Hamburger Kunsthalle

from Wikipedia, the free encyclopedia
Logo of the Hamburger Kunsthalle
Foundation building from 1869
( Georg Theodor Schirrmacher , Hermann von der Hude )
Extension from 1909/1921
( Fritz Schumacher ) (Photo: 2005)
Gallery of the present from 1996
( Oswald Mathias Ungers ) (Photo 2004)
Old staircase

The Hamburger Kunsthalle is home to several important art collections and ranges from the Middle Ages to modern and contemporary art.

The building consists of three interconnected buildings between the main train station , the railway tracks, the Glockengießerwall and the Alster on the former Vincent bastion of the Hamburg ramparts . The entire exhibition and event space adds up to more than 13,000 square meters. A traditional focus of the collection is the 19th century . The museum also has departments for old masters and modern art . A separate building complex is dedicated to contemporary art. The Kupferstichkabinett comprises over 130,000 sheets. The library of the Hamburger Kunsthalle comprises more than 175,000 volumes, including around 3,000 illustrated books and artist books.

Architecture of the building complex

The building complex of the Kunsthalle consists of an old building (1863 to 1868), a new building (1909, 1912 to 1921) and a contemporary gallery (1993 to 1996). The entrance is in the old building opposite the Contemporary Gallery.

Old building

Old art gallery

The original building was based on designs by Georg Theodor Schirrmacher (1833–1864) and Hermann von der Hude based on the Berlin Schinkel School. The facade of the building is designed in the elegant style of the Italian Renaissance in brick with portraits of artists in terracotta . There are a total of 36 medallions on the edges of the core and corner buildings. The execution of the life-size sandstone figures, which exemplify the genres of painting, sculpture, architecture and copperplate engraving, was dependent on the Hamburg citizens' willingness to pay in the 19th century. The selection and arrangement of the sculptures by well-known artists created by unknown sculptors is based on a complex system with a specific sequence. The three-dimensional figures of Michelangelo and Raffael, which are highlighted on the main facade by framing aedicules, form the starting point.

As with almost all museum buildings in the 19th century, glass roofs were installed in the old building of the art gallery. Sooting gas lamps or candles were not an option for the art on display due to the protection concept. Daylight fell through the glass roofs onto the underlying light ceilings made of milky glass and thus created ideal lighting conditions: the visitor was not blinded, the paintings were evenly illuminated and no space was wasted through windows. In addition to the many advantages, this construction also had some serious disadvantages: The rooms were only fully lit on sunny days, usually between 10 a.m. and 2 p.m. and the roof could hardly be insulated so that it could not be heated. Over time, the roofs also became permeable to water and air, so that condensation was constantly forming and attacking the steel structure. These defects remained hidden from the eyes of the museum visitor for decades due to the milk discs, but at the beginning of the 21st century the city and the museum management decided to renovate. The glass ceilings remained in the building despite immense additional costs and were extensively renewed. Uwe Schneede, director of the Hamburger Kunsthalle from 1991 to 2006, commented on this as follows: “We wanted to restore the clear, historical boundaries. Now everyone who walks through the building can understand its architecture, its symmetry, the importance of the staircase, the great breath of the light atmosphere in the exhibition rooms. "

When it came to the wall color, however, a compromise was chosen during the renovation compared to the original condition. In order to emphasize the small-format pictures in their own color scheme, a mixed shade was chosen instead of the previously brilliant white. A light, gentle gray tone with subtle sub-tones and sub-tones in the blue and aubergine was chosen. A harmonious, neutral and subdued timbre that is intended to sensitize the eye to the differentiation of the colors and shapes of the works of art when illuminated with daylight.

During the renovation, the technical building equipment was also modernized. A fire protection concept with escape and rescue route plans was created, which served as the basis for the implementation of the new fire alarm and safety lighting systems. A supply and exhaust air system was installed through which 15,000 cubic meters of conditioned air per hour enter the seven exhibition rooms. Each showroom is equipped with temperature and humidity sensors that monitor changes in humidity and temperature. In the event of unforeseen deviations, the entire ventilation system is switched off. In the walls of the exhibition rooms on the 1st floor, over 1000 meters of copper pipes for hot water pipes were laid under plaster in the base area. As the exhibition rooms are heated evenly by the hot water, the air does not have to be humidified for the required climatic conditions.

New building

Albert Erbe and Alfred Lichtwark prepared the first drafts of the new building as a preliminary planning. The realization was carried out by Fritz Schumacher . With the generally unadorned neoclassical facade design in shell limestone and with a domed rotunda, the new building demonstratively stands out from the old building. In the new building from 1912 to 1919, which increased the exhibition area to a total of around 6,000 square meters, skylights were installed, albeit without glass ceilings. The entrance was moved from the old building to the new building in the direction of the train station.

Gallery of the present

The building, designed by Oswald Mathias Ungers, consists of a sloping base in red, Swedish granite and a cuboid in light, Portuguese limestone. The five-storey cube with an exhibition area of ​​5600 square meters is broken up by a central hall. Even the lattice windows and the square floor tiles, which were fitted in such a way that they did not have to be cut, underline the typical connection to the cube shape for the Cologne architect. The café-restaurant "The Cube", which opened in 2012 on the plateau level, has 80 seats outside and 80 seats inside, and is no exception.

Building history

Old building

Hamburg citizens, members of the art association founded in 1817 , postulated the requirements for an art museum in the Hanseatic city in 1846. The city then provided a plot of land on which the brick building designed by the Berlin architects Schirrmacher and von der Hude was built. The foundation stone was laid on December 22, 1865, the topping-out ceremony was celebrated on October 12 of the following year and the opening celebrated on August 20, 1869. The construction costs amounted to 618,000 marks, 316,000 were borne by the citizens of Hamburg, 250,000 came from the state treasury and 52,000 marks from interest. In the first few years the collection was marked by donations and first acquisitions in the taste of the time.

New building

In 1886 Gustav Christian Schwabe donated a collection of 128 paintings to the Kunsthalle. To make room for this, several corner pavilions and a hall facing south-west were built according to plans by Hans Zimmermann . Fritz Schumacher expanded this complex from 1912 to 1919 with an extension made of shell limestone, with the dome that is characteristic of the building today.

"Contemporary Gallery"

The second expansion was also highly controversial because of the expected costs. In 1985 the competition was announced, which in 1986 led to the determination of the winner Oswald Mathias Ungers. Seven years later the foundation stone for the “Gallery of the Present” was laid near the Lombard Bridge and the topping-out ceremony was celebrated in October 1994. In October 1995 a second increase in costs to 104.3 million marks became known. Initially, the Senate approved almost 74 million. The building was ready for occupancy in the summer of 1996. On February 24, 1997, the opening took place, at which Federal President Roman Herzog , Mayor Henning Voscherau and the painter Georg Baselitz spoke.

Renovation from 2003 to 2006

From 2003 to 2006 the founding building was renovated under the direction of Hamburgische Immobilien Management Gesellschaft mbH (IMPF). In addition to the facade and the roof, the technical building equipment was also adapted to the state of the art.

In May 2010, defects in the fire dampers of the ventilation system in the Galerie der Gegenwart were discovered.

Total renovation in 2016

Alexander Otto , son of the Hamburg-based mail-order company founder Werner Otto , made a donation in kind of 15 million euros to modernize the Kunsthalle from funds from the Dorit and Alexander Otto Foundation . Hamburg contributed 4 million euros to the renovation and modernization of the art depot in the Kunsthalle. The planning and construction management were taken over by Alexander Otto's company ECE Projektmanagement . The work lasted from 2014 to 2016. The city of Hamburg redesigned the outside area of ​​the art gallery for 3 million euros. A total of around 22 million euros were invested in the renovation measures.

History of the collection

Basic stock

The basis of the collection comes from the Chamber of Commerce , which opened the first public picture gallery in Hamburg in the building of the Neue Börse in 1850. Most of the paintings came from donations and bequests from Hamburg merchants. The paintings were transferred to the art gallery on Glockengießerwall, which opened in 1869.

Alfred Lichtwark

It was only Alfred Lichtwark , who began his work as the first director of the Kunsthalle in 1886, to ensure a systematically structured collection: "We don't want a museum that stands and waits, but an institute that actively intervenes in the artistic education of our population."

Under his aegis, a collection of medieval art was created in Hamburg with works such as the Grabower Altar by Master Bertram , which Lichtwark had brought back to Hamburg after it had been identified as the former main altar of the main church Sankt Petri . Other medieval masterpieces come from Master Francke and his successors.

However, the focus of the acquisitions was on 19th century art. These include works by Max Liebermann , with whom Lichtwark was friends, Lovis Corinth , Anders Zorn , Edouard Vuillard , Pierre Bonnard and others who, at Lichtwark's suggestion, painted views of the city of Hamburg. Theodor Hagen was represented with several port photos. He made the work of Philipp Otto Runge and, above all, Caspar David Friedrich accessible to a wide public. With Adolf Menzel and Wilhelm Leibl , additional works by contemporary painters were acquired.

From several bequests and purchases (including the Hudtwalcker- Wesselhoeft collection ), a collection of Dutch painters and the Kupferstichkabinett emerged . The enthusiasm for the French impressionists is attributed to the influence of Max Liebermann.

During Lichtwark's tenure, 2,499 coins and medals were acquired, some of which are on display in the Münzkabinett .

His groundbreaking exercises in viewing works of art , later spread in lectures and books, established museum education .

Gustav Pauli

Caspar David Friedrich: The Augustus Bridge in Dresden , among other works burned in 1931 in the Munich Glass Palace

Lichtwark's successor Gustav Pauli , who came to Hamburg from the Bremen Kunsthalle in 1914 , had the collection of the Kupferstichkabinett scientifically processed. The First World War initially delayed his plans. He expanded the collection to include Expressionist artists such as Oskar Kokoschka and Franz Marc . In 1923 the lecture hall between the old and new buildings of the art gallery was completed. At his long-standing instigation, the founding meeting of the Friends of the Kunsthalle in Hamburg took place here in 1923 ; In addition to Carl Petersen as chairman, Pauli was deputy chairman until 1933. In the first year after it was founded, the association was able to gain 3680 members.

Gustav Pauli was dismissed by the National Socialists for political reasons in September 1933 because of his commitment to modernism, after they had previously given him leave.

During his tenure he lost 17 works on loan from the Hamburger Kunsthalle in the fire of the Munich Glass Palace on June 6, 1931. The loans - including two by Caspar David Friedrich - were taken at the special exhibition “ Works of German Romantics from Caspar David Friedrich to Moritz von Schwind ” - destroyed.

Between 1933 and 1945

Franz Marc's Der Mandrill (1913) is currently in the Pinakothek der Moderne , Munich

Since autumn 1933, the director of the state art school, the interior designer Hermann Maetzig, was provisional director of the art gallery. After he had borrowed around 900 pictures from the Kunsthalle collection to decorate offices and offices, he was given leave of absence in the spring of 1934. His successor Wilhelm Freiherr Kleinschmit von Lengefeld was the head of the Kunsthalle until August 1937.

In May 1934 Harald Busch became director of the picture gallery. After the “Art Party Congress” in Nuremberg in autumn 1934, he was given notice and had to leave the Kunsthalle on November 30, 1935. In 1936 Werner Kloos succeeded Busch, initially as an assistant for the picture gallery, then on April 1, 1938 as curator. From November 9, 1941, he held the position of ordinary director of the Hamburger Kunsthalle. During his tenure, the Propaganda Ministry under Joseph Goebbels , who had secured access to the arts with the Reich Chamber of Culture, organized the “ Degenerate Art ” campaign in 1937 . This action, prepared for propaganda purposes, meant the loss of more than a thousand works of modernism for the Kunsthalle alone. In 1937 Adolf Ziegler confiscated 72 paintings, including masterpieces by Kokoschka Die Windsbraut , by Marc Der Mandrill and Buveuse assoupie (Sleeping Drinker) by Pablo Picasso , as well as important works by Emil Nolde and Ernst Ludwig Kirchner . There were also 296 watercolors, pastels and hand drawings, 926 etchings, woodcuts and lithographs as well as eight sculptures. Some of them were sold abroad, but most of them were deliberately destroyed.

It is thanks to the caretaker Wilhelm Werner that seven paintings by Anita Rée remained in the Kunsthalle's possession.

From January 1942 to September 1945 Carl Schellenberg was acting director of the Kunsthalle for the director Werner Kloos, who was drafted for military service.

After 1945

After the Second World War the directors of the Kunsthalle were Carl Georg Heise (1946 to 1955), Alfred Hentzen (1956 to 1969), Werner Hofmann (1969 to 1990). In November 1971 a duo of robbers stole two paintings by Eugène Delacroix as well as one work each by Jean-François Millet and Camille Corot , worth 1.5 million marks at the time, and in July 1978 the Kunsthalle hit the headlines with a spectacular Rififi art theft . The alarm system was switched off during renovation work . The perpetrator, who was later caught, took advantage of this vulnerability to cut 23 paintings, valued at around two million marks at the time, from the frames and steal them from the art gallery. Uwe M. Schneede headed the museum from 1990 to 2006 ; Hubertus Gaßner succeeded him in 2006 . His successor on October 1, 2016, was the previous director of the Wallace Collection in London, Christoph Martin Vogtherr . On August 1, 2019, Alexander Klar , the previous director of the Wiesbaden Museum , became his successor. He's just in time for the 150th anniversary celebrations in the Kunsthalle.


After the renovation, the arrangement of the collections was changed.

ground floor

"Transparent Museum"

This is a presentation of techniques for displaying and reproducing art.

Art in Hamburg

Pictures of Hamburg from the 19th century of the Outer Alster, city silhouette and harbor are exhibited here.

Sculpture collection

On the pedestrian island by Aristide Maillol : The river , 1939, in the rotunda since 2016

The sculpture collection is located on the ground floor of the rotunda. This collection includes sculptures from the 20th century by Georg Kolbe , Paul Hamann (1891–1973) and others. For example

  • Georg Kolbe: The Dancer (1913/1919)
  • Georg Kolbe: Big Night (1926–1930). Bronze casting.
  • Paul Hamann: Bertolt Brecht (1930). Head.
  • Aristide Maillol: The River , 1939


The collection comprises more than 100,000 sheets and ranges from the 15th century to the present day. The focus is on French graphics of the 19th century, Italian prints, German expressionists and works by Horst Janssen .

"Café Liebermann"

The “Café Liebermann” on the ground floor consists of a hall with six pairs of columns. The hall serves as a café with a museum flair.

First floor

The Old Masters , 19th Century and Classical Modern collections are on the 1st floor. The staircase to the first floor and the walk around the first floor within the stairwell are artistically designed.

Old Masters

Jan Massys : Flora , 1559
  • German art before 1400 to 1800
  • Dutch painting of the 17th century
  • Italian painting from 1350 to 1800
  • French painting from the 16th to 18th centuries

Pictures by the following painters are exhibited: Master Bertram , Rembrandt , Peter Paul Rubens , Giambattista Pittoni , Canaletto .

19th century gallery

The gallery exhibits several pictures by Caspar David Friedrich, for example the painting Das Eismeer , for which he made sketches on the banks of the Dresden Elbe in the cold winter of 1820.

Other pictures are, for example, by Philipp Otto Runge , Max Liebermann , Édouard Manet and Adolph von Menzel .

Classic modern

In the Classical Modern Department, pictures and sculptures by artists such as Max Beckmann , Lyonel Feininger , Ernst Ludwig Kirchner , Paul Klee , Wilhelm Lehmbruck , Edvard Munch , Emil Nolde and Anita Rée as well as George Grosz and Max Ernst are on display. The collection contains the portrait of the art dealer Clovis Sagot (1909) by Pablo Picasso .


Hans Makart (1840–1884): Charles V's entry into Antwerp, 1878; Oil on canvas, 520 × 952 cm. Hamburger Kunsthalle
Makart's painting before the renovation

The monumental painting The Entry of Charles V in Antwerp (1878) by Hans Makart has been hidden behind a plaster wall since 2016 because it no longer fits into the current exhibition concept, but could not be transported for restoration reasons. The work is no longer visible to museum visitors; researchers can access it through a small side door in the narrow walk-in room behind the wall.

A hidden treasure can be found in the so-called “Small Staircase” of the Hamburger Kunsthalle, which is no longer open to the public today. At the suggestion of the Kunsthalle director Carl Georg Heise , the room was painted by Wolfgang Klähn in 1952 , which made the painter famous overnight. The suggestive painting, which thematizes climbing a staircase, was covered by plasterboard under Heise's successor. To this day, there is still heated argument about the uncovering of the room painting.

Library of the art gallery

The library of the Kunsthalle has a collection of books, exhibition and auction catalogs as well as magazines on the fine arts and on artists from the Middle Ages to the present day. Artist bequests, the publications and press archive of the Kunsthalle and a reproduction collection are also available. The books can be viewed in the reading room.

Special exhibitions from 2010

In recent times numerous exhibitions have taken place, in which additions to the Hamburg holdings were shown. In addition, additional rooms have been created for contemporary artists.

With the takeover of the space of the theater in the Kunsthalle (tik) , which formerly belonged to the Thalia Theater , another exhibition area was added, which is known as the Hubertus-Wald-Forum after the patron . This exposed room had been used as a lecture room since the building was erected. It was not until 1972 that the Thalia Theater's side stage moved there. Until the Hubertus Wald Forum was set up , the Hamburger Kunsthalle did not have any separate exhibition rooms; so the collections themselves had to be cleared out for special exhibitions.

Since 2010, temporary exhibitions have also been shown in the basement of the Galerie der Gegenwart.

  • 2010: poplife with works by Martin Kippenberger , Keith Haring , Takashi Murakami . An exhibition by Tate Modern in collaboration with the Hamburger Kunsthalle.
  • 2010/11: Kirchner. Hamburger Kunsthalle. (Drawings, prints, 15 paintings, photographs).
  • 2010/11: Cosmos Runge. The morning of romance , Hamburger Kunsthalle.
  • 2011: Roni Horn . Photographs
  • 2011: Brueghel , Rembrandt & Co. Dutch drawings 1450–1850
  • 2011: Marc Brandenburg . drawing
  • 2011/12: Max Liebermann . Pioneer of modernity
  • 2012: Tired heroes: Ferdinand Hodler - Aleksandr Dejneka - Neo Rauch
  • 2013/14: in the gallery of the present (basement floor): Denmark's departure into modernity. The Hirschsprung Collection from Eckersberg to Hammershøi , September 20, 2013 to January 12, 2014
  • 2013/14: Eva Hesse : One More than One , November 29, 2013 to March 2, 2014
  • 2016: Manet - See. The view of the modern gallery of the present, (basement floor), May 27 to September 4, 2016
  • 2016/17: Dalí, Ernst, Miró, Magritte ... Surreal encounters from the collections Edward James, Roland Penrose, Gabrielle Keiller, Ulla and Heiner Pietzsch , Galerie der Gegenwart (basement level), October 7, 2016 to January 22, 2017
  • 2017: Open Access. 13 glances into the collection
  • 2017/18: Anita Rée - retrospective , October 6, 2017 to February 4, 2018
  • 2018: Thomas Gainsborough . The modern landscape
  • 2018/19: The video is the message. The media collection of the Hamburger Kunsthalle , November 8, 2018 to February 24, 2019 (curator Petra Roettig )
  • 2018/19: Lili Fischer. "Everything begins with drawing ..." , October 19, 2018 to February 10, 2019 (curator Petra Roettig)
  • 2018/19: Honey, I rearranged the collection # 3 Bouncing in the corner. The measurement of the room , February 16, 2018 to April 7, 2019 (curator Brigitte Kölle )


In 2009 the Kunsthalle received from the International Art Critics Association AICA for the special exhibition Sigmar Polke . We petty bourgeois! Contemporaries the exhibition of the year award .


Since 1999 the Hamburger Kunsthalle - like the other Hamburg museums - has been an independent foundation. The purpose of this type of business is to enable the management to do business independently. Nevertheless, the foundations have not been in the red for years. The day-to-day operation is financed by grants from the city and the art gallery complains about "structural underfunding". At the end of 2009, the Kunsthalle's annual deficit was 1.905 million euros. According to managing director Roman Passarge there was an annual underfunding of 800,000 euros, the remaining amount can be explained by the consequences of the financial crisis and the drastic loss of sponsorship funds.

The budget at a glance (as of 2010): The museum foundation has foundation assets of 0.51 euros. The Hamburger Kunsthalle Foundation finances more than 50% of ongoing operations - from electricity and heating to staff to the costs of special exhibitions - from its own income (entrance fees, sponsorship, income from restaurants, parking and shops) and donations from the free and Hanseatic City of Hamburg (FHH). In 2010, the Kunsthalle received almost 11 million euros annually in grants from the city, of which 5 million flow back to the city as building rent and around 3.8 million are tied up as personnel costs. The total budget without renting the building was around 11 million euros, including the rent around 16 million euros. The Senator for Culture demanded savings. The Hamburger Kunsthalle is one of the very few museums that pay rent to the public purse as a public institution; key figures without rent are usually used for comparisons. The grant from the FHH included a purchase budget of 322,000 euros, which has been flowing into the operating budget since the foundation was established to balance the budget. Purchases in the Hamburger Kunsthalle are made possible by the generous donations and donations from associations, foundations and private individuals.

But the budget of the house is relatively small in a nationwide comparison with almost two dozen houses in other cities (such as the Kunstmuseum Stuttgart, the Sprengel Museum Hanover and the Städel in Frankfurt). The average donation to these houses is 25 euros per visitor, while the Kunsthalle receives 13 euros. The donations per exhibition space are also lower than average. This is 859 euros per square meter, whereas that of the Kunsthalle is only 483 euros. Management errors could be a cause of the permanent deficit. In 2010, the topic occupied the public when the director Gaßner announced the closure of the "Galerie der Gegenwart" for six months - allegedly because of smaller fire protection measures, in fact, in order to save 200,000 euros by reducing the security and energy costs and thus the budget requirements of the Senate to reach.



  • Hubertus Gaßner, Daniel Koep and Rainer Moritz (eds.): Amazing insights. Writer about pictures in the Hamburger Kunsthalle. Wachholtz, Neumünster 2013, ISBN 978-3-529-02866-3
  • Hubertus Gaßner, Uwe M. Schneede (Hrsg.): The collections of the Hamburger Kunsthalle - The paintings of classical modernism (Volume IV), texts by Marcus Andrew Hurttig, Hamburger Kunsthalle, Hamburg 2010, ISBN 978-3-86832-008-4
  • Markus Dorfmüller, Markus Kröger: Behind the art: The Hamburger Kunsthalle. Renovation of the foundation building . 1st edition. Junius Verlag , Hamburg 2008, ISBN 978-3-88506-585-2 .
  • David Klemm: The Collections of the Hamburger Kunsthalle - Italian Drawings 1450-1800 (Volume II), Hamburger Kunsthalle, Hamburg 2008, ISBN 978-3-412-20261-3
  • Frank Barth, Uwe M. Schneede (Hrsg.): The collections of the Hamburger Kunsthalle - The gallery of the present - audio. Video (Volume V.3), texts by Dirck Möllmann, Hamburger Kunsthalle, Hamburg 2008, ISBN 978-3-87909-953-5
  • Christoph Heinrich, Uwe M. Schneede (ed.): The collections of the Hamburger Kunsthalle - The Gallery of the Present - Photography (Volume V.2), texts by Nina Zimmer, Hamburger Kunsthalle, Hamburg 2008, ISBN 978-3-87909-942 -9
  • Martina Sitt, Uwe M. Schneede (eds.): The collections of the Hamburger Kunsthalle - The paintings of the Old Masters (Volume I), texts by Martina Sitt, with the collaboration of Gerrit Walczak, Hamburger Kunsthalle, Hamburg 2007, ISBN 978-3- 87909-879-8
  • Christoph Heinrich, Uwe M. Schneede (eds.): The collections of the Hamburger Kunsthalle - The Gallery of the Present - Paintings, Objects, Installations (Volume V.1), texts by Christoph Heinrich, Nicola Müllerschön, Hamburger Kunsthalle, Hamburg 2007, ISBN 978-3-87909-941-2
  • Peter Prange: German drawings from the Kupferstichkabinett of the Hamburger Kunsthalle 1450-1800. , 2 volumes, Verlag Böhlau, Cologne / Weimar 2006, ISBN 978-3-412-35305-6
  • Uwe M. Schneede, Helmut R. Leppien: The Hamburger Kunsthalle. Seemann Verlag, Leipzig 1997, ISBN 3-363-00666-7
  • Ortrud Westheider, Uwe M. Schneede (Hrsg.): Conceptual art in the Hamburger Kunsthalle: The Elisabeth und Gerhard Sohst Collection , Hamburger Kunsthalle, Hamburg 1997, ISBN 978-3-922909-20-0
  • Ulrich Luckhardt: "... these halls dedicated to fine art." On the history of the Hamburger Kunsthalle , Hamburger Kunsthalle, Hamburg 1994, ISBN 3-922909-11-6
  • Alfred Lichtwark: Directory of paintings by recent masters. History and organization of the Kunsthalle , Hamburg 1897 ( digitized version )
  • Alfred Lichtwark: The acquisition of the Wesselhoeft Collection in Hamburg for the Kunsthalle in the magazine Die Kunst für alle: Painting, Sculpture, Graphics, Architecture , 1888, 3 pages ( digitized version )
  • Directory of the copper engraving collection in the Kunsthalle zu Hamburg , Hamburger Kunsthalle, Grefe & Tiedemann, Hamburg 1878 ( digitized version )

Web links

Commons : Hamburger Kunsthalle  - collection of pictures

Individual evidence

  1. ^ Hamburger Kunsthalle / Kupferstichkabinett
  2. ^ A b Ralf Lange: Architecture in Hamburg . 1st edition. Junius Verlag, Hamburg 2008, ISBN 978-3-88506-586-9 , p. 30th f . ( limited preview in Google Book search).
  3. a b Markus Dorfmüller, Markus Kröger: Behind the art: The Hamburger Kunsthalle. Renovation of the foundation building . 1st edition. Junius Verlag , Hamburg 2008, ISBN 978-3-88506-585-2 , p. 74 .
  4. ^ Markus Dorfmüller, Markus Kröger: Behind the art: The Hamburger Kunsthalle. Renovation of the foundation building . 2008, p. 78 ff .
  5. Annette Stickele: reopening Hamburger Kunsthalle from 30.4. In: Hamburger Abendblatt: Supplement Museumworld, spring 2016, p. 20.
  6. a b c Hamburger Abendblatt - The squaring of the Ungers. Axel Springer AG, February 22, 1997, accessed on February 3, 2018 .
  7. ^ Hamburger Abendblatt - The Cube in the contemporary gallery. Six good sides. Axel Springer AG, September 10, 2012, accessed on February 3, 2018 .
  8. ^ Markus Dorfmüller, Markus Kröger: Behind the art: The Hamburger Kunsthalle. Renovation of the foundation building . 1st edition. Junius Verlag, Hamburg 2008, ISBN 978-3-88506-585-2 , p. 16 .
  9. ^ Werner Hofmann, Tilman Osterwold: Gustav Christian Schwabe: A taste is examined. Christians, Hamburg 1970. (The GC Schwabe Foundation, a documentation published by the Hamburger Kunsthalle)
  10. Hamburger Abendblatt - This is how the art gallery got its treasures. Axel Springer AG, October 24, 1996, accessed on February 3, 2018 .
  11. ^ Julius Faulwasser : The extension of the art gallery in Hamburg. In: Zentralblatt der Bauverwaltung, vol. 41, no. 29 (April 9, 1921), urn : nbn: de: kobv: 109-opus-54775 , pp. 349–351 (part 1) and urn : nbn: de: kobv: 109-opus-52253 , pp. 178-181. (Eleven pictures)
  12. ^ Hamburger Abendblatt - Art gallery extension more expensive than planned. Axel Springer AG, October 2, 1995, accessed on February 3, 2018 .
  13. ^ Kunsthalle Hamburg with contemporary gallery. Sehnsucht Germany, accessed on May 11, 2013 .
  14. Hamburger Abendblatt - The die has been cast. Axel Springer AG, February 22, 1997, accessed on February 3, 2018 .
  15. Hamburger Abendblatt - The die has fallen (Journal). Axel Springer AG, February 22, 1997, accessed on February 3, 2018 .
  16. ^ Markus Dorfmüller, Markus Kröger: Behind the art: The Hamburger Kunsthalle. Renovation of the foundation building . 1st edition. Junius Verlag, Hamburg 2008, ISBN 978-3-88506-585-2 , p. 48 ff .
  17. The Hamburgische Immobilien Management Gesellschaft mbH IMPF is said to have informed the management of the Hamburger Kunsthalle that a renovation of the fire protection flaps was required as soon as possible and the building should be closed. Citizenship of the Free and Hanseatic City of Hamburg, May 25, 2010, accessed on February 3, 2018 .
  18. Handelsblatt - Millions gift from a patron. May 6, 2014, accessed May 7, 2014 .
  19. Annette Stickele: reopening Hamburger Kunsthalle from 30.4. In: Hamburger Abendblatt: Supplement Museum World Spring 2016, p. 20.
  20. Ute Strimmer: Hamburger Kunsthalle. Romantic highlights. In: G / Geschichte , No. 01/2018, pp. 74–75, here p. 74.
  21. Hamburg Chamber of Commerce: Art in the Chamber of Commerce. Exhibitions 2017. Leaflet from approx. 2017.
  22. [1]
  23. ^ Georg Jacob Wolf with the Glaspalast-Künstlerhilfe München (ed.): Lost masterpieces of German romantics. Publishing house F. Bruckmann, Munich 1931.
  24. The Story of Friends: Under the Swastika. Friends of the Kunsthalle, accessed February 3, 2013 .
  25. ^ Uwe Bahnsen: In the name of the Führer., November 17, 2013, accessed on November 17, 2013.
  26. Schneede, Leppien: The Hamburger Kunsthalle . 1997, pp. 107-112.
  27. ^ Painting thief convicted in the Hanseatic city. dated February 6, 1973
  28. ^ Hamburger Abendblatt - Hamburg: Coincidence brings painting thief behind bars . August 5, 1978 ( [accessed February 3, 2018]).
  29. Peter Saalbach: Art theft was "planned and executed as cold as ice" . December 21, 1978 ( [accessed February 3, 2018]).
  30. ^ Dorit Koch: New director of the Hamburger Kunsthalle. Recalling the collection, art-magazin, January 2016 ( Memento from June 4, 2016 in the Internet Archive )
  31. Florian Zinnecker: Almost too good to be true ,, April 25, 2019, accessed on April 26, 2019
  32. ^ Hamburger Kunsthalle (ed.): Welcome to the Hamburger Kunsthalle. Leaflet from around 2016.
  33. Hamburger Kunsthalle (ed.): What is where? Leaflet from around 2011.
  34. Matthias Gretzschel: The greatest artist is nature. In: Hamburger Abendblatt from January 28, 2010, p. 3
  35. Hanno Rautenberg: Look here! In: DIE ZEIT No. 19/2016, April 28, 2016 ( online , accessed November 1, 2016)
  36. Wordless dispute about a mural
  37. ^ The library of the Hamburger Kunsthalle on the website of the Kunsthalle
  38. ^ Hamburger Kunsthalle (ed.): The library in the Kunsthalle. Flyer, approx. 2017.
  39. Special exhibition poplife. Hamburger Kunsthalle, accessed on February 3, 2018 .
  41. ^ A b c Tobias Timm: Hamburger Kunsthalle: Close the flap in the poor house. ZEIT ONLINE GmbH, May 27, 2010, accessed on April 22, 2013 .
  42. Katja Engler: Isn't the freestyle compulsory after all? - The world. Axel Springer AG, March 4, 2010, accessed on April 22, 2013 .
  43. Matthias Gretzschel: A matter of opinion Hamburg's museums need a fresh start - Hamburger Abendblatt. Axel Springer AG, March 4, 2010, accessed on April 22, 2013 .
  44. Lieb & Teuer , ARD Mediathek , November 26, 2017
  45. Lieb & Teuer , ARD Mediathek, December 3, 2017

Coordinates: 53 ° 33 ′ 18 ″  N , 10 ° 0 ′ 10 ″  E