List of cultural monuments in the Seevorstadt

The list of cultural monuments in Seevorstadt contains the cultural monuments of the Seevorstadt district in Dresden's Old Town I district .
This district is divided into the districts of Innere Altstadt , Pirnaische Vorstadt , Seevorstadt and Innere Wilsdruffer Vorstadt .
In addition, the cultural monuments of the areas of the Seervorstadt, which belong to the district of Old Town II, are recorded here.
The notes are to be observed.

This list is a partial list of the list of cultural monuments in Dresden .
This list is a partial list of the list of cultural monuments in Saxony .

Legend

• Image: shows a picture of the cultural monument and, if applicable, a link to further photos of the cultural monument in the Wikimedia Commons media archive
• Designation: Name, designation or the type of cultural monument
• Location: If available, street name and house number of the cultural monument; The list is basically sorted according to this address. The map link leads to various map displays and gives the coordinates of the cultural monument.
  

Map view to set coordinates. In this map view, cultural monuments are shown without coordinates with a red marker and can be placed on the map. Cultural monuments without a picture are marked with a blue marker, cultural monuments with a picture are marked with a green marker.

• Dating: indicates the year of completion or the date of the first mention or the period of construction
• Description: structural and historical details of the cultural monument, preferably the monument properties
• ID: is awarded by the State Office for the Preservation of Monuments in Saxony. It clearly identifies the cultural monument. The link leads to a PDF document from the State Office for the Preservation of Monuments in Saxony, which summarizes the information on the monument, contains a map sketch and often a detailed description. For former cultural monuments sometimes no ID is given, if one is given, this is the former ID. The corresponding link leads to an empty document at the state office. The following icon can also be found in the ID column ; this leads to information on this cultural monument at Wikidata .

Seevorstadt - district old town I

 Map with all coordinates of the section Seevorstadt - district old town I : OSM

The cultural monuments of the Seevorstadt are listed here, which are located in the district of Old Town I.

image	designation	location	Dating	description	ID
More pictures	Administration building of the state farming community of Saxony (formerly)	Ammonstrasse 8 (map)	1936-1938 (administration)	Administration building; Structure with porch porch, side wings and three wings connecting to the rear, one of the most representative buildings of the Nazi era in Dresden, historically significant. Former Administrative building of the state farming community of Saxony , built by Otto Kohtz , reliefs by Herbert Volwahsen (1946–1948 removed), today used by Deutsche Bahn AG.	09213857
	Margon neon sign	Budapester Strasse 3; 5 (card)	around 1960 (illuminated advertising)	Neon sign; Multi-colored, with a simplified glass and inscription ("drink Margon water, sparkling, fresh"), an important testimony to everyday GDR culture, shows a high level of design for the time, one of the last remaining examples in Dresden with a rarity value.	09210296
More pictures	Grain monument	Georgplatz (map)	1869–1871 (statue)	Monument; Bronze statue on high granite pedestal, remarkable work in terms of design and craftsmanship, work of the locally and regionally famous sculptor Ernst Hähnel , artistically and art-historically significant.	09214066
More pictures	Gate pavilion	Lingnerallee (map)	1888 (gatehouse)	Gate pavilion; one of two formerly located on the avenue, flanked the entrance to the garden of Prince Georg, historicizing small building, especially important in terms of architectural history, personal history and local history.	09213964
More pictures	German Hygiene Museum ; Statue of the ball thrower	Lingnerplatz 1 (map)	1928–1930 (museum), 1904–1907 (statue)	Museum building by Wilhelm Kreis and statue of the ball thrower by Richard Daniel Fabricius ; Four-wing construction with laterally protruding lower extensions, a courtyard designed as a court of honor and a statue of the ball thrower on a pedestal, the most important building of the New Building in Dresden, of singular architectural-historical importance, also of artistic, cultural and personal history, statue artistically valuable.	09214043
More pictures	Tourist garden	Prager Strasse (map)	1965 start of construction (restaurant garden)	Gardens with natural stone walls, walls made of molded concrete blocks, staircases made of artificial stone, pergola also made of concrete and planting of deciduous and coniferous trees typical of the time, perennials, grasses and onion plants as well as plinths of baroque sandstone sculptures on the lawn, typical for the 1960s, last surviving example of open space design the Prager Straße from this time, of garden art and scientific importance and unique.	09303473
	"Dresden greets its guests"	Prager Strasse 3b (map)	1969 (wall and ceiling painting)	Mural; originally at the former "Bastei" restaurant , in Meißner ceramic painting by Kurt Sillack and Rudolf Lipowski, one of the last surviving GDR murals in Dresden (cf. with the "Path of the Red Flag" at the Kulturpalast), also a characteristic example of art at Building, formerly marked the entrance to Prager Strasse, of architectural, art-historical and urban planning importance.	09210348
More pictures	Rundkino Dresden	Prager Strasse 6 (map)	1970–1972 (cinema)	Movie theater; 20 meter high rotunda, hall construction in sliding construction with enamelled sheet steel strips, roof rope net suspension construction, facade with designed steel bars, striking structure in the style of modernism, significant in terms of building history, artistry and urban planning.	09210422
More pictures	Dormitory	St. Petersburger Strasse 21 (map)	1960–1963 (student residence)	High-rise with a flat extension, perforated facades, roof terrace and pitched roof , forms a striking group of three with the buildings at St. Petersburger Strasse 25 and 29, the first large-panel buildings in Dresden, pilot project, significant in terms of building history and urban planning. Built according to designs by Heinrich Rettig , Manfred Gruber and Rolf Ermisch.	09210340
More pictures	Student dormitory and group of figures "Student Youth" or "Two Women"	St. Petersburger Strasse 25 (map)	1960–1963 (student dormitory), 1963 (group of figures)	Student dormitory and figure group “Student Youth” or “Two Women” by Wieland Förster ; High-rise building with a flat extension, perforated facades, roof terrace and pitched roof, forms a striking group of three with the buildings at St. Petersburger Strasse 21 and 29, the first large-panel buildings in Dresden, pilot project, significant in terms of building history and urban planning.	09210341
More pictures	Student dormitory and group of figures	St. Petersburger Strasse 29 (map)	1960–1963 (student residence), around 1960 (group of figures)	High-rise building with a flat extension, perforated facades, roof terrace and pitched roof, forms a striking group of three with the buildings at St. Petersburger Strasse 21 and 25, the first large-panel buildings in Dresden, pilot project, significant in terms of building history and urban planning.	09210342
More pictures	AOK building ; general regional health insurance	Sternplatz 7 (map)	1912-1913 (health insurance)	Administration building of the AOK, designed jewelry area with seating area and plastic; Structure with inner courtyards, side wings and back, design objective and yet representative, with roof turrets, one of the most remarkable buildings of reform architecture after 1900, by the locally and regionally important office Rudolf Schilling and Julius Graebner , building history, local history and artistically significant.	09213951
More pictures	Dresden Central Station	Wiener Platz 4 (map)	1893–1898 (station building), 1895 (group of figures with Saxonia)	Station building with portal of the east building and pavilion extension on the north side; Platform hall, three aisles, with a station building in front of the middle nave, despite structural changes one of the most architecturally significant German train stations from the late 19th century, main facade highlighted by a dome and side towers, on the north side a pavilion extension (so-called royal pavilion), facility above all Significant in terms of building history and artistry, and also of relevance to traffic history. Erected by Ernst Giese and Paul Weidner , damaged in 1945 and rebuilt from 1949 to 1950 in a simplified manner, renovation from 2000 to 2006 based on plans by Norman Foster (roof construction).	09213823
More pictures	Service building and staircase in the more modern extension	Wiener Strasse 5b (map)	1935–1936 (administration building), around 1959 (staircase)	Representative building with four wings around an inner courtyard, the entrance zone highlighted by a monumental pillar hall in front of it and outside staircase, used today by Deutsche Bahn AG, striking building from the 1930s, historically significant, the staircase from the 1960s sophisticated and concise in terms of design. Architect: Richard Spröggel.	09216626

Seevorstadt - district old town II

 Map with all coordinates of the section Seevorstadt - district old town II : OSM

The cultural monuments of the Seevorstadt are listed here, which are located in the district of Altstadt II.

image	designation	location	Dating	description	ID
More pictures	Blüherpark as a whole with several individual monuments	Altstadt I, Blüherstrasse (map)	1764–1770 (population)	Blüherpark as a whole with the following individual monuments (ID No. 09214067): Park with sculptures, fountains, large sandstone vases, etc. (between Bürgerwiese, Zinzendorfstraße, Lingnerallee, Hauptallee and Blüherstraße); one of the most important gardens in Dresden, the first garden in Dresden, which was redesigned based on the English model.	09306814
More pictures	Park Blüherpark with sculptures, fountains, large sandstone vases (individual monument for ID no. 09306814)	Altstadt I, Blüherstrasse (map)	1764–1770 (park), around 1744/45 (group of figures), around 1750 (seated statue)	Individual features of the Blüherpark entity: Park with sculptures, fountains, large sandstone vases, etc. (between Bürgerwiese, Zinzendorfstrasse, Lingnerallee, Hauptallee and Blüherstrasse); one of the most important gardens in Dresden, the first garden in Dresden, which was redesigned based on the English model.	09214067
More pictures	Entity of the Bürgerwiese with several individual monuments	Altstadt I and Altstadt II, Bürgerwiese (map)	1843–1850 (population)	Entity of the Bürgerwiese with the following individual monuments: Park and accompanying street spaces (ID No. 09306815) with the garden sculptures Bathers (ID No. 09213829), Otto Ludwig Monument (ID No. 09213830), Two Mothers (ID No. 09213831 ), Mozart Fountain (ID No. 09213833), Henkelvase (ID No. 09213834), Mucius Scaevola (ID No. 09213835), Perikles (ID No. 09213836) Thalestris (ID No. 09213837), Alkibiades (ID No. 09213838), Venus, Armor clipping the wings (ID No. 09213839) and Siegfrieds Tod (ID No. 09210353), Lennéplatz; Romantic park with green areas, trees, pond including fountain, stream and sculptures, the accompanying street spaces on Bürgerwiese, Parkstrasse and Lennéplatz with the character of an avenue, unique garden design (see also the list of the individual sculptures and Lennéplatz).	09214065
	Bürgerwiese: Park and accompanying street spaces on the so-called Inner Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)	1843–1850 (park area)	Individual monument of the community Bürgerwiese: Park and accompanying street spaces; Romantic park with green areas, trees, pond including fountain, stream and sculptures, the accompanying street spaces on Bürgerwiese, Parkstrasse and Lennéplatz with the character of an avenue, unique garden design (see also the list of the individual sculptures and Lennéplatz).	09306815
	Mucius scaevola; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)	2nd half of the 18th century (statue)	Individual monument belonging to the community of Bürgerwiese: statue of Mucius Scaevola ; Sandstone sculpture on pedestal; artistically significant. (Currently stored)	09213835
	Pericles; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)		Individual monument of the community Bürgerwiese: statue of Pericles ; Sandstone sculpture on pedestal; artistically significant.	09213836
	Thalestris; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)		Individual monument of the community Bürgerwiese: statue of Thalestris ; Sandstone sculpture on pedestal; artistically significant.	09213837
	Alkibiades; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)	2nd half of the 18th century (statue)	Individual monument as a whole Bürgerwiese: statue of Alcibiades ; Sandstone sculpture on pedestal, artistically significant.	09213838
More pictures	Mozart Monument ; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)	1907 (fountain sculpture)	Individual monument belonging to the community of Bürgerwiese: fountain system with fountain sculpture / group of figures; three gold-plated female figures dancing around a round stele with the inscription Mozart on a pedestal, with stone surrounds and fountain basins, significant in terms of art history and art.	09213833
	Handle vase; Bürgerwiese (individual monument for ID No. 09214065)	Old town I, Bürgerwiese (map)	18th century (garden vase)	Individual monument belonging to the community of Bürgerwiese: handle vase with mythological scenes, on a pedestal; artistically significant.	09213834
More pictures	Venus, armor clipping the wings; Bürgerwiese (individual monument for ID No. 09214065)	Bürgerwiese (map)	inscribed 1886 (group of figures)	Individual monument belonging to the community of Bürgerwiese: sculpture on a round pedestal; artistically significant.	09213839
	Two mothers; Bürgerwiese (individual monument for ID No. 09214065)	Bürgerwiese (map)	1899–1902 (group of figures)	Individual monument belonging to the community of Bürgerwiese: group of figures on stone setting; Bronze sculpture of a mother with child and a lioness with cub on rubble, artistically demanding and expressively executed sculptures, artistically significant.	09213831
	Otto Ludwig Monument; Bürgerwiese (individual monument for ID No. 09214065)	Bürgerwiese (map)	inscribed 1911 (bust)	Individual monument as a whole Bürgerwiese: portrait stele; Herme , sophisticated design that focuses on the essentials, artistically significant.	09213830
More pictures	Bathers; Nymph fountain; Bürgerwiese (individual monument for ID No. 09214065)	Bürgerwiese (map)	1908 (fountain sculpture)	Individual monument as a whole Bürgerwiese: fountain system with figure and stone settings; Marble sculpture of a bathing woman with a bench on a stone plinth with a fountain surround, benches, broken stone and gradation, artistically significant.	09213829
	Bürgerwiese: Park and accompanying street spaces on the so-called Äußere Bürgerwiese (individual monument for ID No. 09214065)	Bürgerwiese (map)	1843–1850 (park area)	Individual monument of the community Bürgerwiese: Park and accompanying street spaces; Romantic park with green areas, trees, pond including fountain, stream and sculptures, the accompanying street spaces on Bürgerwiese, Parkstrasse and Lennéplatz with the character of an avenue, unique garden design (see also the list of the individual sculptures and Lennéplatz).	09306816
	Day nursery	Gret-Palucca-Strasse 3 (map)	1963–1964 (day nursery)	System consisting of two bars arranged one behind the other, a central connecting corridor and two inner courtyards, each bordered by a sloping wall that is slightly outward, a remarkable solution in terms of function and design, also a striking example of post-war modernism in the GDR, significant in terms of building history and social history.	09219006
More pictures	Georg-Arnhold-Bad	Helmut-Schön-Allee 2; 2a; 2b (card)	1926 (outdoor pool), marked 1923, stele (picture)	Brunnenhof as well as two gatehouses and steles as access to an outdoor pool; Brunnenhof, a four-wing building with staircases and fountains in front of it, enlivened by simplified neo-Gothic design elements, the pointed arch openings, characteristic architectural testimony of its time, and the entrance system typical of the time, and despite its simple appearance effectively staged by the architect, the buildings are primarily reminiscent of that Probably the most important Dresden open-air swimming pool and to its Jewish patron Georg Arnhold (1859–1926), significant in terms of building history, local history and personal history.	09213963
More pictures	Siegfried's death; Bürgerwiese (individual monument for ID No. 09214065)	Lennéplatz (map)	1936 (sculpture)	Individual monument of the community Bürgerwiese: statue; Example of a pathos-laden and heroic realism typical of the period around 1935, yet sophisticated, art-historical and artistically significant.	09210353
More pictures	Park Blüherpark with sculptures, fountains, large sandstone vases (individual monument for ID no. 09306814)	Lingnerallee (map)	1764–1770 (park), around 1744/45 (group of figures), around 1750 (seated statue)	Individual features of the Blüherpark entity: Park with sculptures, fountains, large sandstone vases, etc. (between Bürgerwiese, Zinzendorfstrasse, Lingnerallee, Hauptallee and Blüherstrasse); one of the most important gardens in Dresden, the first garden in Dresden, which was redesigned based on the English model.	09214067
More pictures	Villa with enclosure, side made of molded concrete elements	Wiener Strasse 36 (map)	1871–1872 (villa)	Distinctive building with a prominent central projection , characteristic property of the Semper-Nicolai-Schule , a Dresden variant of the neo-renaissance , aesthetically demanding, historically and artistically significant and, as part of the striking street of Wiener Straße, also of importance in terms of urban development history.	09212247

Remarks

• This list is not suitable for deriving binding statements on the monument status of an object. As far as a legally binding determination of the listed property of an object is desired, the owner can apply to the responsible lower monument protection authority for a notice.
• The official list of cultural monuments is never closed. It is permanently changed through clarifications, new additions or deletions. A transfer of such changes to this list is not guaranteed at the moment.
• The monument quality of an object does not depend on its entry in this or the official list. Objects that are not listed can also be monuments.
• Basically, the property of a monument extends to the substance and appearance as a whole, including the interior. Deviating applies if only parts are expressly protected (e.g. the facade).

Detailed memorial texts

1. ↑ Monument text
   The then Margon owner Artur Kunz had the lettering affixed to the ruins of the Hotel "Excelsior" at the end of the 1950s. When the hotel was demolished, the Margon advertisement was given its current location at the Budapester Strasse 5 building. At the time, the economic council was housed there. The installation at the new location was carried out by the Neon-Müller company from 1967 to 1968. The multi-colored neon sign is an important testimony to everyday GDR culture and shows a high level of design for the conditions at the time. Apart from that, it is one of the last surviving specimens of this type in Dresden with a rarity value (LfD, 2011).
2. ↑ Monument text
   The gate pavilion on Lingnerallee in Dresden, with an identically designed pedant building, was once part of what is now known as the Blüherpark. It was created in 1639 when Baron Georg von Rechenberg (1610–1664) acquired part of the area. The facility was constantly enlarged and changed. Their owners changed several times, especially the Saxon ruling house of the Wettins, related or close people. An important owner was Johann Georg, Chevalier de Saxe (1704–1774), an illegitimate son of Augustus the Strong . After purchasing the park in 1764, he had a palace built. It later served as the residence of the second-born prince of the Wettins, hence the name `` SECONDOGENITURE '' , which led to numerous structural extensions. In the course of the 19th century, especially under Prince Georg (1832–1904), only from 1902 until his death as König, the most serious changes took place. In 1888 he sold the entire northern part of the garden area. The commercial and utility buildings that had been here up to then were demolished and some relocated, such as the court gardening facility, which was allocated a place in the south-eastern field plot on Bürgerwiese. Soon Johann-Georgen-Allee, today Lingnerallee, marked the northern border of the princely estate. On what was then Langen Strasse, an administration building and civil servants' residence were built next to the stable building. In the course of the change described, a new surrounding wall with two gate pavilions was created. The eastern of the two pavilions has been preserved on Lingnerallee and represents the former garden border on this side. It appears as a historicizing, octagonal building made of sandstone with one and a half storeys and a flat roof . The facades show a clear formal language with two openings each, whereby the street front with two windows deviates from the grouping of door and window on the other sides. Design accents are set by triangular gables and corner blocks. The historicizing small building forms an example of architecture in the late 19th century that is appealing for its purposes, with ashlars and architraved openings mainly based on the Renaissance, which explains its importance in terms of building history. In addition, as the last tangible testimony, apart from the existing garden equipment in the Blüher-Park, it reminds of the construction of the Prinzenpalais or the secundogenitur for the second-born princes of the Wettins and thus has a personal and local historical significance with rarity (LfD / 2013, 2018).
   Literature: Barbara Bechter: From the Rechenberg garden to the Blüherpark. In: The garden art. Volume 17, No. 1, 2005, p. 135.
3. ↑ Monument text
   The circular cinema, built 1970–1972 according to plans by Gerhard Landgraf , following the basic concept of Winfried Sziegoleit and Manfred Fasold, is a cultural monument for architectural, artistic and urban planning reasons. It is without a doubt one of the most remarkable cinema buildings of post-war modernism in both parts of Germany in terms of design and construction. The circular cinema appears singular in structure and form. As part of Prager Straße, the circular cinema is also of importance in terms of urban planning. It formed one of the dominants of the entire street. Unfortunately, this dominant function has been impaired by the densification of Prager Strasse in recent years, but it is still structurally evident. Comparable examples in terms of importance, such as the two Berlin cinemas “International” and “Kosmos”, have been on Berlin's list of monuments for some time. The circular cinema has been a listed building since October 10, 2003. A press release announced this to the public a few days later in great detail.
4. ↑ Monument text
   The statue of Alcibiades is one of four early classical sandstone sculptures that were moved from the garden of the former Palais Brühl-Marcolini to the Bürgerwiese in 1854 . At the northern end of the so-called Inner Bürgerwiese, the statues created by Thaddäus Ignaz Wiskotschill (1753–1795) have been placed around a roundabout. Count Camillo Marcolini (1739–1814) gave the four sculptures around 1785 as part of a six figure program at Wiskotschill in order. The slightly larger than life portraits of ancient heroes were intended to decorate his palace garden. In the garden of this property, which has been used as a Friedrichstadt hospital since the end of the 18th century , you can still find the statues of the Scythian queen Tomiris and Themistocles belonging to the program . The statue of a young man in ancient armor presented on a high rectangular pedestal is commonly interpreted as a portrait of the Greek hero Alcibiades. The statue is dressed in a short tunic , a breastplate and calf-high sandals. She wears a coat over her left, angled arm, which gives the figure additional stability in the rear area. Alkibiades turns his curly head to the left so that the viewer only perceives it in profile from the frontal view. With his right arm he rests on a kind of ship's beak. At this point a small owl, the symbol of Athens, is attributed to the portrait. The figure's main leg is the right one, in front of which the left free leg is loosely crossed.
5. ↑ ^{a b} The artist Wiskotschill, born in Prague in 1753 , initially apprenticed to his father before traveling to Dresden in 1772 after his death, where he initially worked for the former court sculptor Langbein. Three years later he was employed by Count Detlev von Einsiedel (1773–1861) in his iron foundry in Mückenberg, which later became Lauchhammer . The successful development of a special lost wax process for the pouring of free plastic allowed Wiskotschill to become artistic director of the Einsiedel iron foundry . Count von Einsiedel encouraged him by giving him the opportunity to perfect his skills at the academies in Dresden and Leipzig, and by recommending him to his long-term sponsor, Count Camillo Marcolini. Marcolini, who at the court of Elector Friedrich August III. Made a career, had a decisive influence on the development of art in Saxony at the end of the 18th century. As chief steward, he was not only responsible for the management of the Meissen porcelain factory and the stoneware factory in Hubertusburg , but since 1780 he has also been in charge of the Dresden Art Academy and the electoral collections. In 1809 he was even promoted to cabinet minister. For Marcolini, in whose service Wiskotschill entered in 1782, he created, among other things, figure friezes, herms, colossal heads and sandstone vases. The work of Wiskotschill including the figure to be assessed here documents the post-baroque development of sculpture at the Saxon court. Rather underestimated in the 19th century, only more recent studies have recognized Wiskotschill's independent development of a new formal language that approached ancient models independently of artistic training in Italy. Not only in terms of content, but also in terms of composition, Wiskotschill refers to ancient sculptures. At the same time, however, the works do not deny his training in baroque sculpture. Last but not least, the intensive support on the part of Count Marcolini proves the appreciation that contemporaries showed for Wiskotschill's sculptures , which were more moderate in expression than baroque art (LfD / 2014). Literature:
   • Georg Beutel: The Bürgerwiese in Dresden. (= Historical hiking trips. No. 52). Dresden 1938.
   • Heinrich Keller: News from all artists living in Dresden. Leipzig 1788.
   • Gustav Otto Müller: Forgotten and half-forgotten Dresden artists of the last century. Dresden 1895.
   • Rainer Richter: Art in Saxony under the influence of the Minister Camillo Graf Marcolini. In: Keramos, magazine of the Gesellschaft der Keramikfreunde eV Düsseldorf. Issue 126, Bramsche Oct. 1989, pp. 7-26.
6. ↑ Monument text
   The Mozart monument by the Berlin sculptor Hermann Hosaeus (1875–1958), inaugurated on the Bürgerwiese in 1907, is a striking part of the artistic decoration of the Innere Bürgerwiese. Its location north of Zinzendorfer Straße goes back to the request of the Dresden Mozart Association, the donor of the monument. In 1902 the association invited four well-known Dresden artists to provide designs for the memorial. However, the results of the competition were not well received. The situation was different with the 1903 draft by the Berlin native Hermann Hosaeus, which the commission unanimously approved. Hosaeus' design did not honor the memory of the composer in the form of a portrait; rather, his memorial represents an attempt to allegorically capture Mozart's musical legacy. “Around an altar, dedicated to the genius of the master, three female figures dance a light dance: they are supposed to be an embodiment of that graceful triad that defines Mozart's art, seriousness, grace and serenity. The serious female figure, who should not be without a melodious suppleness, is grasped by the hand by the graceful psyche , a gesture that may say that grace is the real element of Mozart's music, in the form of a lightly apron bacchante should be cheerful and high-spirited to end the dance, ”(H. Hosaeus, quoted from Beutel, 1938). The remains of the gilded bronze figures, which were badly damaged in 1945, were kept in the Dresden Lapidarium in the ruins of the Dresden Zionskirche after the war . It was not until 1991 that the reconstructed Mozart Fountain returned to its original location on the occasion of Mozart's 200th anniversary of his death. The sculptor Eberhard Wolf added the missing parts of the figures from photos and made them anew. The figure "Ernst" alone had to be completely re-cast due to its poor state of preservation. The 1903/04 draft for the Mozart monument - a plaster model of the work of art is kept in the sculpture collection in Dresden - is not only the highlight of Hosaeus' early work. The monument is also considered to be his most famous creation and was awarded a gold medal in 1914. The monument is also one of the most popular creations of Saxon Art Nouveau . From 1914 onwards, Hosaeus, who gained recognition beyond the borders of Berlin, increasingly turned to German-national issues. After the end of the war, grave and war memorials dominate his work. Through his participation in the national art commission and the department of the Reichskunstwart introduced in 1918, Hosaeus also received many commissions outside of Berlin during this time. From 1928 onwards he produced several works for Siemensstadt in Berlin , including the Genoveva fountain in Harriesstrasse. The artistic value of Hermann Hosaeus' oeuvre as a whole is controversial due to the stylistic change that became apparent after 1910. In this creative phase, the tendency towards monumental, pathos-laden figure design in connection with a content-related focus on military subjects emerged. His work thus bore the features of heroic realism from an early age, as would later be practiced in the Third Reich. The Mozart monument, which was erected before this time, does not give any indication of this development of the artist. As an outstanding object not only of the early work of Hosaeus, but also of Saxon Art Nouveau, it is of both personal historical and artistic importance (LfD / 2014). Literature:
   • Georg Beutel: The Bürgerwiese in Dresden. (= Historical hiking trips. No. 52). Dresden 1938.
   • A. Dehmer: Hosaeus, Hermann. In: General Artist Lexicon. The visual artists of all times and peoples. Vol. 34, de Gruyter, Munich / Leipzig 2002, pp. 217/218.
   • Silke Meißner: The fine arts in Dresden 1870-1920. The Dresden Fountains 1870–1920 - A contribution to the cultural history of the city of Dresden. Dresden 1991 (Diploma thesis University of Education Dresden)
7. ↑ Memorial text
   South of the crossing of Zinzendorfer Straße, a large sandstone vase by the artist Thaddäus Ignaz Wiskotschill adorns the center of a flower ring. Together with two other vases and four statues of ancient heroes by the same artist, the vase was moved from the garden of the Palais Brühl-Marcolini to the Bürgerwiese in 1854. After the conversion of the city palace into the Friedrichstadt hospital, advice was given among the city councils as early as 1846 about the further use of the pictures located there. Before the re-installation, the works in need of repair were painted with oil and wax paints to improve durability, according to Georg Beutel. The vase was last restored by Ole Göttsche in 1990. Two of the three Marcolini vases in the Innere Bürgerwiese have changed their location over time. The first was moved to Bönischplatz in 1907 because it was too close to the Mozart monument erected that year. The second has been moved to the Äußere Bürgerwiese due to the changed road layout on Georgplatz. The two-handled lidded vase preserved on site stands on an upright rectangular pedestal. The round base of the vase, which tapers towards the top, sits on a square base plate. A ring adorned with stylized leaves mediates between the foot and the bulging body. On the side of the last two handles, which seem to grow out of two women's heads, are attached. The almost cylindrical, wide vase neck shows mythological relief scenes all around. A lid crowned with a round knob forms the upper end.
8. ↑ Monument
   text In 1881, the Hermann Foundation offered the city sculptural jewelry to decorate the rose bed at the Bürgerwiese pond. "Controlling the boy's cockiness is the mother's first duty" was the title of the competition that the foundation announced for this purpose. From this the antique marble group "Venus, Amor clipping the wings" by the artist Heinrich Bäumer (1836–1898) emerged as the winner. In 1886 it was set up in the place intended for it. The city had to pay for the cost of the round pedestal made of granite. Sitting on a rock, only clad with a cloth loosely wrapped around her waist, Venus is about to trim the wings of her son Cupid . Cupid stands with his back to his mother, between her spread legs. The group of figures is fully plastic and can be walked around. However, the viewer's content is only revealed from the frontal view. About halfway up the sculpture, Venus holds Cupid's wing on her right leg with one hand, while she starts cutting with the other. At the same time, Cupid reaches for the tool in her hand to prevent his mother from doing her job. He looks pleadingly at his mother. She returned the look with severity. Heinrich Bäumer, who came from Westphalia, first learned to be a model carpenter from his father, and later he worked in a sculptor's workshop in Münster, where he mainly carved images of saints. In Dresden he first learned from 1859 with Wilhelm Schwenk (1830–1871). After a two-year stay in Rome, he returned to Dresden in 1868, where his workshop soon received numerous orders. For Dresden and the surrounding area he created numerous allegorical and mythological figures and busts as well as architectural jewelry. The classicistic style that we encounter in the group of figures on the Bürgerwiese was formative for Bäumer's work. Until 1898 he was recorded as a sculptor at the golden gate of Freiberg Cathedral . Another work by Bäumer is the city fountain in Zittau . The implementation of the advertised topic in the form of the mythological mother-child group is typical of the time. The relationship between the goddess of love and her naughty son was a popular genre motif, especially in the second half of the 19th century. The artists Reinhold Begas (Venus and Amor, design 1864), Peter Breuer (Venus and Amor, design around 1911) and Gustav Eberlein , who belong to the Berlin School of Sculpture, invented groups of pictures on a similar subject. In Eberlein's work, several such compositions can be identified for the decade from 1886 to 1896, which were sold in factories around 1900 (the ban, draft around 1893, Venus, Amor chastening, n.d., etc.). The Bäumers marble group is therefore not only of high artistic quality, but also as a contemporary historical, i.e. epoch-typical, testimony of importance (LfD / 2014). Literature:
   • Georg Beutel: The Bürgerwiese in Dresden. (= Historical hiking trips. No. 52). Dresden 1938.
   • Peter Bloch, Sibylle Einholz, Jutta von Simson (eds.): Ethos and Pathos. The Berlin School of Sculpture 1786–1914. Exhibition catalog. State Museums of Prussian Cultural Heritage Berlin, Berlin 1990.
   • DT: Bäumer, Heinrich. In: Saur General Artist Lexicon. The visual artists of all times and peoples. Vol. 6, Munich / Leipzig 1992, p. 260.
9. ↑ Monument text
   The bronze sculpture “Two Mothers” by the Bürgerwiese pond is a work by the artist Heinrich Epler (1856–1905). The plaster model of the bronze shown during the German Art Exhibition in 1899 under the name “The Flood” was acquired by the city of Dresden in the same year. Three years later, the group originally intended for a fountain was integrated into the Bürgerwiese by the architect Julius Graebner . The group shows two mothers, a woman and a tigress, who, threatened by floods, are fighting for the survival of their children for a place on top of a small rock. The rock, surrounded by waves up to half its height, rises to a point. An unclothed woman crouches on it, holding a baby in her left arm, while with her right arm she fends off a tigress clinging to the side of the rock. Your cub holds the predator in its mouth towards the sky. The effort of the fight shows in the tense muscles of the animal, the despair of the woman in her face - her mouth is open to scream. The intensity of the event is increased by the surface design, such as the stringy fur of the tigress, the lashing waves, the jagged rock and the woman's hair blown by the wind. The different colors of the bronze caused by the effects of the weather (due to traces of running water) support the powerful expression of the subject. Born in Franconia, Epler studied from 1869 to 1874 with the sculptor Johannes Schilling at the Academy of Fine Arts in Dresden. The artist, who has been working independently in Dresden since 1876, is known as the creator of architectural sculpture on public buildings in the city of Dresden, of monuments, tombs, portrait busts and small sculptures. Among other things, the high relief on the main portal of the Dresden Art Academy, where he had been a professor of the modeling class since 1897, comes from him. The relief shows the allegories on the left of Antiquity with the Olympian Zeus , on the right of the Renaissance with the Sistine Madonna and the genius of art. Epler's work was primarily focused on Dresden, with individual works also being created for locations in Chemnitz, Zwickau, Hamburg and Koblenz. As a work by Schilling's student Epler, the bronze group "Two Mothers" is of personal and art historical importance. It documents the further development of the glorious Dresden sculpture school founded by Ernst Rietschel and Ernst Julius Hähnel in the 19th century. If one compares the expressive group of images “Two Mothers”, for example, with the classicistic reliefs on the academy portal, it is noticeable that the artist changes between different styles, depending on the subject. In terms of stylistic versatility, Epler shows himself to be a typical representative of late historicism (LfD / 2014). Literature:
   • Georg Beutel: The Bürgerwiese in Dresden. (= Historical hiking trips. No. 52). Dresden 1938.
   • G. Kloss: Epler, Carl Heinrich. In: Saur General Artist Lexicon. The visual artists of all times and peoples. Vol. 34, Munich / Leipzig 2002, pp. 217/218.
   • Silke Meißner: The fine arts in Dresden 1870-1920. The Dresden Fountains 1870–1920 - A contribution to the cultural history of the city of Dresden. Dresden 1991 (Diploma thesis University of Education Dresden)
   • Bärbel Stephan: Saxon Sculpture Art. Johannes Schilling 1828-1910. Berlin 1996, p. 72.
10. ↑ Monument text - Otto Ludwig Monument
    South of the Blüherstraße crossing is the larger than life bust of the writer Otto Ludwig (1813–1865) on the area of ​​the Äußere Bürgerwiese. The Tiedge Foundation, which was founded in 1841 after the death of the poet Christoph August Tiedge (1752–1841) by his friend Friedrich Anton Serre (1789–1863), set itself the goal of preserving Tiedge's memory on the one hand and the To alleviate the plight of destitute artists. At the beginning of the 20th century she made the decision to honor Otto Ludwig with a monument. The bust in the form of a marble herm, designed by Arnold Kramer (1863–1918), prevailed from several designs . The bearded portrait of the writer, which merges into a simple marble stele labeled “Arnold Kramer 1911” on the side, was acquired by the foundation in 1911 and given to the city. Born in Wolfenbüttel in 1863, Kramer studied drawing and modeling at the TH Braunschweig from 1882 . He continued his studies from 1883 to 1888 at the Dresden Art Academy, where he entered Ernst Julius Hähnel's studio as a student. After his training he lived and worked both in Dresden and in Braunschweig, where he died in 1918. Kramer created numerous portrait busts and statuettes, especially at the beginning of his activity. For the Chemnitz Castle Church he made two almost life-size sandstone sculptures of Moses and John the Baptist (1900) and three reliefs with scenes from the life of Jesus were created for the Strehlen Church in Dresden . A major work that made him known nationwide is the bronze Eulenspiegel fountain that was erected in 1906 on the Bäckerklint in Braunschweig . A short time later, Otto Ludwig's bust was created for the Bürgerwiese. The artistic significance of the Otto Ludwig monument arises from its consciously simple design language and concentration on the essential moment, which makes the realistic approach in Kramer's art even more evident. This is particularly evident in comparison with the portraits of his classicist teacher Hähnel (Theodor-Körner-Monument, Dresden) (LfD / 2014). Literature:
    • Georg Beutel: The Bürgerwiese in Dresden. Dresden 1938.
    • Kramer, Arnold . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 21 : Knip – Kruger . EA Seemann, Leipzig 1927, p. 411-412 .
11. ↑ Monument text
    South of Blüherstrasse, on the area of ​​the Äußere Bürgerwiese, is the Nymphenbrunnen, the figure of which is the result of a competition held by the Dresden City Council in 1901 to promote independent artistic creation. The work of art was purchased with funds from the Güntz Foundation - a foundation established in 1856 by the owner of the Dresdner Anzeiger, Justus Friedrich Güntz (1801–1875), which stipulated in its statutes that its funds should only be used for charitable purposes and to beautify the city be used. The execution of the sculpture was preceded by a preliminary study, which the artist Bruno Fischer (1860–1932) presented as a “female fountain figure, plaster model for Dresden” in 1904 under catalog number 1613 at the Great Art Exhibition in Dresden. The design and execution of the architectural system containing the sculpture go back to the architect Professor Wilhelm Kreis , who also chose the future location of the work of art. After the figure was finished in 1906, delays in the construction of the system did not succeed in setting up the fountain on the Bürgerwiese and handing it over to the city until the end of 1908. The female fountain figure made by Fischer in Tyrolean marble sits on a bench above a step-like substructure, the base of which is the plinth bearing the artist's name . With the left foot already placed on the floor, the right leg still bent on the semicircular seat, the unclothed figure is shown at the moment of being raised. With her upper body slightly bent forward, she supports herself with her left hand on the front edge of the seat, while the right hand reaches behind her into the cloth that is draped in small folds under her body. The fountain figure is complemented by an oval fountain basin at its feet, into which water pours in a calm jet through the mouth of an animal mask, and by resting benches on both sides. As a background for the work, Kreis chose a group of trees with which, in his opinion, the fountain harmonizes perfectly. The creator of the bathers, the sculptor Bruno Fischer, studied from 1880 to 1890 at the academies in Stuttgart and Dresden, where the master student Johannes Schilling received a classical education. Characteristic of his compositions is not an idealized, but a naturalistic representation. It was not the sublimity of the contour, but the retention of a certain moment of movement that was decisive for the composition of the bathers. After a study trip that took him to Italy from 1894 to 1896, Fischer settled in Dresden as a freelance sculptor. He created mainly building sculptures , fountains, portrait reliefs, grave monuments, small sculptures and designs for arts and crafts. A large part of his works, such as the justice fountain on Holbeinplatz in Dresden-Johannstadt, was destroyed in the Second World War. Among other things, a high relief in a gable of the Dresden estate, which shows Saxonia sitting in front of the lying lion (1906) and the shoemaker's fountain in Siebenlehn near Freiberg (1926), have been preserved. Fischer's work was spatially concentrated on Saxony, in particular on Dresden. In its departure from idealism, the Nymphenbrunnen documents a facet of post-classicist sculptural art around 1900, which was characterized by stylistic pluralism, and is therefore significant in terms of art history. As one of the few still preserved, high-quality works by Fischer, the work is also of artistic importance (LfD / 2014). Literature:
    • Georg Beutel: The Bürgerwiese in Dresden. Dresden 1938.
    • G. Kloss: Fischer, Bruno. In: Saur General Artist Lexicon. The visual artists of all times and peoples. Vol. 40, Munich / Leipzig 2004, pp. 312/313.
    • Silke Meißner: The fine arts in Dresden 1870-1920. The Dresden Fountains 1870–1920 - A contribution to the cultural history of the city of Dresden. Dresden 1991 (Diploma thesis Pedagogical HS Dresden)
12. ↑ Monument text
    The fountain sculpture Siegfrieds Tod by the artist Franz Weschke is located on the so-called "Bürgerwiesenerwiesenerwiesenerwiesen", a connection between the Bürgerwiese and the Great Garden south of Lennéstraße that was built between 1865 and 1869. The larger-than-life artificial stone sculpture was set up as part of the first Reichsgartenschau held in Dresden in 1936. The exhibition grounds along Lennéstrasse at that time stretched from Stübelallee to Tiergartenstrasse. On this area there was a fountain courtyard and a fountain system in the concert garden. Presumably in this area - although not explicitly mentioned in the official exhibition guide - the Siegfriedbrunnen was presented. The picture shows the viewer a scene from the Nibelungenlied . Siegfried, who is kneeling at a spring to drink after a race through the forest, is stabbed from behind by Hagen von Tronje with a spear. Previously, Kriemhild Hagen had gullibly revealed the spot on Siegfried's back where he was vulnerable. The fatally injured Siegfried crouches on a slightly stylized rock above a semicircular fountain basin. With his right hand he grasps the spear shaft that protrudes from his back. He turns his face upwards, contorted with pain. The design of the face with deep-set eyes and furrowed forehead and the relatively large hands and arms give the figure a high degree of expressiveness. Franz Weschke (1883–1944), who was born and deceased in Dresden, studied at the Dresden Art Academy from 1907 to 1911 and was a master student of Georg Wrba and Richard Müller (1874–1954), who was rector from 1933 to 1935 Academy was. Von Weschke, whose apartment and studio were destroyed in the bombing raids on Dresden, can be found in the Fichtepark in Dresden, a girl with a dolphin as an allegory of happiness. The Siegfried Fountain, set up in 1936, is an example of the development of art after Adolf Hitler came to power. In terms of content and form, Weschke follows the demands of Nazi cultural policy. As an expression of the pathos-laden and heroic realism typical of the time, as well as a relic of the Reichsgartenschau, the Siegfried Fountain is significant both in terms of art history and contemporary history. Last but not least, as one of the few surviving works by Weschke, it is a rarity (LfD / 2014).

literature

• Old town. In: Georg Dehio (Hrsg.): Handbook of German art monuments. Dresden. Updated edition. Deutscher Kunstverlag, Munich / Berlin 2005, pp. 3–92.

swell

• List of monuments of the state of Saxony

Web links

Commons : Cultural monuments in the district of Altstadt I  - collection of images, videos and audio files

Commons : Cultural monuments in the district of Altstadt II  - collection of images, videos and audio files

• Cultural monuments on the Dresden themed city map

Individual evidence

1. ↑ Tanja Scheffler: Dresden: From the rapid failure of socialist urban planning concepts. The way back to the historic city. In: Germany Archive . November 29, 2012, accessed July 15, 2013 . 

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