Ehrenhof (Düsseldorf)
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The courtyard of honor in the North Rhine-Westphalian state capital Düsseldorf is an expressionist building and garden ensemble that was created to host the GeSoLei exhibition in 1926. Today, as a museum, it encloses an inner courtyard and extends axially over a garden ground floor to the Tonhalle Düsseldorf , a concert and multi-purpose hall covered with a dome .
location
The facility in the Pempelfort district extends along the Rhine on the eastern bank, with the Joseph-Beuys-Ufer street in between. In the south, at the back of the Tonhalle , it is bordered by the Hofgarten ramp with the driveway to the Oberkasseler Bridge , and in the north by Brüderstraße. The southern part, separated by a low wall, connects to Inselstraße to the courtyard garden with the depot of the garden and forest office. In a west-east direction, between the NRW Forum and the Museum Kunstpalast , Inselstraße divides the ensemble. The Oederallee runs between the Tonhalle and the NRW Forum. When it was built, the Ehrenhof was part of an exhibition area that stretched from here for two kilometers along the Rhine to the marina at today's Theodor-Heuss-Brücke . Other GeSoLei buildings still preserved today are in particular the Rhine terrace and the staircases, ramps and flood protection walls of the Golzheim Rhine Park .
Planning and usage history
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The facility was built for the GeSoLei exhibition , the “Great Exhibition for Health Care, Social Welfare and Physical Exercise”, from 1925 to 1926 according to plans by Wilhelm Kreis , who also directed the overall planning. With around 7.5 million visitors and around 400,000 m², it was the largest trade fair in the Weimar Republic . Many other events followed, for example in connection with the exhibition series Great Art Exhibition in Düsseldorf . The horticultural design of the main courtyard goes back to designs by the garden architect Walter von Engelhardt , who underlined the axial symmetry of the architecture with a formal garden with geometrically laid out beds with boxwood edging and rows of trimmed trees. The name of the complex refers to the courtyard of honor , which is surrounded by wings on three sides and is surrounded by symmetrical palace complexes , which the building and garden ensemble is modeled on. In accordance with the reforming and educational requirements of the GeSoLei , the buildings that show the style of brick expressionism in the area of the courtyard and also represent the New Objectivity in the exhibition buildings in the wider exhibition center should exert an influence on taste. It was also the first international self-presentation of the city of Düsseldorf after the end of the French occupation .
In his planning, Kreis drew on concepts that he had already developed in 1914 for a large exhibition in 1915 and that were based on urban architecture based on the principles of Camillo Sitte . According to this, the Kunstpalast facing the Rhine, which was built up to 1902 as part of the Düsseldorf industrial and commercial exhibition, was to receive two mirror-symmetrical exhibition buildings as "porches" so that the ensemble forms a courtyard of honor. To the north and south of this, further exhibition buildings were to be arranged in such a way that courtyards are also formed. Because the First World War broke out in 1914 , these plans were not implemented.
At the time of the Second World War (1939–1945) there was a civil labor camp for Western European workers in House 5 of Ehrenhof .
In the period after the Second World War, the eastern part, the building of the historic Kunstpalast, served, among other things, as the framework for the “Düsseldorf Sales and Fashion Week” organized by Igedo . The reorganization plan , which was publicly exhibited here from October 1st to 31st, 1949 , through which the urban planning department headed by Friedrich Tamms wanted to determine the reconstruction and car-friendly urban planning of the state capital, mobilized the foundation of the Düsseldorf Architects 'Ring and triggered the Düsseldorf architects' dispute. From 1970 to the 1980s, the West German Art Fair , one of the most important annual fairs for the West German art trade, took place at the Ehrenhof. With its various buildings and the institutions located there, it is still an important cultural center of the city.
Building ensemble
Location map
North west wing and north gate of the main courtyard
Entrance house 3
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The building complex is arranged strictly symmetrically. The characteristic forms are described as archaic-monumental with expressionistic brick facades , next to the Wilhelm-Marx-Haus , the first skyscraper in Europe, and the Hygiene Museum in Dresden, among the most important designs by Wilhelm Kreis . Basically, as with most of his representative buildings, Kreis was strongly based on Roman monumental architecture (temple, triumphal arch , pantheon , mausoleums ).
The back of the buildings served as a representation towards the Rhine, which explains their design effort, which was even greater than on the actual front towards the inner courtyard. The Tonhalle with its round shape on a square base created the harmonious transition to the four building directions radiating from here, the art academy and the Gesolei buildings as well as the Oberkassel Bridge with its driveway. In addition, it ideally concealed the approach to the bridge at the same time.
Before the construction for the GeSoLei , the driveway to the Oberkassel Bridge was dominated by high portals. Since the driveway was to be widened on the occasion, the bridge portals were demolished. There was already a draft for wider gate structures when it was decided to transfer the clear and strictly structured design of the GeSoLei structures to the bridge and to dispense with a superstructure entirely. The superstructure with the Bergischer Löwen in the middle of the bridge fell victim to this idea .
Since the flower beds have been redesigned according to the baroque garden scheme and the trees have been pruned again, the original geometry of the facility, as it was designed by Kreis and the gardening director Engelhardt , as well as the axial relationship between buildings, architectural sculptures, interior and exterior spaces have rudimentary recognizable again.
The only building in the former exhibition palace from 1902 is the restoration building Ehrenhof No. 3, which has been the seat of the E.ON Academy since 2002 , founded in 2001.
Tonhalle
Tonhalle to the north, in front of it Pallas Athene (photo 2015)
Green vault in the Tonhalle (photo 2010)
The southern prelude is today's Tonhalle , Ehrenhof 1, which was built for the GeSoLei as a planetarium and as a multi-purpose hall “Rheinhalle”. From the outside, it is the most prominent part of the ensemble. It houses the most important concert hall in Düsseldorf and the so-called Green Vault with parts of the Hentrich glass collection .
On the square foundation with a side length of 80 meters and a surrounding terrace rises a round domed structure, framed by buttresses arranged at regular intervals. The facade consists of dark red Bockhorn clinker .
A fabric dome structure that could be raised in the interior at the time, which increased the seating area, originally provided space for up to 5000 people at major events in the Rheinhalle.
Works of art at the Tonhalle
Portrait busts
Felix Mendelssohn Bartholdy
Clara Schumann
Robert Schumann
Norbert Buergermüller
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The entrance front of the Tonhalle has been adorned by four bronze busts of the musicians Felix Mendelssohn Bartholdy , Clara Schumann , Robert Schumann and Norbert Burgmüller , who are closely associated with Düsseldorf , created by the sculptor Franz Küsters . They are a gift from a Düsseldorf home association.
Planet groups at the Tonhalle
"Mars and Jupiter", Carl-Moritz Schreiner (photo 2008)
"Venus and Saturn" (photo 2011)
For the GeSoLei , the two planetary groups with the deities Mars and Jupiter as well as Venus and Saturn were set up by Carl Moritz Schreiner on the outside staircase of the planetarium . Since they did not correspond to the art ideas of the National Socialists, they were removed, like many other works of art, in 1933. In 1980 they returned to their place from the municipal building yard.
"Pallas Athene"
"Pallas Athene", Johannes Knubel (photo 2011)
At the southern end, outside the courtyard in front of the Tonhalle, next to the driveway to the Oberkasseler Bridge, there is the gilded, neoclassical bronze statue of Pallas Athene , the patroness of science and art, created for Gesolei by Johannes Knubel . It was a little further to the east until the Tonhalle was rebuilt in the 1970s. Together with the limestone sculptures of the planets Mars and Venus as well as Jupiter and Saturn, it still indicates the original importance of the rotunda as a planetarium. Towards the end of the Second World War it only narrowly escaped the war-related meltdown.
"Monument to the 39ers"
Monument of the 39ers (photo 2011)
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On the forecourt east of the Tonhalle are the remains of the war memorial designed by Jupp Rübsam , originally “Ehrenmal Füs.-Regt. 39 General Ludendorff "called. The design (design title Inner Fortification ) was chosen by a committee of members of the Lower Rhine Fusilier Regiment No. 39 in a competition. The work was controversial from the start, with two soldiers lying down waiting for the enemy, despite its monumentality, it did not generate the heroic pathos that was common for such memorials at the time. The artist's concept was to represent mutual help and camaraderie. A soldier puts his hand on the one of the wounded comrade lying next to him. The dispute went so far that General Ludendorff , the driving force behind the campaign against the monument, demanded that his name be removed from it. The National Socialist Völkischer Beobachter even described the actual sphinx-like depiction as "two human monsters on the stomach, like sphinxes , plump, raw, animal with hands that are larger than life-size fins or paws." Already removed in March 1933, the first year of the takeover the National Socialists found the sculpture that was undesirable for them and that had previously been damaged several times by assassinations.
Five years after the demolition, Richard Kuöhl erected a new memorial for the 39ers on Reeser Platz .
The remnants of the Rübsam memorial, which was badly damaged in World War II and was a "39er" himself, were placed on a brick base near the original square after the sound hall was completed.
"Finale"
Finishing off , Sohei Hashimoto (photo 2012)
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In front of the 39ers monument, also on the Tonhalle forecourt (Helmut-Hentrich-Platz) outside the Ehrenhof (Oederallee), there is the “Ausklang” fountain by Sohei Hashimoto . In the water in the middle of the fountain lies the sculpture of an upside down concert grand, made of stone and wood. Like the untitled work by Ernst Hesse , it comes from the 1988 exhibition “Sculpture D-88”. It's a gift to the city.
NRW forum
A little further away from the Tonhalle on the Rhine side to the north is the Ehrenhof 2 building, built as the Reich Museum for Social and Economic Studies , today the NRW Forum for Culture and Economy and the seat of the non-profit foundation imai , which is dedicated to the distribution of media art, especially video art and artistic film.
Until the 1990s , the exhibition, now known as the State Museum for People and Economy , was located here , a technical museum whose main attraction was an accessible coal mine in the basement. In 1998, after a general renovation, the building was reopened as an NRW forum for changing exhibitions. Topics on display include photography, media, fashion, communication, architecture, mobility and lifestyle. Examples are exhibitions on Peter Lindbergh , Helmut Newton , Alexander McQueen or Vivienne Westwood .
Works of art at the NRW Forum
Mosaics
"The day", Jan Thorn Prikker (photo 2008)
"The Night", Jan Thorn Prikker (photo 2011)
“The Rhine as a bearer of beauty”, Heinrich Nauen (photo 2011)
"Rhine as the bearer of life", Heinrich Nauen (photo 2011)
"Dance", Heinrich Nauen (Photo 2016)
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The two open corner temples at the Kunstmuseum Süd and Wirtschaftsmuseum Nord, which mark the entrance from the Rhine side to Inselstraße, are each adorned with a mosaic by the Dutch artist Jan Thorn Prikker , teacher at the Düsseldorf Art Academy in the 1920s. Two other corner temples opposite the others with mosaics by Heinrich Nauen are located at the Tonhalle West and Ost, as well as one at the North Rhine-Westphalia Forum Süd. Since the works had been classified as " degenerate " by the National Socialists , the building department covered the large-scale works with a Rabitz plaster wall a few centimeters apart, which meant that they survived the critical period.
Museum of Art Palace
Kunstpalast with Schumann Hall, east entrance (photo 2007)
Relief three arts above the entrance, Carl Moritz Schreiner
Entrance to the restoration center of the state capital Düsseldorf
The Kunstpalast museum is located in courtyards no. 4 and no . The two corner buildings with mirror-image facades, connected on the upper floor, form the northern border of the inner courtyard. They also contain the Robert Schumann Hall and the Helmut Hentrich Glass Museum . The restoration center is then located in the eastern wing, Ehrenhof 3a .
The relief of the three arts above the east entrance gives an idea of the original purpose of the art palace. The three depictions of women created by the sculptor Carl Moritz Schreiner symbolize painting, architecture and sculpture. He also designed the benches with cats (see below).
Ehrenhof Prize
The Ehrenhof Prize is awarded to the best thesis by a graduate of the Düsseldorf Art Academy . It was launched in 2015 by the Museum Kunstpalast together with the entrepreneur Georg Landsberg and awarded for the first time in 2016. At 20,000 euros, this is the most highly endowed award for art graduates in Germany. The total volume of 20,000 euros consists of 10,000 euros in prize money, a single presentation in the Museum Kunstpalast and a publication.
Works of art at the Museum Kunstpalast
"Aurora"
"Aurora", Arno Breker (photo 2011)
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Above the Belvedere , on the roof of the northern, triumphal arch-like passage , the lying Aurora, designed by Arno Breker from shell limestone, has been looking into the firmament since the GeSoLei . The goddess of the dawn has survived unscathed since 1926.
Two female figures
"Frauengestalt 1", Ernst Gottschalk
"Frauengestalt 2", Ernst Gottschalk
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A total of four bronze sculptures stood in front of what was then the art museum of the city of Düsseldorf for the GeSoLei . Ernst Gottschalk's two female figures were dismantled in 1942 for the “metal donation”, but survived the war and were put back up on the stairs to the art museum. Two other characters, “Die Jugend” and “Die Reife” by Bernhard Sopher , were defamed as “degenerate”, dismantled in 1937 and melted down three years later. The two outer bases are still empty today.
In front of the Kunstpalast, at the former location of one of Bernhard Sopher's two sculptures, a letter from the museum management to the mayor of Düsseldorf was on display for a long time, reproduced by Jean Jacques Lebel as part of his work Five Sculptures minus two , 2001:
- "To the Lord Mayor Office 31
- In front of the facade of the museum building on the courtyard there are four female bronze statues, two of which are by Gottschalk and two by Sopher. There is also a statue of the water carrier of the latter in the small garden on the Rhine terrace. As far as I know, Sopher is considered a non-Aryan, who at the time was forbidden to practice the artistic profession for reasons of race. ME should recommend making a fundamental decision as to whether the figures can stand still.
- Signature ( Hupp )
- Office 31/4542/36 Düsseldorf, February 10th, 37.
- 1. Mr. Kustos Kocks asked if Sopher is a non-Aryan.
- 2. Submit. "
"Ellipse"
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The ellipse by Katharina Grosse , professor at the Düsseldorf Art Academy , was created in 2009. On the occasion of the exhibition Katharina Grosse. Inside the Speaker , which opened in the Museum Kunstpalast on September 28, 2014, was acquired by sponsors for a permanent exhibition in the Ehrenhof. The work of art, reminiscent of a decapitated egg, is made of fiberglass-reinforced plastic (GRP) . The eleven-meter-high ellipse, which is very conspicuous compared to the other, rather reserved works of art, stands, as if leaning against it, in front of the collection wing of the Kunstpalast Museum. In 2008, on the occasion of the Quadriennale, a similar object by the artist was temporarily located at the Johanneskirche in Düsseldorf .
Fountain
The focal point of the main courtyard is the round fountain in front of the Museum Kunstpalast. The design comes from Wilhelm Kreis, it was also built for the GeSoLei . It is made of artificial stone and has a simple well head with a bundle of water jets. The edge was renewed in 1957 during a restoration.
The square around the fountain is a lively place on beautiful summer days
Fountain Museum Kunstpalast (May 2020)
Two benches with cats
To the left and right of the eastern entrance to the Kunstpalast Museum with the Robert Schumann Hall are two travertine benches from 1926. The armrests each form two statues of lying cats. The design comes from Carl Moritz Schreiner .
A very similar bench, but with crouching cats and made of white marble, is located behind the Düsseldorf theater in the “ Goltsteinparterre ” in the courtyard garden. It comes from Rudolf Bosselt and is a remnant of the design by Peter Behrens of the "Architectural Garden" in front of the then Kunstpalast , for the horticultural exhibition of 1904 . Originally there were also two benches, one was removed in 1940 when the Immermann statue was put up in its place in the “Goltsteinparterre”.
Left bank
Left bank
Left bank
Right bank
Right bank
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Four jewelry vases
The decorative vases a little over three meters high with a base and a surrounding relief on the upper edge have also already been set up for the GeSoLei . They form the four corner points of the garden border of the park in front of the former economic museum.
The two eastern vases on the wall separating the courtyard garden were designed by Ernst Gottschalk, who also created the two female figures. He created the vase with the “bathing women” south of Inselstraße and “Rossbändiger” (men with horses) near the Tonhalle.
The vases with the reliefs “ Martinszug ” and “Lebensalter” are by Willi Hoselmann ; on the side facing the Rhine, they each form the end of the terrace wall in front of the NRW Forum.
Other decorative vases of this type, including the Radschlägervase by Hoselmann, crown the bank wall in the nearby Rheinpark Golzheim .
"Bathing women", Ernst Gottschalk
"Rossbändiger", Ernst Gottschalk
"Martinszug", Willi Hoselmann
"Age", Willi Hoselmann
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"The aspiring youth"
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In 1931, the city of Düsseldorf announced a competition for a Heinrich Heine monument that had long been promised to the citizens to be erected in the courtyard of honor, calling for “For Heinrich Heine” . A corresponding initiative was formed in the 1920s. Committees were founded that were made up of nationally and internationally known personalities from culture, science and politics and made it clear that a Heine monument in his native town was no longer a local issue. Almost all of the Düsseldorf artists who were eligible took part in the competition, and four from outside were also invited. The applicant was given complete freedom for the design, "in particular, he does not need to think of portraying a portrait under all circumstances, but he must ensure that it fits in well with the overall architecture". Before Arno Breker and John Knubel the Berlin won Georg Kolbe with his design -and-coming young man , even Rising youth , kneeling youth or awakening called. After two years of intensive work on the double-head-high monument, the political situation changed so much as a result of the emergence of National Socialism that a monument in honor of the Jew Heine was no longer conceivable. The second, very late attempt for a Düsseldorf Heine monument also failed for a long time. According to Kolbe, his work should be a “sculptural parable of the young Heine. Excited from the senses to jump, ready for action. So a veneration of the lyrical and revolutionary spirit. "
The kneeling, aspiring youth was placed in the vestibule of the Hetjens Museum , which at that time was still in the courtyard. From there it came to the art museum after the war, in 1949 finally on a newly cut plinth made of shell limestone in the place provided for it on the eastern side of the courtyard, still without any reference to Heine.
In 1953, a Heine memorial was built in the courtyard garden instead. In 1981 Bert Gerresheim created the Heine Monument on the edge of the Schwanenmarkt park . Since 2002 an explanatory plaque, today a conspicuous inscription “Dedicated to Heinrich Heine”, indicates the connection between the aspiring youth and Heine.
A Heinrich Heine Monument Society, founded in 1979, campaigned for Breker's design to be carried out. He then made the model in 1980, it shows a crouching youth with a book . In Paris it was enlarged to 1.60 meters and cast in bronze. Because of Breker's involvement with National Socialism, the culture committee refused to erect the memorial for the Jewish writer, but agreed to a donation to the city of Norderney . This time, too, there were major national protests before the installation in front of the Kurtheater.
The divided relationship between Düsseldorf and Heine's honor was repeatedly the focus of public discussion, also in connection with the quarrels about the Heine monuments. Another work by Kolbe, The Standing Youth , is a few hundred meters north in Kaiserswerther Straße 137 in front of the Drahthaus .
"Rhino"
If you come from the south under the building overhanging into the courtyard with the number 3 a, you will see a rhinoceros resting in the grass on the left, a realistic bronze sculpture created by Johannes Brus in 2002 , on loan from a Düsseldorf gallery, which in 2012 was acquired by the Museum Kunstpalast.
"Nashorn", Johannes Brus (photo 2011)
"Nashorn", Johannes Bruns, Museum Kunstpalast acquired in 2012
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"Untitled" (Ernst Hesse sculpture)
“Untitled”, Ernst Hesse
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The somewhat inconspicuous, flat iron sculpture on the east side of the Ehrenhof, Inselstraße, was created by Ernst Hesse . The 2.50 meter long and 5 meter wide work of art comes from the exhibition “Sculpture D-88” (1988). In 1992 it was acquired by the city. It bears a sentence by Michael Gorbachev as an inscription : “There is nothing left to retreat to”.
graffiti
Harald Naegeli
Two Naegeli graffiti
in the corner temple of the Ehrenhof ensemble
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In the area of the Ehrenhof ensemble, some graffiti by the “Zurich sprayer”, Harald Naegeli (born December 4, 1939) have been preserved. In Zurich Naegeli sprayed his black stick figures "in protest against the monotonous cityscape" on public and private walls. He was punished there for repeated damage to property with a heavy fine and nine months in prison. After six months he was released from prison and moved to Düsseldorf, where he continued to spray. After a stay in Cologne, Naegeli finally moved to the “Asyl” with the Düsseldorf art dealer Hubert Maessen, who had introduced him to Joseph Beuys .
From August 26, 2016 to January 1, 2017, an exhibition with photos of works from all of the artist's creative phases took place in the Düsseldorf City Museum. A larger block of the photographic works by Wolfgang Spiller , also shown in the Galerie Galerie Art Unit Düsseldorf in 2017, showed preserved and now erased graffiti in and around the Ehrenhof.
Thomas Baumgärtel
Baumgärtel banana at the museum entrance
Exploding banana
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Thomas Baumgärtel , who became known as the “banana sprayer”, has also left his trademark. In August 2016 there was a very fresh banana in the entrance area of the Museum Kunstpalast, and one that was already somewhat weathered on the outer wall of the Kunstpalast, on the corner of Brüderstraße and Joseph-Beuys-Ufer. More of his spray bananas can be found at the entrances of around 4,000 art museums and galleries in both German and international cities.
Events in the courtyard
Sculptures from naked people, 2006 (Spencer Tunick)
On August 6, 2006, the American photographer Spencer Tunick created sculptures from a total of 850 naked people in the courtyard. He consciously used the aurora , the lying nude, as the background for part of his recordings . The sculpture on the northern passage of the courtyard was created in 1920 by Arno Breker, one of Adolf Hitler's favorite architects . Tunick later explained that he included the sculpture in order to reconcile Breker's art with the present and to go one step further. By becoming part of a new work, the biographical background of its creator was to recede further. However, the main photo, a pyramid of naked people, reminded many viewers of the photos of the mountains of corpses in the concentration camps. Tunick stated that this was not what he intended.
Quadriennial Düsseldorf 2014
"Fanfara Futurista". Quadrophone, drummer and saxophonist at the NRW Forum
Enzi-Bänke, Düsseldorf, Quadriennale 2014
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- Fanfara Futurista
As part of the Quadriennale Düsseldorf , which takes place every four years, actions took place in the Ehrenhof in addition to other locations in Düsseldorf. Rochus Aust installed eleven large funnels, which he called quadrophones, on the roofs of the city, two of them on the Ehrenhof ensemble, one on the NRW Forum and one on the Museum Kunstpalast. He also distributed around 35 mini quadrophones in the sewer shafts of Düsseldorf. The composition, which was created exclusively for the opening of the Quadriennale, was entitled Fanfara Futurista . It was recorded by the 1st German Electricity Orchestra and the broadcast was accompanied live by musicians.
- Enzi benches
At about the same time as the green benches by the Viennese artist Josef Trattner planned for a longer period on Düsseldorf's Schadowplatz, similar purple seating was set up in the courtyard of honor. The plastic benches are named after Daniela Enzi, who until 2012 worked for the Vienna MuseumsQuartier , which commissioned the first seating furniture in the series.
70 years of North Rhine-Westphalia - award ceremony for the 20th tank brigade of the British Armed Forces, 2016
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On August 23, a so-called flag ribbon ceremony was held in the courtyard of honor on the occasion of North Rhine-Westphalia Day to the 20th tank brigade of the British armed forces in Germany. Present were Prince William of Great Britain and Northern Ireland and the Prime Minister of North Rhine-Westphalia, Hannelore Kraft .
The brigade was recognized for its contribution to the defense of Germany during the Cold War, for charitable commitment, maintaining good neighborly relations and promoting cultural relations with North Rhine-Westphalia. The soldiers who formed the honor guard belong to the “1st Battalion Princess of Wales Royal Regiment”. The music corps of the Grenadier Guards played .
Works of art outside the main courtyard
"Big Flowing H"
"Große Fließende H", view of the northern main courtyard (photo 2011)
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If you look through the northern gate, you can see the Große Fließende H by Düsseldorf artist Norbert Kricke , a sculpture made of stainless steel tubes. It was created in 1969 and set up there in 2006 in the middle of a lawn.
Ulanenkmal
Another visual axis, starting from the head house on Inselstraße in the direction of the Rhine, provides a clear view of the Ulanendenkmal on Joseph-Beuys-Ufer. It is reminiscent of the Westphalian Uhlan Regiment No. 5 stationed in Düsseldorf . A design by Wilhelm Kreis was ultimately not approved; instead, a design for an equestrian statue by Richard Langer was realized , and it was inaugurated in 1929.
Hedge labyrinth and steel sculpture
Outer front of the east wing Museum Kunstpalast with a hedge labyrinth and steel sculpture "Halm" (photo 2011)
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If you leave the Robert-Schumann-Saal in the east wing of the Museum Kunstpalast through the back exit, you get directly to the site with its representative administration building, which was planned by the architect Oswald Mathias Ungers for the electricity supplier E.ON. Based on the concept of the Ehrenhof complex, the architect had a hedge labyrinth laid out on an open space , next to which is the 16 meter high stainless steel sculpture “Halm” by Beat Zoderer from 2005. The neighboring company Ergo also dedicates one of its floors to the works of the Swiss Zoderer.
Former works of art
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Industrial well
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The industrial fountain, which stood in front of the Art Palace when the Great Art Exhibition opened in 1913, is now on Fürstenplatz . Originally flanked by two victory columns with angel figures, the monumental complex stood in front of the Kunstpalast until the courtyard was redesigned in 1926.
Before that, there was a fountain built in 1902 for the GeSoLei exhibition. The plans for the new fountain came from an association that managed the use of the exhibition's surpluses.
In Düsseldorf it was of the opinion that the city lacked a monument that would represent the industrial and economic importance of the city, as it had long been in other cities. The sculptor Fritz Coubillier , who also designed the triton group on Königsallee , won first prize in a competition. The main character of the mythological inflated group is Vulkan , the god of blacksmithing. He sits bare in the middle of the facility. Leaning on an anvil, he holds a blacksmith's hammer in his right hand. Left and right are his assistants dressed in loincloths, the miner and the ironworker with their tools. The fountain system was designed by the Düsseldorf architect Gotthold Nestler.
Just five years after their completion, in 1918, the figures were confiscated. However, they were only dismantled and not melted down. It was not until 1937 that Fritz Coubillier was successful in his efforts to rebuild. The fountain system was rebuilt on Fürstenplatz without the accompanying victory columns.
During the Second World War, the figures again withstood the danger of melting down, and in 1950 they were put up again.
“The theme and shape of the industrial fountain show the city's changed self-image. Düsseldorf is no longer just the place of the arts, painting and music, it has become a place of economic and industrial hard work. "
Web links
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Individual evidence
- ^ A b Susan Brooks: The urban planning concept of Gesolei. In: The Gesolei and the architecture of the 20s. JP Bachem Verlag, Cologne 2001, ISBN 3-7616-1445-4 .
- ↑ a b c d e f g h i j k l Rolf Purpar: Art City Düsseldorf. 2nd Edition. Grupello Verlag, Düsseldorf 2009, ISBN 3-89978-044-2 .
- ↑ Paul Nachtwey: This is how you get to know the city's history with the Historia app. In: Rheinische Post , September 13, 2017, p. D4 Düsseldorf. Retrieved September 13, 2017.
- ↑ Ye serves the West right. In: Der Spiegel. 2/1950 (January 12, 1950) at: spiegel.de , accessed on July 25, 2012.
- ^ Werner Durth : German architects. Biographical entanglements 1900–1970 . Deutscher Taschenbuch Verlag, Munich 1992, ISBN 3-423-04579-5 , p. 351 ff.
- ↑ NRW-Forum: History of the NRW-Forum (accessed November 25, 2011) ( Memento of the original from November 3, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ a b c Kirsten Rachowiak: The Planetarium. In: The Gesolei and the Düsseldorf architecture of the 20s. JP Bachem Verlag, Cologne 2001, ISBN 3-7616-1445-4 .
- ↑ The E.ON Academy is the E.ON Group's corporate university. Established in October 2001. Ehrenhof 3, 40479 Düsseldorf , on Kulturdatenbank, accessed on February 14, 2018
- ^ Peter Berrenberg: Time leaps. Düsseldorf and its excursion destinations. Sutton Verlag, Erfurt 2004, ISBN 3-89702-777-1 .
- ↑ a b c d e f g h i j k l m n Hans Maes (ed.), Hatto Küffner, Edmund Spohr: Düsseldorf in stone and bronze . Triltsch Verlag, Düsseldorf, 2nd edition. 1984, ISBN 3-7998-0018-2 , pp. 76-77, 84.
- ^ A b c Clemens von Looz-Corswarem, Rolf Purpar: Art City Düsseldorf . Grupello Verlag, Düsseldorf 1996, ISBN 3-928234-41-2 .
- ↑ Video of the Museum Boijmans van Beuningen about works by Johan Thorn Prikker in the context of the art exhibition GeSoLei in and at the Museum Kunstpalast am Ehrenhof in Düsseldorf (Dutch). Retrieved November 17, 2011.
- ↑ Natalie Urbig: From the art academy to your own studio . In: Rheinische Post , March 8, 2018, p. C3.
- ^ Thomas Frank: Ehrenhof Prize for a young photographer . WDR 5 Scala - current culture, February 6, 2018. Last accessed March 8, 2018.
- ↑ http://www.kunstausstellung.de: Ehrenhof Prize 2017: Morgaine Schäfer . Last accessed March 8, 2018.
- ↑ www.lokalkompass.de , accessed on October 20, 2014
- ^ Wolfgang Funken: Ars Publica Düsseldorf , Volume 1, Klartext-Verlag Essen, 2012, ISBN 978-3-8375-0873-4 , p. 483
- ^ Joseph A. Kruse : Heines Düsseldorf - Düsseldorfs Heine. In: Gerhard Kurz (Hrsg.): Düsseldorf in the German intellectual history. Schwann-Bagel Verlag, Düsseldorf 1984, ISBN 3-590-30244-5 , p. 350.
- ^ Walter Cohen: Art in Düsseldorf 1932. In: Art for all . Painting, sculpture, graphics, architecture . Issue 11, 1932, p. 322 ( digitized version )
- ↑ Ulrike Müller-Hoffstede, Heine monuments: sculpture and power. Figurative sculpture in Germany in the 30s and 40s . Ed .: Magdalene Bushart. Berlin 1984, p. 141 ff .
- ↑ Joe F. Bodenstein: Arno Breker - une biography. Éditions Séguier, Paris 2016, ISBN 978-2-84049-690-8 .
- ↑ Video (2:11 min) about Tunick's preparations for the installation of a human pyramid on the fountain in the Ehrenhof in Düsseldorf ; published on August 20, 2009 by Ralph Goetz (Institute for Art Documentation and Scenography), accessed on December 20, 2011.
- ^ Dorothee Krings: People mountain in the courtyard. In: Rheinische Post , Düsseldorf August 8, 2017, p. C3.
- ↑ Beyond tomorrow . Program of the 2014 Quadrennial, p. 44.
- ↑ www.gov.uk: Royal Visit 2016 press kit (PDF file). Retrieved August 23, 2016.
- ↑ Anna Münch: The Ulanendenkmal in Düsseldorf , report from December 23, 2004 at the Heinrich Heine Comprehensive School in Düsseldorf . In: Website history in Spiegel Düsseldorfer Denkmäler , accessed on January 8, 2012.
- ↑ Article Westphalian Uhlan Regiment No. 5 in the GenWiki portal , accessed on January 8, 2012.
- ↑ Thorsten Breitkopf, Uwe-Jens Ruhnau: Lots of vacancies in the celebrity office buildings . In: Rheinische Post , April 21, 2017, p. D7.
- ^ Düsseldorf -wirtschaft de: Ergo opens an extension at the headquarters in Düsseldorf . May 17, 2011. Retrieved October 31, 2011
Coordinates: 51 ° 14 ′ 4 " N , 6 ° 46 ′ 21.3" E