The Collection of the Gallery of Paintings

Jan Frans Douven, called De Oude, Elector Johann Wilhelm von Pfalz-Neuburg on Horseback, 1703, oil on canvas, 325 x 260 cm, inv. no. M 91, Photo: Horst Kolberg – ARTOTHEK
Jan Frans Douven, called De Oude, Elector Johann Wilhelm von Pfalz-Neuburg on Horseback, 1703, oil on canvas, 325 x 260 cm, inv. no. M 91, Photo: Horst Kolberg – ARTOTHEK

The Gallery of Paintings, with works of European painting from the fifteenth to the beginning of the twentieth century, is the department with the oldest roots at Museum Kunstpalast. They go back ultimately to the legendary Picture Gallery that Elector Palatine Johann Wilhelm founded at the close of the seventeenth century.

The Elector’s Gallery of Paintings

Johann Wilhelm, Elector Palatine (1658-1716) and Anna Maria Luisa de’ Medici (1667-1743) amassed one of the most significant collections of art in Europe, with masterpieces of the Renaissance and Baroque periods. A building was erected at the Stadtschloss, the Electoral couple’s seat in Düsseldorf, specifically to house this picture gallery – the earliest museum building in Europe. In 1805, Düsseldorf lost its artistic treasure to the Wittelsbach succession (whence it eventually entered the collection of the Alte Pinakothek in Munich). The fifty works remaining in Düsseldorf to this day include two of the main works of the former holding of paintings by Peter Paul Rubens, and the re-acquired Equestrian Portrait of the Elector by Jan Frans van Douven.

When Düsseldorf was made the capital of the Prussian Province of the Rhineland, the Royal Prussian Academy of Art, inaugurated in 1819, was to double as a ‘Zentralmuseum’ of public and private collections. Beside purchases of Old Masters, works from the Academy’s teachers and their students were collected, for example those of J. W. Schirmer, J. Rollmann and E. Dücker, as well as forty-five works from the collection formerly at the Elector’s hunting lodge at Bensberg .

Johann Wilhelm Schirmer, The Wetterhorn, 1838, oil on canvas, 242 x 199 cm, inv. no. M 2174, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK
Johann Wilhelm Schirmer, The Wetterhorn, 1838, oil on canvas, 242 x 199 cm, inv. no. M 2174, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK

Society for the Establishment of an Art Gallery at Düsseldorf

In 1846, to make good the loss of the Electoral Picture Gallery, Düsseldorf citizens founded the ‘Verein zur Errichtung einer Gemäldegalerie zu Düsseldorf’ (Society for the Establishment of an Art Gallery at Düsseldorf). This set to acquiring contemporary art, that is, paintings by the Düsseldorf School. In 1870, following Prussia’s final waiver of her goal of having Bavaria return the Electoral Picture Gallery to Düsseldorf, the Prussian government gave the Düsseldorf Gallery paintings of great value and dating from the fifteenth to the seventeenth century from the Nationalgalerie at Berlin, as a loan. In 2011, a further permanent loan was received.

The Gallery of Paitings of the Düsseldorf Kunstmuseum

When, in 1913, the Gallery Society prompted the founding of the Municipal Art Collections,, the new Museumsverein (Museum Society) bought for the Gallery of Paintings works from European artistic centres such as Berlin, Dresden, Munich or Paris. The 625 works on permanent loan from the Academy Collection from 1932 gave the Gallery of Paintings a further focus, namely upon Italian, Dutch and Flemish Art of the Fifteenth to the Eighteenth Century. The then newly installed ‘Gallery of the Baroque’, with works ranging from Rubens to Zurbarán, today’s ‘Rubensgalerie’, was expanded by further gifts and acquisitions such as from the August Schubert Collection (1935). The 625 works on permanent loan from the Academy Collection from 1932 gave the Gallery of Paintings a further focus, namely upon Italian, Dutch and Flemish Art of the Fifteenth to the Eighteenth Century. The then newly installed ‘Gallery of the Baroque’, with works ranging from Rubens to Zurbarán, today’s ‘Rubensgalerie’, was expanded by further gifts and acquisitions such as from the August Schubert Collection (1935). 

Giovanni Antonio Pellegrini, Alexander at the Corpse of the Dead Darius, 1708, oil on canvas, 86 x 105.5 cm, inv. no. M 1987-1, Photo: Horst Kolberg – ARTOTHEK
Giovanni Antonio Pellegrini, Alexander at the Corpse of the Dead Darius, 1708, oil on canvas, 86 x 105.5 cm, inv. no. M 1987-1, Photo: Horst Kolberg – ARTOTHEK

The Gallery of Paintings: Exhibitions

From the very beginning, the temporary exhibitions at the Picture Gallery were based on its own holdings. To this day their prime purpose is to advance research into and to promote knowledge of and access to the collection. One of the most successful exhibitions the Kunstmuseum has mounted was ‘Die Düsseldorfer Malerschule’ (The Düsseldorf School), of 1979. It was the sum of intense research into the holdings and drew important purchases of major works of the Düsseldorf School in its wake. From the 1970s on, monograph and theme exhibitions were shown (A. and O. Achenbach, A. Böcklin, A. Kauffmann, L. Knaus, C. F. Lessing; Hudson and the Rhine). To bring the decorative painters at the Elector’s court, and the collection of oil sketches, back into the public eye, there were also exhibitions devoted to the Venetian-Northern Italian painting of the eighteenth century (Bellotto, Guardi, Pellegrini).

Peter Paul Rubens, The Assumption of the Virgin Mary, c. 1616-18, oil on oak, 429 x 284 cm, inv. no. M 2309, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK
Peter Paul Rubens, The Assumption of the Virgin Mary, c. 1616-18, oil on oak, 429 x 284 cm, inv. no. M 2309, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK

The Gallery of Paintings at Museum Kunstpalast from the year 2000 on

In future, too, the museum missions of collecting, preservation, research and education/public relations will be the guiding principles under which the following areas of special interest within the Collection are given prominence –

  1. The Dutch and Flemish paintings, especially the Elector’s Collection, with the aim of a digital reconstruction

  2. The Roman and North-Italian paintings of the seventeenth and eighteenth centuries, with a view to extending scholarly insight into the oil sketches

  3. Neoclassical and nineteenth-century painting, in particular that of the Düsseldorf School. Generous donations and gifts have enabled the Gallery of Paintings to be given a progressively more distinctive profile in this field over recent years.

So, too, research into and the archiving of evidential material on the Gallery of Paintings, including Provenance researches, have moved on, for example in the scholarly Stock Catalogues on Dutch and Flemish painting, or on Rubens’s Assumption of the Virgin.

The publication of the Lexicon of the Düsseldorf School and the establishment of the Dokumentationszentrum Düsseldorfer Malerschule (DDM) archive on the same School, as well as the series of planned exhibitions on the Düsseldorf School, share the aims of making Museum Kunstpalast and its Gallery of Paintings, the only gallery of Old Masters in Düsseldorf’s array of museums, better known internationally and of expanding it to become the first address for the Düsseldorf School.

Highlights

Holdings

The Collection of Paintings contains c. 2500 works of European painting from the fifteenth to the early twentieth centuries – from early Renaissance to Impressionism, with strong emphasis on the Netherlandish and Flemish schools of the seventeenth century, and the Düsseldorf School of 1819 to 1918.

Paintings of the German and Italian Renaissance

Two of the oldest pieces in the collection were educational examples of Italian Renaissance work, acquired from the Academy. They are Cima da Conegliano's Sacra Conversazione of 1495 and G. Bellinis „Pala Priuli“ 1505-1510. Likewise, Lucas Cranach the Elder's Genre picture,  The Ill-matched Pair painted c. 1525 was bought for the  Academy Collection in 1860.

Dirck Hals, Merry Company, 1628, oil on oak, 30.5 x 40.4 cm, inv. no. M 1970-5, Photo: Museum Kunstpalast – ARTOTHEK
Dirck Hals, Merry Company, 1628, oil on oak, 30.5 x 40.4 cm, inv. no. M 1970-5, Photo: Museum Kunstpalast – ARTOTHEK

Flemish and Netherlandish Baroque Painting

Flemish Baroque painting is prominently represented by around 300 works by Rubens, Teniers the Younger, van Winghe, van Douven and others. The two large scale works by Peter Paul Rubens, The Assumption of the Virgin and Venus and Adonis, from the Elector Palatine’s collection and gave the Rubens Gallery its name.

Dutch masters of the seventeenth century, like; J. van Goyen, D. Hals, F. van Mieris the Elder, A. van Ostade, J. I. van Ruisdael and J. van Scorel are represented with major works. A wealth of masterly Still Lifes such as those of A. van Beyeren, J. P. Brueghel, F. Snyders or A. Mignon rounds off the collection.

Giovanni Battista Gaulli, St. Agnes is received into Heaven, after 1689, oil on Canvas, 99.4 x 99.9 cm, inv. no. M 2386, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK709), Die Aufnahme der hl. Agnes in den Himmel, nach 16
Giovanni Battista Gaulli, St. Agnes is received into Heaven, after 1689, oil on Canvas, 99.4 x 99.9 cm, inv. no. M 2386, Sammlung der Kunstakademie Düsseldorf (NRW), Photo: Horst Kolberg – ARTOTHEK

Italian Baroque and Rococo Paintings

The collection of about 350 oil sketches by Calandrucci, Maratta, Passeri and Krahe, for example, is unique in Germany. The design for the cupola decoration of the Church of Sant' Agnese Agone in the Piazza Navona in Rome by G.B. Gaulli, with its Apotheosis of St Agnes, is a fine example of Roman High Baroque. Oil sketches by the Venetian ‘Decoratori’, A. Bellucci, G. A. Pellegrini and D. Zanetti convey some impression of the partly lost Rococo embellishments of the Electoral castles.

Joseph Anton Koch, Serpentara Landscape with the Procession of the Magi, 1820, oil on oak, 35.5 x 49.4 cm, inv. no. M 4166, Photo: Horst Kolberg – ARTOTHEK
Joseph Anton Koch, Serpentara Landscape with the Procession of the Magi, 1820, oil on oak, 35.5 x 49.4 cm, inv. no. M 4166, Photo: Horst Kolberg – ARTOTHEK

Classicism

A small but fine collection of Classical painting is constituted by the works of J. P. Hackert, J.-B. Regnault, J. A. Koch and A. Kauffmann. The purchase in 2008 of her Portrait of Virtuoso Improviser Teresa Bandettini-Landucci was our first acquisition of a work by this female artist, who was enjoying international acclaim during her lifetime.

Wilhelm Schadow, Double Portrait of Princes Friedrich Wilhelm of Prussia and Wilhelm zu Solms-Braunfels in a Cuirassier’s Uniform, 1830, oil on canvas, 135 x 135 cm, inv. no. M 2006-1, Photo: Horst Kolberg – ARTOTHEK
Wilhelm Schadow, Double Portrait of Princes Friedrich Wilhelm of Prussia and Wilhelm zu Solms-Braunfels in a Cuirassier’s Uniform, 1830, oil on canvas, 135 x 135 cm, inv. no. M 2006-1, Photo: Horst Kolberg – ARTOTHEK

The Düsseldorf School of Painting

The acquisition in 1913 of about 450 works from the former Society for the Establishment of a Gallery of Paintings  (Vereins zur Errichtung einer Gemäldegalerie zu Düsseldorf) formed the kernel of the collection, with its emphasis on the Düsseldorf School. The society had purchased major works, often directly from the studio, including A. Achenbach's Erftmühle, J. P. Hasenclever's Wine Tasting, A. Tidemand's Devotion of the Haugeans, C. F. Lessing's Siege and C. F. Sohn's Tasso and the two Leonoras. Another 150 examples were added from the Schoenfeld Foundation. From 1913 to 1929 purchases by the Museum Society (Museumsverein) followed-  the initiative of the museum’s director, K. Koetschau, and his curator, W. Cohen (A. Feuerbach, A. Böcklin, F. Hodler, A. Achenbach, C. Rohlfs).

In 1932 the  Academy Collection of 625 works was accepted on permanent loan. It included paintings and oil studies by artists such as Dücker, von Gebhardt, Rollmann and Schirmer. Some of these had come from the collection of Prince Friedrich Wilhelm of Prussia. From the 1960s, it was possible to strengthen the Düsseldorf School collection. – In 1979 the acclaimed exhibition,‘Die Düsseldorfer Malerschule’ took place, and in 2002 the Müller Bequest enabled the acquisition of master works by Hildebrandt, Bendemann, Hübner and Schadow.

The fast-expanding collection of over 1000 paintings and c. 5000 drawings and prints by the Düsseldorfer Malerschule  has become the finest on that field in Germany, and is promoted by extensive research work and publication. (Dokumentationszentrum Düsseldorfer Malerschule, the DDM Düsseldorf School archive).

 

 

Anselm Feuerbach, On the Seashore (Modern Iphigenia), 1875, oil on canvas, 197 x 113.5 cm, inv. no. M 4126, Photo: Museum Kunstpalast – ARTOTHEK
Anselm Feuerbach, On the Seashore (Modern Iphigenia), 1875, oil on canvas, 197 x 113.5 cm, inv. no. M 4126, Photo: Museum Kunstpalast – ARTOTHEK

German Painting of the Nineteenth  and early Twentieth Centuries

Beside the paintings of the  Düsseldorfer Malerschule the Gallery of Paintings holds important works from the Romantic to the Impressionist schools, representing many different European centres. Famous painters like C. D. Friedrich, C. G. Carus , C. C. Dahl and L. Richter give us a picture of the flowering of Landscape Painting in Dresden.

A wealth of high quality works from the leading Nazarenes, such as P. von Cornelius, F. J. Overbeck and J. Schnorr von Carolsfeld merge seamlessly into the Düsseldorf School collection.

A. Feuerbach's By the Sea provides the gallery with one of this German Neoclassicist's key works. It is one of his three versions of Iphigenia, which, with works by H. von Marées and A. Böcklin represents the idealistic, symbolist painting of the latter half of the nineteenth century.

The Munich School, with paintings by Spitzweg, Trübner, Schider, Schuch and Uhde forms a dialogue with the works of  Blechen, Menzel of the Berlin School, and the distinguished paintings of the three Impressionists, Liebermann, Corinth and Slevogt

The influence the Düsseldorf School had on such places as Karlsruhe, Weimar and Worpswede is revealed in the work of painters like T. Hagen, Graf von Kalckreuth, O. Modersohn, C. Rohlfs and H. Thoma, already heralding the dawning of the era of the Classical Moderns.

Research

Great importance is attached to the many research projects undertaken in the Gallery of Paintings. While pursuing our own research, we also support that of others, including interested visitors to the Museum, offering them access to the archival material documenting the Düsseldorf School, in the Dokumentationszentrum Düsseldorfer Malerschule (DDM). In the past ten years, concurrently with the careful documentation and intensive research into our own holdings the systematic in-house research into provenance has become increasingly important. A database of the gallery's collections is also being compiled, with much of its information now on the internet.
See: www.duesseldorf.de/kultur/kulturamt/dkult/.

The other research projects in progress at the Gallery of Paintings are:

Angelika Kauffmann, Portrait of the Impromptu Virtuoso Teresa Bandettini-Landucci of Lucca, 1794, oil on canvas, 128.2 x 93.6 cm, inv. no. mkp M 2008-2, Photo: Horst Kolberg – ARTOTHEK
Angelika Kauffmann, Portrait of the Impromptu Virtuoso Teresa Bandettini-Landucci of Lucca, 1794, oil on canvas, 128.2 x 93.6 cm, inv. no. mkp M 2008-2, Photo: Horst Kolberg – ARTOTHEK

 

1. The Angelika Kauffmann Research Project (AKRP)

Project Coordinator: Dr. Bettina Baumgärtel
Project Assistant: Inken M. Holubec
The AKRP is a long term international research project conceived and lead by Bettina Baumgärtel. The goal is the critical cataloguing and publication of the works of Angelika Kauffmann (1741-1807) and to create a centre of study into the life and works of the artist, who was a leading Neoclassical painter. Aiding and abetting the project is the restorer, Inken M. Holubec, who is supervising the technological research.

 

2. Oil Sketches of the Baroque.

The holdings of 350 Baroque oil sketches, mostly from the Lambert W. Krahe Collection remains only partially published and researched. The aim is to make the entire collection available to the public. Thus questions of attribution, date, work origins and technology become significant. Currently the first steps of proper storage and inspection, ordering and documentation have been carried through.

Eduard Bendemann, Two Girls at the Well, 1833, oil on canvas, 131 x 183 cm, inv. no. M 1981-1, Photo: Museum Kunstpalast – ARTOTHEK
Eduard Bendemann, Two Girls at the Well, 1833, oil on canvas, 131 x 183 cm, inv. no. M 1981-1, Photo: Museum Kunstpalast – ARTOTHEK

3. Dokumentationszentrum – The DDM Archive Centre (DDM)

3.1 The Düsseldorf School Archive Centre
Project Coordinator: Dr. Bettina Baumgärtel
Project Assistants: Sabine Schroyen. Honorary Researcher: Eberhard Bieber

For over ten years, while documenting the Gallery's collection of over 1000 works of the Düsseldorf School, the Archive Centre has continued to develop and expand. The following facilities are now available for public use:

  1. Pictorial and textual material on artists and works of the Düsseldorf School, and its circle
  2. Information on items in other institutes in Germany and beyond
  3. Evaluation of auction catalogues
  4. Material from artists' estates
  5. Copies of lists of students registered at the Kunstakademie Düsseldorf

It is intended that all information gathered so far be digitalised and made available on the internet.

The DDM Dokumentationszentrum Archive on the Düsseldorf School may be used by appointment.
Dial +49 (0)211. 899 2479.

3.2. Papers: Pictorial and Textual Sources of the Düsseldorf School
Project Leaders: Dr. Bettina Baumgärtel, Dr. Gabriele Ewenz
With the Support of: Paffrath Art Foundation, Düsseldorf; Lydia und Heinz Rühl Foundation, Voerde; Anton-Betz Stiftung der Rheinischen Post e.V.

Much significant information on the Düsseldorf School in collections and archives all over the world, is to be sourced, transcribed, given commentary and introduced to a broad public readership. This process begins with the publication of letters between the artist-friends, Adolph Schroedter and Wilhelm Nerenz, and the first publication of their sketchbooks.

Giuseppe Passeri, Aurora, vom Morgenstern geleitet, vertreibt die Nacht, vermutl. vor 1706, Öl auf Leinwand, 63,4 x 80,3 cm, Inv.-Nr. mkp M 2010-1, Foto: Museum Kunstpalast
Giuseppe Passeri, Aurora, vom Morgenstern geleitet, vertreibt die Nacht, vermutl. vor 1706, Öl auf Leinwand, 63,4 x 80,3 cm, Inv.-Nr. mkp M 2010-1, Foto: Museum Kunstpalast

4. The History and Reconstruction of the Collection of Johann Wilhelm, Elector Palatine Project

Leader: Dr. Bettina Baumgärtel
The project was planned in 2000 and aimsto reconstruct the Elector's Gallery of Paintings and their hanging, as it was in the former Düsseldorf Castle, with reference to the old inventories. First results were seen in Museum Kunstpalast's exhibitions and catalogues, Ein Fest der Malerei. Die niederländischen und flämischen Gemälde (A Festival of Painting – Netherlandish and Flemish Paintings) in 2005, and Himmlisch-Herrlich-Höfisch. Peter Paul Rubens, Johann Wilhelm von der Pfalz, Anna Maria Luisa de‘ Medici (Heavenly, Magnificent, Courtly. Peter Paul Rubens, art at the court of Elector Palatine Johann Wilhelm and his consort, Anna Maria Luisa de’ Medici) in 2009.

Wilhelm Schadow, Portrait of the artists children, 1830, Oil on canvas, 138 x 110 cm, inv.-no. M 1977-1, photo: Horst Kolberg, Neuss – ARTOTHEK
Wilhelm Schadow, Portrait of the artists children, 1830, Oil on canvas, 138 x 110 cm, inv.-no. M 1977-1, photo: Horst Kolberg, Neuss – ARTOTHEK

5. Wilhelm Schadow Catalogue raisonnè

„Wilhelm von Schadow has a rare talent and sense of colour“, even Caroline von Humboldt romanticised. The luminosity of colour and the extraordinary glaze of Schadow’s painting, which instantly faszinated the contemporaries, now reveals the opulently equipped catalogue raisonnè of his paintings, including the corresponding drawings and prints. This catalogue written by Cordula Grewe, an international renowned Schadow expert, offers far more than an comprehensive overview of his paintings, drawings and prints. It satisfies the scientific demands and at same time appeals to general public, because Cordula Grewe’s analyzes are on a high academic level and on same time they read as a detective story. But, above all, Cordula Grewe offers a completely new perspective at Wilhelm Schadow and the religious art, the Nazarenism in the 19th century. Schadow is known as the most sensual of the Lukasbund. It was only under his direction that Düsseldorf Art Academy developed to an international academy, well recognized in the US or Australia. With more than 400 paintings, replicas and personal drawings, as well as the approx. 50 copies and prints by other hands the now published catalogue raisonnè is the first reference book for Wilhelm Schadow’s artwork. The catalogue is extended by a preliminary overview of Wilhelm Schadow’s life, a comprehensive bibliography and a register. This leading catalogue, which at least accommodates Wilhelm Schadow as the founder of the Düsseldorf School of Painting, has been scientifically supervised by the Museum Kunstpalast in cooperation with the Paffrath Gallery.
Cordula Grewe – Wilhelm Schadow. Catalogue raisonné of the paintings including the corresponding drawings and prints, 383 pages, 287 ill., Hardcover, ISBN 978-3-7319-0500-4, 69,- €, published by Michael Imhof Verlag can be purchased at the bookshop of Museum Kunstpalast

Collectors and Patrons

To a considerable extent, the Gallery of Painting owes the diversity and significance of its collection to the generosity of collectors, donors and friends and patrons who have contributed to the acquisitions, the research on and preservation of the holdings.

Frans Snyders, Still Life with Fruit and Birds, c. 1612-13, oil on oak panel, 56.8 x 72.3 cm, inv. no. M 119, Photo: Horst Kolberg – ARTOTHEK
Frans Snyders, Still Life with Fruit and Birds, c. 1612-13, oil on oak panel, 56.8 x 72.3 cm, inv. no. M 119, Photo: Horst Kolberg – ARTOTHEK

Associations and Societies

The fundamental initiative for today’s Gallery of Paintings was that of a society formed to that end, the  Verein zur Errichtung einer Gemäldegalerie zu Düsseldorf. The 415 works collected by 1913 are in most cases by painters of the Düsseldorfer Malerschule, others being by painters active in other centres of art such as Munich or Berlin (L. Corinth, M. Slevogt, C. Spitzweg).

The Gesellschaft zur Ergänzung der Sammlung des Städtischen Kunstmuseums (Society for the Extension of the Collection of the Municipal Museum of Art), was founded in 1912 and two years later, took over the succession of the gallery society, by then dissolved, as the Düsseldorfer Museumsverein. Amongst the nearly seventy works that the Museumsverein acquired between 1913 and 1922, are Andreas Achenbach’s Alte Akademie, Anselm Feuerbach’s Am Meer (By the Sea) and F. J. Overbeck’s Easter Morning. ((Der Ostermorgen)). The successor to that society today, the Freunde des Museum Kunstpalast, Düsseldorf, is a similarly active promoter of the enlargement of the Gallery of Paintings, as last witnessed in 2004 with an acquisition.

The Kunstverein für die Rheinlande und Westfalen Art Society, in existence since 1829, likewise set itself the task of promoting the Gallery of Paintings by dint of gifts. Thus, with C. F. Sohn’s Tasso and the Two Leonoras (Tasso und die zwei Leonoren) and C. Köhler’s Hagar and Ishmael / Hagar und Ismael, it secured for the Gallery of Paintings two major works of the Düsseldorf School. It was specifically to promote the Gallery of Paintings that the Kunstverein proclaimed a competition in 1852. It was won by W. Sohn with his first work to be given a public showing, Jesus and his Disciples at Sea in a Tempest (Jesus und die Jünger auf dem stürmischen Meer).

Suffice it to mention but a few of many subsequent benefactors, there were the Iron and Steel Industry Employers Association/Arbeitgeberverband der Eisen- und Stahlindustrie (1929), the Rheinische Bahngesellschaft tramway corporation, the Rheinisch-Westfälisches Kohlensyndikat, and Bankhaus Trinkaus (1933). In about 1938, the Düsseldorf Trade Museum Donation/Museumsspende der Düsseldorfer Wirtschaft enabled the acquisition of first-class paintings by Borssom, Both, Carus, Kolbe or Snyders.

Olof Jernberg, Landscape in Brittany, c. 1880/81, oil on wood, 55 x 46 cm, inv. no. M 4431, Photo: Horst Kolberg – ARTOTHEK
Olof Jernberg, Landscape in Brittany, c. 1880/81, oil on wood, 55 x 46 cm, inv. no. M 4431, Photo: Horst Kolberg – ARTOTHEK

Bequests and Endowments from private Individuals

Via the Bequest of  Kommerzienrat Director Dr. Franz Schoenfeld, in 1911, 150 pictures mainly by Düsseldorf artists, entered the collection. Fourteen works of the Düsseldorf School came to the Picture Gallery from the estate of the collector, Laurenz Heinrich Hetjens, in 1924. the Estate of Prof. Olof Jernberg, which was bequeathed by his widow in 1940, leaves us insights into the plein-air output of the Düsseldorf School, through more than 300 oil sketches and paintings. Private gifts of individual works again manifest a concentration on the Düsseldorf School, such as H. F. Gude’s Passing Storm at the Lake of Hallstatt (Abziehendes Gewitter am Hallstätter See) in 1975, or E. Bendemann’s Zwei Mädchen in 1981.

The Gift of Dr. M. J. Binder (19471994), the Bequest of  Mr and Mrs  Juliane and Werner Lindgens (1947) and the Bequest of Generalkonsul Paul Girardet (1970) were especially important for the stock of Netherlandish and Flemish paintings, but so were the Bequests of Else Mark, Henriette Eckelt, E. P. Korus and others. It is thanks to M. J. Binder that the Picture Gallery disposes of sixty prime works by the likes of J. van Scorel, D. Teniers the Younger or P. Lastman. Charming still-lifes by J. P. Brueghel, J. P. Gillemans the Elder, J. van Son or G. P. Verbruggen, both father and son, are owed to the Lindgens Bequest. Paul Girardet donated sixteen paintings of the seventeenth century, by A. van Ostade D. Hals, F. van Mieris the Elder and others.

Pieter Lastman, Jonah and the Whale, 1621, oil on oak, 36 x 52.1 cm, inv. no. M 193, Photo: Walter Klein – ARTOTHEK
Pieter Lastman, Jonah and the Whale, 1621, oil on oak, 36 x 52.1 cm, inv. no. M 193, Photo: Walter Klein – ARTOTHEK

A small stock of Spanish works from the Wesendonk Collection in Bonn (1936) is another fine and consistent addition to the Academy Collection.

Amongst the benefactors to the Picture Gallery are the artists of the Düsseldorf School themselves, with their heirs, for example A. Achenbach, E. Bendemann, A. von Bochmann, M. Clarenbach, E. Dücker, G. Grobe, G. Janssen, T. Hagen, F. Ittenbach, G. Oeder, H. E. Pohle, W. von Schadow, J. W. Schirmer, C. F. Sohn or R. Wiegmann.

Donations have come, too, from circles of the nobility and of trade, industry and administration: Bank Direktor Brühaus, Konsul Böhler, Konsul Friedrich,  Kommerzienrat Franz Haniel, René Heinersdorff, Fritz Henkel, von der Heydt, Konsul H. Liesenfeldt, Landgerichtsdirektor Max Lissauer, Heinrich Lueg, F. Medicus, the Neven du Mont family, the  Poensgen family, Prince Georg of Prussia, Baroness von Reichlin, Kommerzienrat Dr. Schiess, Baron Thyssen-Bornemisza or  Regierungsrat von Waetjen.

The Düsseldorf galleries, Paffrath and Alfred Flechtheim, Kunsthaus F. G. Conzen, and art dealers Julius Stern also donated individual works to the Picture Gallery.

Since 2006, the Estate of Werner Gerhard Linus Müller, Düsseldorf, Linus Müller, Düsseldorf, has made possible the purchase of important works by A. Kaufmann, C. F. Lessing, J. W. Schirmer, A. Schroedter, J. P. Hasenclever and others for the Gallery of Paintings.

Dirck Hals, Merry Company, 1628, oil on oak, 30.5 x 40.4 cm, inv. no. M 1970-5, Photo: Museum Kunstpalast – ARTOTHEK
Dirck Hals, Merry Company, 1628, oil on oak, 30.5 x 40.4 cm, inv. no. M 1970-5, Photo: Museum Kunstpalast – ARTOTHEK

Permanent loans

Alongside the Sammlung der Kunstakademie, which has graced the Picture Gallery as a permanent loan since 1932, the Gallery of Paintings has been enhanced by loans from the Staatlichen Museen zu Berlin (Stiftung Preußischer Kulturbesitz) in compensation for the lost Electoral Collection.

As loans from the Federal Republic of Germany from her stock of former  Reich holdings, the Gallery of Paintings has been home since the 1960s to works including paintings by Lenbach, Spitzweg and Stuck. In 2010, the purchase of Böcklin’s Diana Asleep, Gazed upon by two Fauns (Die schlafende Diana, von zwei Faunen belauscht), on loan to the Picture Gallery since 1966 from the Collection of Eduard Behrens Sr., was made possible as part of a process of compensation with the support from the City of Düsseldorf, the District Governments of North Rhine-Westphalia, the Kunststiftung NRW Art Foundation, the Kulturstiftung der Länder and the Federal Ministry of Culture (BKM).

The Stiftung Sammlung Volmer, Wuppertal, is prominently represented, with loans of works by C. Eybe, Th. Hildebrandt, E. Leutze, W. Nerenz and A. Schroedter. Other permanent loans of works by the Düsseldorf School have come from the North Rhine-Westphalian Ministry of Culture (F. Neuhaus), from Kunststation St. Peter in Cologne (E. Deger) and from the LETTER Stiftung, Cologne (A. Kampf). A sensation in 2011 was the transferral of Wilhelm von Schadow’s Last Judgement from the Regional Court building at Düsseldorf (Landgericht). Paintings by A. and O. Achenbach, J. P. Hasenclever, F. T. Hildebrandt, C. F. Lessing, E. W. Pose, and C. F. Sohn, from private collections, are further enhancements to the Picture Gallery as permanent loans.

Publications

Gallery of paintings

PDF of the list of publications

For catalogue orders please contact: petra.hecht(at)smkp.de

Out-of-print catalogues are available for reference at the library.

Selection of available catalogues

Ein Fest der Malerei
Die niederländische und flämische Gemäldesammlung des 16.-18. Jahrhunderts im museum kunst palast hrsg. u. bearb. v. Baumgärtel, Bettina unter Mitarbeit von Kathrin Bürger (Ausstellungs- und Bestandskatalog mit CD-ROM), Seemann Verlag, Leipzig 2005

Carl Friedrich Lessing. Romantiker und Rebell
hrsg. v. Martina Sitt, mit Beitr. v. Otto Baur, Edgar Bierende [u. a.], Kunstmuseum Düsseldorf, Donat Verlag, Bremen 2000

Angesichts der Ereignisse
Facetten der Historienmalerei zwischen 1830 und 1900 bearb. v. Martina Sitt unter Mitarbeit v. Bernd Kortländer u. Sylvia Martin, Kunstmuseum Düsseldorf, Böhlau Verlag, Köln 1999

Angesichts des Alltäglichen
Genremotive in der Malerei zwischen 1830 und 1900 bearb. von Martina Sitt unter Mitarbeit von Ute Ricke-Immel, Kunstmuseum Düsseldorf, Böhlau Verlag, Köln 1996

SPOT on Kataloge:

Bettina Baumgärtel: GERMAN GROBE und die Düsseldorfer Malerschule in Katwijk, Die Schenkung Eberhard Bieber, Düsseldorf, 2016

Bettina Baumgärtel: Das große ‚A‘ der Düsseldorfer Landschaftsmalerei. Andreas Achenbach zum 200 Geburtstag, 2015

Nicole Roth: “…das Land der Griechen mit der Seele suchend”. Feuerbachs Iphigenien vereint, 2012

Bettina Baumgärtel: Bleiberecht für Diana. Zum Ankauf von Arnold Böcklins Die schlafende Diana, von zwei Faunen belauscht, 2010

Nicole Roth:  Olof Jernberg. Der natürliche Blick, 2008

 

 

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