Berlin Museum
The Berlin Museum was a city and cultural history museum in Berlin . It existed from 1962 to 1995 and was located in the Kollegienhaus, Lindenstrasse 14 in Berlin-Kreuzberg . In 1995, with the establishment of the Stadtmuseum Berlin Foundation, the “Berlin Museum” corporation ceased to exist. The Berlin Museum's collections were transferred to the foundation as property by the Berlin Senate and merged with the collections of the Märkisches Museum .
The Kollegienhaus, the extension of which was built in 1992 (so-called Libeskindbau), was initially given to the foundation for use. When the Jewish Museum became independent in 1999, the chamber court building and the Libeskind building were handed over to it and have no longer belonged to the City Museum Foundation.
prehistory
With the construction of the Berlin Wall , West Berliners initially had no access to the eastern part of the city and thus also not to the Märkisches Museum , which as an institution since 1874, in addition to its function as the Brandenburg Provincial Museum, has also presented the history of Berlin. In West Berlin, the first voices were heard to found a new, purely urban history museum. This included the director of the palace administration, Margarete Kühn , who was occasionally offered Berlin-related objects in her role, but was unable to buy them due to the collection profile of her institution.
The group of people who called for a city history museum also included the art historian Irmgard Wirth , who at the time had created the double volume of the inventory “City and District Charlottenburg” and the volume “District Tiergarten” as an employee of the state curator for the Senator for Building and Housing so that it had demonstrated its great competence in terms of regional urban and cultural history.
After the call for such a museum found its echo in the daily press, the Senate turned to Leopold Reidemeister , the general director of the former state museums, and Edwin Redslob , Reichskunstwart during the Weimar Republic, for advice .
Redslob, who after years of internal emigration during National Socialism had distinguished himself as a co-founder of the Free University, the Free Volksbühne and as the initiator and licensee of the bourgeois daily newspaper “ Der Tagesspiegel ”, was now to become a kind of founding director of the new museum. The Landsmannschaft Berlin-Mark Brandenburg was included as an important political force at the time . The State Historical Association for the Mark Brandenburg was brought in as a professional advisory body .
Since the Senate Administration initially saw no need to found a museum and there was serious doubt that a high-quality collection could be created through donations and new acquisitions, the legal form of the association was chosen, through which the museum was to be created. The name “Berlin Museum” was a consensus from the start.
The Union
On November 22nd, 1962, the "Association of Friends and Patrons of the Berlin Museum" was founded and Edwin Redslob was elected its first chairman. The then 78-year-old had taken on a difficult task, but became the real engine of museum affairs, which he mastered with the strength of his personality. Redslob networked the association and the museum idea with representatives from business, which in the following years should prove to be a solid foundation for the search for sponsors. The association was the sponsor of the museum for almost a decade. He used his funds to acquire works of art that remained in his property, because the association's sole purpose was to acquire works of art for the museum.
The Berlin Senate showed its benevolence for the collection by enabling the Berlin Museum to purchase works of art from Senate and lottery funds, which, however, became the property of the State of Berlin. The lottery funds offered the museum the greatest financial resources, without which the collection could not have been built up.
The association's work turned out to be extremely productive and gave the museum project an almost socially relevant significance. While Redslob was on the one hand soliciting financial support in the economy, on the other hand he practiced practical museum work in the form of buying works of art and was not afraid to clean doorknobs in the process: The resident of Dahlem specifically sought out long-established residents in the neighborhood and felt with them its own charm, Berlin-related objects that could sometimes also be acquired.
The support from the art trade was also important. Above all, Wilhelm Weick should be mentioned here, who assisted the association as an expert in assessing the purchase offers. Furthermore, the sculptor Kurt Reutti became an engine of the association's work, who in the immediate post-war period had rendered outstanding services to the recovery and securing of apparently abandoned works of art.
First exhibitions and temporary locations
The founding exhibition of the Berlin Museum opened on May 6, 1964 in the " Haus am Lützowplatz ". It had been important to Redslob to use exhibits to convey the idea of the city museum to the public. It was also possible to involve politics in such a way that the Governing Mayor Willy Brandt opened the exhibition. The response from the press and the resulting interest from the readers were correspondingly high.
The exhibition presented Berlin's urban and cultural history in a combination of first acquisitions by the association with loans from existing museums, the palace administration and private collections, and received an unexpectedly large response from around 10,000 visitors in three months.
In 1965, thanks to Redslob's good contacts with the Tiergarten district office, the Berlin Museum was able to move into its first permanent exhibition space, which was only intended as a temporary measure. They were located in the building of the Tiergarten Art Office at Stauffenbergstrasse 41 and could be used rent-free. Despite the very cramped space, special exhibitions and an exhibition on the city's history were shown here alternately.
In 1964, the Johann Friedrich Leider collection was bought for 80,000 marks through the lottery . A donation from the Hermann Meyer company in 1965 on the occasion of its 75th anniversary enabled an important Chodowiecki collection to be acquired. A very generous donation from Allianz insurance in 1966 of 250,000 marks made it possible to gradually purchase pictures for a “Berlin portrait gallery”. The Reemtsma company took over the patronage over the collection of faience, the Kindl brewery took over the patronage over the collection of (beer) mugs and glasses.
The college or chamber court building
The building, originally called Kollegienhaus , was built by order of King Friedrich Wilhelm I in 1734 according to plans by Philipp Gerlach and completed on May 8, 1735. It frames southern Friedrichstadt to the east and serves as a point de vue for Markgrafenstrasse from Gendarmenmarkt .
It is a two-storey three-wing complex under a mansard roof, which turns its courtyard towards the garden. The eleven-axis west facade is designed as a show side. The gabled, very wide central axis with a passage gate and balcony on the upper floor is projected like a risalit . The outer axes also form flat side elevations. At the side, along Lindenstrasse, were two architecturally structured property walls with a vase-adorned gate passage. The southern one was removed when Husarenstrasse was built in the 19th century.
The building rises on a simply structured base zone. A wide ramp with a balustrade swings up to the central axis in front of her. The ground floor is characterized by plaster bands, while the upper floor facades are smoothly plastered. In the risalits, pilasters with capitals-like festoon crowns cover both floors. The entablature zone is distinguished by four decorative elements under the cornice.
In the gable field there is a relief cartouche that identifies the building as a royal institution. On the sloping gable there are allegorical figures of Justitia and Caritas. The mansard zone of the roof is divided by four dormer windows and the roof ridge is determined by four chimney heads.
While the exterior of the Kollegienhaus with its palais-like design was intended to enhance the architecturally modest southern Friedrichstadt at the time, the interior was designed to be quite functional. The ground floor was vaulted throughout. The simple main staircase was on the courtyard side and was supplemented by secondary stairs at the ends of the side wings. In the middle was the presidential room, which was flanked by two halls. Both floors were accessed through corridors on the courtyard side.
Initially, several judicial institutions were housed in the Kollegienhaus, later the building was used solely by the Kammergericht . After he moved into the new building at Kleistpark in 1913, the Evangelical Consistory of Brandenburg moved into the Kollegienhaus.
Structural extensions had already taken place in the 19th century. 1828–1830, according to plans by Wilhelm Berger, the south wing was extended by five axes to the east. In 1834–1836, a single-storey residential building was added as an extension to the eastern property line. In 1860 the extension of the north wing was inaugurated, which was named "Saalbau" after the conference room in it. At this time, the mansard floor was also expanded and exposed through additional dormer windows.
The college building was destroyed in the bombardment of February 3, 1945. The degree of destruction was around 80 percent, as almost all of the ground floor vaults had collapsed. Due to the high degree of destruction and in the course of the motorway route planning in the post-war period , the ruins were initially supposed to be torn down, but then the decision was made to keep them. When the Berlin Senate published the “Directory of Architectural Monuments” on November 25, 1958, the ruins were listed as consecutive number 6 in the Kreuzberg administrative district.
The reconstruction of the house began on June 1, 1964, without any future use having been determined. Externally, the reconstruction took place according to Martin Engelbrecht's publication from before 1739. The ruins of the extension buildings had already been blown up and cleared away. The roof structure was created using a modern steel construction.
In the meantime the Berlin Senate intended to take over the Berlin Museum as a corporation in the foreseeable future. Therefore, a suitable building for permanent housing was sought. On May 19, 1965, the main committee of the House of Representatives decided to assign the unfinished college building to the Berlin Museum. At the same time, Irmgard Wirth, who until then had only worked for the museum on a voluntary basis, was taken over by the Senator for Science and Art on January 1, 1967.
The expansion of the college building dragged on over two years. The interior of the building was restructured by Günter Hönow for use as a museum and was considered a particularly successful conversion of a historical building into a very functional museum house at the time. The layout structure has been greatly simplified. The vaults, now facing brick, were only preserved or restored in the corridors and the north hall. In the passage from the entrance hall to the north hall, one of the entrance portals of the Danckelmann Palace, known as the “ Princely House ”, was installed as a spoil when it was demolished around 1900 .
The museum building was inaugurated on June 21, 1969. In the following years, extensions for the administration were made, especially in the mansard area. The interior design of Höhnow was largely eliminated when Daniel Libeskind expanded it into the Jewish Museum in 1993. The house is still listed as an architectural monument in the Berlin State Monument List.
Directorate Wirth
The museum was opened on June 21, 1969 and was immediately popular with visitors. On January 1, 1971, the Berlin Museum was taken over by the Senate, which ensured that the building could be operated on a long-term basis regardless of the association's financial circumstances. Irmgard Wirth was promoted to director and appointed professor at the same time.
After the opening of the new building, the number of visitors, which had averaged around 5-6,000 visitors a year, soared to 25,000. In 1975 the number of visitors reached its peak for the time being at just under 180,000, only to level off at around 140,000 in the second half of the 1970s.
On November 8, 1974, the partially removed roof (the roof structure was made of steel during the reconstruction) was inaugurated as an exhibition area, so that the house had around 2500 m² of exhibition space.
The institution, which consisted of only eight people (including the caretaker) in the 1970s, did a surprisingly effective job. In a sense, Wirth was the museum itself: she designed the exhibitions, wrote the texts and, if necessary, took photographs. She left research and loan processing to her assistants. As a rule, two special exhibitions were held annually, which were supplemented by the annual show of new acquisitions.
Before Irmgard Wirth retired in 1980, she presented a comprehensive guide through the house, which can still be used today to understand what her work as museum director was in the area of the permanent exhibition. In this guide she also presented the history of the Berlin Museum in detail.
At the end of her tenure, the permanent exhibition was extremely worth seeing, but the collection had grown considerably. The public's taste now demanded more than just the city and cultural history of old Berlin. In particular, the Jewish collection / department founded in 1978 met with political interest. An extension was taken into perspective, for which the components of the Ephraimpalais that were then stored in West Berlin were to be used.
Permanent exhibition
On the first floor, the visitor was introduced to the city topography with maps from the 17th century in two rooms. A city model carved in lime wood by Armin Luda in 1970 showed Berlin around 1680. A small Potsdam area supplemented the topographical exhibition. The following rooms presented arts and crafts, furniture and paintings, mainly from the 18th century.
In the showcases of the three-flight staircase integrated into the entrance hall, a transition from the 18th to the 19th century was made with small-format genre representations.
The very generously dimensioned rooms on the upper floor presented art and culture of the 19th and 20th centuries, with a wide range of living spaces. But the performing arts were also generously exhibited in the spacious galleries.
Berlin fashion was shown on the loft, which was extended to the street front of Lindenstrasse, and this important aspect of the city's history was brought back to mind.
Acquisitions or acquisitions
The museum's collection activities began in 1964 with the purchase of the Johannes Leider collection, which thus formed the basis of the collection. The individual items in this collection were not valuable, but as a whole they formed a cross-section of Berlin's cultural history. Wirth's purchase policy therefore initially focused on the acquisition of high-quality pictures for the portrait gallery and on cityscapes in which the artistic value was less in the foreground than that the city topography should be reflected as completely as possible.
Another focus of the acquisition was on home decor. Different kinds of facilities provided the basis for the presentation of handicrafts and fine arts. Here, too, the focus was less on the individual work of art, even if some particularly high-quality pieces could be acquired. At the museum inauguration, Wirth was able to present four complete room facilities in terms of culture and art history. They spoke to the audience in particular through their everyday recognizability until the house was closed.
After the art historian Dietmar Jürgen Ponert was hired as an employee, increasingly valuable handicraft exhibits were acquired. In 1974 the Senate transferred the collection of the State Drama Theaters because Jürgen Fehling did not want to continue the collection created by Boleslaw Barlog . This brought a basic stock of works of art to the Berlin Museum, from which a theater collection emerged in a short time.
Publications
Initially, the museum published three picture books, the text of which was written by Edwin Redslob. In 1964 it was the “Berlin Historical Picture Book” and then in 1965 “Daniel Chodowiecki” and the “Berlin Portrait Gallery”. They visually reflected the first small thematic exhibitions. In 1965 another picture booklet appeared for the most successful exhibition, which was dedicated to Adolph von Menzel. Irmgard Wirth wrote the text for this.
The association presented its own publications and still does so today. In 1967 the first publication was the “Report on the Fifth Anniversary of the Association of Friends and Supporters”, in which Redslob was able to report a success story. The association later published the “Berlin Notes” at irregular intervals.
For the exhibitions, Irmgard Wirth published illustrated booklets and brochures for the museum, which enjoyed great popularity and were sold in large numbers due to the low price. She kept this form of the exhibition catalog until the end. The booklets are evidence of a profound knowledge of the topic and are easy to understand, even for a non-trained audience.
During Wirth's directorate, the Berlin Museum did not submit any major publications. The work is an exception: Irmgard Wirth, Berlin 1650–1914 From the time of the Great Elector to the First World War; City representations from the collections of the Berlin Museum. Hamburg: Christians, 1979, which impressively demonstrated the high quality of the collection put together over a decade and a half.
Special exhibitions
Since the museum had exhibition rooms available, Wirth has regularly organized thematic special exhibitions to keep interest in the museum alive. Initially there were three annually with a very short duration, later there were two special exhibitions annually, which, however, also had a duration of well under three months. These exhibitions alternated between city history, art history and cultural history. A small illustrated guide was published for each exhibition, the text of which was written by Irmgard Wirth.
The exhibitions also reflect Wirth's contacts to artist heirs and collectors, such as Thomas Corinth , Lilly Spiro and Axel Springer. Basically, the exhibitions had an art-historical impetus. Purely urban history exhibitions, for example on the development of the urban infrastructure or the formation of metropolises, were completely absent. The following overview of the exhibitions shows that the focus of the exhibition's themes was on Old Berlin, which certainly coincided with the interest of the public at the time.
The exhibitions in chronological order:
- 1964: Berlin historical picture book - historical cityscapes
- 1965: Daniel Chodowiecki
- 1965: Adolph von Menzel
- 1966: The old Berlin, views and plans from the 17th to the 19th century. Prints from the museum's holdings
- 1966: Sing-Akademie zu Berlin 1791–1966, memorial exhibition
- 1967: Potsdam , image of a city, paintings and graphics
- 1967: Theodor Hosemann , painter and illustrator in old Berlin, oil paintings, watercolors, hand drawings, prints
- 1968: Eduard Gaertner , architectural painter in Berlin (on the occasion of the Berlin Building Weeks 1968)
- 1968: Axel Springer Collection: Heinrich Zille 1858–1929
- 1968: The Begas family of artists in Berlin
- 1969: Charlotte Berend-Corinth , paintings, watercolors, graphics
- 1969: Eugen Spiro : a cross-section through the painterly and graphic work
- 1969: Hand drawings by Daniel Chodowiecki from the Axel Springer collection
- 1970: The Berlin painter Franz Skarbina : a cross-section through his work
- 1970: Berlin interiors of the past - living in Berlin; Paintings, hand drawings, graphic prints, photographs (on the occasion of the Berlin Bauwochen 1970)
- 1970: Johann Wilhelm Meil , draftsman and etcher in Berlin 1733–1805, a collection of the Berlin Museum
- 1971: Slevogt, Orlik, Pankok, graphics from the former Dr. Grünberg
- 1971: Achievement and Fate, 300 Years of the Jewish Community in Berlin. Documents, paintings, prints, hand drawings, plastic
- 1971: A look at Berlin: from the collections of the Berlin Museum
- 1972: Berlin greets Munich (shown on the occasion of the Olympic Games in Munich and Berlin)
- 1972: known and unknown from earlier times in today's Berlin. Architectural drawings 1970–1972 by Gerhard Ulrich (on the occasion of the 1972 Berlin Building Weeks)
- 1972: August Gaul , sculpture, hand drawings and prints
- 1972/1973: News in the Berlin Museum. Acquisitions and foundations 1972
- 1973: Manuscript and portrait: testimonies of important personalities in Berlin from the 17th to the 20th century
- 1973: Kreuzberg motifs: Michael Schmidt photographs
- 1973: Freemasons in Berlin: paintings, sculptures, graphics, cabaret
- 1973/1974: News at the Berlin Museum 1973
- 1974: Heinrich Zille from the collection of the Berlin Museum
- 1974: Berlin streets as living space (on the occasion of the Berlin Building Weeks 1974)
- 1974: Old Berlin - yesterday and today (reaction to permit agreements)
- 1974: Exhibition of the Berlin Museum with paintings, graphics, porcelain and silver
- 1975: Paul Paeschke : a Berlin painter on his 100th birthday
- 1975: Berlin women - women in Berlin from three centuries. Paintings, sculptures, graphics, photographs (first shown in the Redoute in Bad Godesberg)
- 1976: The Gropius family in Berlin (Carl, Wilhelm and Martin Gropius)
- 1976: Berlin humor in the picture
- 1976: ETA Hoffmann and his time
- 1976: Park and landscape in Berlin and the Mark Brandenburg. Representations from the 18th to the 20th century
- 1976/1977: News at Berlin Museum VI, acquisitions and foundations from 1976
- 1977: Berlin press illustrator of the twenties - a kaleidoscope of Berlin life
- 1977: From little prince to Berlin brat: Berlin depictions of children and young people from three centuries. Paintings, graphics, plastic, photographs
- 1977/1978: News at Berlin Museum VII, acquisitions and foundations from 1977
- 1978: Architecture and landscape of the Mark Brandenburg. Photographs by Klaus Lehnartz 1974–1977 and old graphics from the museum's holdings
- 1978: First acquisitions and donations for the future Jewish Museum in Palais Ephraim
- 1979: Bourgeois life in Berlin's Biedermeier period, a picture book [exhibition title]
- 1979: The Berlin painter Julius Jacob 1842–1929
- 1979: Heinrich Zille and his Berlin people. Pictures, photographs, documents (on the occasion of the 50th anniversary of death)
- 1979: Tamara Voltz, painting
- 1979: News at Berlin Museum VIII - Acquisitions and foundations in 1978
- 1979: On the green beach of the Spree - Hans Scholz : Pictures from Berlin and the Mark Brandenburg
- 1979: Antiqua
- 1979/1980: News at Berlin Museum IX, acquisitions and foundations from 1979
- 1980: Adolph Menzel and Berlin
- 1980: From Kiez to Kurfürstendamm: hand drawings and oil paintings by the Berlin architectural painters' group
- 1980: The village churches in West Berlin (photographs by Hillert Ibbeken, lithographs by Alfred Karl Dietmann)
- 1980: Potsdam, city and landscape
- 1980: Acquisitions and donations for the future Jewish Museum since autumn 1978
Directorate Bothe
In 1980 Rolf Bothe took over the management of the Berlin Museum. With him stood a comparatively young man with a left-wing liberal attitude at the head of the museum, who had first learned the upholstery trade, then studied art history, focusing on the 19th and early 20th centuries. Then he taught at the Free University of Berlin for a few years . He was both a practitioner and an academic, which shaped the work at the Berlin Museum.
Bothe profiled his management by choosing exciting to provocative special exhibition topics and buying top works of the Berlin Secession and Expressionism. In terms of personnel, Bothe was able to increase the workforce, but it remained comparatively small until the end. The scientific work was enriched to a considerable extent by volunteer work, without which the ambitious special exhibitions could not have been mastered.
During Bothe's term of office, the historic components of the Ephraim-Palais were handed over to East Berlin and with it the decision was made against the plan of an extension building on the rear property, which was almost ready for construction. For this purpose, a completely different extension was developed according to plans by Daniel Libeskind since the late 1980s and executed from 1992.
Since the fall of the Berlin Wall, cautious rapprochements began between the Märkisches Museum and the Berlin Museum. A first, more intensive collaboration took place on the occasion of the exhibition “The Brandenburg Gate 1797–1991”. In May of the same year, Reiner Güntzer , the museum advisor to the Senate Cultural Administration, presented a draft for the merger of the Berlin museums.
Permanent exhibition
Initially, Bothe essentially continued the work of Irmgard Wirth and did not break radically with the previous exhibition design. Rather, the presentation of the permanent exhibition slowly changed. Of course, there were also economic reasons for this, because in 1969 the house was furnished in a uniform manner in the style of its time with showcases, partitions, painted strips, lamps and similar furnishings.
In terms of content, Bothe was able to implement his programmatic concern by 1987. The presentation of an ideal Berlin world had turned into an equally aesthetic, but critically questioned show that also drew attention to the ruptures in the city's history.
Wirth's residential ensembles were supplemented by a room in the style of early historicism (second Rococo, around 1860), an upper-class Wilhelminian style room (around 1880) and a workers' kitchen from the same period, as well as in 1989 Curt Herrmann's dining room furnishings based on a design by Henry van de Velde .
The attic was expanded further and, in addition to fashion, was now able to store the collection of toys as well as a Berlin inlay workshop of the Ernst Nast company (succeeded by Fritz and Heinz Huppke) as well as a selection of the collection of metal advertising signs from the Berliner Blechplakatindustrie to be shown. In general, Bothe's time as director shows a shift in focus to the field of handicrafts and manufacturing, for example furniture, ceramics, iron and zinc art castings.
Acquisitions or new acquisitions
As early as 1981, the very extensive bundle of drawings of the Berlin Artists' Association could be purchased with lottery funds , which greatly enriched the graphic collection for the period of the first half of the 19th century. Furthermore, it was possible to acquire high-ranking works of art through lottery funds. But the increased demands on the works of art also required greater financial resources.
In 1986, Bothe succeeded in winning the Otto and Ilse Augustin couple as patrons. The wealthy couple was persuaded to set up a foundation whose capital enabled the acquisition of top works of painting. The collection included paintings by Ludwig Meidner , Ernst Ludwig Kirchner , Lyonel Feininger and Max Liebermann , which could rival works in the National Gallery in terms of quality.
Under Bote's leadership, the focus was also on the National Socialist period in Berlin, which had hitherto been neglected as a cultureless period. Persecution and Nazi urban planning were juxtaposed. The political protagonists should not remain optically hidden. In this regard, it was a stroke of luck that in 1981 two portrait studies by Klaus Richter from 1941 were acquired as a gift from the artist's sister-in-law . The first study shows Hermann Göring and was created on the occasion of a "meeting", the second depicts Adolf Hitler and was painted from memory after an encounter. Both portraits are outstanding character studies that impressively convey the psychopathological character of the portrayed without caricaturing distortion of the physiology. A second version of the portrait of Hitler is in the collection of the German Historical Museum.
Special exhibitions
Extensive catalog volumes or accompanying publications, some of which were opulent and with high academic standards, were now published for the exhibitions. Accordingly, the essays were written less and less by museum staff than by external specialists. These publications were no longer aimed at the general interested visitor, but at the specialist audience.
The city anniversary in 1987 also enabled the Berlin Museum to undertake a particularly large exhibition project. On the subject of urban history, a large-scale show was created under the title “Cityscapes” on the development of Berlin's urban vedute from the 17th century to the present. The catalog created for this is still the standard work on the subject. With the numerous top-class art-historical exhibitions, the Berlin Museum moved into the front row in an increasingly diverse Berlin exhibition landscape.
In the fifth year of his tenure, Bothe dared to show the topic "Homosexuals in Berlin", which was proposed to him by employees of the museum, in the form of the exhibition "Eldorado - Homosexual Women and Men in Berlin 1850–1950", a break with the conventions of the House. In addition to leaving the association, it brought him the best-attended and most controversial exhibition that attracted younger groups of visitors to the museum.
As the quintessence and culmination of Bothe's term of office, the exhibition “The Brandenburg Gate 1791–1991” took place in 1991 in the art forum of the Grundkreditbank. Here, a Berlin art-historical topic was examined in its cultural-historical scope for German history.
In accordance with the integrative model of the Jewish Department, numerous exhibition themes were chosen that ostensibly appeared to be a purely Jewish theme, but were actually a theme of general Berlin history. The outstanding example here is certainly "Synagogues in Berlin - on the history of a destroyed architecture", for which basic research was carried out until 1983.
The special exhibitions in chronological order:
- 1980/1981: News at Berlin Museum X - Acquisitions and foundations in 1980
- 1981: Gustaf Gründgens (in connection with the Dumont-Lindemann-Archive Düsseldorf)
- 1981: ETA Hoffmann - a Prussian? An exhibition (with cat., Berlin [undated], 1981)
- 1982: News at the Berlin Museum XI - acquisitions and foundations in 1981
- 1982: New acquisitions 1980/1981 for the Jewish Department - Sofer Collection
- 1982: Raffael Rheinsberg: Messages - Archeology of a War (with exhibition catalog by Raffael Rheinsberg, Berlin: Frölich and Kaufmann 1982)
- 1982: Berlin Art 1770–1930. Study collection Waldemar Grzimek (with cat. Von Gertrud Weber)
- 1982/1983: News at the Berlin Museum XII Acquisitions and foundations from 1982
- 1982/1983: iron instead of gold. Prussian iron art casting from the Charlottenburg Palace, the Berlin Museum and other collections (joint exhibition with accompanying publication of the same name Berlin: Arenhövel, 1982)
- 1983: "... and evenings in association", Johann Gottfried Schadow and the Berlin Artist Association 1814–1840 (with catalog by Rolf Bothe and Sybille Gramlich, Berlin: Arenhövel, 1983)
- 1983: Synagogues in Berlin. On the history of a destroyed architecture (with cat., 2 volumes, Berlin: Arenhövel, 1984)
- 1984: German emigrants in France - French emigrants in Germany
- 1984: Landscape Berlin (joint exhibition with the National Gallery in the Grundkreditbank (with cat.), Berlin [n. V.], 1984)
- 1984: Friedrich Gilly 1772–1800 and the private company of young architects, exhibition as part of the International Building Exhibition Berlin 1987, reporting year 1984 (with cat. Berlin Museum (Ed.), Berlin: Arenhövel, 1984)
- 1984: Eldorado - homosexual women and men in Berlin 1850–1950. History, everyday life, culture (with cat. Berlin: Frölich und Kaufmann, 1984)
- 1984/1985: From the work of the painter Issai Kulvianski
- 1985: News in the Berlin Museum, acquisitions and foundations 1984
- 1985: May 8th: On the Destruction of Culture - Documents of Jewish Fate
- 1985: The colorful seduction - on the history of tin advertising
- 1985: Jewish artists between assimilation and Zionism
- 1985: In focus - Huguenot heritage in Berlin
- 1985/1986: Small Jewish portrait gallery
- 1986: News in the Berlin Museum; Acquisitions and foundations in 1985
- 1986: The doctor and parliamentarian Julius Moses
- 1986: The stereo image in science and technology
- 1986: Otto Nagel (1894–1967). Paintings, pastels, drawings. An exhibition by the Center for Art Exhibitions of the German Democratic Republic.
- 1986/1987: Jewish postcards
- 1986/1987: News at the Berlin Museum, acquisitions and foundations from 1986
- 1987: Cityscapes of Berlin in Painting from the 17th Century to the Present (with Cat. Von Rolf Bothe (Ed.), Berlin: Nicolai, 1987)
- 1987: The Golem - its history in art, literature, film
- 1988: 50 years of Berlin fashion drawn by Gert Hartung
- 1988/1989: As if it had never been - people who no longer escaped. Photographs from the last years of Jewish community life in Berlin until 1942
- 1988/1989: News at the Berlin Museum, acquisitions and foundations from 1987–88
- 1989: Curt Hermann 1854–1929, a Berlin painter of modernism (with catalog by Rolf Bothe (ed.), Berlin: Arenhövel 1989)
- 1989: the 19th and 20th centuries
- 1989/1990: There was never so much beginning - culture out of ruins. German cities 1945–1949. Exhibition of the German Association of Cities in the Hamburger Bahnhof.
- 1989/1990: Ernst Kuchling (1932-1989). Fashion designer in Berlin
- 1989/1990: News at the Berlin Museum, acquisitions and foundations from 1989
- 1990: Berlin drawing art from Chodowiecki to Liebermann (exhibition on the occasion of the completion of the inventory catalog)
- 1990: Herbert Sonnenfeld : a Jewish photographer in Berlin 1933–1938 (in the Martin-Gropius-Bau. With cat. Von Maren Krüger, Berlin, 1990)
- 1990/1991: "You can start again with your last breath", 100 years of the Freie Volksbühne (in the foyer of the Academy of Arts, with cat. Von Lothar Schirmer , Berlin 1990)
- 1991: "Change the world", Bertolt Brecht's theater work at the Berliner Ensemble (with cat. By Lothar Schirmer, Berlin [n.v.], 1991)
- 1991: The Brandenburger Tor 1791–1991, a monograph (exhibition in the Grundkreditbank with cat. By Rolf Bothe (ed.), Berlin: Arenhövel, 1991)
- 1991: "A New Art for an Old People", the Jewish Renaissance in Berlin 1900–1924 (with publication of the MD by Inka Bertz, Berlin [n. V.], 1991)
- 1991: Lord Mayor Gustav Böß. The forgotten mayor
- 1991: Fashion from East Berlin. Dresses, designs and graphics
- 1991: Couture - Confection - Varieté, fashion of the 20s (with cat. By Christine Weidenschlager, Berlin [not published], 1991)
- 1991/1992: Five years of the Augustin Museum Foundation. Acquisitions for the Berlin Museum
- 1992: Reunited in the Berlin Museum: the Schadow family
- 1992: Faust - Lear - The Frogs. New acquisitions of the theater collection from productions in the Berliner Ensemble, the Komische Oper and the Freie Volksbühne
- 1992: The set designer Roman Weyl. Border crosser of the scene
- 1993: Couture - Confection - Varieté, fashion of the 20s (with cat. By Christine Waidenschlager, Berlin [n.V.], 1991)
- 1993: Anton von Werner, History in Pictures (exhibition in cooperation with the DHM Berlin. With cat. By Dominik Bartmann, Munich: Hirmer, 1993)
- 1993: Journey to Jerusalem - the Holy Land in maps and views from five centuries. Lewenhardt Collection (with catalog as inventory catalog of Anemone Bekemeier's Jewish Department, Wiesbaden: Reichert, 1993)
- 1993: Moabiter Barock - the porcelain factory F. A. Schumann in Moabit near Berlin (with cat. From Dietmar Jürgen Ponert, Berlin: Helmut Scherer 1993)
Publications
During this time, the following catalogs were submitted:
- Dietmar Jürgen Ponert, applied arts I ceramics, Berlin [without publisher] 1985
- Dominik Bartmann, Gert-Dieter Ulferts, From Chodowiecki to Liebermann, catalog of drawings, watercolors, pastels and gouaches from the 18th and 19th centuries, Berlin: Gebr. Mann 1990
- Sabine Beneke and Sybille Gramlich, Berlin Museum, painting I, 1, 16. – 19. Century, Berlin [no publisher] 1994
- Christine Waidenschlager and Christa Gustavus, Berlin Museum: Fashion of the Twenties, Tübingen / Berlin: Wasmuth, 1993
- Gabriele Huster, Toys in the Berlin Museum, Berlin [o. V.], 1988
- Catalog of new acquisitions 1980/1981 for the Jewish Department - Sofer Collection
- Vera Bendt, Judaica inventory catalog of the Jewish Department of the Berlin Museum, Berlin [o. V.], 1989
Further publications:
- Inka Bertz, “No celebration without Meyer” The history of the Hermann Meyer & Co. company 1890–1990, Berlin 1990
- Rolf Bothe (Ed.) Foundation Dr. Otto and Ilse Augustin and the Günther Vogel donation: five years of acquisitions for the Berlin Museum, Berlin V.], 1991
- Hermann Simon, The Berlin Jewish Museum in Oranienburger Strasse: History of a Destroyed Cultural Site, Berlin [o. V.], 1983
- Jürgen Reiche, In those days: Films of the early post-war period (retrospective on the exhibition of the German Association of Cities at Hamburger Bahnhof "So much the beginning was never", 1989)
resolution
After Rolf Bothe took over the management of the State Art Collections in Weimar in 1992, Dominik Bartmann led the Berlin Museum as acting director. The cooperation between the two museums was intensified with the acting director of the Märkisches Museum, Renate Altner . In 1993, the construction work on the extension of the Berlin Museum had progressed so far that it had to extend to the old building. Therefore, the museum was closed and evacuated on October 4, 1993.
In the meantime, Reiner Güntzer in the Senate Administration had developed a concept for a city museum in which, in addition to the Berlin Museum and the Märkisches Museum, all of Berlin's art and cultural history museums were to be combined. Günzer became the general director of this Europe-wide largest museum association at regional level. With the establishment of the Stadtmuseum Berlin Foundation on June 23, 1995, the Berlin Museum was dissolved as a corporation and from then on it was only used as the name of the Kollegienhaus with its extension. When these buildings were taken over by the Jewish Museum in 1999, the term “Berlin Museum” also became obsolete.
Weissbierstube
The museum's wheat beer parlor became legendary through the later transfiguration of museum visitors at the time. When the chamber court building was set up as a museum, a small café was also planned from the start. As a special feature, it should represent the type of an old Berlin wheat beer parlor. In the absence of a kitchen, this small restaurant offered typical popular cold dishes such as meatballs, salads, lard stulls, pickled cucumbers and the like, but was so successful that in the midst of the deplorably poor restaurant situation in southern Friedrichstadt it attracted more pubs than museum visitors, especially on Sundays. Since a noisy bar and the solemn calm of a museum did not get along well, the beloved and successful wheat beer room was a constant source of quarrels between the museum management and the tenant.
literature
- Irmgard Wirth: Berlin Museum, guide through the collections . Berlin 1980
- Rolf Bothe (Ed.): Berlin Museum, short guide . Berlin 1987
- Kai Michel: Edwin Redslob and the founding of the Berlin Museum , in: Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999, Henschel, Berlin 2000, pp. 86–120
- Irmgard Wirth: History of the Berlin Museum (1964–1981) , in: Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999, Henschel, Berlin 2000, pp. 121–141
- Dominik Bartmann: History of the Berlin Museum (1981–1995) , in: Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999, Henschel, Berlin 2000, pp. 142–161
- Dieter Beuermann (Ed.): 50 years of commitment to Berlin (anniversary publication for the 50th anniversary of the Association of Friends and Supporters of the Stadtmuseum Berlin), Berlin: Verlag M, 2012
Web links
Individual evidence
- ^ Stiftung Stadtmuseum Berlin (ed.): Yearbook 1995 , Berlin: Gebr. Mann, 1997, p. 99
- ↑ The founding of the association and the forces leading it are described in detail in: Kai Michel, Edwin Redslob and the founding of the Berlin Museum, Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999, Berlin: Henschel, 2000, p. 86
- ^ Irmgard Wirth, The Buildings and Art Monuments of Berlin, Tiergarten District, Berlin: Gebr. Mann, 1955; Irmgard Wirth, The Buildings and Art Monuments of Berlin, City and District of Charlottenburg, Berlin: Gebr. Mann, 1961
- ↑ Michel, Redslob, in: Jahrbuch 1999, p. 109
- ↑ Michel, Edwin Redslob, in: Jahrbuch 1999 , p. 107
- ↑ Michel, Edwin Redslob, in: Jahrbuch 1999 , p. 109
- ↑ Michel, Redslob, in: Jahrbuch 1999 , p. 109 and Irmgard Wirth, Berlin Museum, Guide through the Collections, Berlin 1980, p. 9
- ↑ Irmgard Wirth, History of the Berlin Museum (1964–1981), in: Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999 , Berlin: Henschel, 2000, p. 121
- ↑ Andreas Bekiers, Building History of the Berlin Museum, in: Stiftung Stadtmuseum Berlin (Ed.): Yearbook 1999 , Berlin: Henschel, 2000
- ↑ Irmgard Wirth, Berlin Museum, Guide through the Collections, Berlin 1980, p. 13 f. (On the building history of the former chamber court building) and Bekiers, building history, in: Yearbook 1999, pp. 76–79
- ↑ Bekiers, Baugeschichte, in: Jahrbuch 1999 , p. 82
- ↑ Entry in the Berlin State Monument List
- ↑ Wirth, Gründungsgeschichte, in: Jahrbuch 1999, p. 123
- ↑ Wirth, Gründungsgeschichte, in: Jahrbuch 1999, p. 139
- ^ Irmgard Wirth: Berlin Museum, guide through the collections. Berlin 1980
- ↑ Wirth, Berlin Museum Führer, Berlin 1980, p. 18 ff .; Wirth has also published spatial views on the illustration panels 1, 6, 7, 33, 34, 41, 42, 64, 65, 81–85, 98–103, 125 and 140.
- ^ Association of Friends and Patrons of the Berlin Museum (ed.) Berlinische Notizen. Issues: 1972, 1973 1/2, 1973 3/4, 1974 and 1980
- ↑ Wirth, Gründungsgeschichte, in: Jahrbuch 1999 , p. 125 ff., Here Wirth has listed not only exhibitions but also events in the house.
- ↑ Information from the exhibition guides and the "Bibliography Irmgard Wirt compiled by Ruth Moewes" without year (after 1984) and location
- ↑ The story in detail in: Dominik Bartmann; History of the Berlin Museum (1981–1995), in: Stiftung Stadtmuseum Berlin (Ed.), Yearbook 1999 , Berlin: Henschel, 2000, p. 142
- ↑ Bartmann, Zur Geschichte, in Jahrbuch 1999, p. 145
- ^ Rolf Bothe (ed.), Berlin Museum Kurzführer, Berlin 1987
- ↑ Rolf Bothe (Ed.) Foundation Dr. Otto and Ilse Augustin and donation Günther Vogel. Five years of acquisitions for the Berlin Museum, Berlin [o. V.], 1991
- ↑ Dominik Bartmann, The double Hitler. Contribution to solving a game of confusion about two paintings by Klaus Richter. in: Yearbook of the Stadtmuseum Berlin Foundation , Vol. III, 1997, p. 303 ff. Henschel Berlin, 1999.
- ↑ Bartmann, Zur Geschichte, in: Jahrbuch 1999, p. 147
- ↑ Bartmann, Zur Geschichte, in: Jahrbuch 1999, p. 147
- ↑ Wirth even prints a photo with Federal Chancellor Schmidt and Governing Mayor Schütz in the Weißbierstube in her article : Irmgard Wirth: Geschichte des Berlin Museum (1964–1981) , in: Stiftung Stadtmuseum Berlin (ed.), Yearbook 1999 , Berlin: Henschel , 2000, p. 130
Coordinates: 52 ° 30 ′ 8.5 ″ N , 13 ° 23 ′ 42.7 ″ E