Museum of Arts and Crafts Hamburg

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Museum of Arts and Crafts Hamburg
East facade with main entrance
Logo Museum for Art and Commerce Hamburg.svg
Data
place Hamburg
Art
architect Carl Johann Christian Zimmermann
opening September 15, 1874
Number of visitors (annually) 241,000 (2015)
operator
Foundation under public law
management
Website
ISIL DE-MUS-059918

The Museum of Arts and Crafts in Hamburg is a Museum of Decorative Arts in Hamburg . It was founded in 1874 as the fourth arts and crafts museum in the German-speaking region (after Leipzig , Vienna and Berlin ). The museum building on Steintorplatz in the St. Georg district at the main train station also housed a trade school until 1970. The museum is supported by a foundation under public law and has the purpose of an “institution of culture, especially art and applied arts, with its collections from European, ancient and Asian cultures”.

The collection comprises around 500,000 objects and is divided into fourteen areas. Several period rooms deserve special mention , including the mirror hall from the Budge Palais , the “Paris room” and Verner Panton's mirror canteen . In 2015 there were 241,000 visitors.

history

History of the museum

founding

The first suggestion for founding the museum came in 1861 from the Patriotic Society to set up trade schools and a collection of samples to promote urban trade. The Patriotic Society pursued this idea for years and introduced it to Hamburg politics, and in 1865 the Senate decided to open a trade school and a school for building craftsmen.

In 1868 a "trade association" founded out of the Patriotic Society collected private funds amounting to 13,000 marks, with which the secretary of the association, the then 25-year-old Justus Brinckmann , made first purchases for a museum, including at the 1873 World Exhibition in Vienna.

In 1869 the society published an appeal to found a museum:

"Insightful traders have expressed the conviction that, partly in order to raise the trade carried out in so many ways in Hamburg to a higher level, but partly also to contribute generally to the purification of taste in the arts and crafts direction, an institution should be brought into being, which, in a similar way to the Museum zu Kensignton or the Museum für Kunst und Industrie in Vienna, pursues the task of promoting those goals by providing the aids that the arts and sciences offer the trades and by making them easy to use. This conviction, supported by the brilliant experiences of other cities, also gave the local Patriotic Society and the trade association reason to encourage the establishment of a HAMBURG MUSEUM FOR ART AND TRADE. "

- Patriotic Society : Museum for Arts and Crafts in Hamburg, 1869

The museum was founded on September 15, 1874 as the fourth arts and crafts museum in German-speaking countries. It was initially located in a "provisional exhibition location" near St. Annen. In the same year, the Senate recognized Hamburg's location disadvantage in the arts and crafts and approved the funding of the museum to promote regional arts and crafts.

In September 1876, the “Allgemeine Gewerbeschule”, to which the “Staatliche Baugewerkschule” also belonged, moved into the newly built school and museum building on what was then Lämmermarkt. At the end of the month, the Hamburg Museum of Art and Industry was opened. There it initially shared 18 rooms on the ground floor with the Botanical Museum and the Ethnological Museum .

The aim of the founding director Justus Brinckmann was "to develop the taste and to increase the artistic level of the craft". Regional artisans should be shown examples of exemplary design from around the world. Models were the South Kensington Museum (founded in 1852, today Victoria and Albert Museum , London), the Austrian Museum for Art and Industry (founded in 1863, today Museum of Applied Arts Vienna) and the German Industrial Museum (founded in 1867, today Museum of Applied Arts Berlin ).

First years

View from the east (main facade) from 1885.

The lawyer Brinckmann managed the museum until 1915. He attended the world exhibitions in Antwerp (1885) and Paris (1900) and acquired handicrafts that were considered exemplary. During the time he was in charge, the main sources were photographs, poster art, Art Nouveau objects and Japanese art. An annual arts and crafts fair took place from 1879 and is still carried out today. In the early days of the museum, the museum also lent objects to craftsmen for inspiration. Brinckmann's successor Max Sauerlandt (1919–1933) added a comprehensive historical presentation to the collection. At the same time, contemporary art was purchased, including a notable inventory of works of expressionism . In April 1933, Sauerlandt was dismissed as museum director under the law to restore the civil service because of his advocacy of " degenerate art ". 250 of these works were classified as "degenerate art" in 1937 and are largely lost.

View from the west - the main train station in front of it today was opened in 1906.

After the Second World War

In 1943 the building was partially destroyed by bombs. The reconstruction was finished in 1959. The schools also located in the building were gradually outsourced. The trade school in the museum building was closed in 1975.

A comprehensive renovation began in 1996 and was only completed in 2012. In 2000 an extension was opened with the "Schümann wing". In 2006 the central building was reopened as the "Hartog wing".

The west facade in 2014, including the tracks of the main train station.

Director Sabine Schulze , appointed in 2006, redesigned the museum. The occasion was the completion of the renovation and renovation measures. In the course of the redesign, departments that were appropriate in terms of time or topic were merged. In addition, a thematic, epoch-spanning presentation is to take place. The redesign was praised by the trade press. The division of the porcelain and faience department, however, received criticism from ceramic lovers. One focus of the museum today is on aspects of cultural history.

Directors

Building history

Aerial view from the southwest in 2013, in the foreground the former rail post office, today's bookhouses.

The museum building was built in 1873–1875 as a multi-purpose building according to plans by Carl Johann Christian Zimmermann . Given the size and shape of the property, a four-wing complex with two inner courtyards was the obvious choice for Zimmermann, as had already been used in Vienna for the construction of the Academy of Fine Arts , the School of Applied Arts and the Museum of Art History . He later used the same structure for the Hamburg criminal justice building and the civil justice building . A few years later (inauguration on September 17, 1891), a natural history museum was built at the beginning of what would later become Mönckebergstrasse (today the “Saturn property”) as a counterpart to the house on Steintorplatz . Architects were Semper and Krutisch. The Natural History Museum was destroyed in 1943.

The museum was on the ground floor, while the classrooms of a general trade school, an arts and crafts school and a secondary school were on the upper floors.

The schools housed in today's museum building included the following: General trade school with the school for building craftsmen and commercial pre-schools, evening and Sunday schools, school for mechanical engineers and technicians, school for building signs and freehand drawing, state secondary trade school with day and evening classes, arts and crafts school (up to to move to the new building at Lerchenfeld in 1913), technical schools (shipbuilding and mechanical engineering, electrical engineering, ship engineering school). The secondary school (later secondary school) of the Johanneum (until moving to the new building in Armgartstrasse in 1905), then St. Georg secondary school (until moving to the new building in Rostocker Strasse in 1907), office of the secondary school authorities (until 1887). In old address books you can also find the blacksmith school and the specialist school for dentists, the agricultural training school, state training schools and the archaeological seminar. After the Second World War, the building school and the process engineering school were still in the house.

Section through the building from 1890: on the left the auditorium, in the middle the gym.
View of the inner courtyard 2015, the subsequent additions are clearly visible.

Between the two inner courtyards, an approximately nine meter high gymnasium was housed in the basement. It served the secondary school. Unusual for a gymnasium and “completely inadequate” - it was divided in the middle by four powerful pillars. When the secondary school moved out in 1908, the gymnasium was rededicated into an exhibition room, and in 1952 an additional false ceiling was added, this also happened in the previously two-story auditorium. The building was listed as a historical monument in 1981. In 2000 the extension building named after Hans-Otto Schümann was moved into on the area of ​​the former school yard. The library, which was previously housed on the mezzanine floor of the former gymnasium, was moved to its basement. During the renovation from 2006 onwards, modifications made in the post-war period were removed, and the central axis of the building was converted into the so-called “Hartog wing”. The porcelain and faience collection donated by Harold A. Hartog has now found space on the mezzanine floor of the former gym .

organization

Sponsorship

In 1999 the museum was transferred to a foundation under public law . The museum is run by a director and a commercial manager.

Support association

Logo of the Justus Brinckmann Society.

The museum emerged from the "Kunstgewerbeverein zu Hamburg" founded in 1886. This organization continued even after the opening of the museum, in addition to which Max Sauerlandt founded his own “Justus Brinckmann Society” in 1921. This was dissolved in 1933, while the arts and crafts association was brought into line. The association was revived in 1945 and in 1969 renamed "Justus Brinckmann Society". In 1996 the new Justus Brinckmann Gesellschaft participated in the construction of the Schümann wing through a subsidiary.

Today the Justus Brinckmann Society supports individual museum projects and issues publications. On the occasion of the annual craft fair, which the association organizes together with the museum, the association awards the Justus Brinckmann Prize. Today the association has 4,000 members, making it the largest group of friends of a museum in Germany.

Collection and exhibitions

Hall of Mirrors, January 2017 ( view as spherical panorama ).

The collection area is wide-ranging, "everything except pictures" is collected, but the museum also has photographs and graphics. The collection comprises a total of around 500,000 objects and in 2012 was divided into fifteen focal points. The exhibition area is 18,000 square meters, which is not arranged chronologically but according to topic. Several period rooms deserve special mention , including the mirror hall from the Budge Palais , the “Paris room” and the mirror canteen .

Departments

Antiquity

The antiquity department was reopened in 2012 after the exhibition areas were renovated. About 650 ancient oriental , Egyptian , Greek , Etruscan and Roman works are shown on an area of ​​400 square meters. The presentation is chronological. The oldest object is an approximately 7,000 year old ceramic mug from Anatolia . The Egyptian exhibits are presented in a simulated burial chamber . The Zimmermann Collection has also been part of the inventory as a permanent loan since December 2018 .

Middle Ages to Renaissance
Easter carpet from the Lüne monastery.

The Middle Ages to Renaissance department was also reopened in 2012, with an exhibition area of ​​220 square meters. Medieval art is shown under the leitmotif of Christianity, the heart of which is the Lüne Easter carpet . Another special feature is a simulated art chamber .

Baroque to classicism

The so-called mirror hall of the Budge-Palais 1909 also belongs to the department. It was added to the Budge Palais in Harvestehude in 1909 as a garden hall for events and has a historic design. Today the hall is used for concerts.

design

The department was newly created in 2012 as part of the reorganization of the permanent exhibition. Around 1000 design objects are shown according to materials without any special structure in the “Innovation”, “Subversion”, “Sustainability” and “Branding” rooms. The highlight is the orange-colored room from Verner Panton's mirror canteen from 1969, which is juxtaposed with Dieter Rams ' study from the Hamburg University of Fine Arts . It is also used for events.

Photography and New Media

The photography collection of the museum is one of the oldest in Germany and includes more than 75,000 works from fashion and non-life photography to photo journalism and free artistic photography and also documents the technical development of photography. One focus is the Ernst Juhls collection acquired in 1916/1917 , another is the collection on the history of photography founded by Fritz Kempe . FC Gundlach donated its collection of fashion photographs to the museum in 1991. Out of consideration for the pieces, the collection is only shown in changing special exhibitions.

Modern
Masked figure "jumping cattle" by Lavinia Schulz and Walter Holdt .

The modern department, redesigned in 2012, shows furniture, sculptures, fine arts, handicrafts, design, photography and fashion from the beginning of the 20th century. Expressionist works include a Frankfurt kitchen by Margarete Schütte-Lihotzky and furniture from the Bauhaus . A living room by Marcel Breuer is shown as the Period Room . Another room is dedicated to the Hamburg designer Peter Behrens .

poster

The museum's poster collection is one of the oldest and most important of its kind. Justus Brinckmann began collecting posters in the 1880s and organized regular poster exhibitions from 1892 onwards. Today the collection includes cultural posters, product advertisements, and political posters.

graphic

The graphic collection focuses on applied graphics, from postage stamps to posters. It began as a collection of templates for the trade school attached to the museum. The starting point is ornamental engravings, the focus is on the legacies of Carl Otto Czeschka , Alfred Mahlau and Oskar Hermann Werner Hadank . The exhibition is changing due to the light sensitivity of the pieces.

Art Nouveau

The "Art Nouveau" department is based on pieces that founding director Justus Brinckmann acquired at the Paris World Exhibition in 1900 . This includes furniture and carpets, glass and ceramics, jewelry, book and poster art. The museum thus houses one of the most important Art Nouveau collections in the world. The core of the department is the “Paris Hall” as a complete ensemble, the exhibits of which were acquired at the 1900 World Exhibition in Paris.

Ceramics

The museum's outstanding porcelain collection covers most of the major manufacturers of the 17th and 18th centuries. There is also Chinese porcelain from the Harold A. Hartog collection and early Fürstenberg porcelain from the Reichmann collection. The exhibition rooms specially created in 2006 were given up in favor of the dismantling of the gymnasium, which had already been rededicated as an exhibition room in 1908. Since then, the collection has been shown separately by subject.

Fashion

The fashion collection includes more than ten thousand items from the mid-18th century to the present day. These include pieces by Christobál Balenciaga , Yves Saint Laurent , André Courrèges , Wolfgang Joop , Martin Margiela and Alexander McQueen . It is supplemented by other examples from antiquity, from East Asia and Christian vestments; a focus is on contemporary Japanese fashion design, including models by Issey Miyake . Because of the light sensitivity of the pieces, only a part is exhibited here.

East asia
Japanese tea house.

In the year before the museum opened, Brinckmann brought back 324 objects from Vienna, including Japanese art.

The department was reopened in 2012 under the name "Buddhism"; 100 pieces are shown in the permanent exhibition. The collection of Asian works of art is one of the largest of its kind in the world. The department also includes a bundle of 2000 Japanese sword stitch sheets , so-called tsubas , which is the largest such collection outside of Japan. A Japanese tea house is shown as the period room .

Islamic art
Book of poems ( divan ) with love songs by Sultan Suleyman I.

The “Islamic Art” department was reopened in 2015; Around 270 objects are exhibited. The presentation is intended to explain Islam as a high culture and "rebut prejudices". Together with the Museum of Islamic Art in Berlin, the Museum of Art and Industry has one of the most important Islamic collections in Germany. Justus Brinckmann acquired large parts of the collection between 1880 and 1915. The internationally known work is one of three copies of a volume of poetry by the Ottoman Sultan Suleyman the Magnificent .

Two manual harpsichord by Christian Zell .
Musical instruments

The collection of historical musical instruments includes 700 items, including 12 lavishly decorated string instruments by Joachim Tielke and a harpsichord by Christian Zell . The collection was significantly expanded in 2000 to include historical keyboard instruments from the Andreas E. Beurmanns collection and in 2011 to include around 250 string and woodwind instruments from the Wolfgang Hanneforth collection. Most of the instruments are playable. The exhibits also include a double pedal harp and, on permanent loan, a grand piano from the then renowned company Sébastien Érard .

Special exhibitions

Since the redesign, the special exhibition areas have been next to each other on the first floor. The museum's most successful special exhibition was the “Tutankhamun” show, which attracted 620,000 visitors in 1981 and is considered the first “blockbuster exhibition” in Germany.

A selection of 350 oil paintings, watercolors and drawings from the Hamburg Secession is shown in a gallery room on permanent loan from the Hamburger Sparkasse .

“ The Great Wave off Kanagawa ” by Hokusai from the East Asia department is the most popular work in the Online Collection.

Since 2015, the museum has been operating a website called “Sammlung Online”, on which digital copies (photographs and scans) of many objects in the collection, whose copyright protection has expired, can be accessed. The museum is the first museum in Germany to renounce its rights to the images produced so that they can be used for any (including commercial) purposes.

Library

Since its inception, the museum has had a specialist art library with a focus on applied art. It has an inventory of around 200,000 volumes. Since the refurbishment in the Schümann wing in the south inner courtyard of the museum in 2000, the museum library in the basement has been named "Gerd Bucerius Library" as a thank you to the ZEIT Foundation Ebelin and Gerd Bucerius , which financed the compact magazine and electronic cataloging. The entire book inventory of the library is recorded in the electronic union catalog of the joint library association GBV and is publicly accessible.

Still

The Destille is a self-service restaurant / café on the first floor with a view of a green inner courtyard.

Movies

literature

About the museum

  • David Klemm: The Museum of Art and Commerce Hamburg . Ed .: Wilhelm Hornbostel. tape 1 : From the beginning until 1945 . Self-published by the Museum für Kunst und Gewerbe Hamburg, 2004, ISBN 3-923859-60-0 .

Museum guide

  • Justus Brinckmann: Guide of the Hamburg Museum for Art and Crafts , Volume 1, online and Volume 2, online , Hamburg 1894.
  • Prestel Museum Guide Museum for Art and Commerce Hamburg . Prestel, Munich 2000, ISBN 3-7913-2206-0 .

Exhibition catalogs (selection)

Web links

Commons : Museum of Arts and Crafts  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Statutes of the foundation under public law "Museum for Art and Commerce Hamburg", HmbGVBl. 2013, p. 168, § 2 para. 1.
  2. ↑ Julika Pohle: Museum has its sights on young people. welt.de, January 14, 2016
  3. ↑ a b c d e f g h i j k l m n o p q r s t u Sabine Schulze: Museum for Art and Commerce Hamburg (MKG) . In: Patriotic Society of 1765 (ed.): The public welfare - 250 years of thinking and acting for Hamburg . Hamburg 2015, p. 32 .
  4. ↑ a b c d e f g h i j k l m Jan van Rossem: Archive of good taste . In: A&W Architektur & Wohnen . No. 3/2015 , 2015, p. 165-176 .
  5. ^ David Klemm: The Museum for Art and Industry. Volume 1: From the beginning to 1945 , 2004, p. 30.
  6. ^ Daniel Schreiber: Höger als Erzieher In: Claudia Turtenwald (ed.): Fritz Höger (1877-1949). Modern monuments. - Catalog for the exhibition “Fritz Höger - Architect of the Chilehaus. Modern monuments. “Dölling and Galitz Verlag, Hamburg 2003, ISBN 3-935549-56-3 .
  7. ↑ a b c d e f g Oliver Korn: Museum for Art and Trade (MKG) . In: Franklin Kopitzsch , Daniel Tilgner (Ed.): Hamburg Lexikon . Ellert & Richter, Hamburg 2010, ISBN 978-3-8319-0373-3 , pp. 482 .
  8. ↑ Marlis Roß: The Exclusion of Jewish Members 1935. The Patriotic Society under National Socialism . Hamburg 2007, p. 30. (PDF; 1.7 MB)
  9. ↑ Hanno Rauterberg: Which museum is currently doing particularly good work? In: Weltkunst . November 2014, p. 16 .
  10. ^ Sebastian Preuss: Beauty and Enlightenment . In: Christian Amend, Gloria Ehret (ed.): Weltkunst Hamburg . ZEIT Kunstverlag, Hamburg 2015, p. 94-95 .
  11. ^ Sebastian Preuss: The museum innovator . In: Christof Amend, Gloria Ebert (ed.): Weltkunst Hamburg . ZEIT Kunstverlag, Hamburg 2015, p. 24-25 .
  12. ↑ a b c David Klemm: The Museum for Art and Industry . Volume 1: From the beginning to 1945 , 2004, p. 327ff.
  13. ↑ Erich Meyer , in: Internationales Biographisches Archiv 11/1975 of March 3, 1975, in the Munzinger Archive ( beginning of article freely available)
  14. ↑ Architects and Engineers Association Hamburg (ed.): Hamburg and its buildings 1890 , self-published by the association, 1890, ( online , State and University Library Hamburg), pp. 97-100.
  15. ^ A b Realgymnasium des Johanneum Hamburg: Festschrift for the inauguration of the new school building on Armgartstrasse on October 13, 1905 , Baumann, Hamburg, 1905, ( online , Hamburg State and University Library).
  16. ↑ Yearbook of the Hamburg Art Collections , Volume 4 (1959) p. 123.
  17. ↑ Matthias Gretzschel: Why there is the Hartog grand piano , Hamburger Abendblatt from June 3, 2008, online
  18. ↑ a b The gradual breaking up of aesthetic traditions . In: Zeitkunst . March 2012, p. 19 .
  19. ↑ a b c Carola Große-Wilde: Open to the world and its wonders . In: Kiel News . August 30, 2012, p. 19 .
  20. ↑ Julika Pohle: Refurbished and freshly draped . In: The world . January 18, 2012.
  21. ↑ Annette Stiekele: The boundaries to art are becoming fluid . In: Museum World Hamburg . August 28, 2012, p. 14 .
  22. ^ A b Nicole Büsing, Heiko Klaas: Fetched from the pedestal . In: Kiel News . 20th October 2012.
  23. ↑ a b Friedrich von Borries: Well get's . In: monopoly . December 2012, p. 30 .
  24. ↑ poster. In: Museum for Art and Commerce Hamburg. Retrieved February 25, 2017 .
  25. ↑ Robert Matthies: More than playful ornaments . In: taz.de . October 24, 2015.
  26. ↑ Matthias Gretzschel: When the Senate was still shopping. The Paris room in Hamburg. In: Hamburger Abendblatt, October 31, 2009, p. 18.
  27. ↑ Matthias Gretzschel: Why there is the Hartog grand piano , Hamburger Abendblatt from June 3, 2008, online
  28. ↑ Matthias Gretschel: The Buddha has a new home . In: Hamburger Abendblatt . December 13, 2012.
  29. ↑ Till Briegleb: Friendship Course "Islam" . In: Süddeutsche Zeitung . May 6, 2015.
  30. ↑ Gosign media, Hamburg, Germany. Islamic Art. Retrieved November 4, 2018 .
  31. ^ Museum for Art and Crafts (ed.): Room division plan from the basement to the second floor. Approx. 2019.

Coordinates: 53 ° 33 ′ 4 ″  N , 10 ° 0 ′ 34 ″  E