Lübeck art outside of Lübeck

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St. Catherine's Museum Church

The exhibition Lübeckische Kunst outside Lübeck took place as one of the big art exhibitions of the 700th anniversary of the freedom of the Reich of Lübeck in the summer of 1926 in the Katharinenkirche .

Exhibition concept

The 700-year celebration in 1926 was the last major independent self-expression of Lübeck from the loss of statehood by the Greater Hamburg Act of 1937. The exhibition Lübeckische art outside of Luebeck was based on an idea of agile Lübeck museum director Carl Georg Heise , the wanted to use the brick-gothic Lübeck Museum Church St. Katharinen as an exhibition space for reproductions of medieval art that had been exported from Lübeck to the Baltic Sea region during the Hanseatic League. As a student of Adolph Goldschmidt , Heise belonged to the second generation of art historians who dealt more intensively with medieval art in the Baltic Sea region. He was able to fall back on the intensive research results of the Goldschmidt student Johnny Roosval together with Sigurd Curman , but also the work of Andreas Lindblom in Sweden. The same applied to Viggo Thorlacius-Ussing in Denmark. In addition to a few replicas, the exhibition designed by Heise in 1926 included several original works by Lübeck artists, which have not been brought back together in this density since then. The concept was not to block the church interior of the Katharinenkirche, but only to decorate it with the works to be displayed there. The church should therefore continue to be usable as such and not be disguised. While the originals were of course returned to the lenders when the exhibition ended, the replicas have been preserved and some of them can still be seen today in the Katharinenkirche. However, some were distributed to other Lübeck churches or disappeared in the depot. Heise's assistant Walter Paatz was encouraged to continue his research on Lübeck's medieval sculpture through his collaboration in the preparation and implementation of this exhibition .

The facsimile dispute

Heise's concept of building a collection of replicas in Lübeck has been questioned critically by specialist circles. This discussion of the authenticity discourse of the modern age, whose main actors were based in Hamburg, was given the name (Hamburg) facsimile dispute .

Kurt Karl Eberlein , Hugo Sieker and Max Sauerlandt , among others, took part in the dispute , the latter being one of Heise's sharpest critics. Heise received support above all from Erwin Panofsky , who attested to Heise that he had saved the Catharinenkirche for Lübeck as well as the Behnhaus through this violent coup .

Exhibits

St. Jürgen group from Stockholm

The central exhibit of the exhibition, the monumental plaster cast as a full-size replica of the equestrian statue of the St. George Group from the Nikolaikirche in Stockholm by the Lübeck sculptor Bernt Notke, was a joint anniversary gift from the Hanseatic sister cities of Bremen and Hamburg, which is still in the Katharinenkirche, suggested by Heise stands and controls their church space. The production of the copy then cost 40,000 Reichsmarks. The original was made by Notke in 1489 on behalf of the Swedish Governor Sten Sture to commemorate the Battle of Brunkeberg in Stockholm. In contrast to the original, the simple brick base for the copy in the Katharinenkirche is the work of the Lübeck architect Wilhelm Bräck . At the time of the exhibition, the cast was set up in a central location in the crossing . In order to enable the church to use the Katharinenkirche after the Second World War, it was moved to its current location in the westernmost yoke of the nave, which, however, destroyed the spatial impression of the Circular Brothers Chapel , whose grating had to be dismantled and stored.

  • Original St. Georg group in Nikolaikirche, Stockholm

  • Original: Detail of Saint George

  • Original: horse over kite

Originals

The exhibits included many important originals from Lübeck's medieval art. These included:

Claus Berg's Apostle from Güstrow

Six of the twelve apostles by the Lübeck sculptor Claus Berg (around 1530) came as originals from the Güstrow Cathedral for the duration of the exhibition to Lübeck, where they could be seen in front of the whitewashed pillars of the Katharinenkirche at the center of the exhibition.

  • Part of the group of apostles in Güstrow Cathedral

  • Remainder of Berg's apostle group in Güstrow

Bergs Maria from the Museum Flensburg

The apostles were complemented by a loan of a statue of the Virgin of Berg from the Museum Flensburg.

Master of the Darsow Madonna

In Lübeck, shortly before the 1926 exhibition, medieval stone sculptures were found on the gable of a barn belonging to the Niendorf township, whose unknown sculptor was then named after a Madonna in Lübeck's Marienkirche with the emergency name of the master of the Darsow Madonna . Heise and Paatz were able to win these four statues (Madonna, Saint Catherine and the apostles Peter and Paul) for the exhibition in the Katharinenkirche. In October 1926 they became part of the collections of the St. Anne's Museum in Lübeck. Paatz determined them to be the main works of the Lübeck sculptor Johannes Junge . The so-called Niendorfer Madonna , dated around 1420, is said to have stood in the niches of the gable wall of the manor barn with three other sculptures since the beginning of the 19th century. At the time, the estate belonged to the Lübeck mayor Friedrich Adolph von Heintze . It is believed that they could originally have been part of the furnishings of the Petrikirche . Today the four statues are assigned to a Franco-Flemish master and student of the sculptor André Beauneveu .

Neukirchen Altar

The Neukirchen altar was loaned to the exhibition from the Thaulow Museum in Kiel, which was destroyed in the Second World War . The former altar of the church of Neukirchen (today part of Malente ) is now exhibited in the State Museum Schloss Gottorf .

Circle brothers altar

The altar of the Lübeck Circle Society returned to its first location for the exhibition. The circle brothers altar was originally donated around 1430 for the chapel of the circle society in the north aisle in Katharinen and was later transferred to the infirmary chapel of St. George of the Schwartau infirmary in Schwartau . It is now on loan from the St. Annen Museum in Lübeck.

  • Circle Brothers or Schwartau Altar

Oldest city view of Lübeck

The city of Reval sent two altar wings from the workshop of Hermen Rode from Lübeck to Lübeck. The high altar for the St. Nikolai Church in Reval, Estonia , which was acquired in 1481 by the Brotherhood of Blackheads for 1,250 marks, is probably Rode's best-known work. Probably the oldest detailed city view of the seven towers of Lübeck has been preserved on the two wings on display . Later copies of these grand pianos came to Lübeck from Reval.

  • The Rode Altar in St. Nikolai in Tallinn

The oldest altar from the Lübeck workshop

The Cismar Monastery sent the reredos of its high altar, probably the oldest altar from a Lübeck workshop, to the exhibition. The subject of the picture on this altar is the enforcement of the discipline of the order by St. Benedict himself, a clear allusion to the causes of the relocation of the monastery from the Lübeck Johanniskloster to Cismar, which was then aloof.

  • High altar in the church of the former Cismar monastery

Möllner figure cycle

The then Kaiser-Friedrich-Museum sent the Möllner apostles to the exhibition in the Katharinenkirche. It is believed that the cycle originally belonged to the art treasures of the Marienwohlde monastery near Mölln . In the 19th century a number of apostle figures from a Gothic winged altar from St. Nicolai in Mölln , probably from the former high altar, were sold. About the collection of contemporary arts and crafts museum in Berlin who came Möllner apostles on loan to the St. Anne's Museum in Lübeck. In Mölln you can see casts in the sacristy. Only the figure of the apostle James the Elder remained in St. Nicolai.

Johannis from Cologne

The Wallraf-Richartz-Museum gave a statue of St. John on loan to Lübeck.

Works by the master of the Darsow Madonna from the Bremen Cathedral

From the Bremen Cathedral four wooden sculptures were sent from around 1410-20 to Lübeck, who were then attributed to the Master of Darsow Madonna. After the exhibition in Lübeck around 1930, they were given to the Focke Museum , where they are now in the main building. The four saints represent the apostles Paul and Peter, Mary with child and Saint Corona , who enjoys special veneration in Bremen . The oak figures are 114 to 117 cm high. Wilhelm Pinder corrected this attribution as early as 1929 and found that the Bremen sculptures were more Westphalian than the Lübeck attributed pieces previously compared.

  • The apostles Paul and Peter with Mary and the child as well as Corona in Bremen

Replicas

The construction of the permanent exhibition planned by Heise of replicas of important works of art from Lübeck in the Baltic Sea region was consistently started in the exhibition. In addition to the already mentioned equestrian statue of St. George with the dragon, the following plaster casts of originals were shown as exhibits in the Katharinenkirche to remain after the actual exhibition :

  • Thomas Beckett

  • King Karl Knutson (original statuette by Bernt Notke, today in Gripsholm Castle )

  • Crucifix from Vadstena (plaster cast, today in St. Marien)

  • Crucifix group from Vindinge (plaster cast, still in St. Katharinen today)

documentation

The exhibits were supplemented by 200 photos of other works of art from Lübeck production in the Baltic Sea region. Against this background, Heise's illustrated book about the Lübeck sculpture can also be seen today, which in the brief comments on around 90 photographs of sculptures from Lübeck his level of knowledge at that time and also his subjective appreciation in an early phase of the scientific processing of those in the Baltic Sea region Reflects art treasures.

See also

Catalog

  • Jutta Meyer: "Lübeck art outside of Lübeck". The plaster cast collection in the Katharinenkirche and the exhibition on the occasion of the 700th anniversary of the freedom of the Free and Hanseatic City of Lübeck in 1926. With a catalog of the collection. In: ZVLGA 90 (2010) Digitalisat , pp. 273-318

literature

  • Abram Enns: Art and the Bourgeoisie. The controversial twenties in Lübeck. Christians / Weiland, Hamburg / Lübeck 1978, ISBN 3-7672-0571-8 , p. 98ff.
  • Antjekathrin Graßmann (Ed.): Lübeckische Geschichte. 4th, improved and supplemented edition. Schmidt-Römhild, Lübeck 2008, ISBN 978-3-7950-1280-9 , p. 697ff.
  • Carl Georg Heise: Lübeck sculpture (= art books of German landscapes. 9). Cohen, Bonn 1926, DNB 361485999 .
  • Carl Georg Heise: From the sense of the collection in the Lübeck Katharinenkirche. In: The car . 1928, pp. 15-20.

Individual evidence

  1. ^ Viggo Thorlacius-Ussing: Billedskaereren Claus Berg. In the case of third-party payments from Hans live and virksomhed with saelig henblik paa nyere fund and undersøgelser. Gad in commission, Copenhagen 1922.
  2. ^ Walter Paatz : The Lübeck stone sculpture of the first half of the 15th century (= publications on the history of the Free and Hanseatic City of Lübeck. 9). Schmidt-Römhild, Lübeck 1929, DNB 365018058 .
  3. ^ Michael Diers: Art and reproduction: The Hamburg facsimile dispute. For the reprint of an unknown Panofsky essay from 1930. In: Idea. Yearbook of the Hamburger Kunsthalle. 5, 1986, pp. 125-137.
  4. ↑ Max Sauerlandt: Original and 'Facsimile Reproduction' (1929), in: ders .: Selected writings. Volume 2: Articles and Papers. ed. v. Heinz Spielmann. Hamburg 1974, pp. 313-341; Anika Reinke: Authenticity in the Weimar Republic. Max Sauerlandt and the 'Hamburg Facsimile Dispute'. In: Authenticity in the visual arts of the modern age. Conference proceedings. SIK-ISEA, Zurich 2014.
  5. ↑ Quoted from Carl Georg Heise: Personal memories of Aby Warburg. (= Gratia: Bamberg writings on Renaissance research. 43). Harrassowitz, Wiesbaden 2005, ISBN 3-447-05215-5 , p. 81.
  6. ↑ Enns: Art and Citizenship, p. 99 - clarify!
  7. ↑ So Enns: Art and Citizenship, p. 99.
  8. ↑ Hildegard Vogeler: Madonnas in Lübeck. An iconographic directory of the medieval representations of the Virgin Mary in the churches and former monasteries of the old town and the St. Anne's Museum. Museum for Art and Cultural History of the Hanseatic City of Lübeck, Lübeck 1993, No. 40, p. 82.
  9. ^ Anna Elisabeth Albrecht: Stone sculpture in Lübeck around 1400. Foundation and origin. Reimer, Berlin 1997, ISBN 3-496-01172-6 , p. 107 (also: Kiel, Univ., Diss., 1994).
  10. ↑ Description and illustration see: Friedrich Knorr: Der Meister des Neukirchener Altar. Schmidt & Klaunig, Kiel 1903 (Univ., Kiel, phil. Diss. 1903), (digitized version)
  11. ↑ Enns: Art and Citizenship, p. 100 - clarify!
  12. ↑ Enns: Art and Citizenship, p. 100 - clarify!
  13. ↑ Rosemarie Pohl-Weber (ed.): The Bremen Cathedral. Building history, excavations, art treasures. (= Booklets of the Focke Museum. No. 52). Handbook and catalog for the 1979 exhibition. Bremer Landesmuseum für Kunst- u. Kulturgeschichte, Bremen 1979, p. 172 ff.
  14. ^ Wilhelm Pinder: German sculpture from the end of the Middle Ages to the end of the Renaissance (= handbook of art history. 10). Athenaion, Berlin-Neubabelsberg 1929, p. 235.
  15. ↑ Figure
  16. ↑ Illustration of the original in Vadstena