Kunstnik
Sündinud koht: Berlin, Germany
The Formative Years and Early Works
Born in Berlin, Germany, Ernst Wilhelm Nay was the second of six children. After completing his education at the provincial school Pforta in Thuringia, he began a bookshop apprenticeship in Berlin before turning toward painting. His talent was recognized by Karl Hofer at the College of Fine Arts in Berlin, who provided him with a scholarship and inclusion in his painting class. During his studies, he met his future wife, Helene Kirchner, who worked there as a model.
His early artistic output included autodidactically painted landscapes and portraits. During a stay in Rome, he produced surrealist-abstract images, including small-format still lifes featuring shells or worms. His work during the 1930s included the "beach pictures" from Bornholm and the "fisherman's drawings," which utilized pen and ink to translate the activity of fishermen and the movement of boats into free line art.
Evolution of Style and Later Periods
Nay's career was marked by several distinct phases of development. Following his time in France during the war, he created the "Hekatebilder" and later the "Fugal pictures." In Cologne, he developed the "Scheibenbildern," where the circular form of the disc became a dominant motif. This period was characterized by his publication of the manifesto "From the Gestalt value of color."
His later work included several notable series:
Nay died in Cologne, leaving behind a body of work that transitioned from figurative landscapes to complex, non-objective compositions.
Muuseum
Näitustel asuvas koht Frankfurt, Saksamaa
Origins and History of the Städel Museum
The Städel Museum traces its origins to the personal collection of Johann Friedrich Städel, a Frankfurt banker and art patron. Established as a civic foundation in 1815, the institution was formally founded in 1817. Städel’s intent was to preserve his holdings and provide public access to the art he had amassed through his travels and business activities. His bequest included nearly 500 paintings, 4,600 drawings, and 10,000 prints.
The institution’s physical presence has evolved alongside its collection. In 1833, the museum occupied its first exhibition building at Neue Mainzer Straße. The collection eventually moved to its current location on the Sachsenhausen bank of the River Main, a site it has occupied since 1878. This move placed the institution along the Museumsufer, the riverside promenade in Frankfurt, Germany.
The history of the museum is marked by its transition from a private assembly of works to a public institution. The foundation was built upon the specific request in Städel's will to establish an institute dedicated to the dissemination of artistic knowledge. This commitment to permanence has allowed the collection to grow from its initial nucleus into a comprehensive survey of European art spanning seven centuries.
The Building and its Architecture
The architectural narrative of the Städel Museum is defined by a dialogue between its 1878 Neo-Renaissance foundation and modern structural expansions. The original building, conceived by Oskar Sommer, established a classical presence on the Sachsenhausen bank of the River Main. This historic core has been extended through two significant phases: the first by Gustav Peichl in 1990 and the second by the firm Schneider+Schumacher in 2012.
The 2012 expansion, designed by Schneider+Schumacher, follows a deliberate spatial logic. The new wing is placed along the central axis to reinstate the historic spatial arrangement of the site. This extension is largely situated underground, beneath the museum's garden. The structure features a gently domed ceiling supported by slim reinforced columns, with 195 circular skylights that provide natural light to the exhibition spaces below. This subterranean level is dedicated to the 20th-century art collection. The rooftop terrace provides a vantage point over the Frankfurt skyline.
A Collection Spanning Seven Centuries
The collection encompasses seven centuries of European painting, tracing a line from the early fourteenth century to the present day. This breadth allows for a direct comparison of shifting artistic priorities across the eras. The holdings include 3,100 paintings and 660 sculptures. These works are accompanied by a significant photographic archive of more than 4,600 images.
A substantial portion of the institution's depth is found in its graphic arts. The museum maintains more than 100,000 drawings and prints, providing a detailed record of technical evolution and stylistic change. These works offer a granular view of the methods used by artists from the Renaissance through the modern era.
Specific examples within the collection include:
Jan van Eyck, Lucca Madonna, c. 1437
Rembrandt van Rijn, The Blinding of Samson, 1636
Claude Monet, The Luncheon, 1868
Franz Marc, Dog Lying in the Snow, c. 1911
Masterpieces of the Collection
The collection contains significant works from the early fifteenth century, including Jan van Eyck’s Lucca Madonna from 1437. This period is further represented by Hieronymus Bosch’s Ecce Homo, dated about 1500. These paintings sit alongside the detailed portraiture of the German Renaissance, such as Albrecht Dürer’s Portrait of Katharina Furlegerin with her Hair Down from 1497.
The Dutch Golden Age is represented by Johannes Vermeer’s The Geographer, painted in 1669. This era also includes the dramatic 1636 work The Blinding of Samson by Rembrandt van Rijn. These pieces demonstrate the technical precision and varied subject matter that define the museum's holdings from the seventeenth century.
Moving into the nineteenth century, the museum holds Claude Monet’s The Luncheon from 1868. This work belongs to a period of significant stylistic shifts within the collection. The breadth of the holdings allows for a direct comparison between these different eras of European painting.
Exhibitions and Research
The museum maintains a schedule of regularly changing temporary exhibitions designed to explore specific themes or individual artists. A notable recent example was the exhibition “Making Van Gogh” in 2019/2020, which attracted 505,750 visitors. These presentations allow for a focused examination of the collection's breadth, moving between historical contexts and contemporary perspectives.
Research and accessibility are supported through significant digital initiatives. The Digital Collection serves as the primary research platform for the museum's entire holdings. This resource provides a way for scholars and the public to engage with the collection's depth. Additionally, an online exhibition platform is available to provide access to the museum's works for audiences worldwide.
