New Pinakothek. Pinakothek, Munich: description and reviews Sculpture in the Neue Pinakothek

The Neue Pinakothek is a fine art museum in Munich, the capital of Bavaria, in southern Germany. The museum contains works of European art from the late 18th to early 20th centuries.

The New Pinakothek was conceived by King Ludwig I of Bavaria as a complement to the Alte Pinakothek. Works of modern art were to be placed here. The New Pinakothek opened in 1853, so it is clear that “modern art” was then called the art of the 18th - 19th centuries.

Ludwig I was not only a passionate collector, he actively supported art in his kingdom. During his reign, Munich became one of the world's art centers. Several art schools and an art academy operated here. Talented domestic artists received scholarships and royal orders. The traditions of wall paintings were revived.

Including, the Neue Pinakothek was supposed to become an exhibition platform for the artists of the Munich School. The New Pinakothek is located in a building located directly opposite the Alte Pinakothek.

>The Neue Pinakothek became the first museum in the world dedicated to modern art.

The museum's exhibition focused on German art. The first building of the Neue Pinakothek was destroyed by American-British bombing during the Second World War, and it was decided not to rebuild it. In a competition announced in 1967 for the design of a new museum building, architect Alexander Freiherr won.

In 1975, the first stone of a new house for the Neue Pinakothek was laid, and construction was completed only in 1981. The public received the new building made of glass and concrete ambiguously, but they waited too long for the completion of construction, and the critics fell silent.

Today, the Neue Pinakothek houses more than 3,000 paintings and 300 sculptures.

D22 halls and 10 rooms of the museum constantly display 400 exhibits under the general motto: “From Goya to Picasso.”

Paintings in the Neues Pinakothek Munich

During the life of Ludwig I, the rule of the modern national collection of the Neue Pinakothek was strictly observed. Then some of the works of the late 18th century by Spanish and English artists were transferred from the Alte Pinakothek. At the turn of the 20th century, it became inevitable that the influence of impressionism would penetrate into the classical German school of painting, and finally, with the arrival of a new director, Hugo von Schudi, in 1908, it became acceptable for the museum to acquire works by French impressionists.

International art of the second half of the 18th century

Among the masterpieces of the Neue Pinakothek, it is worth mentioning 5 classic works by Francisco de Goya. The painting of the singer of the French Revolution, Jean Louis David, “Portrait of Anna Maria Louise Thélusson de Sorsy,” is revolutionary in its choice, or rather in its rejection of the ceremonial costumes of the nobility and the lush backgrounds of the portraits.

English painting of the late 18th - early 19th centuries

Among the works presented at the Neue Pinakothek, the most notable are the “Portrait of Mrs. Thomas Hibbert” by Thomas Gainsborough and the landscape by William Turner, the forerunner of the Impressionists.

German representatives of classicism and romanticism

The collection of the New Pinakothek widely includes works by classics - Jacob Philipp Hackert, Joseph Anton Koch, Peter von Cornelius, Friedrich Overbeck and other artists who lived in Rome and Nazareth at the monasteries, and in their work sought to return to the origins of Renaissance painting.

The Romantics chose landscape and pastoral painting as the basis of their creativity. One of the brightest representatives of the style is Caspar David Friedrich. Several of his paintings are exhibited at the Neue Pinakothek.

French realism and romanticism

An interesting palette of French schools of realism and romance is represented in the museum by the works of Theodore Gericault, Eugene Delacroix, Jean Francois Millet, Honoré Daumier and others.

Historical and genre painting

German and Austrian artists Wilhelm von Kaulbach, Karl Theodor von Piloty, Franz von Defregger, Hans Makart immortalized everyday scenes of everyday life and historical events in their works.

German impressionists

The most prominent representative of German impressionism is the Berlin artist Max Liebermann. Inspired by the ideas of impressionism, he went to Paris and Barbizon for several years, then became interested in the Hague school of light colors in painting. Lieberman's style emerged from a mixture of these trends. In the Neue Pinakothek you can get acquainted with several works by Liebermann - from early to works of a mature author.

Lovis Corinth and Max Slevogt are the most popular German impressionists after Liebermann. Several of their works from different periods are presented in the Neue Pinakothek.

French impressionists

The names of Vincent van Gogh, Claude Monet, Pierre-Auguste Renoir, Paul Gauguin, Edouard Manet, Paul Cezanne, Edgar Degas, Alfred Sisley do not need introduction. Their works can be seen in four halls of the Neue Pinakothek.

It is difficult to imagine that Impressionist paintings, which today are the pride of any museum and cost fabulous amounts of money, were perceived as undesirable at the beginning of the 20th century. Only thanks to the enormous efforts of the then general director of the Neue Pinakothek, 44 paintings and 22 drawings by these masters were accepted as a gift from collectors. The self-portrait of Vincent van Gogh was personally purchased by the director of the museum from the artist's widow in 1919. Unfortunately, in 1938, the Nazis who came to power classified the portrait as “degenerate” art, and it was expelled from the museum.

Symbolism and Art Nouveau

One of the most eye-catching works by Franz von Stuck, Sin, depicts a partially naked woman with a huge snake on her shoulder. Franz von Stuck, teacher of Kazimir Malevich and Gustav Klimt, founder of the Munich “Secession”, an association of artists who did not agree with conservative classical art, opened up new ideas and directions, including modernism, with his works full of symbolism.

The pride of the museum is the works of Gustav Klimt, the brightest representative of the style - “Music” and “Portrait of Margaret Stonborough - Wittgenstein”. In addition, the museum has works by Egon Schiele, Thomas Brown, Francois Carabine.

Works by masters of symbolism, modernism and other modern art movements created in the 20th century are presented in the exhibition of the Pinakothek of Modernity.

Sculptural collection

The Neue Pinakothek presents sculptural works by Bertel Thorvaldsen, Antonio Canova, Rudolf Shadov, Auguste Rodin, Max Klinger, Aristide Maillol, Pablo Picasso.

Operating mode

All Pinakotheks in Munich are open 6 days a week, with days off on different days. The New Pinakothek's day off is Tuesday.

Wednesday - from 10.00. until 20.00.
Thursday - Monday - from 10.00. until 18.00.
Tuesday - the museum is closed.

Special operating hours of the museum:

On Faschingsdienstag, Carnival Tuesday (Faschingsdienstag) - the last Tuesday of Lent according to the Catholic calendar, May 1, December 24 and 25 and January 1 - the museum is closed.
On other holidays the museum operates as usual.

Important information: The New Pinakothek will close for renovation on January 1, 2019. Some of the exhibits will be housed in the Alte Pinakothek from June 2019.

Ticket price

The Neue Pinakothek has several ticket options.

Basic ticket to the Neue Pinakothek:

Adult – 7 euros,
preferential - 5 euros,
on Sunday - 1 euro,
children under 18 years old are free.

Combined tickets:

ticket to five museums for 1 day (Alte Pinakothek, New Pinakothek, Modern Pinakothek, Brandhorst Museum and Schack Collection) - 12 euros,
ticket to five museums for two days with any day of visits (Alte Pinakothek, New Pinakothek, Modern Pinakothek, Brandhorst Museum and Schack Collection) - 29 euros.

Please note: Every Sunday a ticket to the Neue Pinakothek costs only 1 euro. The offer does not include temporary exhibitions and an audio guide.

The following are entitled to purchase a preferential ticket at a discount:

persons over 65 years old upon presentation of a passport,
students upon presentation of an international student card,
students attending language courses at the Goethe Institute upon presentation of their student ID,
groups of 15 people.

How to get to the Neue Pinakothek

By public transport

The New Pinakothek is located in the central part of the city and can be easily reached by any type of public transport.

By tram: routes 27, 28 - to the Pinakothek stop.
By U-Bahn: line U2 to stop Königsplatz or Theresienstraße, line U3 or U6 to stop Odeonsplatz or University, line U4 or U5 to stop Odeonsplatz ). The closest stop to the Neue Pinakothek is the U2 Theresienstrasse stop.
By bus: line 100 Museumslinie or line 58 (CityRing) to the Pinakothek stop.

By car

If you come by car, be prepared that the nearest parking lot is at least one kilometer away.

Parking in the area of the New Pinakothek

Tiefgarage in der Amalienpassage - An underground garage in the Amalien Passage shopping center, designed for 250 places, open 24 hours a day. Address: Türkenstraße 84.

every half hour - 1.50 euros,
The maximum daily rate is 24.00 euros.

Salvator Garage - Surface parking with 365 spaces. Address: Salvatorplatz 1.

1 hour - 3.00 euros,
2 hours - 6.00 euros,
3 hours - 9.00 euros,
4 hours - 12.00 euros,
5 hours - 15.00 euros,
6 hours - 18.00 euros,
24 hours - 20.00 euros.

By taxi

The Neue Pinakothek is easily accessible by Uber or Münchrn Taxi-

Video about the New Pinakothek

Publication date: 2013-09-16

New Pinakothek(German: Neue Pinakothek) - an art gallery with works by artists of the 19th-20th centuries. In 22 halls and 10 offices, more than 550 paintings and 50 sculptures of different styles are presented, from Rococo to German Art Nouveau. Another 3,000 paintings and 300 sculptures are stored in the storerooms.

History of the creation of the New Pinakothek

The New Pinakothek was founded in 1853 by the Bavarian king Ludwig I, who dreamed of introducing ordinary people and townspeople to high art. Let us recall that by this time the Bavarian ruler had already successfully achieved the first part of his goal by opening the Alte Pinakothek in 1836. The unusual name “Pinakothek” was borrowed from the ancient Greeks, who used this term to designate a room where objects with picturesque images or paintings were kept.

The Second World War prepared a severe test for the landmark - the building that housed the works of art was completely destroyed and could not be restored. Construction of the new building dragged on for three decades and was completed only in 1981. The unusual modern building with bay windows and semi-circular arched windows caused mixed opinions and public controversy, but its magnificent halls with overhead lighting received universal approval.

Selected paintings from the Neue Pinakothek

"Vase of Sunflowers", Vincent Van Gogh, 1888

Vincent Van Gogh wrote about himself: “I feel the need to become different, to start over and apologize for the fact that my paintings almost sound like a cry of despair, although my rural sunflowers may sound like gratitude.” Sunflower - “child of the sun.” This flower is a symbol of optimism and creative people. Perhaps that is why the master wanted to “apologize and thank” in this very way, giving the viewer a piece of solar energy.

For the artist, the sunflower was some kind of symbol, some kind of talisman. In a letter to his brother, he wrote: “The sunflower, in a sense, is mine.” Therefore, since 1987, sunflowers have filled 11 canvases by Vincent Van Gogh.

It is clear that when painting the picture, the artist was overwhelmed with emotions. Oil paints are applied to the canvas very thickly, in abrupt strokes. It feels like every stroke is bitterness and happiness. When you look at flowers, it seems that you can touch a sunflower, touch it, feel its shape.

It was very important for Vincent van Gogh to convey the entire palette of sunflower petals. The painting reflects both fading sunflowers and very fresh flowers. This is how the author conveys solar energy in his favorite color, yellow. The core of the flower is filled with magic. The sky blue background creates incredible tenderness and conveys the energy of the blue sky. The picture evokes an amazing feeling of morning lightness, scorching heat of the sun and the inevitable withering of the flower, which gave all its positive energy to the viewer.

The peculiarity of Vincent Van Gogh was the vision of the soul where it could not be. He saw the soul in the trees; obviously, the soul of the sunflower was in tune with him. “Gauguin really liked my sunflowers when he took a good look at them” (Vincent Van Gogh).

"The Poor Poet", Carl Spitzweg, 1839

The picture of the Neue Pinakothek will not leave anyone indifferent, because it evokes an involuntary smile from the setting and the bizarre appearance of the main character. A touching and lonely poet who is so carried away by the process of creating a new work that he does not notice all the chaos around him.

There is no order at all in the small room. Sunlight is trying to penetrate through the dirty window, a clothesline is hanging carelessly, there is a basin and an empty bottle on the stove, and a shoe is lying somewhere. Local newspapers have found no better use, so they will soon suffer the fate of being burned in the oven. Near the poet there are books, boxes and other things that create an atmosphere of chaos. The poet himself sat comfortably on the mattress. A thin blanket, two pillows and a nightcap - this is the creative place of the main character. A broken umbrella hovers near the ceiling, but the poet is not at all embarrassed by this whole situation. He is happy and lives in the process, but order... let order wait.

“After the Stormy Night”, Johan Christian Clausen Dahl, 1819

As the painter himself admitted, the painting “After a Stormy Night” is his best creation, although it took only 8 days to create the masterpiece. Johan Dahl turned out to be a real fighter, since at first his creation was subjected to very harsh criticism among his contemporaries, which he withstood without losing faith. He believed that the viewer would appreciate and fully understand the beauty and intent in the future.

It is very difficult to pass by this picture. The view is captured by the plot, and the tragic events of the past night are recreated in the viewer’s soul. Everything here is saturated with ruin, but at the same time there is a sense of rebirth. The amazing sky combines shades of night and grief in the form of clouds, as well as the light of rebirth, as hope for something good. The sea frightens with its darkness, but at the same time the foam near the shore seems to sympathize with the hero, giving hope. Rocks are the hero's comfort and strength. The small dog symbolizes the heartache of loss.

"Melodrama", Honore Daumier, 1860

The painting of the Neue Pinakothek is imbued with emotionality and the play of the theater. You want to constantly watch the audience watching the stage; you want to be among this crowd in order to feel the energy of the hall, to live the entire performance from beginning to end.

All the time I can’t shake the feeling that the continuation of the performance is about to begin. This feeling simultaneously holds and forces you to look for a continuation. The picture comes to life in the heart, captivates with the action and performance of the actors. The actors are faceless, but the atmosphere of their inner state is incredibly accurately conveyed.

Don Quixote, Honoré Daumier, 1868

The picture combines joy and pessimism at the same time. At first glance, she seems bright and optimistic. The brightest sky looks like a clear “sea of hopes,” and only the desert and the stone grandeur of the road going up bring a tragic note of despair. In the painting “Don Quixote” it was not for nothing that the desert landscape was chosen as the main symbol of loneliness.

The main character is depicted as faceless. His unique character, the desire to move forward, the desperate zeal for new victories are reflected in energetic and broad strokes. The artist masterfully conveyed the character of Don Quixote in three colors. A tired horse, with his head bowed, faithfully serves his master, and takes step by step towards new challenges.

“Still Life with Apples”, Gustave Courbet, 1871

The picture is filled with pessimism. The gloomy sky and the sprawling tree make the viewer sad, and only a bright spot in the picture inspires hope that it (the sadness) will pass and a bright sunny day will come.

The use of rich, vibrant colors to capture the beauty of the apples is mesmerizing. It seems that an ordinary object - an apple - opens up a whole world. The viewer forgets about the gloomy background, his whole gaze is directed to the juicy red apples. A little later, several pomegranates lying to the side and a ripe pear become noticeable in the picture, but for now the eye is captivated by the beauty of the form and the tints of the apple composition.

"Landscape on the Main", Hans Thoma, 1875

A distinctive feature of Hans Thom is the painting of realistic, “folk”, “simple” landscapes. This feeling develops only in the first few seconds, after which the “inner” world of the picture opens, which Hans Thoma wanted to show and convey to the viewer’s soul.

The artist incredibly accurately depicted the blessing of the sky and the beauty of the sun's rays with the airy weightlessness of the clouds. The canvas evokes a feeling of calm, harmony, the absence of the usual bustle of life and simply enjoying the beautiful landscape and sunny day. Upon closer examination, the viewer is filled with a special divine light, which the author amazingly managed to convey.

"Kindergarten", Johan Sperl, 1884

The picture is imbued with the atmosphere of celebration and childhood. The overall harmony is amazing. Johan Sperl amazingly captured the beauty of a warm spring day. There is not a single sad child on the canvas, everyone is busy with their own business: someone is picking flowers, someone is helping teachers, someone is hiding behind a tree. The wonderful time of childhood can be seen even in bright children's clothing. Teachers with maternal care do housework. What makes the picture touching is the duck with its little ducklings who are out for a walk.

Germany has a rich history and there are a large number of museums in the country. An amazing collection of paintings from different periods is presented in the famous art galleries of Munich - three Pinakotheks. The Neue Pinakothek in Munich - a collection of more than 3,000 paintings and 300 sculptures from the Enlightenment to the beginning of Art Nouveau - is a link between the Alte Pinakothek (presenting paintings by artists from the Middle Ages to the 18th century) and the Pinakothek of Modernity (showing works by masters of the second half of the 20th and 21st centuries).

The history of the creation of the Neue Pinakothek in Munich

The Bavarian King Ludwig I of the Wittelsbach dynasty (1786-1868, reigned from October 13, 1825 to March 20, 1848), an art collector and patron of the arts, wanted to make his private collection of modern paintings available to the public. And he realized his plan.

On October 25, 1853, opposite the building of the Alte Pinakothek (translated from Greek as “repository of paintings”), the New Pinakothek was opened - an art gallery with works by contemporary masters of that time. It was the first museum of modern art in Europe.

The basis of the collection of the Neue Pinakothek were paintings by German artists, most of whom adhered to the romantic movement in painting.

Another part of the exhibition consisted of works by the Munich school of painting. In the main hall of the gallery, paintings by the famous landscape painter Karl Rothmann, dedicated to Greece, were displayed (since Otto I, the second son of Ludwig I, was a Greek king).
The “Rothmann Hall” occupied a central place in the collection of artistic works of the Bavarian king and today you can see such a hall in the gallery. After the death of Ludwig I in 1868, the Neue Pinakothek collection consisted of 425 paintings.
Architecture of the Neue Pinakothek building

The initial project was developed by German architects Friedrich von Gärtner and August von Voit, and the gallery was laid out on October 12, 1846. It was a huge, rectangular building with almost no windows, with a central nave that rose above two side ones. The second floor of the building was decorated with frescoes that demonstrated the charitable activities of Ludwig I.
In 1944, the Neue Pinakothek building and the frescoes were destroyed, but the paintings from which they were painted have survived to this day and are presented in the gallery. Since the destruction of the building during military bombing was very significant, the city administration decided to demolish the building and build a new one in its place.
Since 1947, the museum's paintings have been shown in the House of Art (Haus der Kunst) and in temporary exhibitions. The Glaspalast fire in 1931 destroyed the palace and 110 paintings during an exhibition of works by German novelists. This was a significant loss of a collection of valuable paintings.
Only 30 years later, a new building of the famous gallery was laid, designed by Alexander von Branck.
On March 28, 1981, the New Pinakothek opened to visitors. Built in the neo-modern style, the building with bay windows (parts of the room protruding beyond the plane of the facade), semi-circular arches and emergency staircases may not look very harmonious for some, but its spacious interior halls with overhead lighting have received the approval of connoisseurs of the paintings presented there.
Art collection of the Neue Pinakothek

Until 1909, the gallery's collection was replenished with works only by German artists, according to the preferences of the founding king, Ludwig I. In the same year, thanks to the persistence of the General Director of the Bavarian State Collection of Paintings, Hugo von Tschudi, many interesting works by impressionist artists of France were purchased. Thus, the museum’s fund began to own a significant collection of contemporary paintings.
By 1913, the gallery had 1,100 paintings, some of which were owned by the state, and the other by the royal court.

However, in 1938, paintings by Western European impressionist artists, who were not favored at that time, were removed from the collection of the Neue Pinakothek for an exhibition of “shameful” art. Among the famous works seized was Van Gogh's famous Self-Portrait, which was sold and never returned to the walls of the Neue Pinakothek.
For the convenience of visitors, the museum’s exposition is divided into schools, periods, and countries. More than 550 works of art are constantly on display here.

The collection of paintings of the Neue Pinakothek of the second half of the 18th and early 19th centuries includes works by such famous masters:
almost all significant artists of England: William Hogarth, Joshua Reynolds, Thomas Lawrence, George Romney, David Wilkie, John Constable, William Turner (“Ostende”, 1844) and others;

Spanish artist and engraver Francisco Goya (“Country Walk”, 1776, “The Plucked Turkey”, ca. 1810), French painter and teacher Jacques Louis David (“Portrait of Anna Maria Louise Telusson de Sorcy”, 1790), German artists of Swiss origin Angelica Kaufmann (“Self-Portrait”, 1784), Anton Graf (“Henry XIII”, 1775), Swiss painter Johann Heinrich Füsli (“Satan and Death, Separated by Sin”, 1792-1802), German artist and portrait master Johann Friedrich August Tischbein ( “Nicolas Chatelain in the Garden”, 1791);

German classics Jacob Philipp Hackert, Joseph Anton Koch, Ludwig Richter, Friedrich Overbeck (“Italia und Germania”, 1828), Friedrich Wilhelm von Schadow, Heinrich Maria von Hess and Peter von Cornelius;

German romantics Caspar David Friedrich (“Riesengebirgslandschaft mit aufsteigendem Nebel”, 1819/20), Johann Christian Dahl, Karl Friedrich Schinkel, Karl Blechen and others;

artists in the Biedermeier style (an offshoot of romanticism that replaced the Empire style; characterized by a subtle, careful depiction of the interior, nature and everyday details) - Domenico Quaglio, Franz Xavier Winterhalter, Ferdinand Georg Waldmüller, Moritz von Schwind and Carl Spitzweg (“The Poor Poet”, 1839 );

French realists and romanticists Theodore Gericault, Eugene Delacroix, Jean-François Millet, Honoré Daumier (Melodrama, 1856-1860), Gustave Courbet and others;

German realists Wilhelm Leibl, Franz von Lenbach, August Seidel and Adolf von Menzel (“Wohnzimmer mit Menzels Schwester”, 1847), impressionists Max Liebermann, Lovis Corinth, Fritz von Uhde, Maria Slafon and Max Slevogt;

The gallery's valuable assets include works by French impressionist artists Claude Monet (Bridge over the Seine at Argenteuil, 1874), Edouard Manet (Breakfast at the Atelier, 1868), Pierre-Auguste Renoir, Camille Pissarro, Edgar Degas (Die Büglerin) , 1869), Alfred Sisley and the post-impressionists Paul Gauguin (“Landscape of Martinique”, 1887), Paul Cézanne (“Stillleben mit Kommode”, 1883-1887), Vincent Van Gogh (“Sunflowers”, 1888, the painting was acquired in 1912 from an anonymous donor as part of the “donation of Hugo von Tschudi”), Georges Pierre Seurat, Henri de Toulouse-Lautrec.

The fund of 20th century painting consists of works by such famous masters as the founder of Austrian Art Nouveau Gustav Klimt, the Belgian artist and graphic artist James Ensor, the French Maurice Denis, Edouard Vuillard, Pierre Bonnard, the Swiss artist Ferdinand Hodler, the German sculptor and painter Franz von Stuck, the Norwegian painter and graphic artist Edvard Munch.
In the New Pinakothek, in addition to artistic paintings, you can see a sculptural exhibition of the 19th and early 20th centuries, which is represented by works by Bertel Thorvaldsen (“Adonis”, 1802-1832), Antonio Canova (“Statue of Paris”, 1807-1816), Rudolf Schadow, Auguste Rodin , Max Klinger, Aristide Maillol and Pablo Picasso.

Today, the New Pinakothek continues to expand its collections; there are even donations and help from true art connoisseurs.
Alte Pinakothek in the Museum Quarter of Munich

The Alte Pinakothek is considered one of the most famous galleries in the world. The development of artistic art from the Middle Ages and the Renaissance to the Baroque and the end of the Rococo period is most fully represented here.
The permanent exhibition consists of 700 paintings by famous German, Flemish, Dutch, French, Italian and Spanish artists, including Raphael, Leonardo da Vinci, Albrecht Durer, Bosch, Rembrandt, Rubens. A famous masterpiece of that time is “The Battle of Alexander the Great with King Darius,” made by the German master of paintings Altdorfer in 1529.
Most of the Alte Pinakothek's collection of paintings was collected mainly by representatives of the Wittelsbach dynasty, which ruled Bavaria for 700 years (1180-1918).

An interesting fact is that one of her descendants still lives in Nymphenburg Palace in Munich. And the interiors of the palace are real works of art.

The third Pinakothek of Munich - the Pinakothek of Modernity - presents art from the 21st centuries.

Story

The gallery was founded in the city by the Bavarian king Ludwig I, who wanted to make his private collection of modern art available to the public by placing it in the Alte and New Pinakotheks. The Neue Pinakothek is thus the first “contemporary art collection” in the world. The boundary between old and new art established at the turn of the century became the defining one for German art galleries.
In accordance with the artistic preferences of Ludwig I, the majority of the exhibition was initially made up of works from the Munich school of painting and the German Romantics. Particular attention was paid to southern German artists and art schools. However, while building the museum, Ludwig also satisfied his dynastic ambitions by exhibiting in the main hall of the Neue Pinakothek heroic landscapes of Greece by Karl Rothmann, where Ludwig’s son Otto I of Greece reigned. After Ludwig's death, the collection grew with new famous paintings, but the situation with the selection of exhibits changed very slowly in Munich.
The situation changed only in the city, when the so-called “Tschudi donations” followed, named after the general director of the Munich State Collection of Paintings, Hugo von Tschudi (German. Hugo von Tschudi), who paid great attention to contemporary French artists who were not respected at that time. Thanks to him, the Neue Pinakothek acquired an impressive collection of impressionists. However, in "Self-Portrait" Van Gogh was classified as degenerate art, confiscated and sold a year later.
The collection of the Neue Pinakothek is currently being replenished thanks to voluntary donations and acquisitions and is one of the largest exhibitions of art of the late 18th-19th centuries.

Building

Having rejected several places for the construction of a new gallery building, Ludwig I ordered the construction of the New Pinakothek opposite the Alte Pinakothek. The project was created by Friedrich von Gärtner and August von Voith. During World War II, the Neue Pinakothek building was completely destroyed and was soon demolished. The exhibition of the Neue Pinakothek is located in the House of Art.

Collections of the Neue Pinakothek

From its holdings of more than 3,000 paintings and 300 sculptures, the Neue Pinakothek features more than 400 works of art in its permanent exhibition.

Art of the second half of the 18th century

The collection in particular includes works by Anton Graf ( "Henry XIII" 1775), Francisco Goya ( "Outing" 1776), Angeliki Kaufmann ( "Self-Portrait" 1784), Jacques Louis David "Portrait of Anna Maria Louise Telusson de Sorcy" 1790), Johann Heinrich Fusli ( "Satan and Death, Divided by Sin" 1792-1802), Johann Friedrich August Tischbein ( "Nicolas Chatelain in the Garden" 1791).

English painting of the second half of the 18th century and the beginning of the 19th century

The New Pinakothek represents almost all the important artists of England from the 18th to early 19th centuries: Thomas Gainsborough, William Hogarth, George Stubbs, Joshua Reynolds, Thomas Lawrence, George Romney, Richard Wilson, Henry Raeburn, David Wilkie, John Constable and William Turner.

German Romans: Classicists and Nazarenes

German romantics

Biedermeier

represented in particular by the works of Domenico Quaglio, Franz Xavier Winterhalter, Ferdinand Georg Waldmüller, Moritz von Schwind and Carl Spitzweg.

French realists and romantics

Paintings by German artists working in Rome (late 18th - early 19th centuries)

German realism

German impressionists

French impressionists

represented by works by Pierre-Auguste Renoir, Édouard Manet, Claude Monet, Paul Cézanne, Paul Gauguin, Camille Pissarro, Edgar Degas, Alfred Sisley, Georges-Pierre Seurat and Vincent van Gogh.

Symbolism, Art Nouveau and painting of the early 20th century.

represented in particular by the works of Gustav Klimt, Giovanni Segantini, Fernand Knopff, Paul Signac, Maurice Denis, Henri Toulouse-Lautrec, James Ensor, Ferdinand Hodler, Franz von Stuck, Édouard Vuillard, Edvard Munch, Pierre Bonnard and Egon Schiele. Paintings of the 20th century are on display at the Pinakothek of Modernity.

Sculpture in the Neue Pinakothek

The museum exhibits sculptures from the 19th and early 20th centuries, in particular by Bertel Thorvaldsen (“Adonis” 1802-1832), Antonio Canova (“Statue of Paris” 1807-1816), Rudolf Schadow, Auguste Rodin, Max Klinger, Aristide Maillol and Pablo Picasso.

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Excerpt characterizing the New Pinakothek
But her voice was drowned out by the voices of the crowd.
“We don’t have our consent, let him ruin it!” We don’t take your bread, we don’t have our consent!
Princess Marya again tried to catch someone's gaze from the crowd, but not a single glance was directed at her; the eyes obviously avoided her. She felt strange and awkward.
- See, she taught me cleverly, follow her to the fortress! Destroy your home and go into bondage and go. Why! I'll give you the bread, they say! – voices were heard in the crowd.
Princess Marya, lowering her head, left the circle and went into the house. Having repeated the order to Drona that there should be horses for departure tomorrow, she went to her room and was left alone with her thoughts.
For a long time that night, Princess Marya sat at the open window in her room, listening to the sounds of men talking coming from the village, but she did not think about them. She felt that no matter how much she thought about them, she could not understand them. She kept thinking about one thing - about her grief, which now, after the break caused by worries about the present, had already become past for her. She could now remember, she could cry and she could pray. As the sun set, the wind died down. The night was quiet and fresh. At twelve o'clock the voices began to fade, the rooster crowed, the full moon began to emerge from behind the linden trees, a fresh, white mist of dew rose, and silence reigned over the village and over the house.
One after another, pictures of the close past appeared to her - illness and her father’s last minutes. And with sad joy she now dwelled on these images, driving away from herself with horror only one last image of his death, which - she felt - she was unable to contemplate even in her imagination at this quiet and mysterious hour of the night. And these pictures appeared to her with such clarity and with such detail that they seemed to her now like reality, now the past, now the future.
Then she vividly imagined that moment when he had a stroke and was dragged out of the garden in the Bald Mountains by the arms and he muttered something with an impotent tongue, twitched his gray eyebrows and looked at her restlessly and timidly.
“Even then he wanted to tell me what he told me on the day of his death,” she thought. “He always meant what he told me.” And so she remembered in all its details that night in Bald Mountains on the eve of the blow that happened to him, when Princess Marya, sensing trouble, remained with him against his will. She did not sleep and at night she tiptoed downstairs and, going up to the door to the flower shop where her father spent the night that night, listened to his voice. He said something to Tikhon in an exhausted, tired voice. He obviously wanted to talk. “And why didn’t he call me? Why didn’t he allow me to be here in Tikhon’s place? - Princess Marya thought then and now. “He will never tell anyone now everything that was in his soul.” This moment will never return for him and for me, when he would say everything he wanted to say, and I, and not Tikhon, would listen and understand him. Why didn’t I enter the room then? - she thought. “Maybe he would have told me then what he said on the day of his death.” Even then, in a conversation with Tikhon, he asked about me twice. He wanted to see me, but I stood here, outside the door. He was sad, it was hard to talk with Tikhon, who did not understand him. I remember how he spoke to him about Lisa, as if she were alive - he forgot that she died, and Tikhon reminded him that she was no longer there, and he shouted: “Fool.” It was hard for him. I heard from behind the door how he lay down on the bed, groaning, and shouted loudly: “My God! Why didn’t I get up then?” What would he do to me? What would I have to lose? And maybe then he would have been consoled, he would have said this word to me.” And Princess Marya said out loud the kind word that he said to her on the day of his death. “Darling! - Princess Marya repeated this word and began to sob with tears that relieved her soul. She now saw his face in front of her. And not the face that she had known since she could remember, and which she had always seen from afar; and that face is timid and weak, which on the last day, bending down to his mouth to hear what he said, she examined up close for the first time with all its wrinkles and details.
“Darling,” she repeated.
“What was he thinking when he said that word? What is he thinking now? - suddenly a question came to her, and in response to this she saw him in front of her with the same expression on his face that he had in the coffin, on his face tied with a white scarf. And the horror that gripped her when she touched him and became convinced that it was not only not him, but something mysterious and repulsive, gripped her now. She wanted to think about other things, wanted to pray, but could do nothing. She looked with large open eyes at the moonlight and shadows, every second she expected to see his dead face and felt that the silence that stood over the house and in the house shackled her.
- Dunyasha! – she whispered. - Dunyasha! – she screamed in a wild voice and, breaking out of the silence, ran to the girls’ room, towards the nanny and girls running towards her.
On August 17, Rostov and Ilyin, accompanied by Lavrushka, who had just returned from captivity, and the leading hussar, from their Yankovo camp, fifteen versts from Bogucharovo, went horseback riding - to try a new horse bought by Ilyin and to find out if there was any hay in the villages.
Bogucharovo had been located for the last three days between two enemy armies, so that the Russian rearguard could have entered there just as easily as the French vanguard, and therefore Rostov, as a caring squadron commander, wanted to take advantage of the provisions that remained in Bogucharovo before the French.
Rostov and Ilyin were in the most cheerful mood. On the way to Bogucharovo, to the princely estate with an estate, where they hoped to find large servants and pretty girls, they either asked Lavrushka about Napoleon and laughed at his stories, or drove around, trying Ilyin’s horse.
Rostov neither knew nor thought that this village to which he was traveling was the estate of that same Bolkonsky, who was his sister’s fiancé.
Rostov and Ilyin let the horses out for the last time to drive the horses into the drag in front of Bogucharov, and Rostov, having overtaken Ilyin, was the first to gallop into the street of the village of Bogucharov.
“You took the lead,” said the flushed Ilyin.
“Yes, everything is forward, and forward in the meadow, and here,” answered Rostov, stroking his soaring bottom with his hand.
“And in French, your Excellency,” Lavrushka said from behind, calling his sled nag French, “I would have overtaken, but I just didn’t want to embarrass him.”
They walked up to a barn, near which stood a large crowd of men.
Some men took off their hats, some, without taking off their hats, looked at those who had arrived. Two long old men, with wrinkled faces and sparse beards, came out of the tavern and, smiling, swaying and singing some awkward song, approached the officers.
- Well done! - Rostov said, laughing. - What, do you have any hay?
“And they are the same...” said Ilyin.
“Vesve...oo...oooo...barking bese...bese...” the men sang with happy smiles.
One man came out of the crowd and approached Rostov.
- What kind of people will you be? - he asked.
“The French,” Ilyin answered, laughing. “Here is Napoleon himself,” he said, pointing to Lavrushka.
- So, you will be Russian? – the man asked.
- How much of your strength is there? – asked another small man, approaching them.
“Many, many,” answered Rostov. - Why are you gathered here? - he added. - A holiday, or what?
“The old people have gathered on worldly business,” the man answered, moving away from him.
At this time, along the road from the manor's house, two women and a man in a white hat appeared, walking towards the officers.
- Mine in pink, don’t bother me! - said Ilyin, noticing Dunyasha resolutely moving towards him.
- Ours will be! – Lavrushka said to Ilyin with a wink.
- What, my beauty, do you need? - Ilyin said, smiling.
- The princess ordered to find out what regiment you are and your last names?
“This is Count Rostov, squadron commander, and I am your humble servant.”
- B...se...e...du...shka! - the drunk man sang, smiling happily and looking at Ilyin talking to the girl. Following Dunyasha, Alpatych approached Rostov, taking off his hat from afar.
“I dare to bother you, your honor,” he said with respect, but with relative disdain for the youth of this officer and putting his hand in his bosom. “My lady, the daughter of General Chief Prince Nikolai Andreevich Bolkonsky, who died this fifteenth, being in difficulty due to the ignorance of these persons,” he pointed to the men, “asks you to come... would you like,” Alpatych said with a sad smile, “to leave a few, otherwise it’s not so convenient when... - Alpatych pointed to two men who were running around him from behind, like horseflies around a horse.
- A!.. Alpatych... Eh? Yakov Alpatych!.. Important! forgive for Christ's sake. Important! Eh?.. - the men said, smiling joyfully at him. Rostov looked at the drunken old men and smiled.