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The museum’s Collection of Prints and Drawings has an impressive inventory of Dutch prints, including thirty works based on Bruegel’s drawings. These form the basis of the exhibition, supplemented by loans from the Albertina in Vienna and the Staatliche Graphische Sammlung in Munich.The works on display, including allegorical representations such as “Patientia” (Patience, 1557) and “Temperantia” (Temperance, c. 1560), vividly convey Bruegel’s multifaceted imagery.
https://www.staedelmuseum.de/en/bruegel
The Städel Museum dedicated the first retrospective to her, developed in collaboration with the artist.Central themes in Soltau’s work include feminism, body politics and the challenge of human and female identity.
https://www.staedelmuseum.de/en/annegret-soltau
On more than 15,000 square metres of exhibition space you can take inspiration from paintings and sculptures, photographs, drawings and prints. Discover the permanent exhibition on site—and even more art in our Digital Collection.
https://www.staedelmuseum.de/en/collection-permanent-exhibition
In the exhibition, selected ‘new arrivals’ and works from the Städel’s collection thus corresponded and correlated with one another to the mutual enrichment of both.
https://www.staedelmuseum.de/en/tokens-of-friendship
A complex picture of the training and working situation faced by women artists in the modern age emerged from the perspective of the networks, spanning from the struggles of the trailblazers in Paris in the 1880s, to the first women sculptors at the Städel art school around 1900, to a young, self-confident generation of women artists involved with the Neues Frankfurt during the 1920s and 1930s.
https://www.staedelmuseum.de/en/staedel-women
The Städel Museum will present a solo exhibition of Asta Gröting’s (b. 1961) work, featuring eight works created between 2015 and 2025, including seven video works and one laser projection specially developed for the exhibition.
https://www.staedelmuseum.de/en/asta-groeting
For the exhibition, the Städel Museum collaborated with the Hamburger Kunsthalle to bring together works from their own collections and leading European museums, among them the Musée d’Orsay, the Musée Picasso and the Centre Pompidou in Paris, the Museum Boijmans Van Beuningen, Rotterdam, the Kunstmuseum Basel and the Musée des Beaux-Arts de Lyon.
https://www.staedelmuseum.de/en/outstanding
The Städel Museum presented a solo exhibition with altogether 16 pieces by Fürhofer, including a site-specific work. In the rooms devoted to the museum’s contemporary art collection, the artist staged a mystical jungle landscape in which nothing was as it seemed to be.
https://www.staedelmuseum.de/en/philipp-fuerhofer
On the occasion of the exhibition “Rembrandt in Amsterdam: Creativity and Competition”, the Städel Museum organized an international conference on current art-technological research on Rembrandt’s paintings and works on paper.
https://www.staedelmuseum.de/en/rembrandt-in-amsterdam
Whether etching, drypoint, lithography, or linocut, with never-dwindling curiosity and virtuosity, Picasso gained expertise in a wide variety of printmaking techniques, always questioning what he had found in new and experimental ways.
https://www.staedelmuseum.de/en/picasso
An exhibition organised by the Städel Museum, Frankfurt/Main, and the Kunsthistorisches Museum Vienna. Curators: Prof. Dr.
https://www.staedelmuseum.de/en/rubens
For the first time the Städel Museum adressed the surprising references in his art to Rococo painting in a large-scale special exhibition. Whereas Rococo painting was considered frivolous and immoral after the French Revolution, it underwent a revival in the nineteenth century and was widely visible in Renoir’s lifetime.
https://www.staedelmuseum.de/en/renoir-rococo-revival
In addition to prominent international loans from institutions such as the Museum of Fine Arts, Boston, the Ny Carlsberg Glyptotek in Copenhagen, the Tate Modern in London, the Museo Thyssen-Bornemisza in Madrid, the Metropolitan Museum of Art in New York and the Musée d’Orsay in Paris as well as numerous private collections, the exhibition also featured works from the Städel Museum’s own rich impressionist art holdings.
https://www.staedelmuseum.de/en/en-passant
Under the title “Overture”, works in various media and disciplines—including installation, sculpture, painting, film, and performance—were on view by a total of 30 graduates.The exhibition offered insights into the recent developments in contemporary art and reflected a broad spectrum of artistic practices and discourses.
https://www.staedelmuseum.de/en/overture-graduate-show
CuratorSvenja Grosser (Deputy Head of the Collection of Contemporary Art, Städel Museum) Project CoordinatorMaja Lisewski (Assistant curator, Collection of Contemporary Art, Städel Museum)
https://www.staedelmuseum.de/en/victor-man
The Städel Museum’s jubilee year starts with an exhibition of outstanding drawings and etchings by the French artist Jean-Jacques de Boissieu (1736–1810), which will be on display in the Exhibition Hall of the Department of Prints and Drawings.
https://www.staedelmuseum.de/en/jean-jacques-de-boissieu
A particular highlight of the exhibition were the two paintings the artists owned by one another, which were shown together for the first time. Another highlight was Matisse’s “Large Reclining Nude” of 1935—a key work which has not been on display in Germany for more than thirty years and which has been on loan from the Baltimore Museum of Art.
https://www.staedelmuseum.de/en/matisse-bonnard
The exhibition also looked back at Vasarely’s beginnings as an artist with such works as “Hommage au carré” (1929) or figurative paintings like “Autoportrait” (1944).
https://www.staedelmuseum.de/en/victor-vasarely
The Städel Museum in Frankfurt am Main presented a comprehensive solo exhibition with works by Lotte Laserstein. Her oeuvre is one of the great recent art historical rediscoveries and features sensitive and compelling portraits from the final years of the Weimar Republic.
https://www.staedelmuseum.de/en/lotte-laserstein
The physical and historical proximity between both institutions is present not only in the exhibition space, the Peichlbau of the Städel Museum, but also in the vision of founder, Johann Friedrich Städel: the academy and the museum returned to his founding vision of the display and teaching of fine art closely interlinked.
https://www.staedelmuseum.de/en/after-rubens
Mary Magdalene is presented both as a projection screen for cultural and religious ideas and as an independent, multifaceted figure who mediates between the body, faith, and the social roles attributed to her.Important works from the collections of the Städel Museum and the Liebieghaus Skulpturensammlung form the starting point of the exhibition.
https://www.staedelmuseum.de/en/mary-magdalene
At the centre of the exhibition is one of the most famous and, at the same time, most enigmatic paintings in the Städel Museum: “The Little Garden of Paradise” (ca. 1410–20).
https://www.staedelmuseum.de/en/in-the-garden-of-paradise
The Städel Museum dedicated a solo exhibition in its Contemporary Art Collection to the artist duo, featuring a video work and eleven large-format paintings.
https://www.staedelmuseum.de/en/muntean-rosenblum
Pontormo, Bronzino, Andrea del Sarto, Rosso, Vasari—in 2016, the Städel Museum had stage a major exhibition of superb works presenting the distinguished painters of Florentine Mannerism for the first time in Germany.
https://www.staedelmuseum.de/en/maniera
The Städel Museum exhibition featured from the Hellwig collection Daumier’s well-known lithographs, including “Le Passé – le présent – l’avenir” (1834) and “Rue Transnonain, le 15 avril 1834” (1834), in which the artist forcefully indicted the politics of King Louis-Philippe, as well as the artist’s influential genre caricatures and his timeless allegories of diplomacy as a frail lady or a personification of Europe trying to maintain her balance.
https://www.staedelmuseum.de/en/honore-daumier
In the 1980s, Nan Goldin and David Armstrong then pointed their lenses at their private surroundings and offered intimate insights into their own lives and those of their friends.
https://www.staedelmuseum.de/en/scenes-of-america
In its bicentennial year, Frankfurt’s Städel Museum was presenting prints by the English painter, engraver and etcher William Hogarth (1697‒1764).
https://www.staedelmuseum.de/en/vices-of-life
Within the framework of the series “In the Städel Garden”, the Düsseldorf artist Manuel Franke (b. 1964) has developed an artwork of monumental dimensions—50 metres long and 2.5 metres high—for the garden of the Städel Museum.
https://www.staedelmuseum.de/en/manuel-franke
From 19 October 2016 to 15 January 2017, the Städel Museum presented a comprehensive exhibition on one of the most outstanding draughtsmen in the history of French art—Antoine Watteau (1684–1721).
https://www.staedelmuseum.de/en/watteau
Examining the myth of Étretat thus also makes it possible to understand, as if under a magnifying glass, the ambivalent effects of the popularisation of a place and the role that art plays in this. CuratorsAlexander Eiling (Head of Modern Art, Städel Museum)Eva Mongi-Vollmer (Curator for Special Projects, Städel Museum)Stéphane Paccoud (Chief Curator of 19th-Century Paintings and Sculptures, Musée des Beaux-Arts de Lyon)Isolde Pludermacher (General Curator of Paintings, Musée d’Orsay, Paris)Project ManagerEva-Maria Höllerer (Curator, Städel Museum)Nelly Janotka (Assistant Curator, Städel Museum).
https://www.staedelmuseum.de/en/monet-on-the-normandy-coast