View allAll Photos Tagged germanart
Hans Hermann (1858-1942)
Blühende Bäume, 1894
Berlin Gallery
Hans Hermann (1858-1942)
Blossoming Trees, 1894
Kaiser Wilhelm II. auf der Zeche Lothringen in Bochum, 1912
Theodor Rocholl, 1914
Bochum Mining Museum
Emperor Wilhelm II. at the Lothringen mine in Bochum, 1912
Theodor Rocholl, 1914
Max Liebermann (1847-1935)
Selbstbildnis mit Palette
Berlin Gallery
Max Liebermann (1847-1935)
Self-portrait with Palette
Ralf Baecker (b. 1977) - The collapse of a microcosm (2025). Shown at the 13th Edition of the Nordic Biennale of Contemporary Art - Momentum 13 Between/Worlds: Resonant Ecologies at Galleri F15, Jeløy, Moss, Norway, June-October 2025.
The curators explain: "Hundreds of photosensitive light sensors and tiny speakers, arranged in a multi-layered circle, accumulate data from sunlight and gallery interactions. Each sensor replays the data to the next sensor forming a one-day memory. As each sensor relays fundamental tones, the difference between now and the past is transferred into a low resonant hum, weaving time into a flickering sonic tapestry. This breathing architecture of photos and vibrations immerses visitors in the shared nexus of environmental changes, their own presence, and technological memory."
Tochter des Künstlers, Hildegard, 1893
Anton von Werner (1843-1915)
Museum of Art and Cultural History in Dortmund
Daughter of the artist, Hildegard, 1893
Anton von Werner (1843-1915)
de.wikipedia.org/wiki/Hans_Thoma
de.wikipedia.org/wiki/St%C3%A4delsches_Kunstinstitut
Städel Museum, Schaumainkai, Frankfurt am Main
Carsten Höller (b. 1961) - Upside-down Mushroom Room (2000). Styrofoam, polyester, polyurethane, wood, metal constructions, electric motors. In the collection of Fondazione Prada, Milan.
Before entering this pink, aggressively lit room visitors go through a dark labyrinth, itself an installation called Gantenbein Corridor (2000), that is entirely without visibility, with only a thin handrail to guide them. After a couple of minutes in this environment, the impact of the pink room and the slowly rotating mushrooms is almost literally mind-blowing.
Die Löwengruppe von 1872 ist das letzte Werk des Bildhauers Wilhelm WolffDie Löwengruppe von 1872 ist das letzte Werk des Bildhauers Wilhelm Wolff. Er war innerhalb der Berliner Bildhauerschule des 19. Jahrhunderts für die Entwicklung der Tierplastik bedeutend.
The Lions Group from 1872 is the last work of the sculptor Wilhelm Wolff. He played an important role in developing the animal sculpture in the 19th century Berlin School of Sculpture.. Er war innerhalb der Berliner Bildhauerschule des 19. Jahrhunderts für die Entwicklung der Tierplastik bedeutend.
Community of Art; Public sulpture; provocative art;
Underlying basic concept/plan of the sculpture:
The solid land represents the male principle whereas the sea plays the female part:
Artist's website: www.eckartgrenzer.de
A.R. Penck* (1939-2017) - Drei von Vielen [Three of many]> (1990). Acrylic and silk print on canvas. In the Sammlung Würth collection. Shown at the temporary exhibition "Animalia" at the Würth Galleri Gjelleråsen, June-September 2025.
* A.R. Penck was one of the pseudonyms of German artist Ralf Winkler, painter, printmaker, sculptor and jazz drummer.
Lucas Cranach the Elder (1472-1553) - The ill-matched couple (1532). In the collection of the National Museum, Stockholm.
The painting shows an old man paying a young women, possibly for sexual favours. It was a pervasive theme in painting and literature from the Renaissance, treated with a mixture of moralistic disapproval and mockery.
Among them, the most known today is the only mortal gorgon, Medusa, killed by the demigod Perseus. Her immortal sisters were Stheno and Euryale. According to Greek mythology, the goddess Athena transformed them into terrible monsters after Medusa was raped by Poseidon in Athena’s Temple. Finding no fault in Poseidon, Athena took her rage on Medusa and on her two sisters who were siding with her.
In spite of Trübner’s take on mythology, he doesn’t idealize or use a large-scale scene as the context for his painting. We don’t even see the gorgon’s body nor have any real indication as to which one of the three sisters he depicts. The head is hovering in space with a drowsy, satiated face expression, the snakes on her head hissing ominously. If we stare long enough at her face, we might be turned to stone.
Source:
artschaft.com/2017/12/15/wilhelm-trubner-a-gorgons-head-1...
Emil Nolde (1867-1956) - Begnegung am Strand [Encounter at the beach] (1909). In the collection of the Stiftung Seebüll Ada und Emil Nolde. Shown at the temporary exhibition "L'art dégénéré. Le procès de l'art moderne sous le nazisme" at Musée Picasso, Paris February-May 2025.
Nolde was a nazi but the nazi establishment hated his work. This painting was actually included in the infamous nazi-organised "Entartede Kunst [Degenerate art]" exhibition in Düsseldorf 1938.
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
Anselm Kiefer (b. 1945). Partial view of the installationSeven Heavenly Places 2004-2015 at the Pirelli HangarBicocca, Milan.
A copy after Caspar David Friedrich's "Sea of Ice" ("Das Eismeer"), c. 1823-25. The original Friedrich hangs in the Kunsthalle in Hamburg.
The painting is also known as "The Polar Sea" and "The Wreck of Hope".
Painted by Fareed Suheimat, January 2008. Oil on Canvas, 88 x 109 cm.
I have made the ice more "coke-bottle" green than in the original painting.
Albert Renger-Patzsch (German; 1897–1966). Gelatin silver print, 1925. Stiftung Ann und Jürgen Wilde, München. © Albert Renger-Patzsch Archiv / Ann und Jürgen Wilde / VG Bild-Kunst, Bonn 2011.
Cut with the Kitchen Knife through the
Last Weimar Beer-Belly Cultural Epoch in Germany
(Schnitt mit dem Küchenmesser durch die letzte Weimarer
Bierbauchkulturepoche Deutschlands), 1919-1920
Photomontage and collage with watercolor
44 7/8 x 35 7/16 in. (114 x 90 cm)
Staatliche Museen zu Berlin, Nationalgalerie
Christian Schad (1894-1982) Graf [Count] St. Genois d'Anneaucourt (1927). In the collection of the Musée National d'Art Moderne, Centre Pompidou, Paris.
The Museum explains: "A Dadaist before becoming one of the main exponents of Neue Sachlichkeit [New Objectivity], Christian Schad cast a ruthless eye on the world between the wars. The portrait of Graf St. Genois d'Anneaucourt shows a figure of Viennese high society, a displaced Hungarian aristocrat, posing with the companion of hid nocturnal jaunts, Baroness Glaser, on his right, and a famous Berlin transvestite on his left. The weary, barely-clothed bodies and sardonic faces, rendered in sharp detail through the traditional technique of oil on wood, convey the image of a decadent nihilistic society."
Die Kunstwerke von Martin GRUNEBERG sind exklusiv erhältlich bei
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ARTE DEL MONDO www.arte-del-mondo.de
The artworks of Martin GRUNEBERG are exclusively available at
ARTE DEL MONDO www.arte-del-mondo.de
We are happy to answer your questions about the artwork.
Please write to us at shop@arte-del-mondo.de.
You can also visit us on
INSTAGRAM @arte-del-mondo.de
Please also have a look at the artworks by
Otto FRÜHWACH
Toshima HAYASHI
Ziggy M. BROOKS
Pavel POLIAKOV
Eric Sven LARSGAARD
Angelo MONTESALVINI
Jackson CUSHMAN
Gus ANDERSON
We look forward to seeing you !
ARTE DEL MONDO www.arte-del-mondo.de
Anselm Kiefer (b. 1945) - The High Priestess/Zweiströmland (1985-1989). Steel, lead, copper, glass, photography, mixed media. In the collection of the Astrup Fearnley Museum, Oslo.
"Der letzte Hieb ist die 8. Kriegsanleihe" - "The eighth war bond is the final blow"
Designed by Paul Neumann, 1918.
Max Ernst (1891-1976) - Men shall know nothing of this (1923). In the Tate collection, London. Shown at the retrospective exhibition dedicated to Max Ernst at Palazzo Reale, Milan, Oct. 2022- Feb. 2023.
The curators comment: "The painting is filled with archetypal symbols that evoke the endless, cyclical alternation of life and death, light and shadow. It condenses many of the Surrealists’ concerns - a year before they wrote their Manifesto - and lends itself to multiple interpretations related to astrophysics, alchemy, magic and psychoanalysis. On the back there ia a dedication to André Breton and a long prose poem. The composition aligns the Sun, the Moon and the Earth and intersects the point in which the lower parts of the male and female body come together. The Earth also becomes an organic being, with all the erogenous zones situated on the central axis of the canvas. Scene from a different angle, the composition becomes a large mask with eyes (spaces between the legs), nose (Moon/eclipses) and mouth (the Earth) silenced by the hand clamped over it. If we cover the shapely top half of the legs, they become male legs."
Ludwig von Hofmann (German; 1861–1945). Oil on canvas, n ca. 1920. Museum Bautzen, Bautzen, Germany.
Ditlev Blunck (1799-1853) - The sculptor Herman Vilhelm Bissen (1834). In the collection of the Nationalhistoriske Museum, Frederiksborg Castle, Hillerød, Denmark, shown at the temporary exhibition "The Danish Golden Age" at the Nationalmuseum, Stockholm, February - July 2019.
Bissen (1798-1868) and Blunck were about the same age and were both from the Danish-ruled, predominantly German-speaking Duchies of Schleswig (Bissen) and Holstein (Blunck). They both won Danish Academy travel scholarships to Rome where they stayed for about 10 years. Bissen who was in Rome from 1824 to 1834 worked for a time as an assistant to Danish sculptor Bertel Thorvaldsen. Blunck stayed in Rome from 1828 to 1838. Blunck painted this portrait in Rome just prior to Bissen's return to Denmark. Although there were many similarities between the two, there were also important dissimilarities. Blunck was openly gay and ended up being banned from Denmark for some incident related to his sexual orientation. Bissen celebrated the Danish victory in the First Schleswig war (1848-1850) between Denmark and Prussia for the control of Schleswig-Holstein, sculpting a monument that is now in Flensburg. Blunck, who had been expelled from Denmark in 1841, fought for the Prussian side in that war.
Norwegian viewers of the picture will wonder why Bissen sports a Vinmonopolet logo on the shoulder of his smock :-)
Lithograph by Johannes Maximillian Avenarious. Signed and dated 19.9.24. There is also an inscription in german. Frustratingly, my German friend could only translate it as 'To .... in memory of our time spent together in the foxhole with gratitude Joh. M. Avenarius
'____ _____ zum Andenken an den gemeinsamen Grun ___ Fuchsloch dankbar Joh. M. Avenarius'
Image size 7.5inch x 6inch
Jan 2010 With thanks to Art of.. and Barbara Robeson for helping with the inscription. I think we have identified the person in the picture.
Karl Hanusch was the Director of the State Art School of Textile Industry Plauen, Saxony. In 1933 he was fired from his post and banned from painting by the Nazi party for being involved in degenerate art 'entartete Kunst' - Avenarious, his friend who taught at the school, was also fired and banned.
A German website devoted to him can be found at www.karl-hanusch.de/ There is another date of 1917 which may be the date when the artists and recipient were together but foxhole may be Fuchsloch in the Czek republic, an in joke or a metaphor. ????
"Garde-Pioniere eröffnen den Sturm auf französische Schützengraben mit Handgranaten." - ‘Garde-Pioniere [Guard Pioneers] begin the assault on French trenches with hand grenades.’
A painting by Gustav Adolf Closs, ca. 1915.
There is also an interesting explanatory text on reverse:
"Der Kampf mit Handgranaten, die waffentechnisch längst zum alten Eisen geworfen waren, begann im letzten russisch-japanischen Kriege und hat im jetzigen Kriege ganz ungeahnte Bedeutung gewonnen. Die Handgranate ist zu einer gefährlichen und gefürchteten Waffe in der Hand unserer in vorderster Linie kämpfenden Pioniere geworden."
‘Fighting with hand grenades, which had long been considered obsolete weapons, began in the last Russo-Japanese War and has gained unprecedented importance in the current war. The hand grenade has become a dangerous and feared weapon in the hands of our pioneers fighting in the front line.’
Tina Zimmermann (b. ca. 1970) - Amazon tsunami (2022). Installation of Amazon logos from cardboard shipping packages of various standard sizes. Shown at the temporary exhibition "Personal Structures" at the European Cultural Centre, Palazzo Mora, Venice, April-November 2022.
Art historian Julie Weiss writing in "Sculpture Network" commented:"[Zimmermann's] installation Amazon Tsunami consists of typical pieces of cardboard used in shipping, which she has arranged on the wall. Under the artist's hand, the smiling Amazon logos rear up into a huge wave of arrows that will be thrown at us at any moment. A tsunami that brings wealth, prosperity and comfort to some, while it brings energy loss and waste to the other. A threatening wave and we don't know when it will break and when and what it will carry with it."