It’s Wednesday and we are bright and early for the Impressionist – Expressionist exhibition. This is exceptionally well curated, the whole exhibition is divided into themes, such as City Life, Out Doors, Relationships, Self Portraits, Behind Closed Doors and others. Within each division, the impressionist and expressionist paintings with the same or similar subject are often hung side by side, or juxtaposed, as these two paintings of Potzdammer Platz are, in opposite corners. The Herrmann is from 1894 and Kirchner between 1905 to 1910.
Potzdammer Platz Hans Herrmann
And this one
Potsdammer Platz Ernst Kirchner
I used to take heaps of photos of paintings, whenever it was allowed, but I usually don’t these days, because the results are generally less than ideal. However, I did take quite a few here though because of the unique, (to me anyway) display. Here is another example.
Im Boheme-Cafe 1909 Leo von Konig
Weinstube, 1913 (wine bar) Karl Schmidt-Rottluff
What is evident is that there is a continuum rather than a disjunction between Impression and Expressionism, such that it is sometimes difficult to assign a particular painting to any category.
After a quick lunch we move on to the Museum for Contemporary Art. There is a special exhibition focusing on the Black Mountain College in North Carolina, associated with many famous German émigrés from 1933. In particular, former Bauhaus members Walter Gropius and Josef and Anni Albers. The school was associated with many famous American artists as John Cage, Franz Kline, Charles Olson, Jack Ttworkov, Robert Rauschenberg and Cy Twombly are some whose works are displayed.
The permanent exhibits are mainly installations and conceptual art. Robert Rauschenberg, Willem de Kooning and Josef Bueys. The latter has a large installation of wedge shaped objects, which appear to be made of some kind of plastic, but I actually tallow, mutton and beef fat melted down and poured into a mould consisting of a neglected triangular corner of a building “designed only to collect dirt.” The end of the mould, a wooden barrier had to be reinforced as the molten fat threatened to escape. It took six months to solidify.
one of the best installations is actually outside in front of the Museum and is called The Right to be Lazy by John Knight, it is a formal garden, with box hedges, which has been left to run wild with all kinds of self sown plants. The title refers to the book of the same name by Paul Lafargue, Karl Marx’s son in law, who criticised both bourgeois and socialist work ethics.
I don’t have a pictur handy, but I do have some I’ll post next time.