Industrial and commercial exhibition in Düsseldorf

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Panorama of the exhibition, view from the Oberkasseler Bridge
Diagram of the exhibition, bird's eye view, 1901
Site plan, 1902
Friedrich Krupp pavilion with a 54 m high battle mast
Kunstpalast ( exhibition palace ), built for the Düsseldorf industrial and commercial exhibition in 1902
View of the exhibition hall of the Bochum Association, today Jahrhunderthalle Bochum
Exhibition building of the Krefeld machine factory Schaef & Langen
Majolica house , exhibition pavilion for the Villeroy & Boch company
Former exhibition hall of the Gutehoffnungshütte , today Museo Universitario del Chopo , Mexico City

The industrial and commercial exhibition Dusseldorf : (complete title Industrial and Commercial Exhibition of Rhineland, Westphalia and neighboring districts, connected to a German National Art Exhibition Dusseldorf in 1902 was) an exhibition that from 1 May to 20 October 1902 in Dusseldorf organized and counted around five million international visitors, including Kaiser Wilhelm II , Crown Prince Wilhelm , who acted as patron of the exhibition, the Siamese Crown Prince Vajiravudh , almost all the ruling German princes, the Chancellor Bernhard von Bülow and numerous ministers from home and abroad . The model was the World Exhibition in Paris in 1900 .

The initiators of the exhibition were Fritz Roeber , Georg Oeder , Paul Clemen and Heinrich Lueg , who wanted to build on the successes of the Rhenish-Westphalian Industrial and Commercial Exhibition in 1880 , which had still taken place in the Zoological Garden in Düsseldorf-Düsseltal . The overall architectural management of the exhibition was held by the Düsseldorf architects Josef Kleesattel and Adolf Schill, along with other members of a building committee, from 1901 after the Hamburg architect Georg Thielen , who had developed the plans for the exhibition grounds for 168 exhibition buildings, died unexpectedly. Both architects also completed the design and construction work for the main industrial hall , in whose design none other than Wilhelm II personally interfered.

By organizing the exhibition with around 2500 exhibitors, the city of Düsseldorf presented itself, which built the Oberkassel Bridge as a permanent bridge over the Rhine around 1900, pushed its banks of the Rhine forward and redesigned it according to plans by Johannes Radke , and the electric tram to the entrance of the exhibition in the area where it is today Fritz-Roeber-Strasse as the capital of a modern, up-and-coming industrial region . The exhibition area with 160 different buildings, the art and exhibition halls, an amusement park , gastronomic facilities, a panorama in a rotunda at the place of today's Tonhalle as well as its own power station, extended almost two kilometers in length and up to 350 meters in width on The banks of the Rhine in the districts of Golzheim and Pempelfort across the entire Golzheim island , today's Rheinpark Golzheim . In its cylindrical interior, the panorama rotunda showed the 15 × 120 meter historical picture of Blücher's Rhine crossing near Caub on January 1, 1814 , painted by Hugo Ungewitter and Gustav Wendling and his assistant Max Clarenbach . The exhibition grounds led from Golzheim via today's courtyard to the courtyard garden . One of the main buildings of the exhibition was the Kunstpalast, designed by the architects Albrecht Bender and Eugen Rückgauer , a neo-baroque , eclectic , domed building with 14 halls, which has been called the Exhibition Palace since 1912 because of the art exhibitions that took place there . In the years 1925 to 1926 and 1999 to 2000 it was built over by today's Museum Kunstpalast . The building of the Kunstpalast had been the long-cherished wish of the " Association for the Organization of Art Exhibitions ", which was formed in 1898. 134 congresses and meetings were held parallel to the exhibition. In the end, the guarantee fund of initially three million gold marks, which had been set up in 1898/99 to finance the exhibition with partly small sums from the citizens of Düsseldorf, generated a surplus of around 1.4 million gold marks.

In particular, the coal and steel industry in the Ruhr area - z. B. the companies Krupp , Hörder Bergwerks- und Hütten-Verein and Bochumer Verein - already agreed to participate early on and built large halls for this exhibition. One of these exhibition halls, designed by Bruno Möhring and built by Gutehoffnungshütte in Oberhausen , was dismantled after the exhibition and reused in Mexico City , where it is still used today as the Museo Universitario del Chopo for exhibition purposes. Another hall of Bruno Möhring was rebuilt in Cologne. Another hall was moved to Bochum, where it is used today under the name Jahrhunderthalle for trade fairs and music events. The Köttgen pavilion is now in Bergisch Gladbach . The largely temporary exhibition architecture linked new industrial and handicraft production methods with the forms of Art Nouveau , and in some cases with the forms of Neo-Baroque or eclectic mixes of styles. An outstanding example of Art Nouveau architecture was the majolica house built by Villeroy & Boch in the courtyard garden .

The “Cairo Street” was an expression of interest in the Orient and Orientalism . During the exhibition, over a hundred Arabs moved into an “Arab village” there. There was also a "Nubian village" that was populated by about 30 residents. The contemporary romanticism of the Rhine was expressed in a replica of the “ ruins of Rüdesheim Castle ”. There were also replicas of motifs from the Sulden and Zillertal valleys .


  • Gottfried Stoffers (Hrsg.): Industry, trade and art exhibition Düsseldorf 1902. The industry and trade exhibition for Rhineland, Westphalia and neighboring districts combined with a German national art exhibition Düsseldorf 1902 . August Bagel, Düsseldorf 1903 ( digitized version ).
  • Berthold Braun: Railway vehicles at the industrial and commercial exhibition in Düsseldorf in 1902 . In: Constantin von Popp (Red.): Journal of the Oesterreichischen Ingenieur- und Architekten-Verein , No. 52/1902 (LIV. Volume), pp. 893–906. - Full text online (PDF; 55 MB) .

Web links

Commons : Trade and Industry Exhibition 1902, Düsseldorf  - Collection of images, videos and audio files

Individual evidence

  1. ^ Hugo Weidenhaupt : Brief history of the city of Düsseldorf . Triltsch Verlag, Düsseldorf 1983, ninth revised edition, p. 137
  2. ^ Friedrich Schaarschmidt : On the history of Düsseldorf art, especially in the XIX. Century , published by the Art Association for the Rhineland and Westphalia , Verlag August Bagel, Düsseldorf 1902, p. 353, online
  3. Alexander Fils: The 'Small World Exhibition' in Düsseldorf 1902 . Introduction, ISBN 978-90-288-1865-1
  4. Melanie Florin: The majolica house from Villeroy & Boch in the Düsseldorf court garden . Grupello Verlag, Düsseldorf 2006, ISBN 3-89978-0574 , p. 24, PDF file in the portal , accessed on December 23, 2013
  5. Rheinisch-Westfälische Industrie- und Gewerbeausstellung Düsseldorf 1902 ( Memento of the original from December 20, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Website in the portal , accessed on December 6, 2015 @1@ 2Template: Webachiv / IABot /
  6. ^ Bettina Baumgärtel : Chronicle of the Düsseldorf School of Painting 1815–2011 . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Volume 1, Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , p. 374
  7. ^ Paul Clemen : The German National Art Exhibition in Düsseldorf . In: Art for All. Painting, sculpture, graphics, architecture . Issue 23, 1902, pp. 530-544 ( digitized version )
  8. On the history of the association for the organization of art exhibitions , website in the portal , accessed on August 29, 2014
  9. ^ Lothar Pützstück: Africa and Düsseldorf in the German Empire (1871–1945) . In: Marianne Bechhaus-Gerst, Reinhard Klein-Arendt (ed.): Africans in Germany and black Germans - past and present . LIT Verlag, Münster 2004, ISBN 3-8258-6824-9 , p. 62 ( Google Books )
  10. Stefanie Schäfers, p. 33
  11. ^ Paul Clemen, p. 533
  12. ^ Paul Clemen, p. 539
  13. Paul Clemen, S. 541/542