Masterpieces New Pinakothek review of paintings. Panorama of the New Pinakothek

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

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

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

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

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

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

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

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

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

Paintings in the Neues Pinakothek Munich

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

International art of the second half of the 18th century

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

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

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

German representatives of classicism and romanticism

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

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

French realism and romanticism

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

Historical and genre painting

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

German impressionists

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

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

French impressionists

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

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

Symbolism and Art Nouveau

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

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

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

Sculptural collection

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

Operating mode

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

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

Special operating hours of the museum:

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

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

Ticket price

The Neue Pinakothek has several ticket options.

Basic ticket to the Neue Pinakothek:

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

Combined tickets:

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

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

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

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

How to get to the Neue Pinakothek

By public transport

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

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

By car

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

Parking in the area of ​​the New Pinakothek

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

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

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

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

By taxi

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

Video about the New Pinakothek

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 €.

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

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The amazing art gallery, called the New Pinakothek, was conceived in 1846 as a logical continuation of the Alte Pinakothek. Representing at the beginning the art of the late 18th century. The New Pinakothek gradually embraced both painting and sculpture of the 19th and 20th centuries.

By the way, the Old Pinakothek (and the strange word “pinakothek” itself means in Greek “a repository of boards and paintings”) is also located nearby, right opposite, and it houses works by masters from the Middle Ages to the mid-18th century. There is also a third Pinakothek - Modernity, which contains works of art of the modern world - the 20th and 21st centuries.

The gallery was founded in 1853 by order of the Bavarian king Ludwig I, who wished to create a collection of art, at that time modern, that could be before the public eye. However, the king was a patriot, and painting at that time was only of the Munich school. As a result, all works were placed in the Old and New Pinakothek. Thus, the Novaya subsequently acquired the status of the world's first Pinakothek containing collections of contemporary art.

The Neue Pinakothek houses the world's largest art collection from the 18th to 20th centuries.

Only at the beginning of the last century, the exhibition of the New Pinakothek included works by the French impressionists Cezanne, Gauguin, Manet and other famous masters. The Neue Pinakothek houses more than 3,000 paintings and 300 sculptures. This is the world's largest art collection of the 18th-20th centuries. Now the New Pinakothek is being replenished with new collections, and thanks to donations and help from art connoisseurs, it is one of the most extensive exhibitions of the 18th and 19th centuries.

In 22 halls and 10 offices, located in the post-modern building of the Pinakothek, rebuilt only in 1981 (the old building was destroyed during the war), paintings by Manet, Cezanne, Van Gogh, Renoir, Monet and Toulouse-Lautrec are presented. In the second half of the 20th century. The collection was replenished with works by Delacroix, Degas, and Sisley. Now in the halls of the museum you can see paintings by Jacques Louis David, Thomas Gainsborough, Francisco Goya, Camille Corot, Gustav Klimt, Auguste Rodin and many other famous artists.

To look at all these masterpieces costs 7 EUR for adults and 5 EUR for students and pensioners, children under 18 years old are free; on Sundays the entrance fee is 1 EUR. The museum welcomes guests every day, except Tuesdays, from 10:00 to 18:00, and on Wednesdays – from 10:00 to 20:00

How to get there

The New Pinakothek is located next to the Old Pinakothek at Barerstrasse 29. Day off - Tuesday, entrance fee, travel by tram 27, bus number 53 and metro 2, 8 to the stop. Theresienstrasse.

Prices on the page are as of November 2018.

King Ludwig I of Bavaria (1786 - 1868, reigned from 1825 to 1848) in his activities paid great attention to the development of culture, art, architecture and urban planning. During the period when he was at the helm of the state - from about 1815 (Ludwig was crown prince and was directly involved in the government) until the 1850s - in the capital of the kingdom of Munich, a radical restructuring of the center was carried out, the Residence was expanded, the Glyptotek was built, ensemble of Königplatz square, the building of the Old Pinakothek was erected.

In the same row is the creation of the New Pinakothek, the construction of which began on October 12, 1846. Opened on October 25, 1853, the Gallery was intended to exhibit works of contemporary European art at that time. It was the first public museum in Europe dedicated exclusively to contemporary art. The New Pinakothek became part of the Bavarian State Collection of Paintings (Bayerische Staatsgemäldesammlungen), a structure of which it remains to this day.

The huge, rectangular building (107x29x27 meters), architecturally designed as a basilica with a central nave rising above two side naves, was almost without windows. During the Second World War, the building suffered such enormous damage that it was decided to demolish it and build a new one. It was founded in July 1975 according to the design of Alexander von Branca. On March 28, 1981, the Neue Pinakothek was opened in a modern, beautifully designed and well-functioning building. It clearly shows the close connection and continuity of the old tradition and modern principles of architecture and exhibition.

Today, the Gallery houses works of painting and sculpture by masters who worked from the end of the 18th century to the beginning of the 20th century, about five thousand pieces in total. The regularly updated exhibition includes more than 550 works of art. A visitor to the Neue Pinakothek can here get a complete understanding of the history of the development of art of this period, the differences between art schools, individual masters, and see the features of works that are significant from a historical or political point of view, or works that are typical and popular for their time.

Just like in the Alte Pinakothek, the exhibition of the New Pinakothek is divided into schools, periods, and countries.

Halls European art of the end XVIII, early XIX centuries are filled with a large number of works by English painters. These are mainly traditional portraits, landscapes, compositions with “gallant scenes” and open-air festivities. An important factor in the development of landscape painting is the innovation of landscape art - the English landscape park. The section presents major English masters: William Hogarth, George Stubbs, Sir Joshua Reynolds - the first president of the Royal Academy of Arts, Thomas Gainsborough, George Romney, Richard Wilson, Henry Raeburn, Thomas Lawrence, John Constable, Joseph William Mallord Turner.

French painting of this period is represented by the works of Jacques Louis David, Henry Fueger, Anton Raphael Mengs.

The most important and diverse artist at the time was the Spaniard Francisco José Goya y Lucientes. In the halls of the New Pinakothek, his religious and genre scenes from Spanish life, portraits and even still life, which is not typical for him, are exhibited.

- German classicism and romanticism. This large section of the exhibition is divided into a number of subsections:

• Early Romanticism. Shown here are works of German painting created at the beginning of the 19th century in the main art centers of Germany - Dresden, Berlin, Munich. This is the Dresden school: Caspar David Friedrich, Georg Friedrich Kersting - a master of depicting the burgher environment, Johan Christian Clausen Dahl, Carl Gustav Carus. Their art is characterized by romantic-religious tendencies and a patriotic orientation. Friedrich's landscapes are endowed with deep meaning, striking with the subtlety of observation and deep spirituality, which separates his painting from the more factual interpretation of nature by Karl Blechen, a Berlin artist. The Munich School is represented by Johan Georg von Dillis, Wilhelm von Kobell, Leo von Klenze, and Karl Rothman.
• Art at the Court of Ludwig I. The halls of this subsection display works by Ludwig I's favorite artists, as well as paintings depicting events in which the king took part directly or indirectly. Such a painting is, for example, a group portrait of German painters working in Rome, painted by Franz Ludwig Catel. Large paintings by Peter von Hess depict scenes from the life of Otto, son of Ludwig, who was for some time King of Greece. The classical portraits of Goethe and Schelling by Joseph Karl Stieler, which were specially commissioned by Ludwig I, are beautiful. Thanks to the indefatigable energy of the king, Munich became the leading art center in Europe. Judging by the subsection's exhibition, Ludwig I's tastes as a collector and philanthropist were very broad.

• "Roman Germans". This was the name of German artists who studied Italian art and worked in Italy: Jacob Philipp Hackert, Joseph Anton Koch, Adrian Ludwig Richter, Ernst Friz.
• Nazarenes. This nickname was given to young artists, students of the Vienna Academy of Arts, who in 1809 settled in Rome in an empty monastery for their monastic robes: Friedrich Overbeck, Franz Pforr, Ludwig Vogel, Konrad Hottinger, Friedrich Wilhelm von Schadow, Heinrich Maria Hess. They formed the "Brotherhood of St. Luke" copying medieval traditions. Their goal was to combat dry academicism, to try to return to painting the lost simplicity of Italian artists, and to preserve Christian ideals in painting. The simplicity of their compositions and religious and patriotic themes attracted the attention of their contemporaries.

• Karl Rothman. A series of 23 Greek landscapes by this artist, painted on plaster, were intended for the arcades of the Munich Hofgarten. In 2003, 14 paintings from this cycle were exhibited in a separate hall of the Neue Pinakothek with the support of the Ernst von Siemens Foundation. During the period of classicism, special importance was attached to Greece; its poetry and art were perceived as role models. This coincided with the beginning of the Greek War of Independence, which ended in victory. During the same period, Ludwig I began architectural transformations in Munich, creating "Athens on the Isar". His son Otto became the first king of independent Greece. Greek antiquity had a huge influence on the royal architect Leo von Klenze, who oversaw the decoration of the Hofgarten arcades. And it is quite natural that Karl Rothman, who wrote the Italian cycle for arcades, received an order for a cycle of Greek landscapes. Especially to fulfill the order, the artist traveled around Greece in 1834 - 1835 and made preliminary sketches, then watercolor sketches, which served as samples for wall painting. The frescoes were painted between 1838 and 1850 using encaustic paints on plaster panels attached to the walls. These are monumental landscapes, the solemnity of which is emphasized by the vast rocky space, and the pathos is created by different lighting at different times of the day and in different weather. Added to this is the viewer’s knowledge about the depicted heroic places, obtained from studying history or reading the myths of Ancient Greece: Sparta, Aegina, Thebes, Corinth, Mount Parnassus, Marathon.

Biedermeier. The poems of Gottfried Biedermeier regularly appeared in the humorous magazine Münchner Fliegende Blätter between 1855 and 1857. But the authors of these poems were actually Munich writers Adolf Kussmaul and Ludwig Eichrod. Kusmaul also came up with a character, a sort of “Munich Kozma Prutkov,” an obedient and simple-minded poet, a typical German burgher of the period from the Congress of Vienna in 1815 to the March Revolution of 1848. He became the personification of the style of this period in the art, literature and way of life of German-speaking countries - the quintessence of burgherism with an admixture of sentimentality, a spirit of simplicity and modesty, nothing heroic or political. In painting, the high ideals of romanticism and classicism were replaced by simplicity, a simplified depiction of the world, sentimentality, and moralization.

This style was represented by artists Ferdinand Georg Waldmüller, Moritz von Schwind, Karl Spitzweg, Friedrich von Amerling, Domenico Quaglio.

- Late Romanticism and Realism of France. All works in this section were written in the early and mid-19th century. In many of them the beginnings of impressionism are revealed. The authors of complex historical compositions are Theodore Gericault and Eugene Delacroix; representatives of the Barbizon school Jean Baptiste Camille Corot, Gustave Courbet and Narcisse Diaz de la Peja; Jean-Francois Millet, glorifying peasant life; Honoré Daumier, demonstrating a critical attitude towards society. The portrait bust “The Man with a Broken Nose” by Auguste Rodin is also on display here.

- Late Romanticism and Realism in Germany. The section presents three main schools of German painting: Berlin, Düsseldorf and Munich. Berliner Adolf von Menzel, one of the greatest German artists of the 19th century, was always interested in the human and psychological side of history and scenes of modern life. The work of the Munich artist Carl Spitzweg is marked by quiet irony, bordering on caricature. The works of the masters Johann Wilhelm Schirmer, Andreas Achenbach and Oswald Achenbach are represented in the Düsseldorf school section.

- Historical painting and official art. The section is devoted to “official art,” the art of professors and members of art academies who worked in Germany in the second half of the 19th century. Their “historical” paintings and sculptures decorated palaces, government institutions, churches and museums. There are also pompous portraits, full of borrowings from the art of past centuries, satisfying the main requirements - grandeur and monumentality. It was during this period that a sharp line was drawn between “official” art and unofficial. This section exhibits paintings by Wilhelm von Kaulbach, Friedrich August von Kaulbach, Karl Theodor von Piloty, Franz von Lenbach, Franz von Deffreger, Albert von Keller, Hans Makart, sculpture by Albert Ernest Carrier-Belleuse. Academic artists, who felt themselves to be the heirs of the Renaissance, and clients, the elite of the state and church, who felt themselves to be the successors of the patrons of the Renaissance, viewed historical painting not as large-scale decoration, but as a statement of national ideology.

- German artists in Rome. The paintings of German artists of the second half of the 19th century, who were attracted to Italy, are presented: Hans von Mare, Arnold Böcklin, Ansel Feuerbach, Hans Thoma. They looked to antiquity for inspiration.

- Wilhelm Leibl and his circle. In the sixties of the 19th century, Label was the leader of a group of artists studying at the Munich Academy: Johannes Sperl, Theodor Alt, Rudolf Hirt du Fresnay, Fritz Schieder. They were then joined by Wilhelm Trübner and Karl Schuch. They followed the principle of “fidelity to nature” and wrote home scenes and still lifes, compositions. They were strongly influenced by the art of Dutch landscape and genre artists of the 17th century. This painting was considered by them as “modern”; it corresponded to their ideals.

- French impressionism. Working in the open air with a quick change of impressions turned out to be the main goal of French artists, very different in their work, but united by the concept of “impressionism” (impression). They came up with the idea of ​​conveying colors and shades with color contrasts, lightening the palette, and working with clean, shining colors. A quick, free stroke could not create the illusion of an unshakable form. Luminous landscapes, portraits and genre scenes reflect the joyful atmosphere of nature and life. In the halls of the New Pinakothek, works of almost all famous representatives of this style of painting, who worked in the seventies, eighties, and nineties of the 19th century, are exhibited, and in different periods of their work. On the plaques under the paintings, the visitor will read well-known names: Edouard Manet, Auguste Renoir, Claude Monet, Camille Pizarro, Alfred Sisley, Edgar Degas, Paul Cezanne, Henri de Toulouse-Lautrec, Vincent van Gogh, Paul Gauguin. This section also presents a number of sculptures by Auguste Rodin.

Almost all the paintings in this section were given to the Neue Pinakothek between 1911 and 1913 by Munich residents and artists as a gift made in memory of Hugo von Tschudi (1851 - 1911), who was director of the Bavarian State Art Museum from 1909 to 1911. meetings.

Realism XIX centuries and plein air painting. The section presents paintings by German artists of the second half of the 19th century with a realistic orientation: Max Liebermann, Fritz von Uhde, Max Slevogt. They chose peasants, urban bourgeois and workers as their models. Here you can also see the works of a group of Dutch painters of the Hague school, which formed in the early 1870s and also embodied the realistic line in painting. They created lyrically restrained landscapes, characterized by the spontaneity of perception of nature: Johannes Bosbohm, Willem Roelofs, Joseph Israels, Jan Hendrik Weissenbruch, Paul Joseph Gabriel, Anton Mauwe, Hendrik Willem Mesdag. They had a strong influence on the early Van Gogh.

- German impressionism. The term "impressionism" was used to define luminous paintings where the pictorial surface is more important than the traditional composition with three-dimensional space. German artists rarely achieved the luminosity of the French, using mainly midtones. They gravitated more towards the plot, adhered to mythological and literary themes. Here we will see the same names as in the previous section: Max Liebermann, Max Slevogt, Lovis Corinth - the three main figures of German impressionism.

- European art at the turn of the century XIX – XX centuries. Paintings illustrating the diversity of artistic movements that existed during a period characterized by rapid renewal of art are exhibited here. The works of the Frenchmen Claude Monet and Paul Signac show the last phase of impressionism and post-impressionism. Nearby are paintings by the Nabi group - Maurice Denis, Pierre Bonnard, Edouard Vuillard. Odilon Redon turns to symbolism. The new style that emerged during this period was based on general forms and ideas, but it was called differently in different countries: in Germany - Art Nouveau, in France and England - Art Nouveau, in Russia - Art Nouveau. Artists strove for a combination of monochrome planes of color and sharp contour lines, and some (like Gustav Klimt of Vienna) transformed shapes into sparkling jewel structures. The Frenchman Vuillard and the Norwegian Edvard Munch created expressive visions permeated with anxiety and fear.

Two sculptures exhibited in the section attract attention: a portrait of Elena Nostitz by the late Auguste Rodin and the head of a jester by Pablo Picasso. An interesting sculpture by Max Klinger, made from different types of marble.

How to get to the Neue Pinakothek Munich

The New Pinakothek is located directly opposite the Alte Pinakothek, on the other side of Theresienstraße, in the center of the Museum Quarter. You can get here by U-bahn line U2 (stations Theresienstraße, Königsplatz) or lines U3/U6 (stations Universität and Odeonsplatz). Then from any metro station you can walk 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.

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

Story

The gallery was founded in the city by the Bavarian king Ludwig I, who wanted to make his private collection of modern art available to the public by placing it in the Alte and New Pinakotheks. The Neue Pinakothek is thus the first “contemporary art collection” in the world. The boundary between old and new art established at the turn of the century became the defining one for German art galleries.

In accordance with the artistic preferences of Ludwig I, the majority of the exhibition was initially made up of works from the Munich school of painting and the German Romantics. Particular attention was paid to southern German artists and art schools. However, while building the museum, Ludwig also satisfied his dynastic ambitions by exhibiting in the main hall of the Neue Pinakothek heroic landscapes of Greece by Karl Rothmann, where Ludwig’s son Otto I of Greece reigned. After Ludwig's death, the collection grew with new famous paintings, but the situation with the selection of exhibits changed very slowly in Munich.

The situation changed only in the city, when the so-called “Tschudi donations” followed, named after the general director of the Munich State Collection of Paintings, Hugo von Tschudi (German. Hugo von Tschudi), who paid great attention to contemporary French artists who were not respected at that time. Thanks to him, the Neue Pinakothek acquired an impressive collection of impressionists. However, in "Self-Portrait" Van Gogh was classified as degenerate art, confiscated and sold a year later.

The collection of the Neue Pinakothek is currently being replenished thanks to voluntary donations and acquisitions and is one of the largest exhibitions of art of the late 18th-19th centuries.

Building

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

Collections of the Neue Pinakothek

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

Art of the second half of the 18th century

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

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

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

German Romans: Classicists and Nazarenes

German romantics

Biedermeier

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

French realists and romantics

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

German realism

German impressionists

French impressionists

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

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

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

Sculpture in the Neue Pinakothek

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

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Excerpt characterizing the New Pinakothek

For a long time that night, Princess Marya sat at the open window in her room, listening to the sounds of men talking coming from the village, but she did not think about them. She felt that no matter how much she thought about them, she could not understand them. She kept thinking about one thing - about her grief, which now, after the break caused by worries about the present, had already become past for her. She could now remember, she could cry and she could pray. As the sun set, the wind died down. The night was quiet and fresh. At twelve o'clock the voices began to fade, the rooster crowed, the full moon began to emerge from behind the linden trees, a fresh, white mist of dew rose, and silence reigned over the village and over the house.
One after another, pictures of the close past appeared to her - illness and her father’s last minutes. And with sad joy she now dwelled on these images, driving away from herself with horror only one last image of his death, which - she felt - she was unable to contemplate even in her imagination at this quiet and mysterious hour of the night. And these pictures appeared to her with such clarity and with such detail that they seemed to her now like reality, now the past, now the future.
Then she vividly imagined that moment when he had a stroke and was dragged out of the garden in the Bald Mountains by the arms and he muttered something with an impotent tongue, twitched his gray eyebrows and looked at her restlessly and timidly.
“Even then he wanted to tell me what he told me on the day of his death,” she thought. “He always meant what he told me.” And so she remembered in all its details that night in Bald Mountains on the eve of the blow that happened to him, when Princess Marya, sensing trouble, remained with him against his will. She did not sleep and at night she tiptoed downstairs and, going up to the door to the flower shop where her father spent the night that night, listened to his voice. He said something to Tikhon in an exhausted, tired voice. He obviously wanted to talk. “And why didn’t he call me? Why didn’t he allow me to be here in Tikhon’s place? - Princess Marya thought then and now. “He will never tell anyone now everything that was in his soul.” This moment will never return for him and for me, when he would say everything he wanted to say, and I, and not Tikhon, would listen and understand him. Why didn’t I enter the room then? - she thought. “Maybe he would have told me then what he said on the day of his death.” Even then, in a conversation with Tikhon, he asked about me twice. He wanted to see me, but I stood here, outside the door. He was sad, it was hard to talk with Tikhon, who did not understand him. I remember how he spoke to him about Lisa, as if she were alive - he forgot that she died, and Tikhon reminded him that she was no longer there, and he shouted: “Fool.” It was hard for him. I heard from behind the door how he lay down on the bed, groaning, and shouted loudly: “My God! Why didn’t I get up then?” What would he do to me? What would I have to lose? And maybe then he would have been consoled, he would have said this word to me.” And Princess Marya said out loud the kind word that he said to her on the day of his death. “Darling! - Princess Marya repeated this word and began to sob with tears that relieved her soul. She now saw his face in front of her. And not the face that she had known since she could remember, and which she had always seen from afar; and that face is timid and weak, which on the last day, bending down to his mouth to hear what he said, she examined up close for the first time with all its wrinkles and details.
“Darling,” she repeated.
“What was he thinking when he said that word? What is he thinking now? - suddenly a question came to her, and in response to this she saw him in front of her with the same expression on his face that he had in the coffin on his face tied with a white scarf. And the horror that gripped her when she touched him and became convinced that it was not only not him, but something mysterious and repulsive, gripped her now. She wanted to think about other things, wanted to pray, but could do nothing. She looked with large open eyes at the moonlight and shadows, every second she expected to see his dead face and felt that the silence that stood over the house and in the house shackled her.
- Dunyasha! – she whispered. - Dunyasha! – she screamed in a wild voice and, breaking out of the silence, ran to the girls’ room, towards the nanny and girls running towards her.

On August 17, Rostov and Ilyin, accompanied by Lavrushka, who had just returned from captivity, and the leading hussar, from their Yankovo ​​camp, fifteen versts from Bogucharovo, went horseback riding - to try a new horse bought by Ilyin and to find out if there was any hay in the villages.
Bogucharovo had been located for the last three days between two enemy armies, so that the Russian rearguard could have entered there just as easily as the French vanguard, and therefore Rostov, as a caring squadron commander, wanted to take advantage of the provisions that remained in Bogucharovo before the French.
Rostov and Ilyin were in the most cheerful mood. On the way to Bogucharovo, to the princely estate with an estate, where they hoped to find large servants and pretty girls, they either asked Lavrushka about Napoleon and laughed at his stories, or drove around, trying Ilyin’s horse.
Rostov neither knew nor thought that this village to which he was traveling was the estate of that same Bolkonsky, who was his sister’s fiancé.
Rostov and Ilyin let the horses out for the last time to drive the horses into the drag in front of Bogucharov, and Rostov, having overtaken Ilyin, was the first to gallop into the street of the village of Bogucharov.
“You took the lead,” said the flushed Ilyin.
“Yes, everything is forward, and forward in the meadow, and here,” answered Rostov, stroking his soaring bottom with his hand.
“And in French, your Excellency,” Lavrushka said from behind, calling his sled nag French, “I would have overtaken, but I just didn’t want to embarrass him.”
They walked up to a barn, near which stood a large crowd of men.
Some men took off their hats, some, without taking off their hats, looked at those who had arrived. Two long old men, with wrinkled faces and sparse beards, came out of the tavern and, smiling, swaying and singing some awkward song, approached the officers.
- Well done! - Rostov said, laughing. - What, do you have any hay?
“And they are the same...” said Ilyin.
“Vesve...oo...oooo...barking bese...bese...” the men sang with happy smiles.
One man came out of the crowd and approached Rostov.
- What kind of people will you be? - he asked.
“The French,” Ilyin answered, laughing. “Here is Napoleon himself,” he said, pointing to Lavrushka.
- So, you will be Russian? – the man asked.
- How much of your strength is there? – asked another small man, approaching them.
“Many, many,” answered Rostov. - Why are you gathered here? - he added. - A holiday, or what?
“The old people have gathered on worldly business,” the man answered, moving away from him.
At this time, along the road from the manor's house, two women and a man in a white hat appeared, walking towards the officers.
- Mine in pink, don’t bother me! - said Ilyin, noticing Dunyasha resolutely moving towards him.
- Ours will be! – Lavrushka said to Ilyin with a wink.
- What, my beauty, do you need? - Ilyin said, smiling.
- The princess ordered to find out what regiment you are and your last names?
- This is Count Rostov, squadron commander, and I am your humble servant.
- B...se...e...du...shka! - the drunk man sang, smiling happily and looking at Ilyin talking to the girl. Following Dunyasha, Alpatych approached Rostov, taking off his hat from afar.
“I dare to bother you, your honor,” he said with respect, but with relative disdain for the youth of this officer and putting his hand in his bosom. “My lady, the daughter of General Chief Prince Nikolai Andreevich Bolkonsky, who died this fifteenth, being in difficulty due to the ignorance of these persons,” he pointed to the men, “asks you to come... would you like,” Alpatych said with a sad smile, “to leave a few, otherwise it’s not so convenient when... - Alpatych pointed to two men who were running around him from behind, like horseflies around a horse.
- A!.. Alpatych... Eh? Yakov Alpatych!.. Important! forgive for Christ's sake. Important! Eh?.. – the men said, smiling joyfully at him. Rostov looked at the drunken old men and smiled.