Panorama of the Pinakothek of Modernity. Virtual tour of the Pinakothek of Modernity

Pinakothek Art Nouveau in Munich (Munich, Germany) - exhibitions, opening hours, address, phone numbers, official website.

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The Pinakothek der Modern in Munich is often called the “Third Pinakothek” because, besides this one, there are two more of them in the city - Old and New. But this third one is the youngest, the most modern, and it specializes, accordingly, in contemporary art. The collection here is large, interesting, old and with quite a lot of surprises.

The Pinakothek Moderna museum was created only in 2002 - it was separated from the city Museum of Art, but the collection itself is much older. In many other cities in Germany, works of modern art were destroyed during the reign of the Nazis - they considered modern genres "degenerate" and some of them were simply burned. Munich was lucky: its city gallery remained untouched, and part of it served as the basis for the creation of this Pinakothek.

The most famous part of the exhibition is undoubtedly the rather impressive collection of paintings by Pablo Picasso.

Collection

The main exhibition of paintings consists of two large sections.

The first section is “Modernism”, there is an interesting selection of works by German impressionists, this is a great rarity, they are almost unknown in Russia. But the most famous part of the exhibition is undoubtedly the rather impressive collection of paintings by Pablo Picasso.

In addition, here you can see works by Matisse, Salvador Dali, Kandinsky, Miro and Margitte.

The second part of the exhibition is called “Modern Art”, the most famous author in Russia among those presented here is, perhaps, Andy Warhol. But, besides him, you can see the works of many other artists - the creators of modern genres of painting; in Russia they are also known only to specialists.

The second part of the museum is the “Design Collection”, this is a large collection of industrial and graphic design samples, one of the best in the world. The objects here are different - from aircraft engines to furniture and from cars to advertising posters, but all are interesting. This section of the museum is a serious expert in its field, one of the most authoritative, the appearance of the work of some designer here is a “status” thing for him. The museum also has a collection of photos, videos and installations, it is small but good.

The most unusual and famous part of the museum is the “Collection of Works on Paper”. It contains only drawings made on paper, respectively, there are works by Michelangelo, Leonardo da Vinci, Rembrandt, Albrecht Durer, Cezanne and Matisse.

The main part of the collection is stored in a separate Collection of Graphics - there is such a thing in Munich, there is only a small part, but it is very, very good.

The collection in this museum is unexpectedly vibrant, with many unusual items that you would expect to see somewhere else. If you love contemporary art, definitely go. Well, a conservative person would be better off choosing another museum, although overall this gallery is not particularly provocative.

Practical information

Official address: Munchen, Barer Strasse, 40, Pinakothek der Moderne. The nearest metro stations are Odeonsplatz, Universitat, Konigsplatz and Theresienstrasse.

Opening hours: Tuesday to Sunday from 10:00 to 18:00, and on Thursdays - until 20:00. Closed days are Monday, August 15, December 24, 25 and 31.

Ticket price: 10 EUR, reduced price - 7 EUR, on Sundays - 1 EUR.

Prices on the page are as of November 2018.

Pinakothek (Munich) is one of the most famous world-class art galleries, which presents more than 700 painting masterpieces of the 14th-21st centuries, painted by the most famous masters: Leonardo da Vinci, Raphael, A. Durer, I. Bosch, Altdorfer, V. Titian , S. Botticelli, F. Goya, etc.

History of the collection

The Old Pinakothek in Munich (Alte Pinakothek) is a popular and famous museum that houses 9 thousand paintings by European artists from the 14th to 18th centuries. The distinctive feature of the museum comes from its name. Pinakothek (Greek: “art gallery”) is a place where exclusively paintings are exhibited.

The collection of paintings began to be collected in 1528 by the Bavarian Duke Wilhelm IV von Wittelsbach, who wanted to decorate the summer pavilion of his Munich residence with paintings based on historical themes. The very first was written “The Battle of Alexander”, dedicated to the battle of Alexander the Great with the Persian army of King Darius. Then other members of the Wittelbach family began to expand the collection.

By the end of the 17th century, the collection became one of the most outstanding in Europe in terms of its significance. In particular, it was supplemented by works by Flemish artists, which were collected by the Bavarian Elector Max Emmanuel (1679-1726).

By the beginning of the 18th century, the museum already had works by outstanding painters from Italy, Spain, Germany and the Netherlands. Then there was a further increase in the collection:

• in 1777 paintings from the Mannheim Gallery were added to it;
• in 1803 - 1,500 works of painting that were previously in churches and monasteries;
• 1806 - Düsseldorf collections and works from Carlsberg Castle were added.

A separate hall was built in Schleissheim Palace to house the paintings.

Construction of the Pinakothek building

The reign of Ludwig I of Bavaria (1825-1848) is a significant period in the history of the Munich Gallery. At this time, he acquired famous works by German and Dutch artists of the 15th century, and Italian paintings of the Renaissance.

To house such a rich collection, there is already a need to construct a special building and place the works there in chronological order.

Ludwig I decided that his private collection of works of art was worthy of becoming public knowledge so that Munich would be considered a world-famous center for painting and other arts.

The plan of the gallery building was designed by the architect Leo von Klenz in the Renaissance style. The ceremonial laying of the foundation of the building took place in April 1826 on the birthday of Ludwig’s favorite artist, Raphael Santi. The King of Bavaria ordered that the museum be named after the Greek word “pinakothek”.

The Old Pinakothek (Munich) was built already by 1836, and at the same time Ludwig issued a decree on free visits to the museum for everyone on Sundays. However, in the first years, the townspeople did not so much visit the museum as have picnics on the lawn in front of the gallery.

The Old Pinakothek houses exclusively paintings from the Middle Ages to the Enlightenment. Its building is rather gloomy and gray, and the halls inside are also almost undecorated. The complete absence of decoration was done specifically so that visitors would not be distracted from the main purpose of visiting the museum - contemplating the masterpieces of world art.

Throughout the 19th and 20th centuries, the Pinakothek collection continued to expand through the acquisition of works of painting from those times, for which the building of the new Pinakothek was built in 1853.

War and restoration of museums

During the Second World War, the Pinakothek (Munich) was heavily damaged by Anglo-American air raids. The paintings themselves survived because they were stored in underground shelters in advance. The building of the old Pinakothek was restored only in 1963.

But the building of the new Pinakothek (see photo) was almost completely destroyed, and it was not possible to restore it. The New Pinakothek was completely rebuilt according to the design of the architect A. Brancas, and it opened only in 1981.

The building is unusual, has many bay windows and semi-circular window arches, which at one time caused public controversy and different opinions. However, the interior of the halls is magnificent, and the overhead lighting provided by the architect has received especially positive reviews.

Now there are 550 paintings and sculptures from the 19th and 20th centuries on display.

Collections of the Old Pinakothek

The exposition is housed in a two-story building, on the ground floor of which temporary, frequently changing exhibitions take place in the left wing. Among the painters represented by the Old Pinakothek (Munich) are paintings by Flemish and German artists of the 15th-17th centuries: P. Bruegel, L. Cranach and others (right wing).

On the second floor there are collections of the Northern Renaissance: paintings by the Dutchman L. van Leyden, Rembrandt; Durer and S. Lochner; Italian masters Botticelli, Raphael, Leonardo da Vinci; Flemish Van Dyck, Rubens.

In the right wing you can see collections of Baroque and Rococo paintings, including El Greco and Murillo, as well as other Italian, French and German artists.

Masterpieces of the Alte Pinakothek

Many works by famous artists are represented by the Old Pinakothek (Munich): masterpieces from the 15th to 18th centuries, each of which has its own history.

For example, the painting “Madonna with a Carnation” was accidentally purchased from a dealer, and only later it turned out that it belonged to the brush of the young Leonardo da Vinci. Now this is the only painting by the master located in Germany. The carnation flower held by the Virgin Mary is a symbol of immortality.

The works of François Boucher “Portrait of Madame de Pompadour” (1758) and “A Girl at Resting” (1752) depict the favorite of Louis 15th, who was a famous beauty with impeccable taste, and Louise O'Murphy, a court lady who in the future also became a favorite king.

Van Dyck's Self-Portrait (1619) and Susanna and the Elders (1622), a master of court portraiture and religious paintings.

The work of P. Rubens “The Last Judgment” (1617) tells about an important event: when people with a story about their lives, committed sins and great achievements appear before God to determine their future fate - the path to heaven or hell. This is one of the largest paintings in world history, measuring 610 x 460 cm, for which the museum hall was specially designed.

In the painting “The Death of Seneca” (1613), the famous Dutch artist P. Rubens talks about a historical fact that happened to the famous thinker Seneca, who was ordered to commit suicide as punishment for betrayal. He listened to this decision with dignity and, together with his wife, prepared to accept his death.

New Pinakothek: history

The New Pinakothek in Munich was founded in 1846 as a continuation of the old one and initially contained works of art from the 18th century. King Otto of Greece continued the work of his father and formed an exhibition of works by artists of the Munich school of painting. The famous landscape painter K. Rothman painted 23 large canvases depicting and dedicated to Greece especially for the gallery.

In 1909, works by French impressionists (Cezanne, Manet, Gauguin, etc.) were added to the collection.

The new Pinakothek contains works of art from the 19th and 20th centuries from the eras of romanticism, classicism and realism. In total, the storerooms contain 3,000 paintings and 300 sculptures, of which 550 paintings and 50 works by sculptors are exhibited in 22 halls.

Paintings of the new Pinakothek

The most famous masterpieces presented by the New Pinakothek (Munich) are paintings:

• “Vase with Sunflowers” ​​by V. Van Gogh (1888) is an image of a symbol of optimism and human creativity, a gift to the viewer of a small piece of the sun.
• “The Poor Poet” by K. Spitzweg (1839) - describes the disorder and strange situation in the home of a lonely poet, so carried away by his work that he does not see his surroundings.

• “After the Storm Night” by Y. K. K. Dahl (1819) - the picture is saturated with the consequences of the crash left after the storm, and, at the same time, glorifies rebirth in the form of a ray of light.
• “Don Quixote” by Honoré Daumier (1868) symbolizes the loneliness of the hero, whom the artist deliberately painted without a face.

Pinakothek of Modernity

The third, most modern part of the gallery (opened since 2002) is the Pinakothek of Modernity (Munich), which is dedicated to contemporary arts. It includes 4 independent museums:

• A collection of contemporary art, part of the Bavarian Painting Collection.
• State Museum of Applied Arts.
• Architectural Museum - tells mainly about the 19th-21st centuries, the exhibition changes frequently (500 thousand drawings and plans created by architects at different times, as well as 100 thousand photos of architectural solutions).
• State Graphic Collection of Munich (350 thousand engravings and 45 thousand drawings).

The building of the Pinakothek of Modernity was erected according to the design of the architect S. Braunfels with private donations. It is spacious and bright, in its center there is a two-spherical rotunda, from which wide staircases diverge in two directions, directing visitors to the exhibition.

The underground part houses a design collection; the 1st floor houses architectural and graphic collections, as well as temporary exhibitions.

The western wing contains a collection of classical modernism, the eastern wing talks about the trends of modern art: expressionism, cubism, fauvism, Bauhaus, surrealism, pop art, minimalism, etc.

All collections were assembled in the second half of the 20th century as donations from collectors donated to the museum. The latest gift is a collection of German and North American art from the 1960s to the 1990s. - was transferred in 2006 by E. and M. Stoffel.

The collection includes works by famous artists: A. Matisse, F. Léger, Salvador Dali, P. Picasso, etc. There is also a room with photographic works by contemporary photographers.

Pinakotheks in Munich: opening hours, prices

All three Pinakotheks are located close to each other, on Sunday the price is 1 €, but on this day the museums are crowded with tourists.

Addresses: Barer Straße 27, 29, 40, Munich (Pinakothek). Opening hours:

• Old - 10.00 to 18.00, Tuesday to 20.00, closed Monday.
• New - 10.00 to 18.00, Wednesday to 20.00, closed Tuesday.
• Pinakothek of Modernity - from 10.00 to 18.00, on Thursday until 20.00, seven days a week.

On ordinary days, the price at the Pinakothek varies:

• Old – ticket price 4 €.
• New – 7 €.
• Pinakothek of Modernity – 10 €.

“Pinakothek of Modernity” (German: Pinakothek der Moderne) is an art museum in Munich, under the roof of which there are four museums independent from each other:

Collection of Contemporary Art (part of the Bavarian State Collection of Paintings), New Collection (State Museum of Applied Arts), Architectural Museum of the Technical University of Munich, as well as the State Graphic Collection of Munich,

representing various types of art in their unique constellations.

Together with the Old and New Pinakotheks, the Brandhorst Museum, the State Antiquities Collection, the Glyptothek and the State Gallery in the Lenbach House, the Pinakothek of Modernity forms the Munich Art Area.

Museum building

The modern, spacious building, unanimously recognized by architectural critics as a great creative success of the architect Stefan Braunfels, was built with donations from private individuals (initial funding amounted to ten million euros). It was only on their basis that the Free State of Bavaria assumed the financial costs and provided the land plot of the former Turkish barracks, originally intended for university buildings. The Pinakothek of Modernity was opened on September 16, 2002. A year and a half later, the number of its visitors exceeded two million.

Rotunda light dome Foyer

From the double-sphere rotunda, located in the center of the white exposed concrete building, two large staircases lead to the exhibitions. The total diameter of the rotunda is 30 m. The Design Collection is located on the ground floor; the exhibition halls of the Architectural Collection, the Graphic Collection and temporary exhibitions are located on the ground floor. The western wing of the first floor houses the Collection of Classical Art Nouveau, and the eastern wing houses the Collection of Contemporary Art.

The second phase of construction, which included the construction of adjacent buildings to the south and east and additional halls for the State Graphic Collection, was postponed due to a lack of funding associated with the construction of the Brandhorst Museum.

In the meantime, cracks that had appeared in the light courtyard of the Pinakothek of Modernity were examined to draw up a plan for renovation work.

Collections

Contemporary Art Collection

The Collection of Contemporary Art presents works from the period of classical modern and contemporary art in all major movements: expressionism, fauvism, cubism, New Materiality, Bauhaus, surrealism, abstract expressionism, pop art and minimalism.

Story

One of the largest collections of its kind arose after 1945 from acquisitions and donations. With the opening of the restored Neue Pinakothek in 1981, the decisive factor in the division of the collections of the galleries housed in the House of Art was the presence in the works of innovative features characteristic of Henri Matisse and inherent in expressionism. Accordingly, Matisse’s Fauvist painting (“Still Life with Geranium”, 1910), acquired thanks to the so-called “donations from Tschudi,” was transferred to the exhibition of the Pinakothek of Modernity, as were works by the Cubists and Expressionists. Unlike other cities, Munich's few picturesque treasures were largely unscathed by the National Socialists' barbaric attacks on "degenerate art." In 1950, the basis of the State Gallery of Modern Art consisted of only seven works of art: “Red Roe Deer” by Franz Marc, “Venice” by Oskar Kokoschka, “The Knight’s Spur”, “Landscape with Walchensee” by Lovis Corinth and “Self-Portrait” by Max Beckmann.

Franz Mark. Tyrol. 1914

The collection of modern art began to grow rapidly after World War II through acquisitions and donations.

The holdings were replenished thanks to a targeted collecting policy, as well as from collections donated by the Theo Wormland Foundation (surrealism), Sophia and Emanuel Fohn, Voti and Theodor Werner (paintings by Paul Klee and the Cubists), Martha and Markus Kruss (expressionists, in particular the artists of the group " The Bridge"), Günther Franke (works by Max Beckmann), Klaus Gebhard (North American artists Robert Rauschenberg, Jasper Johns), as well as Duke Franz of Bavaria (contemporary German artists Jörg Immendorff and Sigmar Polke. The latest acquisition dates back to 2006: a collection of German and North American art 1960s-1990s donated by Eleanor and Michael Stoffel.

Classic Art Nouveau Collection

The collection represents a wide range of artists, from Henri Matisse (Still Life with Geranium, 1910), Robert Delaunay (Cardiff Team, 1913), Fernand Léger (Landscape No. 2, 1913), Juan Gris (Bottle of Bordeaux ", 1913), Umberto Boccioni ("Volumi orizzontali", 1912) and Georges Braque ("Woman with a Mandolin", 1910), Oskar Kokoschka ("The Emigrants", 1916), Otto Dix ("Portrait of the Photographer Otto Erfurt", 1925) , Lionel Feininger (Träustädt, 1923) and ending with Joan Miró (Composition, 1925), Rene Magritte (Training of an Acrobatic Woman, 1928), Giorgio de Chirico (Restless Muses, 1917), Salvador Dali (The Riddle desires or My mother, my mother, my mother”, 1929) and Max Ernst (“House Angel”, 1937).

A special place in the exhibition is occupied by two halls, where works by Max Beckmann (Young Argentinean, 1929, The Temptations of St. Anthony, 1936, Woman in Yellow and Red with a Mandolin, 1950) and Pablo Picasso (Madame Soler) are presented. , 1903, “Mother and Child”, 1921, “Seated Woman”, 1941).

All members of the “Bridge” and “Blue Rider” groups are adequately represented in the collection: Ernst Ludwig Kirchner (“Dance School”, 1914), Erich Heckel (“Glass Day”, 1913), Emil Nolde (“Dance around the Golden Calf”, 1910 ) and Karl Schmidt-Rottluff (“Landscape with a Water-Bearer”, 1919), as well as Paul Klee (“Full Moon”, 1919), Alexey von Jawlensky (“Landscape from Carantek with a Woman”, 1905-1906, Franz Marc (“Mandrill ", 1913), August Macke ("Girls under the trees", 1914) and Wassily Kandinsky ("Dreamy Improvisation", 1913).

Eduardo Chillida. In Search of Light, 1997

Collection of modern art from the late 50s

Featured here are works by Andy Warhol (AIDS/Jeep/Bicycle, 1986), Jasper Johns (Arrival/Departure, 1963), Robert Rauschenberg (Composition with Football Players, 1962), Cy Twombly (Bolsena, 1969) , Willem de Kooning ("Detour", 1958), Robert Motherwell ("Je t'aime", 1955), Franz Kline ("New Year Wall: Night", 1960), Lucio Fontana ("Concetto Spaziale, Attese", 1954 and 1959), Antoni Tàpies (“Ocher Oval with Black Insets”, 1965), Francis Bacon (“The Crucifixion”, 1965), Henry Moore (“The Fallen Warrior”, 1956), Marino Marini (“Portrait of Igor Stravinsky”, 1951 ), Joseph Beuys (The End of the 20th Century, 1983), Blinky Palermo (Straight, 1965), Georg Baselitz (The New Type, 1966), Gerhard Richter (Curtain, 1966), Sigmar Polke (Nude with violin”, 1968) and Anselm Kiefer (“Nero malt”, 1974).

Minimalist art is represented in the collection by the work of Donald Judd (Monument, 1969), Dan Flavin (Wallboxes, 1978) and Fred Sandback (Spatial Installations for the Pinakothek of Modernity, 2003).

New media, photography and video art

At the Pinakothek you can see important works by John Baldessari (“Man running/Men carrying box”, 1988-1990), Tadeusz Kantor (“Dead Class”, 1975), Bruce Nauman (“World Peace (projected)”, 1996), Pipilotti Rist (“Himalaya Goldsteins Stube”, 1998-1999), Hiroshi Sugimoto (“World Trade Center, Minoru Yamazaki”, 1997), Bill Viola (“Tiny Death”, 1993), Sam Taylor-Wood (“Soliloquy III”, 1998) and lightboxes by Jeff Wall (“Eviction Struggle”, 1988; “A villager from Aricakoyu arriving in Mahmutbey, Istanbul September”, 1997).

State graphic collection

Main article: State Graphic Assembly (Munich)

The Munich State Graphic Collection includes about 400 thousand sheets representing all eras of the art of drawing and printing, starting from the 15th century. and ending with modern. Its roots go back to the Wittelsbach collection, in particular the Cabinet of Engravings and Drawings of Elector Karl Theodor. During the Second World War, the collection suffered significant losses, but is still on a par with the largest collections of graphics in Germany - Berlin and Dresden. Of particular value are the drawings and printed graphics of old German and Dutch masters (in particular, works by Albrecht Dürer and Rembrandt), Italians (in particular, Michelangelo and Leonardo da Vinci), and drawings by German artists of the 19th century. and Art Nouveau graphics from other countries, such as the work of Paul Cézanne, Henri Matisse, Paul Klee and David Hockney.

Due to the sensitivity of works of art to light, they are shown only as part of temporary exhibitions.

New collection

Main article: New collection Design exhibition at the Pinakothek of Modernity

The new collection belongs to the world's leading design museums. Its permanent exhibition presents for the first time the history and development of design and applied art from 1900 to the present. This is the largest collection of industrial design in the world. A special place in the New Collection is occupied by automotive design, computer culture, jewelry design, household items and furniture, including a collection of works by Michael Thonet.

Architectural Museum

The collection of the Architecture Museum of the Technical University of Munich is the largest collection of its kind in Germany, the rich holdings of which are displayed in changing exhibitions. These are drawings, sketches, models of famous architects: Johann Balthasar Neumann, Gottfried Semper, Le Corbusier and Günter Behnisch. There are computer animation and video materials.

representing various types of art in their unique constellations.

Museum building

The modern, spacious building, unanimously recognized by architectural critics as a great creative success of the architect Stefan Braunfels, was built with donations from private individuals (initial funding amounted to ten million euros). It was only on their basis that the Free State of Bavaria assumed the financial costs and provided land for the former Turkish barracks, originally intended for university buildings. The Pinakothek of Modernity was opened on September 16, 2002. A year and a half later, the number of its visitors exceeded two million.

From the double-sphere rotunda, located in the center of the white exposed concrete building, two large staircases lead to the exhibitions. The total diameter of the rotunda is 30 m. On the ground floor there is Design collection, on the ground floor there are exhibition halls Architectural collection, Graphic collection and temporary exhibitions. In the western wing of the first floor there was Classic Art Nouveau Collection, in the eastern - Collection of contemporary art.

The second phase of construction, which included the construction of adjacent buildings to the south and east and additional halls for the State Graphic Collection, was postponed due to a lack of funding associated with the construction of the Brandhorst Museum.

In the meantime, cracks that had appeared in the light courtyard of the Pinakothek of Modernity were examined to draw up a plan for renovation work.

Collections

Contemporary Art Collection

The Contemporary Art Collection features works from the classical modern and contemporary art periods in all major movements: expressionism, fauvism, cubism, New Materiality, Bauhaus, surrealism, abstract expressionism, pop art and minimalism.

Story

One of the largest collections of its kind arose after 1945 from acquisitions and donations. With the opening of the restored Neue Pinakothek in 1981, the decisive factor in the division of the collections of the galleries housed in the House of Art was the presence in the works of innovative features characteristic of Henri Matisse and inherent in expressionism. Accordingly, the Fauvist painting by Matisse (“Still Life with Geranium”, 1910), acquired thanks to the so-called "donations to Chudi", was transferred to the exhibition of the Pinakothek of Modernity, as well as works by the Cubists and Expressionists. Unlike other cities, Munich's few picturesque treasures were largely unscathed by the National Socialists' barbaric attacks on "degenerate art." In 1950 the basis State Gallery of Modern Art comprised only seven works of art: Franz Marc's The Red Roe Deer, Oskar Kokoschka's Venice, The Knight's Spur, Lovis Corinth's Landscape with Walchensee, and Max Beckmann's Self-Portrait.
The collection of modern art began to grow rapidly after World War II through acquisitions and donations.

The funds were replenished thanks to a targeted collecting policy, as well as from collections donated Theo Wormland Foundation(surrealism), Sofia and Emanuel Fons, Voti and Theodor Werner(Paintings by Paul Klee and the Cubists), Martha and Marcus Kruss(expressionists, in particular the artists of the “Bridge” group), Gunter Franke(works by Max Beckmann), Klaus Gebhard(North American artists Robert Rauschenberg, Jasper Johns), as well as Duke Franz of Bavaria (contemporary German artists Jörg Immendorff and Sigmar Polke. The latest acquisition dates back to 2006: a collection of German and North American art from the 1960s -1990s of the last century was donated Eleanor and Michael Stoffel .

Classic Art Nouveau Collection

The collection represents a wide range of artists, from Henri Matisse (Still Life with Geranium, 1910), Robert Delaunay (Cardiff Team, 1913), Fernand Léger (Landscape No. 2, 1913), Juan Gris (Bottle of Bordeaux ", 1913), Umberto Boccioni ("Volumi orizzontali", 1912) and Georges Braque ("Woman with a Mandolin", 1910), Oskar Kokoschka ("The Emigrants", 1916), Otto Dix ("Portrait of the Photographer Otto Erfurt", 1925) , Lionel Feininger (“Treustädt”, 1923) and ending with Joan Miró (“Composition”, 1925), Rene Magritte (“Training of an Acrobatic Woman”, 1928), Giorgio de Chirico (“Restless Muses”, 1917), Salvador Dali (“The Riddle” desires or My mother, my mother, my mother”, 1929) and Max Ernst (“House Angel”, 1937).

A special place in the exhibition is occupied by two halls, where works by Max Beckmann (Young Argentinean, 1929, The Temptations of St. Anthony, 1936, Woman in Yellow and Red with a Mandolin, 1950) and Pablo Picasso (Madame Soler) are presented. , 1903, “Mother and Child”, 1921, “Seated Woman”, 1941).

All members of the groups “Bridge” and “Blue Rider” are adequately represented in the collection: Ernst Ludwig Kirchner (“Dance School”, 1914), Erich Heckel (“Glass Day”, 1913), Emil Nolde (“Dance around the Golden Calf”, 1910 ) and Karl Schmidt-Rottluff (“Landscape with a Water-Bearer”, 1919), as well as Paul Klee (“Full Moon”, 1919), Alexey von Jawlensky (“Landscape from Carantek with a Woman”, 1905-1906, Franz Marc (“Mandrill ", 1913), August Macke ("Girls under the trees", 1914) and Wassily Kandinsky ("Dreamy Improvisation", 1913).

Collection of modern art from the late 50s

Due to the sensitivity of works of art to light, they are shown only as part of temporary exhibitions.

New collection

The new collection belongs to the world's leading design museums. Its permanent exhibition presents for the first time the history and development of design and applied art from 1900 to the present. This is the largest collection of industrial design in the world. A special place in the New Collection is occupied by automotive design, computer culture, jewelry design, household items and furniture, including a collection of works by Michael Thonet.

Architectural Museum

The collection of the Architecture Museum of the Technical University of Munich is the largest collection of its kind in Germany, the rich holdings of which are displayed in changing exhibitions. These are drawings, sketches, models of famous architects: Johann Balthasar Neumann, Gottfried Semper, Le Corbusier and Günter Behnisch. There are computer animation and video materials.

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An excerpt characterizing the Pinakothek of Modernity

That same night, having bowed to the Minister of War, Bolkonsky went to the army, not knowing where he would find it, and fearing on the way to Krems to be intercepted by the French.
In Brünn, the entire court population packed up, and the burdens were already sent to Olmütz. Near Etzelsdorf, Prince Andrei drove out onto the road along which the Russian army was moving with the greatest haste and in the greatest disorder. The road was so crowded with carts that it was impossible to travel in a carriage. Having taken a horse and a Cossack from the Cossack commander, Prince Andrei, hungry and tired, overtaking the carts, rode to find the commander-in-chief and his cart. The most ominous rumors about the position of the army reached him on the way, and the sight of the army randomly running confirmed these rumors.
“Cette armee russe que l"or de l"Angleterre a transportee, des extremites de l"univers, nous allons lui faire eprouver le meme sort (le sort de l"armee d"Ulm)", ["This Russian army, which English gold was brought here from the end of the world, will experience the same fate (the fate of the Ulm army).”] he recalled the words of Bonaparte’s order to his army before the start of the campaign, and these words equally aroused in him surprise at the brilliant hero, a feeling of offended pride and hope of glory. “What if there is nothing left but to die? Well, if necessary, I will do it no worse than others.”
Prince Andrei looked with contempt at these endless, interfering teams, carts, parks, artillery and again carts, carts and carts of all possible types, overtaking one another and jamming the dirt road in three or four rows. From all sides, behind and in front, as long as one could hear one could hear the sounds of wheels, the rumble of bodies, carts and carriages, the clatter of horses, blows of a whip, shouts of urging, curses of soldiers, orderlies and officers. Along the edges of the road one could constantly see either fallen, skinned and unkempt horses, or broken carts, in which lonely soldiers were sitting, waiting for something, or soldiers separated from their teams, who were heading in crowds to neighboring villages or dragging chickens, sheep, hay or hay from the villages. bags filled with something.
On the descents and ascents the crowds became thicker, and there was a continuous groan of shouts. The soldiers, sinking knee-deep in mud, picked up guns and wagons in their hands; whips beat, hooves slid, lines burst and chests burst with screams. The officers in charge of the movement drove forward and backward between the convoys. Their voices were faintly audible amid the general roar, and it was clear from their faces that they despaired of being able to stop this disorder. “Voila le cher [“Here is the dear] Orthodox army,” thought Bolkonsky, remembering the words of Bilibin.
Wanting to ask one of these people where the commander-in-chief was, he drove up to the convoy. Directly opposite him was riding a strange, one-horse carriage, apparently constructed at home by soldiers, representing a middle ground between a cart, a convertible and a carriage. The carriage was driven by a soldier and sat under a leather top behind an apron, a woman, all tied with scarves. Prince Andrei arrived and had already addressed the soldier with a question when his attention was drawn to the desperate cries of a woman sitting in a tent. The officer in charge of the convoy beat the soldier, who was sitting as a coachman in this carriage, because he wanted to go around others, and the whip hit the apron of the carriage. The woman screamed shrilly. Seeing Prince Andrei, she leaned out from under her apron and, waving her thin arms that had jumped out from under the carpet scarf, shouted:
- Adjutant! Mr. Adjutant!... For God's sake... protect... What will this happen?... I am the doctor's wife of the 7th Jaeger... they won't let me in; we fell behind, lost our own...
- I’ll break you into a cake, wrap it up! - the embittered officer shouted at the soldier, - turn back with your whore.
- Mr. Adjutant, protect me. What is this? – the doctor shouted.
- Please let this cart pass. Can't you see that this is a woman? - said Prince Andrei, driving up to the officer.
The officer looked at him and, without answering, turned back to the soldier: “I’ll go around them... Back!...
“Let me through, I’m telling you,” Prince Andrei repeated again, pursing his lips.
- And who are you? - the officer suddenly turned to him with drunken fury. - Who are you? Are you (he especially emphasized you) the boss, or what? I'm the boss here, not you. “You go back,” he repeated, “I’ll smash you into a piece of cake.”

Old Pinakothek

Tuesday – from 10:00 to 20:00

The New Pinakothek will be closed to the public due to construction work and the preparation of comprehensive reconstruction measures - approximately until 2025. An exhibition of selected masterpieces of 19th-century art will be open from summer 2019 on the ground floor of the Alte Pinakothek (East Wing) and in the Shaka Gallery.

Pinakothek of Modernity
Every day except Monday – from 10:00 to 18:00
Thursday – from 10:00 to 20:00

Brandhorst Museum
Every day except Monday – from 10:00 to 18:00
Thursday – from 10:00 to 20:00

Shaka Gallery
Wednesday-Sunday – from 10:00 to 18:00
Every first and third Wednesday of the month – until 20:00

Opening hours on holidays
New Year's Day (January 1): all museums are open to the public
Epiphany/Three Kings (January 6): all museums are open to the public
Carnival Tuesday: all museums are closed to the public
Good Friday: all museums are open to the public
Easter Sunday: all museums are open to the public
Bright Monday: all museums are open to the public
Labor Day (May 1): all museums are closed to the public
Ascension of the Lord: all museums are open to the public
Trinity: all museums are open to the public
Holy Spirit Day: all museums are open to the public
Feast of the Body and Blood of Christ: all museums except the Shaka Gallery are open to the public
Assumption of the Virgin Mary (August 15): New Pinakothek is open, all other museums are closed to the public
German Unity Day (October 3): all museums are open to the public
Feast of All Saints (November 1): all museums except the Neue Pinakothek and the Shaka Gallery are open to the public
Christmas Eve (December 24): all museums are closed to the public
1st Day of Christmas (December 25): all museums are closed to the public
2nd Day of the Nativity of Christ (December 26): all museums are open to the public
December 31: all museums are closed to the public

Current information: closure of the Neue Pinakothek

Dear visitors!

December 31, 2018 The Neue Pinakothek gallery will be closed to the public due to construction work and preparations for comprehensive reconstruction measures. An exhibition of selected masterpieces of 19th-century art will be open from summer 2019 on the ground floor of the Alte Pinakothek (East Wing) and in the Shaka Gallery.

Please note these changes when planning a visit to the Art Area and the Pinakothek. From October this year, detailed information about the exhibition will be available on our website.

TICKET PRICES

Old Pinakothek
Reduced prices for entrance tickets during the modernization of the lighting system in 2014-2018.
Permanent exhibition
4 euros | preferential price 2 euros
On Sundays – 1 euro

Pinakothek of Modernity

On Sundays – 1 euro

Brandhorst Museum
Exhibition “Painting 2.0: fine art in the era of information technology” until April 30, 2016.
10 euro | preferential price 7 euros

Please note: the Brandhorst Museum does not offer reduced prices for entrance tickets on Sundays until April 30, 2016; In addition, during this period the Brandhorst Museum is not covered by the single admission ticket or the five-entry ticket.

Shaka Gallery
4 euros | preferential price 3 euros
On Sundays – 1 euro
Separate admission prices for special exhibitions.

Single entrance ticket – 12 euros (Pinakothek, Brandhorst Museum, Schack Gallery)
Entrance ticket for five visits – 29 euros (Pinakothek, Brandhorst Museum, Schack Gallery)
Does not provide entry to special exhibitions.

The following categories of citizens have the right to visit museums free of charge: children and persons under 18 years of age; students of the faculties of art, art history, art history, as well as theory and methods of teaching art; school classes, preschool children, after-school groups and youth groups from EU member states (accompanied by teachers or educators).

Admission is free or at a reduced price

Additional information is here (PDF).

DIRECTIONS

Pinakothek and Brandhorst Museum:

Tram
No. 27: stop Pinakotheken

Metro
U2: Königsplatz or Theresienstraße station
U3 | U6: Odeonsplatz or Universität station
U4 | U5: Odeonsplatz station

Bus
No. 154: Schellingstraße stop, No. 100 (museum route): Pinakotheken stop, No. 100 (museum route): Maxvorstadt/Sammlung Brandhorst stop

Excursion bus
In front of the Neue Pinakothek there are two parking lots for sightseeing buses. Between 10.00 and 20.00, parking time (with parking disc) is limited to two hours.

GalleryShaka:

Bus
No. 100 (museum route): stop Reitmorstraße / Schack Galerie

Tram
No. 17: Nationalmuseum stop
We recommend using public transport, as there is no parking in the immediate vicinity of the museums.

OLD PINACOTHECA

The Alte Pinakothek introduces the main milestones of European painting: 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 includes more than 700 paintings; it is a real treasury of German, Flemish, Dutch, French, Italian and Spanish painting. The museum building, the work of architect Leo von Klenze, was built in 1836 in classical style and has become a standard European museum, offering a worthy setting for the paintings that make up the golden fund of Western art.

Albrecht Durer (1471-1528)
“Self-portrait in clothes trimmed with fur” (1500)
Tree (linden – Tilia sp.), 67.1 x 48.9 cm
The portrait was acquired in 1805 by the Central Directorate of the Art Gallery
Inv. No. 537

OUR MASTERPIECES OLD PINACOTHECA

This painting by the 28-year-old artist is perhaps the most unusual creation in the history of portrait art. The full-face turn and the high degree of perfection of the image are reminiscent of images of Christ, however, both aspects should be considered in the context of Dürer's studies of human proportions begun at this time. The emphasis is on the expressive look and hand of the human creator, the artist’s tool with which the portrait is painted, which allows us to see in this work the artist’s programmatic work. This idea is emphasized by the inscription in Latin, which allows for different interpretations: “This is how I, Albrecht Dürer from Nuremberg, created myself with characteristic colors at the age of 28.”

NEW PINACOTHECA

“From Goya to Picasso” is the motto of the Neue Pinakothek, founded by King Ludwig I in the mid-19th century. The first museum in Europe open to the general public, it was also the first museum of modern art - in the words of the Bavarian monarch, “a collection of paintings of the present and future centuries.” Iconic works of classicism, romanticism, art nouveau and impressionism, the Nazarenes and the German Romans are presented here along with famous paintings of the Art Nouveau era. During the Second World War, the Neue Pinakothek building was destroyed; the new building (designed by architect Alexander von Branchi) opened its doors in 1981.

Vincent Van Gogh (1853-1890)
"Sunflowers" (1888)
Canvas, oil. 92.0 x 73.0 cm
The painting was acquired in 1912
from an anonymous donor as part of the "Hugo von Tschudi donation"
Inv. No. 8672

OUR MASTERPIECES NEW PINACOTHECA

Vincent van Gogh created this painting in its radiant colors and life-affirming beauty in August 1888: it was supposed to decorate the artist’s studio in Arles, where he intended to work with Paul Gauguin. Extremely simply, even flatly, the artist depicted flowers, a vase, the surface on which it stands, and the background. The icy turquoise of the background greatly enhances the expression of yellow and yellow-brown tones, and the flowers make you feel not only the heat of summer Provence, but also the intensity of feelings in Van Gogh’s life itself. According to the artist’s plan, the sunflower represents the sun, which the master understands as a symbol of life and depicts it this way in a number of his works.

The simple form and rich colors are explained by the influence of Japanese engraving, but at the same time there is also a connection with the so-called cloisonism adopted by Gauguin and his followers. Van Gogh perceived the south of France in a broad sense as “Japan”, where one could find happiness, and “Sunflowers” ​​confirms this great idea of ​​the artist.

The painting, kept in Munich, is not the only, but extremely important version of “Sunflowers” ​​by Van Gogh. The artist always considered this painting a worthy match for the version stored in the London National Gallery. Subsequently, he intended to use both still lifes to create a triptych, festively framing the canvas “Lullaby” with them.

PINACOTHECA OF MODERNITY

Under its roof there are four significant, independent museums - the Collection of Contemporary Art (part of the Bavarian State Collections of Paintings), the New Collection (Museum of Applied Arts), the Architectural Museum of the Technical University of Munich, as well as the State Graphic Collection of Munich. Thus, the Pinakothek Moderna is one of the world's largest museums of art, architecture and design of the 20th and 21st centuries. The interdisciplinary focus of the Pinakothek of Modernity allows us to preserve the individual identity of each of the museums and at the same time present them as interconnected parts of a wider cultural context. A spacious building of interesting architecture, with a glass rotunda in the center, helps to open up to visitors the idea of ​​the interpenetration of arts and offers a new, unexpected way of looking at things.

Max Beckmann (1884-1950)
"Self-Portrait in Black" (1944)
Canvas, oil. 95 x 60 cm
Inv. No. 10974
© Society for the Protection of Copyright in the Arts (VG Bild-Kunst), Bonn, 2016

OUR MASTERPIECES PINACOTHECA OF MODERNITY

In 1937, Max Beckmann emigrated to Amsterdam, where, overcoming great difficulties, he worked during the German occupation. It was here, at the turn of 1943-44, that this self-portrait was created, in which the artist appears powerful and unbroken, but with a face that looks like a frozen, fuzzy mask. The black formal suit here is just an attribute that no longer corresponds to the real state of affairs, but emphasizes a certain detachment of the artist from the surrounding reality, his inaccessibility and at the same time formally closes the composition in the direction of the viewer. This impression is further strengthened by the hand bent at an angle, with which the artist seems to be fencing himself off from the world, as well as the back of the chair. Among the artist’s numerous self-portraits, this one perhaps leaves the most difficult feeling, since undisguised aggressiveness alienates the artist not only from the hostile world, but also from himself. No disguise could have alienated Beckman from himself more than this seemingly ordinary appearance. The tragic numbness will be released by the artist only after emigrating to America, where he will gain external freedom.

BRANDHORST MUSEUM

The Brandhorst Museum, part of the Bavarian State Collections of Paintings, was opened in 2009 next to the Pinakothek and harmoniously complements the Munich Art Area with an impressive collection of works of classical modern and contemporary art. The new museum features spectacular architecture and offers visitors two significant collections of works by Andy Warhol and Cy Twombly, as well as paintings by Sigmar Polke, Gerhard Richter, Mike Kelly, Bruce Nauman, Damien Hirst and others.

Interior of the Brandhorst Museum
with Cy Twombly's Lepanto cycle

OUR MASTERPIECES BRANDHORST MUSEUM

The paintings of the American artist Cy Twombly, who was born in 1928 in Lexington, Virginia and died in 2011 in Rome, have become iconic for the Brandhorst Gallery. After studying art at a number of institutions of higher education, Cy Twombly briefly attended Black Mountain College and then traveled with Robert Rauschenberg to Europe and North Africa. It was during this period that Twombly turned to the theme of the Mediterranean, which became one of the main sources of his inspiration.

Twombly has no equal in his subtle and lyrical combination of drawing and text. Along with Robert Rauschenberg and Jasper Johns, he is the most important representative of his generation, which replaced Abstract Expressionism. Like Rauschenberg and Jones, Twombly managed not only to mark a new significant era in American art, but also to develop a completely unique language of visual images, powerful in its expression.

The monumental cycle “Lepanto” (2001), consisting of twelve parts, was included in the permanent exhibition, deployed in the central hall, which was decorated in accordance with the wishes of the artist. More than 170 exhibits presented in the Brandhorst Gallery - including paintings, sculptures and drawings from different periods - introduce the creative development of this original artist; This collection is considered the most significant collection of Twombly's works outside the United States, comparable only to the Sy Gallery

OUR MASTERPIECES GALLERY SHAKA

"Triton and Nereid" is the last painting by Böcklin acquired for the Schack collection. The artist once again drew the theme for the painting from ancient mythology: he depicts sea creatures in a psychologically tense situation, which encourages the viewer to think about the relationships between the individual characters represented on the canvas. Triton, the son of Poseidon and Amphitrite, combines in his appearance the features of a man and a fish: he has the figure of a man with a fish tail. According to Böcklin, Triton appears as a bearded, wild creature: turning his hairy back to the viewer, he blows a large shell. Nereid, one of the daughters of the sea elder Nereus, is depicted as a young woman with long brown hair and dark eyes, who is stretched out on a rock in an ambiguous pose. She is naked, and only a thin reddish cloth covers her legs. As if succumbing to a sudden impulse, she turned to a huge sea snake that had emerged in front of her from the depths of the sea.