IMPRESSIONISM

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IMPRESSIONISM. FRANCO-GERMAN ENCOUNTERS| 29 Oct 2021 - 31 Dec 2023 |
Special Exhibition | Exhibition Catalogue | german edition

With around 80 exhibits - paintings, sculptures and pastels - the exhibition takes a closer look at the important holdings of Impressionist works in the Hamburger Kunsthalle to show them in a wider global context. Against the backdrop of resurgent nationalisms, the question also arises as to whether it still makes sense today to divide Impressionism into national categories - and, if so, what this means for our thinking and feelings.

The style of Impressionism is usually synonymous with France: with artists such as Édouard Manet, Claude Monet or Auguste Renoir, with lovely, bright and colourful works that often show outdoor scenes, or with a serial examination of haystacks, church façades and lily ponds in the interplay of different light moods at different times of the day or year. That the connection between 'Impressionism and France' is not valid in this exclusivity is shown even by a cursory glance at other countries in which Impressionism developed with a time lag, but quite independently. In Germany, the well-known "triumvirate" of Lovis Corinth, Max Liebermann and Max Slevogt, who were so named even during their lifetime, are counted among the Impressionists. Even contemporary art historians regarded the movement at least as a European phenomenon.

While Impressionism lost importance in its native France at the latest with the beginning of the First World War, in Germany Impressionist currents continued well into the 1920s, especially within the framework of academies. At the same time, leading museum directors such as Fritz Wichert (Kunsthalle Mannheim), Hugo von Tschudi (Nationalgalerie Berlin and Neue Pinakothek Munich), Gustav Pauli (Kunsthalle Bremen and Hamburger Kunsthalle) and Alfred Lichtwark (Hamburger Kunsthalle) championed this painting, which thus found its way into public collections.

The new presentation of Impressionist works illuminates both the differences between the German and French representatives and their similarities. It is also important to ask what themes the painters on both sides of the Rhine were concerned with, where their main impulses came from, and what interactions can be traced visually and historically. The chapters "Portrait", "Landscape", "Staged Figure", "City and Leisure" and "Still Life" serve as thematic groups within the show.

The "German-French Encounters" are conceived as an integral part of the collection tour at the Hamburger Kunsthalle. Thanks to a new attractive design, the five central halls on the upper floor of the Lichtwark Gallery are at the same time connected to form their own thematic area, thus inviting visitors to linger and look around.


Edited by Markus Bertsch, Karin Schick, Hamburger Kunsthalle |
Contributions by Markus Bertsch, Karin Schick, Andreas Stolzenburg, Jasper Warzecha |
200 pages with 102 colour illustrations | 28.5 cm x 22.0 cm | Hardcover