La #AlteNationalgalerie #StaatlicheMuseenzuBerlin) cherche à raconter l'émancipation artistique des sculpteurs #CamilleClaudel et #BernhardHoetger vis-à-vis de leur mentor #AugusteRodin. Le résultat est une exposition qui ennuie autant qu'elle ne convainc pas. Dommage...
La #JamesSimonGalerie #StaatlicheMuseenzuBerlin expose les exceptionnels bronzes votifs étrusques et romains (IIIe s. av. J.-C.-1er s. ap. J.-C.) mis au jour en 2022 et 2024 dans les eaux thermales sacrées du sanctuaire de #SanCascianoDeiBagni en #Toscane. Une découverte majeure à voir absolument !
This self-portrait by Prussian artist Anna Dorothea Therbusch in black mantilla, with a single round monocle, shows the painter very focused and without the binding smile in some her other self portraits. It was created shortly before her death in November 1782. This is just one of her self portraits, all characterized by an unadorned characterization and intensity that far surpassed other portrait painters of the time. One example is an almost life-size self-portrait with eye glasses and book, not fully executed, located in the Berlin Gemäldegalerie. Another is a smaller version in a painted stone frame that also dates back to the year of the painter's death and is preserved in the Germanic National Museum, Nuremberg. Therbusch was one of the most prominent German painters of the 18th century. Her œuvre of over 250 works consists predominantly of portraits, but also historical paintings. Her skill earned her the position of court painter to the Elector Palatine in Mannheim and memberships in the academies of Stuttgart, Bologna, Paris, and Vienna. Born in Berlin, in 1721, Therbusch was the seventh of nine children. Her mother was Maria Elisabeth Kahlow and her father was Georg Lisiewsky a portrait painter from a Polish family. Therbusch trained in her father’s workshop, although her older sister Barbara Rosina Lisiewska (later known as Barbara Rosina de Gasc) likely contributed to her artistic education. Benefiting from her father’s ties to the Prussian royal family, she had privileged access to royal collections where she studied 17th century Dutch masters and French Rococo painters such as Watteau and Lancret. In 1742, she married Berlin innkeeper Ernst Friedrich Therbusch and gave up painting until around 1760 to help her husband in the restaurant. Not until her spousal obligations were discharged, as a "short-sighted, middle-aged woman" with 3 children by the age of 40, did she return to her art career in 1760 in Stuttgart for the court of Duke Karl Eugen.
Selbstbildnis (Self-portrait) by Anna Dorothea Therbusch (German) - Oil on canvas / c. 1780 - Staatliche Museen zu Berlin (Germany) #womeninart #womanartist #art #femaleartist #AnnaDorotheaTherbusch #Therbusch #StaatlicheMuseenzuBerlin #Nationalgalerie #womensart #ArtText #womenartists #PrussianArt
Lise Tréhot was legendary French painter Auguste Renoir's companion from about 1866 to 1871. He painted her at least 23 times, including "Lise with a parasol" (Lise – La femme à l'ombrelle), painted in 1867, Renoir's first significant critical success which was admired at the Paris Salon in 1868. This success likely inspired Renoir to paint her again, this time in a more informal style that was considered “indecent” by some for its time. This portrait follows in the traditions of Romanticism with the sitter’s loose white blouse slipping from her shoulder — although without erotic coquettishness — with her dark, disheveled hair and the open pose while still avoiding eye contact with us. A "proper lady" in 1868 was expected to be fully visible, impeccably dressed, and, above all, engaged in some "respectable" activity—like holding a parasol. The powerful plasticity of the form shows the influence of Courbet on Renoir. The sunlight flickering through the background foliage, rendered with its broad brushstrokes, does not reach the sitter, who is lit only by the light in the studio. Part of the brilliance of this painting lies in its background. It’s astonishing how Renoir, with just a few brushstrokes, not only creates the setting but also evokes an entire summer. While the young 20-year-old Lise is portrayed with near-photographic precision (her hands and face are remarkably detailed), the background is a vibrant, chaotic symphony of colors that bathes the scene in light. It’s worth remembering that this was painted four years before Impressionism officially emerged, and yet Renoir was already painting outdoors, using loose brushstrokes and modern subjects—like his lover on a sweltering summer afternoon.
En été (In Summer) aka la Bohémienne by Pierre-Auguste Renoir (French) - Oil on canvas / 1868 - Alte Nationalgalerie, Staatliche Museen zu Berlin (Germany) #womeninart #art #Renoir #oilpainting #summer #été #AugusteRenoir #womensart #portraitofawoman #AlteNationalgalerie #StaatlicheMuseenzuBerlin
#OdesaMuseum #BerlinMuseums
#Gemäldegalerie #Museum
#VonOdesanachBerlin
#StaatlichemuseenzuBerlin
www.smb.museum/ausstellunge...
#Americans, #Palestinians... you awake yet?
My partner Chris & I made this for you, to honour #NanGoldin's historic speech at #StaatlicheMuseenzuBerlin
@nangoldin80.bsky.social
#remix #political #artist #art #censorship #arts #palestine #gaza #protestart
www.instagram.com/reel/DGlBK-h...
A museum goer tries to view objects in the new low lighting of the Neues Museum, Berlin
My recent experience at the #Neuesmuseum Berlin - a new low in museum viewing experience. Turn the lights back on please. Mach das Licht bitte wieder an! #StaatlicheMuseenzuBerlin #LichtAn
Byzantine necklace, late 6th-7th century. Gold, emeralds, sapphires, amethysts and pearls. From a Constantinopolitan workshop. In collection of #staatlichemuseenzuberlin
#byzantinejewelry #byzantinejewellery #velvetcastle #museumjewellery #jewellery #necklace
“Abbey among Oak Trees”
Caspar David Friedrich
1809-1810
w171.0 x h110.4 cm
Painting
Oil on canvas
Copyright: Text: © Prestel Verlag / Alte Nationalgalerie, Staatliche Museen zu Berlin,
Photo: © b p k - Photo Agency / Alte Nationalgalerie, Andres Kilger
#staatlichemuseenzuberlin #artoftheday
“Der Blaue Reiter” Wassily Kandinsky 1912 München 29.1 x 21.5 cm Type: Block print Rights: © Kunstbibliothek, Preußischer Kulturbesitz / Photo: Dietmar Katz External Link: Kunstbibliothek, Staatliche Museen zu Berlin Medium: Color on paper #StaatlicheMuseenzuBerlin #artoftheday
@gemaeldegalerie
#gemäldegalerie #staatlichemuseenzuberlin #altemeister #museumsoftheworld #art #berlin #arthistory
Giovanni Cariani: Bildnis eines Astronomen, um 1520; Fotonachweis: Staatliche Museen zu Berlin, Gemäldegalerie /Jörg P. Anders, Public Domain Mark 1.0
#GiovanniCariani
#Cariani
Long white two piece dress, the bodice is a knotted drape centre front and falling over one shoulder. The skirt is long to the floor
The palest column of silk jersey was fashioned in two parts by #MadameGrès in 1973. She was born on this day in 1903 and would become the queen of the drape, a master of knots and pleats and the flow of fabric #staatlichemuseenzuberlin #FashionHistory 🗃️🪡
@staatlichemuseenzuberlin
#staatlichemuseenzuberlin #neuenationalgalerie #potsdamerplatz #berlin #bigcitylife
Ernst Ludwig Kirchner: Potsdamer Platz, 1914 © Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders
#ErnstLudwigKirchner
#Kirchner
Aufgepasst: Ab April ändern sich die Öffnungszeiten bei den #StaatlicheMuseenzuBerlin und dem #MusikinstrumentenMuseum. Erweiterte Öffnungszeiten wird es für besonders populäre Ausstellungen wie die Caspar-David-Friedrich-Schau geben.
Glücklich ins Wochenende: Ausgehend vom Haus Bastian – Zentrum für kulturelle Bildung lassen sich die Sammlungen der #StaatlicheMuseenzuBerlin aus neuen Blickwinkeln erkunden, z.B. Glücksdarstellungen in der Kunst.
