Ariadne's Thread: Guide ~ Germany ~ Munich ~ Alte Pinakothek. What is the Munich Alte Pinakothek Alte Pinakothek Munich opening hours

King Ludwig I of Bavaria, while still crown prince, immediately after getting rid of Napoleon, directed all his energy to transform Munich into the capital of his dreams, attracting a large number of artists, musicians, and architects for this. Through their joint efforts, Munich gradually turned into “Athens on the Isar” - an example of neo-Greek classicism, the sight of which awakened thoughts about the greatness and glory of the monarch who owns such a beautiful capital, and the greatness of his people.

But the most beautiful examples of architecture can remain a cold stone if they are not overshadowed by the presence of a certain spiritual component in the form, for example, of a treasury of works of art by masters from different countries and eras, collected by generations of collectors and enthusiasts. This treasury must be called something unusual, something that would be incomprehensible to an unaccustomed ear even at first. Well, for example, “Pinakothek” - this is the term the young king, an enthusiastic student of antiquity, found in the manuscripts of the ancient Roman architect Virturius.

In 1826, the king's chief architect, Leo von Klenze, began construction of a large building in the sparsely populated Munich suburb of Maxvorstadt, just west of the main construction site on Ludwigstrasse, outside the then city limits, on the meadows (exactly as the one opened in 1819 by the Spanish king Ferdinand VII in Madrid Gallery "Prado" - "meadows" in Spanish). This arrangement violated the traditions, according to which such meetings were located, as a rule, in the palaces of sovereigns, where a very limited circle of the highest aristocracy, courtiers, rich people, but not the people, the mob, could enjoy seeing them. In contrast to this and in accordance with the spirit of the times, Ludwig I considered it the duty of an enlightened monarch to introduce the people to art, and sought to demonstrate democratic openness and accessibility. Entrance to the museum on Sundays was free for a long time.

Together with the famous architect, the first director of the gallery, Johann Georg von Dillis, took an active part in the construction of the building for the museum. In the process of their fruitful cooperation, many innovative ideas were born and put into practice.

The structure of the building and the layout of the interior spaces were built from the point of view of its functional purpose. The architect sought to avoid stereotypical pomp and used the style of the high Renaissance to create an architectural form that accommodates works of art in their historical retrospective. The gallery's interior space was divided into large halls and smaller, office spaces with abundant daylight from overhead light, freeing up vertical wall space for paintings and providing glare-free illumination. The exhibition halls of the Pinakothek are distinguished by their ascetic design and sparse decoration. They do not contain any decorative elements, sculptures, or pieces of antique furniture that are not related to the exhibition and are distracting and distracting. Only painting.

Following the example of the Louvre, the exhibition was divided into "schools", periods and countries, to ensure an objective and fair display of the achievements of artists who worked in different times and conditions. Even then, during construction, safety standards were used that are still in effect today: constant environmental conditions (temperature, humidity), protection from dust.

In 1836, the Pinakothek was inaugurated. What filled all these large and comfortable rooms?

A huge collection of paintings has been waiting in the wings for a long time. Ludwig I, along with the crown, inherited all the wealth accumulated over the centuries by his predecessors, representatives of various lines and branches of the ruling family of Wittelsbach, located in the castles and palaces of Munich, Schleissheim, Dachau.

The beginning of this collection was laid by Duke William IV and his wife Jacoba of Baden, who in 1528 decided to decorate the Munich Residence with a cycle of paintings telling about the exploits of various heroes. They just wanted to hang edifying images expressing ideas of morality in the halls of the palace. However, it was precisely this cycle that turned out to be the core of the subsequent rich collection, and later the Pinakothek.

In 1598, the catalog of the collection already included 778 paintings.

Elector Maximilian I, who reigned from 1597 to 1651, was one of the earliest collectors of the works of Albrecht Dürer and other German Renaissance artists. He purposefully ordered paintings from his contemporary Peter Paul Rubens.

The collection expanded significantly during the reign of Maximilian II Emmanuel (1679 - 1726). For some time he was governor in the Spanish Netherlands and took advantage of this to acquire a large private collection of Flemish masters. Max II Emmanuel collected over a thousand paintings in the Schleissheim New Castle.

Elector Johann Wilhelm of the Palatinate (1690 - 1716) housed a small but selected collection on his estate in Düsseldorf, including masterpieces by Van Dyck, Jordanes, and Rembrandt.

In 1798, Elector Karl Theodor (1777 - 1799), moving from Mannheim to Munich, took with him 758 paintings, mainly by Dutch and Flemish artists of the 17th century.

King Maxmilian I Joseph of Bavaria (1799 – 1825) was also a fruitful collector, adding more than two thousand paintings to his collection. In 1806, he inherited the Düsseldorf gallery, considered one of the most magnificent in Europe, and transferred it to Munich.

One of the results of the Napoleonic secularization of church property in 1803 was a significant addition to the Munich collection. More than 1,500 paintings were transferred to it.

Ludwig I, in turn, made a significant contribution to the creation of the general collection by acquiring Italian, Dutch painting, and the Oettingen-Wallerstein and Boisseret collections.

In subsequent years, up to the present day, many significant works have also been acquired. Various financial enterprises in Munich have provided and continue to provide enormous assistance in expanding and updating the collection.

The huge exhibition presented at the Pinakothek includes works by masters created in the period from the Middle Ages to approximately the end of the 18th century. It is divided into sections:

• early Dutch painting- an artistically fruitful period from the mid-15th century to the twenties of the 16th century. The influence of the two northern provinces of modern Belgium - Flanders and Brabant - was dominant at that time. Trade, crafts and art flourished in the cities of Bruges, Ghent, Brussels, Louvain, and Antwerp. Rogier van der Weyden, Derrick Bouts, Hans Memling, Gerard David, Hieronymus Bosch, Andrian Isenbrandt, Luca van Leyden - these are the names of the authors of the works in this section.
• german painting is the most extensive collection of German painting from the late Gothic period and the period of Dürer's work from the 14th century to the 17th century. The best represented are the painters from the period of greatest flowering of German art in the 15th – 16th centuries. Among them: Albrecht Altdorfer, Michael Pacher, Barthel Beham, Albrecht Dürer, Lucas Cranach the Elder, Hans Burkmeier, Hans Holbein the Elder, Stefan Lochner, Adam Elscheiner, Johann Liss, Peter de Witt, Georg Flegel.
• Italian painting - this section is small, but stands out for the unsurpassed skill of artists of the great period of the XIII - XVII centuries: Leonardo da Vinci, Liberale da Verona, Antonello da Masina, Titian, Tintoretto, Raffaello Santi, Giovanni Batista Tiepolo, Antonio Canaletto, Francesco Guardi, Giotto di Bondone, Sandro Botticelli.

• Dutch painting. The rapid development of Dutch painting followed directly after the liberation of the Protestant provinces of the Netherlands from Spanish rule at the very beginning of the 17th century, a period of political and economic growth. The Pinakothek has one of the largest collections of Dutch art in the world. Here you can see works by artists: Rembrandt van Rijn, van der Werff, Jan Weenix, van der Neer, Abraham Bloemert, Pieter Lastman, Jacob van Ruisdael, Frans von Miers, Esaias van der Veld, Pieter Hans Zaenrydam, Frans Hals, Gerard ter Borch , Immanuel de Witt
• Flemish painting. The Flemish Baroque of the 17th century is represented here. The centerpiece is the world's largest collection of paintings by Peter Paul Rubens, consisting mainly of those commissioned from Rubens by Maximilian I and his brother-in-law Wolfgang Wilhelm of the Palatinate. In addition, in this section you can see paintings by Pieter Bruegel the Elder, Jan Bruegel the Elder, Jacob Jordans, Abraham Janssens, Sir Anthony Van Dyck, Adrian Brouwer, Jan Siberechts

• spanish painting. In the smallest section, only 22 paintings are exhibited. However, all the significant maters are represented here, so it can be considered complete: Bartolome Esteban Murillo, Pantoja de la Cruz, El Greco, Diego Rodriguez de Silva Velazquez, José de Ribera, Francis de Zurbaran.
• french painting. The Bavarian rulers had close political ties with France, even blood ties. However, they collected surprisingly little French painting, so the French section is sparse. Here are the names of the French masters whose art is represented in the Alte Pinakothek: Francois Boucher, Claude Lorrain, Sebastian Bordon, Nicolas Poussin, Marius Quentin de la Tour, Jean Baptiste Greuze, Jacques Louis David, Eustache le Sur, Nicolas Lancret, Jean Baptiste Joseph Pater, Jean Honore Fragonard, Hubert Robert.

Initially, visitors entered the Pinakothek from the east side of the building along a porch decorated with lions. During the restoration in 1952 - 1957 of the building, which was badly damaged during the war, the main entrance was organized from the northern facade. The east porch is now used to enter the special exhibition rooms located on the first floor.

During the formation of the Kingdom of Bavaria at the very beginning of the 19th century, an administrative reform was carried out, within the framework of which a central administrative department was established - the Bavarian State Collection of Pictures (Bayerische Staatsgemäldesammlungen). It still exists and works fruitfully, taking care of works of art owned by the state.

The huge number of works of art forced some decentralization, the organization of “branch galleries,” which continues to this day.

After the foundation of the New Pinakothek in 1853 by King Ludwig I, the existing gallery received the name “Alte Pinakothek”. It became the core around which a unique district of Munich was gradually created, known from numerous guidebooks as the “Museum Quarter”. Within walking distance, art lovers today have the opportunity to visit a large number of museums and exhibition venues:

• Old Pinakothek– European painting of the 13th – 18th centuries.
• New Pinakothek– European painting and sculpture of the 18th – 19th centuries.
• Pinakothek of Modernity– world painting, sculpture and photography of the 20th – 21st centuries, works of design, graphics, architecture.
• Durkheim Palace– Center for the dissemination of arts.
• Turkish Gate– a platform for art exhibitions.
• Brandhorst Museum– private collection of modern painting.
• Glyptothek– Ancient Greek, Roman and Etruscan sculpture.
• State Antique Collection– ancient Greek, Roman and Etruscan vases, jewelry, art of small forms.
• City gallery in the Lenbach house (Lenbachhaus) – old Munich painting, the “Blue Rider” (W. Kandinsky) and “New Materiality” groups, world painting and sculpture of the 20th – 21st centuries.
• State graphic collection– world graphics from the Renaissance to the present.
• Museum of copies of classical sculpture.

How to get to the Alte Pinakothek

As you can see, on the map of the Museum Quarter U-bahn station, lines U2 – “Theresienstraße” and “Königsplatz” and lines U3/U6 – “Universität” and “Odeonsplatz” form a trapezoid, in the focal point of which Alte Pinakothek is clearly visible. From any metro station you can walk to it in about ten minutes. In addition, you can get to the center of the Museum Quarter by buses No. 100 and No. 154, or tram No. 27.

Publication date: 2013-09-16

Old Pinakothek(German: Alte Pinakothek) is one of the best art galleries in the world. Here, in 19 halls and 49 cabinets, about 700 works of painting from the 14th to 18th centuries are presented, among which are masterpieces by da Vinci, Raphael, Dürrer, Bosch, Altdorfer, Titian, Botticelli, El Greco, Goya and many other famous artists. The gallery's storerooms contain about 9,000 more paintings by 1,400 artists. The gallery was opened in 1836.

The history of the collection of paintings, which is presented in the Alte Pinakothek, dates back to 1529, when William IV ordered eight paintings on historical themes for his Residence. The first of them was “The Battle of Alexander,” depicting the legendary battle between Alexander the Great and Darius. Subsequently, other members of the Wittelsbach dynasty continued collecting art. A major addition to the art collection occurred during the Thirty Years' War, when paintings were brought from Mannheim, Düsseldorf and Zweibrücken to preserve them from the advancing French invaders. The expansion of the collection entailed the construction of a special hall in Schleissheim Palace.

In the 19th century, the collection continued to grow thanks to the efforts of King Ludwig I, known for his passionate love of all types of art. The unique work of systematizing the paintings, done by him personally, made it possible to lay the foundation for the creation of a future landmark and its world fame.

After some time, Ludwig I came to the idea that his private collection of masterpieces should become public knowledge and turn Munich into one of the world's centers of painting. To house the collection, it was decided to build a new gallery building, the design of which was entrusted to the talented German architect Leo von Klenze.

Large-scale construction began on April 7, 1826. The date was not chosen by chance. April 7th is the birthday of Raphael Santi, whom Ludwig I idolized. Today, in the halls of the Alte Pinakothek you can see only two works by the famous Italian: “Madonna Tempi” and “Madonna Canigiani”. The construction of the building took a record short period of time at that time. By 1836 the main exhibitions had been opened.

Wanting to instill in his compatriots an idea of ​​beauty, Ludwig I issued a decree that every Sunday there would be an “open day” in the gallery. However, the townspeople did not appreciate the unique opportunity that allowed them to freely get acquainted with the world's masterpieces. Most of them liked another opportunity - to spend noisy picnics on the huge lawn in front of the museum entrance.

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. 17 years later, when the second Pinakothek appeared in Munich, “old” and “new” were added to the names to distinguish them. In addition, quite recently, in 2002, the Pinakothek of Modernity opened.

Externally, the building of the Alte Pinakothek is distinguished by gloomy and gray features, and the internal halls surprise with asceticism and a complete lack of decoration. Nothing distracts visitors from the masterpieces of art. The transition from one topic to another occurs smoothly and without switching attention.

Selected paintings from the Alte Pinakothek

"Madonna of the Carnation", Leonardo da Vinci, 1478

The painting was purchased from an unknown dealer, and at that time it was believed that it was not of particular value. Many later the creation was identified as a work by the young Leonardo da Vinci. Today this is the only work of the great artist preserved in Germany. Thanks to such a successful acquisition made in the past, modern connoisseurs of da Vinci's work can admire the grace of the Virgin Mary, who is depicted holding a carnation flower (a symbol of resurrection and immortality).

“Portrait of Madame de Pompadour”, Francois Boucher, 1758

The official favorite of Louis XV, Madame de Pompadour, was known for her extraordinary beauty and impeccable taste. The marquise’s stunning outfits immediately became role models. Perhaps this is why her reputation as a trendsetter of court fashion was firmly established. The format of the painting also testifies to her influential position at the royal court. The fact is that the full-length portrait was made exclusively for representatives of royal families. Evidence of Madame de Pompadour's political influence can be seen in the notebooks and pen shown on the right. The engravings she made and the sheet music thrown at her feet remind us of her musical and artistic passions.

"Resting Girl", Francois Boucher, 1752

The painting depicts another famous court lady - fifteen-year-old Louise O'Murphy (future favorite of King Louis XV of France). According to information posted on Wikipedia, the minor Francois became an uncomplaining victim of Casanova, who ordered her portrait.

"Susanna and the Elders", van Dyck, 1622

For many centuries, the image of Susanna has inspired artists of various schools to create unique masterpieces. Legend has it that Susanna was a model of chastity and moral purity. However, when the young woman was taking a bath, two elders, tempted, wanted to take advantage of her beauty. Having received a refusal, they threatened to accuse him of adultery, for which in those days there was a threat of inevitable death. However, the prophet Daniel intervened in the situation and told what really happened. Susanna's honorable name was restored.

For the painting, van Dyck chooses the half-naked Susanna coming out of the bath. At this moment, one of the old men tries to tear off her clothes, and the second touches her body. The dramatic effect of the painting is enhanced by the background shot depicting thunderclouds.

Van Dyck's self-portrait, 1619

The painting depicts a self-confident, impressive and well-mannered young man, at the age of 20 - this is how his contemporaries described the future master of court portraiture and religious subjects. The son of a textile merchant, van Dyck, thanks to his ability to always look elegant, looked more like a nobleman than an ordinary representative of a wealthy merchant family.

"Madonna Tempi", Raphael, 1507

This work by Raphael was the favorite painting of Ludwig I. It was purchased in 1829 from the Florentine Tempi family, whose representatives agreed to part with the masterpiece only after long and persistent negotiations.

As a rule, in the image of Madonna the artist tried to convey his idea of ​​female beauty and grace. Young Mary, tenderly clutching the baby, appears full of charm, but not spiritual, not holy, but ordinary human. The artist masterfully conveyed the feelings of the mother, the joy of life and sincerity of the young woman. The baby, presented in a complex spread, carries a slight sadness; its seriousness slightly disturbs the idyllic calm of the composition.

"The Battle of Alexander", Altdorfer, 1529

The battle of Gaugamela (331 BC) between the Greek army of Alexander the Great and the Persian army of Darius III is captured. The artist depicted the fighters in modern armor. The Greeks can be recognized by their blue and white clothes, the Persians by their red vestments.

A special feature of the picture is the landscape with the setting sun and the rising moon, which watch the progress of the battle that pushed the boundaries of the civilized world. In the central part of the picture we see the chariot of Darius, pursued by Alexander. In the background is the eastern part of the Mediterranean Sea with the island of Cyprus, behind it the Red Sea, to the right is Egypt with the Nile Delta, which can be recognized by its seven branches.

"Tax Collector with His Wife", van Reimerswaele, 1539

The Flemish painter is known for his portraits of bankers, tax collectors, money lenders and money changers. Depicted in elaborate clothing, they were the personification of greed. Their portraits with overwhelming emotions were quite popular in the 16th and 17th centuries.

"Land of Lazy People", Pieter Bruegel, 1567

The painting conveys a highly satirical attitude towards excess, so common among the debauched upper class of the time. The plot was based on a fairly popular legend in European folklore about a fabulous land of eternal happiness, gluttony and idleness. In it, milk rivers flow along the jelly banks, fried birds and animals run across the lawns, people live in gingerbread houses, and instead of ordinary stones, delicious cheese is scattered everywhere.

The main virtue for the inhabitants of this country is pleasure, and the sin is perseverance and diligence in work. Whoever has an old and unattractive wife can exchange her for a beauty and get money in addition. To get to such a magical country, you need to eat your way through a mountain of porridge. Bruegel depicted three lucky people: a priest, a knight and a peasant, who, having eaten too much, lounged idly around the table. There is still a large amount of a hearty meal left on the table, a roasted pig is wandering nearby, and the roof of the hut is covered with pies. In addition, wherever you look there are countless free-roaming delicacies.

Masterpieces by Rubens in the Alte Pinakothek

"The Last Judgment", Rubens, 1617

The bright painting by Peter Paul Rubens “The Last Judgment” reflects humanity’s idea of ​​an important event when people will appear before God, and everyone will talk about their lives, sins, and achievements. The further fate of the soul depends on the path of life: hell or heaven. The picture will captivate you with ease and inspiration. Peter Paul Rubens reflected his inner state in the picture, you can feel the soul of the author. God is represented as a good judge; he is reflected in the faces who come to judgment with grace, joy, and bliss.

A special feature of the masterpiece is its size. The hall of the Alte Pinakothek was specially designed so that you can admire one of the largest paintings in the history of mankind, the dimensions of which are 610 by 460 centimeters.

"The Death of Seneca", Rubens, 1613

The picture surprises with its combination of the spirit of death and the charm of the plot. Seneca's incredibly beautiful death and dignified exit certainly attract attention.

Seneca had a unique attitude towards death. He did not consider it evil, since it was provided for by nature. Life, in his understanding, was not a true good and was of value only if it had a moral basis. Committing suicide is possible only when the moral basis disappears.

The birth of the picture was the story in which the insane Emperor Nero considered Seneca a traitor and ordered him to commit suicide as punishment. The philosopher made the decision with dignity. Naked, Seneca tried to cheer up his friends and his wife, who, of her own free will, decided to accept death with him.

There is no horror or tears in the looks of those present; they are thinking about something sublime. Even at the moment when he cut his wrists, Seneca was still inspired, so he called scribes to write down his thoughts. Notice with what enthusiasm one of the scribes looks at Seneca, ready to catch every word until Seneca’s last breath.

Address: - Alte Pinakothek - Barer Str. 27, Munich; - New Pinakothek - Barer Str. 29, Munich; - Pinakothek Moderna - Barer Str. 40, Munich. How to get there The Pinakotheks are located in the Museum Quarter - tram number 27, bus number 100, 154 to the stop. Pinakotheken, metro line U 2 (stations "Theresienstraße", "Königsplatz") or lines U3/U6 (stations "Universität", "Odeonsplatz"), from any of these metro stations you can walk in about ten minutes. Opening hours: - Alte Pinakothek: Wednesday - 10:00-20:00, Thursday-Monday - 10:00-18:00, Tuesday - closed; - New Pinakothek: Tuesday - 10:00-20:00, Wednesday-Sunday - 10:00-18:00, Monday - closed; - Pinakothek of Modernity - Thursday - 10:00-20:00, other days - 10:00-18:00, Monday - closed. Entrance ticket: - Old Pinakothek (prices are temporarily reduced until 2018 while the lighting system is being improved) - on weekdays 4 euros, reduced (for students and pensioners) 2 euros, children under 18 free, on Sunday 1 euro; - New Pinakothek - adults 7 euros, reduced price 5 euros, children under 18 years old free, on Sundays 1 euro; - Pinakothek of Modernity - adults 10 euros, reduced price 7 euros, children under 18 years old free, on Sundays 1 euro.

Seconds, minutes, hours flash by, months, years, centuries are carried away with an incomprehensible speed. Faces, events, dates are blurred in the haze of the past. Only divine art marked with a sign from above remains imperishable, conveying to descendants the innermost thoughts of the greatest masters about beauty, peace, and society, frozen in colors, sounds, and stones. If you want to see for yourself, welcome to the capital of Bavaria - rainy and warm Munich.

Patrons of the Munich Pinakothek

For three hundred years, the princes of the ancient aristocratic family of Wittelsbach collected the best of the region’s artistic heritage, decorating the palace mansions with masterpieces of local painters. William IV and his wife Duchess Jacobina of Baden acquired Altdorfer's magnificent painting "The Battle of Alexander", which became the core of the future collection (1529). With pinpoint precision, it conveys the movement of many figures, people, and animals. Like ocean waves, Roman soldiers are falling on the hordes of Persians. In the center, on a chariot drawn by three bay horses, Darius rushes away, followed by the great commander with a naked sword and pike. There is no limit to the artist’s virtuosity and flight of imagination: even the sun, illuminating the skies and going beyond the horizon, pierces the moon floating in the clouds with its arrow-rays.
It seems that the creator himself is hovering over the battlefield, scrupulously writing out millions of details. No wonder Napoleon really liked this battle. Often, lying in the bathroom of the San Cloud palace, he studied the smallest details of the battle, comparing himself with the Macedonian. The stolen miracle returned to its native land along with 26 of the 43 works confiscated by Bonaparte (1815).
Albert V was considered a true collector, gathering talents and art connoisseurs under his patronage, and buying up rarities (rare valuables). On his orders, the Antiquarium was built and an exhibition was arranged there. Here he received guests and held various magnificent celebrations. It was the largest civil building, elongated in length, topped with a vaulted ceiling.
Duke Maximilian I bought a significant number of Dürer's works, including the famous "Paumgartner Altarpiece", created for the Church of St. Catherine in Nuremberg. The triptych tells the story of the birth of Jesus. On the middle panel is the Virgin Mary and Child. A simple, uncomplicated robe emphasizes the peculiarity and greatness of an earthly woman who gave birth to a child-God. Joseph, the wise men with gifts, and frolicking angels bowed at her feet. On the left wing there is St. George, striking a terrible wriggling monster. On the right is St. Eustigney with a banner on which is the head of a deer with a cross between the horns. The faces of the saints are portraits of the customer's sons, Stefan and Lukas Paumgartner.
In April 1988, Hans-Joachim Bohlmann, a mentally ill vandal, carried a bottle of acid under his clothes and splashed it on an exclusive board. While the guards reacted, the caustic liquid eroded the surface. Today, admiring the altar part, not everyone knows what kind of work and skill the restorer needed to hide all the damage caused by the newly created Herostratus.
During the 30 Years' War (1618 - 1648), the city was plundered by the Swedes, and little returned. Maximilian's grandson continued the work begun by his grandfather, becoming a generous philanthropist and lover of luxurious interiors. Tapestries, jewelry, bronze, and furniture appeared. Among other things - 12 paintings by Rubens, 15 by Van Dyck, canvases by Snyders, Bruegel, Murillo, famous Italians.
The prince moved from the capital to Schleissheim Castle, ambitiously wanting this residence to eclipse Versailles. In 1777, the reign of the Wittelsbach dynasty passed into history, and Karl Theodor Sulzbach ascended the throne. Having lost interest in the deeds of his ancestors, he nevertheless built an exhibition gallery where about 700 works were presented for review. For the first time, art ceased to serve as decoration, acquiring the status of cultural value.
The enlightened monarch, unlike his predecessors, allowed public viewing. For many years after the French Revolution, the treasury was successfully replenished by the liquidation of nearby monasteries. Later, exhibits from Düsseldorf became an important and significant acquisition. Impressive and exciting the imagination, the creations of Raphael, Rembrandt and others shone.
1822 brought the most valuable infusions: the acquisition of congregations from Zweibrücken and Mannheim. An urgent question arose about the need to build a spacious room to accommodate everything acquired over the centuries.

The Old Pinakothek - a monument to glorious ancestors

Leo von Klenze, the court architect of Ludwig I, was tasked with designing a building, spacious and bright, where the collections of his grandfathers and great-grandfathers could be housed. A subtle connoisseur of beauty, a crowned erudite, misunderstood by his compatriots, a personality of tragic fate, with inexhaustible passion, bought canvases of enormous artistic significance.
The sophisticated esthete bought numerous unique collections at his own expense, including Dutch and German “primitivists”; 219 canvases were purchased from Count Oettingen-Wallerstein. The ruler’s life path, filled with unheard-of romantic passion, dreaminess, sacrifice, and tragedy, amazed director Luchino Visconti, inspiring the creation of a film dedicated to him, which appeared on screens in 1974.
Construction took 10 years, and finally, on October 16, 1836, the museum warmly opened its doors to the public. Its body, long, narrow, is completed at the edges with wings (4 pieces), slightly protruding forward, illuminated by numerous lamps. The building lived up to its purpose: to preserve works of the Renaissance and the Middle Ages. The design is ideal for visitors to intimately examine the exhibits on display. There are no sculptural compositions, ceramics, or furniture here. Only the author and the admirer of beauty, the master and the student, peer at each other in an intimate audience. Just look at the names: Antonello da Messina, Giotto di Bondone, Diego Velazquez, Leonardo da Vinci, Hans Holbein the Elder.
Slowly moving from one hall to another, peering at the scenes and images, stories about the birth, crucifixion, and resurrection of the Lord who suffered for humanity appear before our eyes. Matthias Grunewald in “The Desecration of Christ” (1503) captured the episode when the Jews, blindfolding the Messiah, frantically beat the god-man to the beat of drums, the screeching sounds of the pipe. The evil faces of the characters, distorted by aggression, and their convulsive movements indicate how a desperate, sinful conscience clearly conflicts with the deepest faith in forgiveness. The plot makes you think about how we live, what we breathe, what priorities we set.
The members of Raphael's "Holy Family" are depicted with tenderness and love. Maternal feelings are understandable, close, truthful: you can spend hours looking at the hands of the Mother of God, supporting the baby, hugging the fragile child’s body. Femininity, the grace inherent in motherhood, captivates, holds for a long time, touches.
I would like to say about one more diva, filled with completely different thoughts and feelings - “The Land of Plenty” by Pieter Bruegel, known under the nickname “The Peasant”, an intelligent, gifted cynic. He exposed human stupidity, poverty of mind, base needs, and lack of spirituality to public ridicule. The main thing in the composition is a tree - a symbol of life, above and below which miracles happen. Obviously, tired people lay down under the tree to rest: a priest, a peasant, a knight. The eaten egg runs away, the fried chicken makes a fuss on the plate. A pig rushes with a knife in its side, an abundance of cakes - all fantastic elements remind of the seventh deadly sin - gluttony. It would seem like an ordinary scene of rest: one has a hymnal under his head, another does not let go of the chain, the third threw a spear - everyone’s bellies are full, their pants are unzipped. Here it is, the naked human essence, noticed by genius: peace, hearty food, sleep - the most desired dreams of some people living on planet Earth.
The realistic writing of Chardin, Boucher, and Jan Steen is fascinating and does not let go. In 19 rooms, 49 offices, His Majesty Delight reigns, the introduction to which was quite difficult. The king sought to enlighten the burghers by granting them a free visit on Sunday, and they took great pleasure in having picnics on the lawn nearby - why not Bruegel in reality?!
During the Second World War, the building was extremely damaged; it was restored only in 1952-1957. After the crime of a mentally ill man, who damaged more than 56 works of old masters throughout the country, it became necessary to take care of the safety of treasures. The tricky, hostile trick of the madman had its consequences: after the next renovation (1988), the curators insisted on guaranteed protection and safety of every masterpiece located here.
Now they are under glass, equipped with an alarm system that notifies the guards with a loud howling siren if anyone gets too close. The glass surface can withstand up to 17 powerful blows, however, not a single “hammer” showed up again.
Here you can take a break and have a snack: a cozy cafeteria is at your service. The bookstore has booklets, reproductions, historical literature about artists and their work. By 6 p.m., all the staff will line up in a tight line, seeing off visitors.

New Pinakothek - royal heritage

In 1841, the irreplaceable manager of the capital's Bavarian museums, Georg von Dilis, died, leaving a request in his will to build a structure for modern painting. Having paid tribute to the forefathers, the monarch enthusiastically took up construction. On October 12, 1846, laying the cornerstone of the foundation, he said that this collection was for the present and subsequent centuries. Later, having abdicated the throne, declared a madman, slandered, spat upon by the crowd, he continued the path of a mere mortal, leaving behind 425 immortal creations.
On the façade, amazing frescoes previously told about virtue and the patronage of the crown bearer, who willingly replenished the collections mainly with the works of local talents. It was the German romantics who took the leading position. 1931 lit up the city with a terrible fire, which caused an irreparable loss to the fund. The bombing of the bloody 1944 brought complete destruction.
The German government spent 150 million marks on the construction of the museum building. Architect Alexander von Branchi provided a project that caused fierce controversy: from unquestioning approval to absolute rejection. Construction in the postmodern style was finally completed (1981). The internal space is located around 2 halls, forming a kind of figure 8, lying diagonally. Thanks to the irregularly shaped transparent roof, the lighting became a real marvel, being an integral part.
The storerooms contain more than 3,000 canvases, three hundred sculptures: of these, 400 paintings and 50 sculptures are exhibited, constantly changing. The main spacious rooms housed the fantasies of K. Rothman (23 pieces), which showed mankind landscape images of Greece, painted to the smallest detail. Further, everything reflects the taste of the founder: the work of Joseph Koch, Franz Catel, Dillis.
The plot composition on the theme of mythology “Apollo and the Muses” by Peter Hess returns to legends, myths, and hoary antiquity, saying how much the creators loved man, enchanted by the curves of his body, the power of the mind, the richness of the soul. The nature of the exhibition changes with the arrival of Hugo von Tschudi (another director). He insists on buying 44 paintings, 9 statues, and more than 20 drawings from the French. This is how the walls were revived by the Impressionists, who banished the black tonality from their palettes. Having noticed that it practically does not exist in nature, they wrote only outside the studio, in the open air. Small moving strokes conveyed the fluttering of leaves and light, subtle gusts of wind. "Landscape of Martinique" by Paul Gauguin is exactly like that.
Claude Monet, drawing attention to the sound of color, the radiant transparency of the air and sea, depicts the “Bridge over the Seine at Argenteuil.” Running careless strokes create the feeling of a sail swaying in the wind, a sultry summer day. Bright, colorful, joyful "Sunflowers" by Vincent Van Gogh, as before, beckon to you. Looking at them, a desire is born to come up and straighten the flowers in a clay pot, from where they seem to want to break free. The rough surface and relief make the image authentic and alive.
The statues of the 19th and early 20th centuries are striking in their realism. "Paris" by Antonio Canova admires the perfection of the body, "Cupid and the Muse" by Conrad Eberhard reminds us of our dependence on the divine will, the bas-relief by Julius Troschel "Perseus and Andromeda" makes us think about the power of love: without even taking off his winged sandals, the winner of the Gorgon frees the young woman from her bonds captive, falling madly in love with her.
The sculptures of Rodin, Matisse, Carrier are beautiful, worthy of the highest words, which are sometimes lacking. “Flora” by Albert Bellez is surprisingly touching: a charming girl’s head, an intricate hairstyle, full lips in a sweet smile, an expressive look.
The penetrating gaze of Pablo Picasso's "Jester" and his mouth stretched with an ironic smile - everything speaks of a remarkable mind, the ability to skillfully play his role, and masterfully transform himself. “Venus with Beads” by Aristide Maillol will put anyone into a state of euphoria: impeccable lines, exquisite charm. Don’t languish, don’t count your imperfections, for someone you are an ideal.
Take a moment to watch Camille Claudel's "Waltz". The moment of dance cast in metal, the poetry of touch, the grace of pose delights. Seductive figures twirl to an inaudible but palpable melody, absorbed in dance ecstasy. The touch of hands, feet, faces whispers about the sensual fusion of music and people.
Maurice Denis, Edvard Munch, Toulouse-Lautrec are attractive with their marvelous symbolism. Having passed through 22 large rooms and 10 smaller ones, finish the inspection, but familiarization with spiritual springs, the message of heaven, and unsurpassed talents will continue in everyday life, brightening up the dullness and dullness of everyday life.

Pinakothek Modernity

It is famous throughout Europe. The concrete facade in gray and white tones is cut through by huge window openings, slender columns support the roof. Here are more than 70 design innovations, drawings, original layouts, author's sketches, graphics. Incredible creations by cubists, surrealists, representatives of pop art, expressionists, supporters of minimalism, and fauvism take precedence. The Germans are confidently in the lead, taking away the championship from other nations: Ernst Kirchner, Erich Heckel, the excellent watercolorist Franz Marc.
Emil Nolde in “Dance around the Golden Calf” tries to convey the idea of ​​disunity, ill will, and rejection of the individual by society. In the possessed uncontrollable dance, the images of the dancers are broken and distorted. The eyelids are half-closed, the lips are open with voluptuous languor. On a yellow, brownish-red background, strands of hair rush about, clothes are thrown off - everything for the dominant ringing metal. They forgot about humanity, compassion, mercy, humanity.
Tourists linger for a long time near Picasso's paintings "Mother and Child" and "Madame Soler", painted in pastels. Salvador Dali, foreseeing his departure into eternity, in “The Apotheosis of Homer”, as if with a chisel and a scalpel, cuts out what is dearest to his heart and that of the great old man: dazzling sensuality, the perfect forms of his beloved Gala, comparing her with Helen the Beautiful from the “Iliad”.
Vanguards walking ahead through thorns and obstacles scatter signs and symbols on both sides of the path, which are not always clearly understood by those walking behind. Contemporaries are in a hurry to imbue themselves with the dreams of Paul Klee, Henri Matisse, and most of all, Joseph Beuys. His felt suit, fat chair, strange piano are never without fans.
Of particular interest are the group "Most", distinguished by a unique collective style, and the creative association "Blue Rider", which rebelled against ossified academicism. While the former strive to convey personal perception through figurative expressionism, the latter gravitate towards abstraction, focusing on the color scheme. Contemporary creativity and design are not classics. This is interesting, but not always clear. Someday, our descendants, also looking with curiosity at the depicted dynamic 21st century, will find out how we lived and were, what we were like, will appreciate or condemn, envy or slander. Look, be amazed, think, draw conclusions, be filled with the brightest impressions. "Beauty is the manifestation of the secret laws of nature, which without it would remain hidden forever."

Old Pinakothek - Alte Pinakothek. One of the most famous art galleries in the world, founded in 1836. It contains paintings created from the beginning of the Middle Ages to the middle of the 18th century. Here it is one of the largest collections of works by Albrecht Dürer. Here - The largest collection of paintings by Peter Paul Rubens in the world! In addition, the museum presents creativity Altdorfer and Cranach, Jan Brueghel the Elder and Van Dyck, Raphael and Titian, Poussin and Murillo. The cost of the entire museum collection, according to art historians, is impossible to determine. About 700 paintings in 19 halls and 49 rooms of the museum on two floors as part of the permanent exhibition. Temporary exhibitions are also organized. Nearby is New Pinakothek with works of artists of the 19th - early 20th centuries and Pinakothek Modernity, where the art of the 20th and 21st centuries is presented.

In general, the halls of the Alte Pinakothek are extremely ascetic. The lighting is quite weak. Before visiting, you should check in umbrellas, canes, large bags and backpacks in the cloakroom. No containers containing liquids are allowed into the museum. When visiting the museum, it is prohibited to carry backpacks or other objects on your back. The use of mobile phones, eating, drinking and smoking is prohibited in the museum halls and lobby. Amateur photography without flash and tripod is permitted. There is no audio guide in Russian.

You can have a snack in the Pinakothek itself - there is a Cafe Klenze on the ground floor. There is a gift shop on the ground floor. There are also toilets. All this is open during museum opening hours and is accessible without a ticket.

The Alte Pinakothek is open every day except Monday from 10.00 to 17.00, and on Tuesday from 10.00 to 20.00. The museum is also usually closed on December 24, 25 and 31, Shrove Tuesday and May 1.

Attention! During construction work between 2014 and 2018, certain rooms and offices may be temporarily unavailable. As repairs are completed in one place and started in another, they close and open to visitors. Please pay attention to announcements and information signs or visit the website: www.pinakothek.de/en/renovation-alte-pinakothek.

But the entrance fee for the permanent exhibition has been reduced. In 2016, admission costs 4 Euros, and on Sunday 1 Euro. There is a separate fee for visiting special exhibitions. The entrance to the museum is from Theresienstrasse. You can travel by tram (27), bus (154) or metro (2, 8) to the stop. Konigsplatz.

Munich's Alte Pinakothek is the world's most famous art gallery. Thousands of art fans dream of seeing this wonderful collection of paintings. The Alte Pinakothek houses more than 9 thousand paintings created in the 14th - 18th centuries.

Munich Old Pinakothek (Alte Pinakothek)– the most famous art gallery on a global scale. Thousands of art fans dream of seeing this wonderful collection of paintings. The Greek word “pinakothek” means “repository of paintings.” The Alte Pinakothek houses more than 9 thousand paintings created in the 14th - 18th centuries.

Museum founded Duke William IV of Bavaria. Together with my wife Jacobina they collected paintings for their summer residence. Wilhelm commissioned several famous artists to paint thematic canvases on ancient history. Since 1529, famous German painters created paintings for the Duke.

The work opened the historical collection Albrecht Altdorfer, depicting the battle of the army of Alexander the Great with King Darius ( "Battle of Alexander"). This unique canvas still amazes today with its scope and riot of colors; amazingly bright, precisely described details.

Duke Wilhelm also acquired paintings Albrecht Durer. The Alte Pinakothek houses the world's largest collection of paintings by the legendary master.
The Pinakothek's collection was constantly replenished after Wilhelm's death. Representatives of the dynasty Wittelsbach, who ruled Bavaria for seven hundred years, made a huge contribution to this collection. At the end of the 17th century, the collection was already considered the best in Europe.

King Ludwig I, who passionately loved art, bought paintings by great German and European artists. The ruler believed that masterpieces of painting should belong to the entire people - so he decided to build a separate building for the art gallery. He began working on the museum project in 1826 Leo von Klenze. Construction was completed in 10 years, and the museum was open to the public for free. The new building received the name “Pinakothek”.

World War II caused considerable damage to the ancient architecture of Munich. The devastating bombing destroyed many buildings and damaged many monuments. The building of the Alte Pinakothek was also damaged, but the paintings were not damaged. They were moved to underground storage facilities in advance. After the war, the building was restored for a long time, and in 1957 the art gallery reopened to the public.

The interior of the building is ascetic - not for reasons of economy. The absence of furniture and decorations, the dark coloring of the walls - all this is part of the organizers’ plan. Nothing should distract the audience's attention from priceless masterpieces.

Today, 700 paintings are on display for public viewing. In the right wing of the first floor you can see paintings from the 16th – 18th centuries, painted by German and Flemish masters. The left wing of the second floor presents paintings Durer and Grunewald; work Dutch painters. The fourth and fifth halls of the gallery contain a collection of antique Italian painting(XV – XVI centuries). Halls six to nine - exhibition of works Dutch(XVII century). Paintings are presented in the right wing France, Italy, Spain(XVII century).

There is a painting in the collection, the origin of which has been much debated by art historians. This is a picture "Madonna of the Carnation". The authorship of this work is now attributed to the early Leonardo da Vinci, although it was originally sold to the museum as a painting by Verrocchio. The style and manner of execution of the Madonna of the Carnation indicate the hand of a great master. This is the only work of Leonardo in Germany - experts call it priceless.

The main exhibit of Dürer's collection is the painting "Four Apostles". This masterpiece was the last completed full-scale work of the artist - a kind of message to future generations.

The museum contains a unique collection of Dutch paintings. Here you can see the works of all painters of the Dutch school, except Vermeer. The Italian Renaissance school of painting represents famous names: Leonardo da Vinci, Titian (Tiziano Vecellio), Botticelli, the great Raphael and master of religious plots - Tintoretto.

Biblical and mythological images are a special part of the exhibition. The religious theme is revealed Van Dyck and Hieronymus Bosch, Van der Weyden and Jacob Jordans. The public's attention is always focused on a fragment of the triptych "The Last Judgment" Bosch, which dates back to 1480. The works of the “gloomy alchemist” have an unknown attractive force. This dark canvas keeps everyone on edge, making observers ponder the inevitability of death.

The Alte Pinakothek has a large collection of paintings Peter Paul Rubens. 60 canvases are the world's largest collection of works by the “king of artists.” Those who are partial to the lush beauty of Rubens’ women should definitely visit the Alte Pinakothek!

There is now a fee to visit the Alte Pinakothek. There are some restrictions for tourists. Mobile phones should not be used in the building; Bottles with liquids and other suspicious items cannot be brought into the museum. Special precautions began to be taken after a misfortune occurred with the Dürer collection in 1988. One of the visitors, a mentally ill person, secretly brought a bottle of acid and poured it on the canvases. The paintings took several years to be restored. Since then, the security of the Pinakothek has been particularly vigilant.

Barer Straße 27 80333 München, Germany
pinakothek.de‎

Take tram 27, 28, No. 27 to the Pinakotheken stop

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