Imatge de l'autor

Staatliche Museen zu Berlin

Autor/a de Gerhard Richter: Panorama: A Retrospective

160+ obres 837 Membres 6 Ressenyes

Sobre l'autor

Crèdit de la imatge: Berlin State Museum


Obres de Staatliche Museen zu Berlin

Gemäldegalerie : Berlin (1998) 64 exemplars
Gemaldegalerie, Berlin: 50 Masterpieces (2000) 37 exemplars, 1 ressenya
Egyptian Museum Berlin (1982) 36 exemplars
Alte Nationalgalerie : Berlin (1997) 30 exemplars
Neue Nationalgalerie : Berlin (1996) 15 exemplars
Beyond compare: Art from Africa in the Bode Museum (2017) — Host Institute — 9 exemplars, 1 ressenya
Tibet : Klöster öffnen ihre Schatzkammern (2006) — General Co-ordinator — 9 exemplars
Munch und Deutschland (1994) 8 exemplars
Ethnologisches Museum : Berlin (2003) 7 exemplars
Museum of Indian Art : Berlin (2001) 6 exemplars
The Scharf-Gerstenberg Collection Berlin (2008) 5 exemplars, 1 ressenya
Kunstgewerbemuseum : Berlin (1998) 3 exemplars
Stickmustertucher 2 exemplars
Gesamtverzeichnis 2 exemplars
Das Museum für Byzantinische Kunst im Bode-Museum (2006) — Corporate Author — 2 exemplars
Nofretete. Echnaton (1976) 2 exemplars
Neues Museum 2 exemplars
Antikensammlung 1 exemplars
GemLdegalerie 1 exemplars
George Grosz. 1 exemplars
Die Gemäldegalerie zu Dresden ... 1 exemplars, 1 ressenya
Bode-Museum 1 exemplars
Pergamonmuseum 1 exemplars
Katalog 1 exemplars
Altes Museum 1 exemplars
Schätze der Museen des Moskauer Kreml — Corporate Author — 1 exemplars
Kunstausstellung der Volksrepublik China — Corporate Author and Host Institute — 1 exemplars
Der Pergamonaltar 1 exemplars
Die Papyri als Zeugen antiker Kultur — Corporate Author — 1 exemplars
macht / bez 1 exemplars, 1 ressenya
The Head of Queen Nofretete (1958) 1 exemplars

Obres associades


Coneixement comú



"Museumssammlungen sind das Ergebnis von Beziehungen. Provenienzforschung macht die Herkunft und die Beziehungsgeschichten hinter den Objekten sichtbar und hinterfragt die ungleichen Machtbeziehungen, die hinter den Erwerbungen der Objekte stehen.Gekauft, geraubt, getauscht, geschenkt, erpresst, erbeutet. Die Objekte in den Sammlungen des Ethnologischen Museums und des Museums für Asiatische Kunst wurden auf unterschiedliche Weise erworben und angeeignet. Anhand von Objekten, Personen und Ereignissen erzählen die Autor*innen im Begleitheft zur Präsentation beider Sammlungen im Humboldt Forum die Geschichten, die die Beziehungen zwischen Menschen und Objekten geprägt haben.Auch Provenienzforschung selbst macht Beziehungen. Kooperatives Forschen und der Austausch mit Menschen aus den Herkunftsregionen der Objekte kann unsere Vorstellungen über die geteilte Vergangenheit verändern. Die gemeinsame Auseinandersetzung mit den oftmals gewaltvollen Geschichten schafft aber auch neue Perspektiven für den zukünftigen Umgang mit den Objekten und für die postkoloniale Provenienzforschung"… (més)
Hoppetosse1 | Oct 7, 2023 |
Steendam | Apr 17, 2021 |
This is an okay, not great, presentation of 50 masterpieces from Berlin's wonderful Gemaldegalerie painting museum. The works selected are masterpieces, well worth savoring. The texts, however, are pedestrian, with not as much historical / art-analysis insight as comparable guides from world-class museums. Exceptions prove the rule: The discussion of Lucas Cranach's The Fountain of Youth, where women enter as hags and trip out the other side as starlets, is excellent. The book makes a nice souvenir of a visit to the museum, but is not as useful to carry during a visit. It points out worthwhile works, but without in-depth discussion; just bringing, or using one of the museum's, highlights-lists serves that purpose, without lugging the book.… (més)
oatleyr | Aug 22, 2020 |
This is an excellent book in every respect: high quality photography and printing. Extremely good scholarship and writing. Based on a conceptually unique exhibition (at least to my knowledge) of fascinating and uniformly high quality pieces and - in the case of the African objects - of a tradition rarely seen in Western art galleries. The idea of juxtaposing African and European artistic objects - mainly "sculptures" but see below turns out to have been a stroke of genius.

The Introduction is extremely thought provoking across a range of topics, including: Euro-centric views of art history (and just history in toto); how the context in which objects are viewed influences our attitudes to and interpretations of them; how our biases about the originating cultures influence our attitudes to artistic objects.

Expanding on some of these, African art was long considered a largely irrelevant distraction from the main thread of artistic development, which is Western, because African art was deemed "primitive" like the African peoples themselves. A view imposed by Westerners with implicit assumptions of cultural and intellectual superiority. Such attitudes are only now being challenged in the context of art and of world history. In fact, this exhibition demonstrates that much African art has been created with as much skill and expressive talent as European masterworks. There is a yawning gulf in a really significant aspect, however: European art from at least the Mediaeval period to the invention of photography can be seen as a continuous quest for the most convincingly realistic representation of the chosen subject matter. African art simply could not care less about this. Absolutely none of the African items in this book are focused on realism. They are often highly abstract, though still clearly representational, and have a symbolic aspect and emotional impact that belie the idea of "primitiveness." These works aimed to achieve certain goals and strike their marks - but realism just isn't one of these goals. This seems to have been viewed as some kind of failure by Europeans at the same time as people were collecting spectacular objects because of their rarity and exoticism.

The context an object is seen in affects our perception of it: Most of the African items come from an "Ethnological" Museum, whilst most of the European ones are held by a Fine Art Museum. This radically affects our attitudes towards them but neither is the context intended by the artists: most of these objects were intended for religious or ceremonial use, not passive observation in any kind of musuem display, along with written contextualisation. There are, however numerous other points of comparison and contrast shown up by the juxtapositions and discussed in detail by the editors.

For me, the African art proved much more interesting and affecting than the European in the large majority of cases. I can identify several reasons for this: unfamiliarity (I've seen very little African art); avoidance of realism (making the human figures in particular much more emotionally expressive than their European counterparts); different beauty standards (e.g. deliberate scarifications for both men and women); a seemingly wider lexicon of iconography (Mediaeval European art strikes me as heavily bound up with a quite narrow range of basic Christian icons e.g. the Madonna and Child, that, due to endless repitition with little variation have turned into empty cliches. The much rarer imagery such as fantastical depictions of Hell and demons hold way more power.) In the case of the African objects shown here, obvious genres are still readilly identifiable but because of the lack of realism and the much broader range of basic icons (large numbers of different supernatural entities, rulers and ancestors) there is much greater scope even within a specific genre such as spiritual masks, power figures or ceremonial chairs.

Over all, the most challenging and rewarding art book I've ever read!
… (més)
Arbieroo | Jul 17, 2020 |

Potser també t'agrada

Autors associats

Dietrich Wildung Contributor
Olivia Zorn Contributor, Editor, Editorial
Fabian Reiter Contributor
Matthias Wemhoff Contributor, Editor
Paola Ivanov Editor, Contributor
Jonathan Fine Editor, Contributor
Ethnologisches Museum Berlin., Collection, Host Institute
Marilyn Jenkins Contributor
Manuel Keene Contributor
David A. King Contributor
Marit Kretschmar Scientific editing
Andreas Kretschmar Contributor, Glossary and Scientific editing
Christine Seidel Author and Editorial Support
Martin-Gropius-Bau Host Institute
Johannes Laurentius Photographer
Societá Olivetti Herausgeber
Augusto Azzaroli Contributor
Kunstbuch Berlin Herausgeber
Anna Guidi Toniato Contributor
Guido Perocco Contributor
Gerhard Zimmer Contributor
Giulia Fogoliari Contributor
Walter A. Oddy Contributor
Norbert D. Meeks Contributor
Günter Schade Contributor, Foreword
Massimo Leoni Contributor
Marilyn Perry Contributor
Massimiliano Pavan Contributor
Bruno Visentini Contributor
Lore Börner Contributor
Gustav Nils Dorén Contributor
Dorothea Deterts Contributor
Maria Gaida Contributor
Golda Ha-Eiros Contributor
Albrecht Weidmann Contributor
Anna Weinreich Contributor
Richard Haas Contributor
Peter Masson Contributor
Gudrun Zögner Contributor
Peter Junge Contributor
Richard Kelly Contributor
Manuela Fischer Contributor
Humbolt Forum (Berlin) Corporate Author
Enlin Yang Translator
Bernhard Zepernick Contributor
Christiane Keisch Contributor
Alexander Hofmann Contributor
Julia Binter Contributor
Martina Stoye Contributor
Rolf Ibscher Foreword
Chisaburo Yamada Translator
Klaas Ruitenbeek Contributor
Peter Bolz Editor
Burkhardt Göres Contributor
Wolfgang Henning Contributor
Lothar Zögner Contributor
Renate Löschner Contributor
Heinrich Müller Contributor
Bruno Voigt Contributor
Jörg Steiner Contributor
Renée Violet Translator
Dirk Böndel Contributor
Kurt Wernike Contributor
Karl Lenz Contributor
Hannelore Becker Contributor
Werner Schulz Editor and Curator
Birgitta Augustin Contributor
Renate Strelow Contributor
Prestel Author
Jörg P. Anders Photographer
Peter-Klaus Schuster Foreword, Expression of thanks
Frauke Berchtig Editorial direction, Project editor and management
Christophe Schmidt Photographer
Christopher Wynne Editor, Copyediting
Maja Thorn Designer
Marion Bertram Contributor
Manfred Nawroth Contributor
Simone Zeeb Production
Zilly Clotz Art direction
Heino Neumayer Contributor
Alix Hänsel Contributor, Editor
Verena Lepper Contributor
Almut Hoffmann Contributor
Barbara Delius Project management
Marianne Yaldiz Contributor
Renate Sander Cartographer, Cartographer and Grafics
Reinhard Friedrich Photographer
Michele Schons Manuscript Editor
Gerhard Murza Photographer
Jens Ziehe Photographer
Fritz Jacobi Contributor
Werner Zellien Photographer
Dieter Honisch Contributor
Stuart Cary Welch Introduction
Toni Huber Contributor
Te'u Chen Dragpa Contributor
Petra Maurer Contributor
Nyima Tshering Salutations
Paphen Contributor
Viola König Preface
Uwe Bräutigam Contributor
Sönam Wangden Contributor
Yan Zhongyi Photographer
Michael Henss Contributor
Amy Heller Contributor
Klaus-Dieter Lehmann Expression of thanks
Lo Bue Erberto Contributor
Heather Stoddard Contributor
Georges Dreyfus Contributor
Willibald Veit Contributor
Rajeshwari Ghose Contributor
Khanh Trinh Contributor
Regina Hickmann Contributor
Friedericke Weis Contributor
Herbert Butz Contributor
Susanne Huber Editorial assistance
Andrea Mogwitz Design and layout
Julietta Scharf Contributor
Sigrid Hauser Editorial Staff
Oliver Craske Prject manager
Karl Carstens Greetings
M.P. Zukanow Foreword
Alice Michael Translator
Paul Wandel Preface
Alexander Ambusch Freude und Dank
Werner Knopp Geleitwort
Otto Kümmel Geleitwort
Sabine Müller Cover designer
Gisela Holan Curator
Michael Robinson Translator
Chris Murray Copyediting
Jane Milosch Copy-editor
Jane Michael Translator
Martin Chalmers Translator
Stefan Barmann Translator
Stephen Telfer Translator
Katrin Wiethege Copy editor
Penelope Crowe Translator
Gerd Woll Author
Douglas KLINE Translator
Ann Drummond Translator
Klaus Brisch Introduction
Bram Opstelten Translator
Robert McInnes Translator
Cynthia Hall Translator
Ruth Klumpp Copy editor


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