are no longer intact but divided into their individual elements, and most are now in museums. Thus, they have been removed from their original functional context and, as a result, have become difficult to understand for the present-day viewer and may strike him as even strange.
This circumstance is aggravated by the fact that the works on view represent a conception of art which has changed radically since Renaissance times. This is why the exhibition "Cult Image” pursues the double goal of conveying an idea of the contemporary attitude towards pictures and of acquainting the visitor with the evolving conception of art and its production in the period from Duccio to Perugino. This elucidates how the vivid exchange between altarpiece and devotional painting also contributed to the development of all those genres that we take for granted today: the narrative scene, the portrait, the still life, and the landscape picture.
In addition to the outstanding paintings from the collections of the Städel Museum, the exhibition includes a number of loans from important national and international collections, such as the Lindenau-Museum Altenburg, die Gemäldegalerie Berlin, the Musée des Beaux-Arts in Lyon, the Museo Thyssen-Bornemisza in Madrid, the Louvre in Paris, and the Museo Nazionale di San Matteo in Pisa.
"Cult Image” focuses on the painting of an era in which there was no "art” in the modern sense. When we speak of art today, we are unwittingly availing ourselves of a definition which only developed with the Italian Renaissance and centers on the artwork’s "artistic value.” Neither Duccio or the Lorenzetti brothers in fourteenth century Siena, nor the Florentines Lorenzo Monaco and Fra Angelico in the early quattrocento would have conceived of their productions in these terms: for them, it was still the "cultic value” of their works that was most important. Not until the mid-fifteenth century did painters such as Andrea Mantegna begin to develop the modern conception of art. But the real advance in the understanding of "art” was brought about by the artists’ generation of Raphael, the famous pupil of Perugino, around 1500. Before that, it was less the "art object” than the "cult image” that constituted the focus of artists and their patrons alike – which is also reflected in this exhibition.
Jan van Eyck, Lucca-Madonna, 1437/38, Städel Museum, Frankfurt am Main, Photo: Ursula Edelmann
May 31 to October 29, 2006 - Kabinett zum Main
Focus on Jan van Eyck: Lucca Madonna
When presented in a museum, a single work of art is often initially perceived as an aesthetic phenomenon – as a "pretty picture”. Its original function, historical background, iconographic statement, the strategic intentions of its artist or patron, and any revolutionary innovations in pictorial structure, composition and technique frequently take second place. Yet it is only when the significance of a work of art is apprehended in its entirety – when it is seen in its full artistic, historical, religious, sociological and economic context – that we can appreciate its true content and its relevance, both then and now.
Jan van Eyck‘s "Lucca Madonna” is one of the most important artworks in the Städel Museum, and marks the beginning of a new exhibition series analysing the different ways in which art can be perceived, on the basis of single works of art taken from the collection. The many and varied levels of response to the painting are presented here in terms of an up-to-date, evolutionary process of research, reflected by the exhibition in the form of so-called "mind-maps” filling entire walls. Insights into art history are accompanied by considerations from other disciplines such as sociology, psychology and the history of science and of piety, as well as research findings from the natural sciences. As one of the founding fathers of Early Netherlandish painting, Jan van Eyck was also one of the first painters of the modern age. With his incomparable painting technique (not invented but decisively refined by him), his brilliant pictorial concepts and his supreme command of iconographic tradition, Van Eyck remains unequalled in the 15th century.
The "Lucca Madonna” in the Städel Collection was painted in the late 1430s, and it reveals Jan van Eyck at the pinnacle of his artistic abilities. Overwhelmingly realistic detail and a rich symbolic language combine here with deep psychological understanding of the mother-child relationship to produce a picture that has a direct effect on the emotions even today. This is due not least to the subtlety of the composition, making the room in the painting almost seem to extend into the viewer’s space. This seemingly simple solution is actually the result of a complex process of genesis that can now be rendered visible thanks to the possibilities of modern technology.
Three aspects – the genesis, significance and ultimate function of a painting – thus lie at the heart of the various different approaches to Jan van Eyck‘s "Lucca Madonna” that are being explored in this exhibition.
Albrecht Dürer, Portrait of a Young Woman with her Hair Down, 1497, Städel Museum, Frankfurt am Main, Photo: Jochen Beyer, Village-Neuf
May 31 to September 17, 2006 - Kuppelsaal
Albrecht Dürer - Two Sisters
For the first time in over 150 years the two portraits of young women that Albrecht Dürer painted in 1497 – one of which is in the Städel Museum in Frankfurt and the other in Berlin´s Gemäldegalerie – can be seen side by side again. They were probably conceived from the very start as a pair of pictures, albeit a very unusual one: a débutante from Nuremberg society alongside a pious, introverted woman deep in prayer; a portrait against a neutral background alongside a portrait in the corner of a room with the view of a landscape; and a figure of Italian inspiration juxtaposed with one that is more or less Late Gothic. One is tempted to think that two sisters could be portrayed here – two women who bear a physical similarity to each other, yet have taken very different paths in life.
However, the artistic-aesthetic dimension of these seemingly very intentionally presented opposites also leads one to suspect that the artist may have had a very special relationship with the two sitters. Could they even have been two sisters of Albrecht Dürer – and could the most famous of all German artists have painted their portraits?
The exhibition gathers evidence to support this supposition, but it also shows two further versions of the two pictures, both of high quality. The mystery of which pair was painted by the master and which is a copy is also examined, and visitors are encouraged to guess for themselves. The portraits of the two women quickly became famous. In the 16th century they became the property of the Fürlegers, a Nuremberg family of patricians. In 1636 they were brought from Nuremberg to England, either as a purchase or a gift, by the famous English diplomat and art collector Thomas Howard, 2nd Earl of Arundel. Wenzel Hollar from Prague, possibly the best reproduction engraver of the age, made etchings of them for him. The exhibition also examines this aspect of the story.
Lucas van Leyden, The Milkmaid, ca. 1510, Städel Museum, Frankfurt am Main, Photo: Ursula Edelmann
June 30 to October 1, 2006 - Department of Prints and Drawings
Lucas van Leyden (1489/94-1533): Masterworks of Printmaking
In the early 16th century, Lucas van Leyden was the most famous and the most highly appreciated graphic artist north of the Alps aside from Albrecht Dürer. His works are distinguished by an independent and original choice of subjects and narration, sureness and fineness of line, and an interest in atmospheric effects. The Städel Museum Department of Prints and Drawings has comprehensive holdings of prints by Lucas van Leyden, of which a selection is presented and commented in the forthcoming exhibition. The show is complemented with selected loans from the engravings collections of Amsterdam, Berlin, and Dresden, as well as with comparative examples by other artists such as Schongauer, Dürer, and Rembrandt.
“Master Lucas, who engraves in copper, asked me as his guest. He is a little man, born at Leyden in Holland; he was at Antwerp.” Albrecht Dürer’s diary entry about his visit to Antwerp in 1521 is the only extant document which gives us a direct impression of the person of Lucas van Leyden. Information about the life of Lucas van Leyden is scarce: the most useful biographical source is the “Schilderboek” (“Painter’s Book”) by the Dutch painter and writer Carel van Mander, which was published in 1604 and is based on accounts of the artist’s descendants. According to Van Mander, Lucas was born in May or June 1494 in Leyden, a town of clothiers and merchants, as the son of the painter Huych Jacobsz. Following some basic training with his father, he presumably became familiar with the art of copperplate engraving when working with a goldsmith.
Van Mander writes that Lucas was a prodigy who engraved his first copperplate at the age of nine, was a painter at twelve, and completed his masterpiece engraving Mohammed and the Monk Sergius in 1508 at the age of 14. Maybe Lucas really was a prodigy; but maybe the information is a misunderstanding, and Lucas in fact only started to learn copperplate engraving at the age of 14, which would have been a more usual career. In any case, one has to be content with the information that Lucas was born some time between 1489 and 1494. He died after protracted illness in 1533, believing that he had been administered poison by an envious competitor. His extant oeuvre is comprised of some 25 paintings and about the same number of drawings, as well as about 170 copperplate engravings, 30 woodcuts of his own hand, and another 120 woodcuts used for book illustrations. The exhibition at the Städel Museum Department of Prints and Drawings largely focuses on his copperplate engravings.
Technically as well as in his choice and treatment of subjects, Lucas van Leyden’s engravings show a distinctive style which made the artist well-known and famous throughout Europe after about 1508. Although he took some inspiration from Albrecht Dürer or Marcantonio Raimondi, the engraver of Raffaelo, he developed his own artistic solutions. Lucas offers an exceptionally broad range of graphic techniques, notably so with regard to the rendering of textures and light. In most cases, he did not rely on a precise working drawing, but drafted the composition with fine lines directly on the metal plate and then elaborated it. Lucas’s lines are very fine and not particularly deep; in the print, they have a tendency to blur and blend, which results in a very special shaded and painterly effect with deep and rich black tones. In this technique, the plate is worn down quickly in printing so that later prints appear weaker.
Lucas often chose his subjects from literature, mainly from the Bible. The reading of the Holy Scriptures must have been important and familiar to his audience as well. As a narrator, Lucas shuns the fantastic; he is mainly interested in representing reality, though with an underlying moral meaning. Thus, in his Temptation of Christ (Ill.1) of 1518, the devil tempting Jesus to turn stones into bread if he is God’s own son is not represented as a frightful monster with all sorts of fantastic and infernal paraphernalia, as was customary in the 15th century, but as a somewhat odd old man wearing a flowing chin beard and a hooded cloak. It takes a second, closer look to see the clawed foot and the serpent around the hood. Lucas’s understanding of man derives from human nature itself. He always seeks to explore emotional impulses and incorporates them into his narrative; his scenes are always informed by psychological moments.
The representation of everyday life and his psychological interest relate his work to 17th century art in the Netherlands. One of his best known prints is the 1510 engraving entitled The Milkmaid (Ill. 2), which bespeaks the artist’s sense for observing everyday life so that the piece could be misunderstood for mere genre art if it were not for the moralizing background. Engravings such as his Ecce Homo (Ill.3) unfold an impressive perspective construction of the city prospect.
Here again, as in many other prints, the central scene – Christ brought forward to be condemned to death by the agitated mob – remains in the background, while the crowd of onlookers is represented in great detail in the foreground – another iconographic invention that bears witness of the unconventional pictorial solutions of Lucas van Leyden.
Max Beckmann, self-portrait, ca. 1911, © VG Bild-Kunst, Bonn 2005
March 4 to June 11, 2006 - Department of Prints and Drawings
The Painter Prints in Black. The Early Max Beckmann
Max Beckmann (1884–1950), one of the outstanding painters and draftsmen of the 20th century, also dedicated himself to graphic art in different periods of his career. He began to explore the field as a recognized painter belonging to the group of Berlin Secessionists around Lovis Corinth, Max Liebermann, and Max Slevogt. In his early graphic work, Beckmann favored chalk lithography, which allowed a painterly approach focusing on atmospheric light and shadow effects – an only little known form of expression by the artist.
Beckmann’s earliest works dating from before 1914 in the Städel’s collection will constitute the core of the exhibition "A Painter’s Black Art. Max Beckmann’s Early Graphic Work”. The Städel’s holdings include illustrations of mythological and biblical scenes, as well as pictures of everyday life in the city, nudes, and portraits. The comparison of Max Beckmann’s early graphic art with works by excellent French forerunners such as Honoré Daumier and Edouard Manet will reveal its compelling character.
Most of Beckmann’s graphic works date from the years 1911 to 1925 or from between 1941 and 1946 and are all linked with his intense efforts as a painter. From the very beginning, Beckmann saw his graphic work not as a venture aimed at copying a model but rather as an independent way of expression informed by the specific possibilities of the technique chosen for a certain occasion. The early phase of his graphic work until the historical rupture of World War I has generally been less taken note of than the later oeuvre. The exhibition presenting the painterly graphic work of the artist’s early years is not least fuelled by the wish to highlight the particular potential which Beckmann found in lithography and, eventually, in intaglio printing and used for his objectives.
After his studies in Weimar and his first self-portraits, Beckmann began to insistently devote himself to graphic art in 1909. First, he did nine illustrations of the Orpheus myth for Johannes Guthmann’s "Eurydikes Wiederkehr” ("Eurydice’s Return”) published by Paul Cassirer. His pictorial worlds, mainly realized as chalk lithographs until 1914, are not determined by lines or precisely contoured forms but by impressions charged with contents.
This technique, which had become known towards the end of the 18th century, permitted the artist to express himself with chalk on stone as freely as on paper. In his early lithographs, Beckmann’s interest clearly centered on the dramatic mise-en-scène of light and shadow as well as on the mastery of vastness. He achieved virtuoso effects with clayey and apparently soft strokes. Yet, the prints also show that Beckmann created his compositions against the background of works by such famous artists as Dürer, Rembrandt, and Goya that he was familiar with. His approach to lithography was especially influenced by 19th-century forerunners like Eugène Delacroix and Edouard Manet.
Against the background of these current Beckmann exhibitions, the Städel and the Schirn will organize a symposium in the Metzler Hall of the Städelsches Kunstinstitut from 10.00 a.m. to 6.00 p.m. on 6 May 2006. Under the title "Was ich will, wird erst am Ende meines Schaffens deutlich werden, als Ganzes gesehen” ("What I want will only become clear at the end of my work, seen as a whole”), the event will offer a platform for a discussion of Max Beckmann’s work; participants include Mayen Beckmann, Klaus Gallwitz, Siegfried Gohr, James Hofmaier, and Stephan von Wiese.
The exhibition in the Department of Prints and Drawings of the Städelsches Kunstinstitut is presented in parallel to the major show "Max Beckmann. The Watercolors and Pastels” in the Schirn Kunsthalle (3 March – 28 May 2006). Not missing the occasion, the MMK Frankfurt will confront Beckmann’s lithographic cycle on the "Apocalypse” with new works by Thomas Demand from 24 March to 27 August 2006.
The Invention and Glorification of the True Cross (The “Frankfurt Kreuzaltar”), The Glorification of the Cross, 1603-05, Städelsches Kunstinstitut
March 17 to June 5, 2006
Discovering the World in Detail. Adam Elsheimer 1578–1610
Adam Elsheimer (1578-1610) is one of the few German artists of renown in the context of European Baroque painting. Nonetheless, in the canon of the great painters, his name is seldom mentioned in public – more seldom than he deserves in view of his outstanding artistic significance. In his lifetime already a legend among collectors and connoisseurs, admired by such artists as Rubens and Rembrandt, Elsheimer was not destined to enjoy his success for long: His career was brought to an abrupt end by his death at the age of thirtytwo. He was born in Frankfurt in 1578 and set out for the south when he was twenty, stopping in Munich and Venice before arriving in Rome in 1600.
The lifework he left behind is small in number – forty paintings and thirty drawings and gouaches are known to date – but extraordinary in terms of influence. Today the small-scale copper plates which constitute his painting oeuvre are among the most precious holdings of major museums. With their narrative diversity, poetic charm, and lighting dominated by dramatic light-dark contrasts, these paintings had an impact that was felt throughout Europe. The Städel, which owns the world’s largest collection of Elsheimer’s works and also hosted the last exhibition to have been dedicated to him (forty years ago), is now presenting the first comprehensive Elsheimer retrospective, based on the very latest research findings.
Who was Adam Elsheimer? That question will already have been asked in around 1600, when the young artist came to Rome. The exhibition retraces the inquisitive painter’s footsteps and offers its visitors an inexhaustible journey of discovery. Adam Elsheimer was born in Frankfurt in 1578, the son of a tailor. There are few sources pertaining to his youth and apprenticeship in his native town. He is assumed to have been a pupil of Philipp Uffenbach, a respected artist of his day who never lost sight of the example set by the German Renaissance painters, particularly Dürer and Grünewald. Upon completion of his training, Elsheimer left the city of his birth and is thought to have visited Munich in 1598 on his way to Italy.
It was in Italy that he chose to remain. During his sojourn in Venice, where he worked with Hans Rottenhammer of Munich, Elsheimer became acquainted with the work of the Venetian painters, especially Tintoretto.
As he developed his style, he drew from both the old German tradition and the atmospherically painterly manner of the Venetian masters, an unusual mixture which left a lasting mark on his work. Elsheimer is certain to have reached Rome by the Holy Year 1600, if not earlier. There he was befriended by Peter Paul Rubens, an artist one year his senior, and Rubens’ brother Philipp. He also cultivated contact with German scholars devoted to the study of literature, theology and the natural sciences, who inspired him and patronized his art. In 1607 he was admitted to the reputable painters’ guild Accademia di S. Luca, an honour few Germans enjoyed. In Rome Elsheimer developed his "poetic painting,” which anticipated the ideas of Romanticism by some two hundred years. His mood-filled moonlit landscapes and enigmatic nocturnal interiors, illuminated by nothing more than the glow of a candle, were what made him famous.
Elsheimer was interested in the depiction of light throughout his career, and concerned himself with dramatic contrasts of the kind characteristic of Caravaggio’s paintings, as well as with the staging of artificial light sources, a practice considered the specialty of the Dutch painters sojourning in Rome. At the same time, however, Elsheimer was also an intriguing narrator: He captured marvellous Christian miracles, brutal scenes of murder and martyrdom and dramatic events such as the Great Flood with the same piercing compactness as he did a small still life.
April 8 - 16, 2006
Graduation show of Städelschule-graduates of 2006 at the Städel museum.
In 1815 Johann Friedrich Städel, in his will, laid the foundations for a collection of paintings and an academy of art. The distance between the studios of the academy and the exhibition spaces of the museum, both located between Dürer- and Holbeinstrasse, is less than 50 m. Art is of course the most immediate link between the two institutions.
Last year the Städel academy graduation show took place at the museum for the third time. This year we would like to continue the tradition.
At the exhibition opening, this year's winner of the graduation prize will be announced. The prize-money of 2.000 Euro was donated by the newly formed Städelschule Portikus Association (formerly Friends of the Städelschule Association and Portikus Association).
Anette Babl, Ole Claßen, Andreas Diefenbach, Özlem Günyol, Eno Henze, Martin Holzschuh, Lisa Jugert, Pernille Kapper-Williams, Ivan Kostolov, Jie Liu, Dennis Loesch, Anna Ostoya, Dogan Özdogan, Anna Maria Saurer, Martin Scherfenberg, Lasse Schmidt-Hansen, Taner Tümkaya, Silke Voss, Tian Tian Wang, Adrian Williams, Lee Young Ho.