Museum Kurhaus Kleve

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Entrance wing, former bath hotel, 1872

The Kurhaus Kleve Museum is an art museum in Kleve on the Lower Rhine in North Rhine-Westphalia . It bears his name because of the original function of the building when Kleve was known as "Bad Cleve" between 1742 and 1914 and was a popular health resort , especially among wealthy Prussians and Dutch people . The predecessor of the Kurhaus was a drinking hall built in 1754. The classicist building is located in the immediate vicinity of the zoo forest and the park of Prince Moritz von Nassau-Siegen from the 17th century.

Since 1997, when the Museum Kurhaus Kleve became the municipal museum, it has been financially supported by the BC Koekkoek-Haus , an initiative of the Friends of Museum Kurhaus and Koekkoek-Haus Kleve , the NRW Foundation and the City of Kleve.

history

Bad Cleve

Amphitheater in the historic park

The Klever health resort began with the discovery of a mineral-rich spring by the Klever fountain doctor Johann Heinrich Schütte in 1742 near the small amphitheater in the park and he wrote an advertising pamphlet entitled “Amusemens des Eaux de Clève” (“The pleasures of the Water to Cleve ”). The plans at that time to build a spa in the style of Sanssoucis Palace failed in 1749 because of King Frederick II's veto . The French philosopher Voltaire drank this water in 1750 and praised the gardens and avenues to the highest degree. Of a walking and drinking hall designed this year, only a corner pavilion to the west was built as a drinking hall.

In 1778 the portrait and history painter Willem Joseph Laquy (* 1738; † 1798), who lived in Amsterdam, moved to Kleve and became a chronicler of the life of the spa guests, and in 1786 Franz Jakob Rousseau, who came from Bonn, settled in Kleve and painted views of the spa guests populated parks in the late 18th century. In October 1794, the amphitheater and the Iron Man , the gallery and the small bathing pavilion as well as the statue of Pallas Athene (Minerva) were largely destroyed by French revolutionary troops and the “Clever Mob”, which brought bathing to a standstill for half a century .

New start of the spa business

Former lobby and bath hotel, 1872

From the spring of 1845 , a new bath house was built according to plans by the Klever architect Anton Weinhagen, who designed most of the classicist villas on Tiergartenstrasse and in 1846 the city ​​palace of the Dutch painter Barend Cornelis Koekkoek . In August of the same year, Friedrich Wilhelm IV. Visited Kleve, who in February 1846 complied with the request of the mayor of Kleve at the time, "to be allowed to name the new bath house after His Majesty." From 1872, the Bonn architect Karl Friedrich Schubert created the Friedrich-Wilhelm- In the direction of the city, the bath was expanded to include a foyer and a three-storey bath hotel with almost 50 rooms, which around 1900 formed a single unit as the spa building.

End of spa operation

The First World War ended the spa business, the parks became overgrown, and many of the luxurious Klever hotels fell victim to the bombs of the Second World War or the city fathers' demolition. The Kurhaus escaped this, but increasingly fell into disrepair, and from 1922 it served the Terbuyken family of shoe manufacturers as a production facility, using the upper floor of the Friedrich-Wilhelm-Bad as an apartment until the middle of World War II. After the end of the war, German prisoners of war were housed in the foyer, who had to free the nearby Klever Reichswald from landmines during the day . In 1946 the Terbuyken family was able to move into the premises again and now used the lobby entirely as a factory hall. In 1956 the company went bankrupt.

The vacated property was acquired by a real estate agent from Kempen , who offered it to the city of Kleve, which declined with thanks. Since the broker could not find a buyer, he rented the former Friedrich-Wilhelm bath on the ground floor of the building at the end of 1957 to Joseph Beuys , who set up his studio there in 1958 , which he used until 1964. In the early 1960s, the Klever furniture dealer Anton Zylstra acquired the Badhotel and the foyer, and Kleve's city archivist and museum director Friedrich Gorissen acquired the Friedrich-Wilhelm-Bad in 1964. They started a restoration of the complex. As a businessman, Zylstra temporarily repaired the Badhotel, in which there were rented apartments, Gorissen had the course halls on the upper floor restored and moved there with his family in 1965, where he lived until his death in 1993. Gorissen rented the ground floor in 1972 to the city of Kleve, which housed the city archive, which he was director, there until 2006.

The gardens

The gardens with the Iron Man by Stephan Balkenhol

The later senior curator Guido de Werd , who was brought to Kleve in 1972 at the age of twenty-four as a research assistant by Friedrich Gorissen and succeeded him in 1976, began, among other things, in 1976 with the planning of a restoration of the gardens. The landscape architects Gustav and Rose Wörner were commissioned for the planning . For the 400th birthday of Field Marshal Johann Moritz von Nassau Siegen in 2004, the sculptor Stephan Balkenhol , who exhibited in the Museum Kurhaus Kleve in 1998, created a contemporary new version of the Iron Man monument, which was destroyed in 1794 . He resorted to the historical form of the monument, simplifying it slightly and placing “a colored bronze statue of a man of our time with black trousers and a white shirt” on the ten meter high column. Two years later, the 16-meter-high bronze tree - L'ombra del Bronzo ( The Shadow of Bronze ) - was erected by Giuseppe Penone in 2002 in the neighboring forest garden .

Today's museum and collections

Joseph Beuys West Wing, former Friedrich Wilhelm Bath, 1846

On September 7, 2012, with the inauguration of the new Friedrich-Wilhelm-Bad and its renaming to Joseph-Beuys-Westflügel, the Kurhaus Kleve Museum was completed as a museum, after the conversion of the former Badhotel and the foyer into a museum had been completed in 1997 . The architectural drafts were drawn up by the architect Walter Nikkels , who also carried out the planning for the restoration and conversion of the Friedrich-Wilhelm-Bad and for the new Katharina-von-Kleve-Saal on the ground floor, named after Katharina von Kleve , Kleve's first art patron Community with the architects Dieter Willinek and Ingrid van Hüllen. The former studio rooms of Joseph Beuys were restored on the ground floor and the former course rooms on the upper floor, and two new collection rooms were created there. A graphic cabinet was created in the basement, named after the collector Robert Angerhausen from Rheinberg .

Ewald Mataré Collection

Ewald Mataré: Dead Warrior , erected in 1934 as part of the Fallen Memorial in Kleve, destroyed by the National Socialists in 1938. Restoration and re-installation in 1981

The Museum Kurhaus Kleve, whose museum director has been the successor to Guido de Werd , the art historian Harald Kunde since April 1, 2012, shows not only medieval sculptures by Dries Holthuys and baroque paintings, but above all well-known modern artists in changing exhibitions that are curated by the art historian Valentina Vlasic , and houses various collections, such as the estate of the Rhenish sculptor and painter Ewald Mataré . Beuys, who studied with Mataré, first encountered his work on 22 November 1934 at the dedication of the memorial to the fallen of World War I in Kleve , which unlike the National School Cleve exactly - today Freiherr-vom-Stein-Gymnasium - was installed and in whose inauguration he participated as a student. The sculpture, which showed a soldier under a flag in deathly paralysis, was destroyed overnight in 1938 and removed. After the fragments of the sculpture were found in the port area in 1977 and several of Mataré's pupils, including Joseph Beuys, made suggestions for the restoration, the artist's daughter, Sonja Mataré, handed over her father's estate in 1988 to the care of the newly founded museum, the has had his name in the subtitle since 1997. Through the establishment of the Sonja Mataré Foundation, which is particularly dedicated to the work of Beuys and Mataré, the collection was supported not only by works by her father, but also by works by Beuys.

Joseph Beuys

The four-part photo work Untitled (My Cologne Cathedral) , 1980, which can be viewed in the Kurhaus Museum in the eight-meter-high Katharina-von-Kleve-Saal, focuses on the work and the relationship between Joseph Beuys and his teacher Ewald Mataré and his perspective on the order given by Mataré in 1954 to design the south portals of Cologne Cathedral . Beuys got mosaic stones from a destroyed swimming pool in Meerbusch to use in the doors. The work was created on the occasion of the exhibition “My Cologne Cathedral. Contemporary artists see the Cologne Cathedral ”in the Museum Ludwig , which was dedicated to the 700th anniversary of the cathedral and in which Christo and Andy Warhol also took part. For this purpose, Beuys had four three-meter-high photo canvases made, some of which he edited. The canvases are arranged in a certain order: he left the first, with the “door of creation”, unprocessed; the second, the “bishop's door”, he added with an arrow pointing at the cross of the bishop's coat of arms and with the words “My shaving mirror missing!”, an indication that Beuys missed his shaving mirror, which he had used there in 1954 and after Replaced loss with a piece of the mosaic. The third, with the “papal door”, he provided with a halved felt cross and the fourth, the “Pentecostal door”, with the burning Cologne, he provided with a brown cross.

Furthermore, the museum owns works on paper, plastic works, prints and multiples as well as various plaster models by Joseph Beuys since the completion of the Joseph Beuys west wing.

Middle Ages and Renaissance

The sculptor Dries Holthuys, who worked in Kleve from around 1490 to 1510 - a pupil of the master Arnt von Kalkar and Zwolle - who created Our Lady in Xanten Cathedral in 1498 , is represented in Kleve with ten saint sculptures made of oak. For example, with a Saint Anna Selbdritt from around 1500 as well as a Mother of God and three female saints: Saint Catherine, Saint Elisabeth of Thuringia, and Saint Dorothea from the same year. The collection also shows a Saint Michael from around 1490 to 1500 and an adoration of the child made in the same period until 1995 . By Henrik Douverman that the seven-pain Altar for St. Nicolai in Kalkar designed and worked in Kleve and Kalkar in the years 1480 and 1490 to 1543, among other things, are Mary and Child , circa 1500, and the Magi King Melchior , King Caspar and King Balthasar , all in oak, are shown. Lucas Cranach the Elder is represented by Johann Friedrich I, Elector and Duke of Saxony , 1503 to 1545, and Sybilla von Kleve , who was created between 1512 and 1554. The collection also includes works by Barthel Bruyn , Willem Hachmann, who was a foundryman in Kleve in the second half of the 16th century, as well as Joos van Cleve and others.

Baroque and Bad Cleve

The holdings of the collection, which fell into the time of Kleve as the residence of Prince Johann Moritz von Nassau Siegen, include paintings such as Portrait of an Old Woman , 1667 and Portrait of a Man , 1940. Both paintings were made by Govaert Flinck , an assistant and employee Rembrandts was painted. Furthermore, Herman Saftleven , painter and etcher and brother of Cornelis Saftleven with the painting Die Rheinebene and Klever Unterstadt from Kermisdalberg and Anthonie van Borssom with a view over the large axis of the amphitheater to Elten , completed around 1954 , as well as Joseph Karl Stieler's painting Portrait of King Friedrich Wilhelm IV of Prussia (reigned 1840–1861) from 1843 is represented in the collection.

20th and 21st century collection

The contemporary art collection includes artists such as Jan Thorn Prikker who found and in 1988 the entrance to the museum to the Rhenish Expressionists counting artist Heinrich Nauen and Heinrich Campendonk . Erwin Heerich , a student of Ewald Mataré and himself professor at the Düsseldorf Art Academy from 1969 to 1988 , is represented with the bronze cat's head , 1953 and the cardboard cube , 1960. The museum also owns the Flying Leaf and Sky Hat by Otto Piene , both from 1976 and Yellow Moon from 1977 , followed by works by Yves Klein , Heinz Mack , Arman , Robert Morris , André Thomkins and Cy Twombly . The museum owns German LOVE (Chosen Love) from Robert Indiana in 1995 and from Richard Serra Esna , 1991 and Coltrane , 1988. Many other contemporary works, such as Land Art and Arte Povera , are represented by works such as Richard Long's Midsummer Flint Line from 2001, Jannis Kounellis Senza titolo , 2011 or Giuseppe Penone's Gesto vegetale , 1985.

Likewise, the 2014 work Fountain Archive FA 0366 by the French conceptual artist Saâdane Afif is on permanent loan in the collection. According to the principle of the objet trouvé , this Klever Fountain was created from a text by art historian Valentina Vlasic , which was printed in 2013 in the series of publications of the Museum Kurhaus Kleve - Ewald Mataré Collection No. 62 (The Present Order is the Disorder of the Future).

Graphic collection

Albrecht Dürer: Christ before Caiaphas , 1509–1511, Museum Kurhaus Kleve

The museum's graphic collection includes works of medieval miniatures from books of hours such as the Coronation of the Virgin , Northern France, mid-15th century, or that of Mariae , France, around 1490. Furthermore, historical garden engravings by Dominique Girard , Matthias Diesel , Michael Wening , and watercolors, among others and drawings from German Informel such as Arnulf Rainer's Stirne , 1964, or Heinz Macks Nacht (from: day and night) and day (from: day and night) from 1963, as well as prints by Gerhard Marcks , Alexander Calder , Ernst Wilhelm Nay and Max Bill - all from the Gustav and Rose Wörner collection from Wuppertal. In 2016, art students discovered a 15 by 10 centimeter sample print of a woodcut by Albrecht Dürer from a bundle of several previously unseen works of art that had been donated to the Kurhaus Museum from the same collection - the Christ before Caiaphas from 1509 to 1511.

From the Robert Angerhausen collection come copper engravings by Otto van Veen , Heinrich Aldegrever , Abraham de Bruyn or the etching leaflet on the Jülich-Klevian succession dispute , around 1616 by Claes Jansz Vischer, a copper engraver and publisher born in Amsterdam in 1586, or the Schenkenschanz Wenzel from 1634 Hollars and by Willem Piso . The Museum Kurhaus also has works on paper such as the ten-sheet gouache Horizont , 2004, by Helmut Hahn, a painter and graphic artist born in Mönchengladbach in 1928, as well as works on paper by Sol LeWitt , Stephan Balkenhol , and Paloma Varga Weisz, a sculptor and draftsman born in Mannheim in 1966 as well as by Herbert Falken , Niele Toroni and others.

In terms of photographs, the graphic cabinet includes works by Fritz Getlinger and Willy Maywald , including his portrait of Pablo Picasso Pablo Picasso on the beach at Golfe-Juan on the Côte d'Azur , 1947, or Fernand Léger in 1952 by Fernand Léger his studio on Rue Notre-Dame-des-Champs, Paris, between the pictures "Les Consructeurs" . There is also a photograph of Joseph Beuys' studio in Getlinger's Klever Kurhaus and two photographs of the same room by Maywald - all three from April 1959 - each with the cross from the Büderich memorial, which is now in the old church tower in Meerbusch-Büderich .

Applied arts

In its arts and crafts collection, the Kurhaus Museum has a collection of French glasses from the Art Nouveau period , in particular by the Nancy craftsman Émile Gallé and von Daum Frères - including several pieces of vases and miniature vases from the years 1900 to 1910 as well as three pole vases around 1900. In 2012 the collection was expanded to include a large inventory of ceramics ranging from Art Nouveau to Bauhaus from 1905 to 1935 from the Werner Deutsch and Werner Steinecke collection . It contains, among other things, a vase from 1915 by Max Laeuger , a wash jug and a wash bowl from around 1906 by Joseph Maria Olbrich , also a chandelier from 1925 by Theodor Bogler , a bowl from around 1929 by Werner Gothein and a teapot and lidded jar , around 1930, by Gerhard Meisel, a craftsperson born in Opole in 1903, and a teapot with a lid from the same year by Ludwig König .

Awards

The Museum Kurhaus Kleve was named “ Museum of the Year 2004” in 2004 by the German section of the International Art Critics Association AICA and in 2011 as “The Special Exhibition 2011” for Carl Andre's exhibition.

Exhibitions (selection)

See also

literature

Web links

Commons : Museum Kurhaus Kleve  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b Guido de Werd : Bad Cleve . In: Guido de Werd (Ed.): My shaving mirror. From Holthuys to Beuys , Museum Kurhaus Kleve, Kleve 2012, p. 358 f.
  2. ↑ a b c Guido de Werd: The Museum Kurhaus Kleve. The place, the building, Joseph Beuys, Ewald Mataré, the collection . In: Guido de Werd (Ed.), P. 17
  3. ↑ Valentina Vlasic : Place of work and place of longing: About Joseph Beuys, Kleve and his studio in the Kurhaus . In: Freundeskreis Museum Kurhaus and Koekkoek-Haus Kleve eV (ed.): Joseph Beuys. Werklinien , Kleve 2016, ISBN 978-3-934935-80-8 , p. 15
  4. ↑ a b Guido de Werd, p. 15
  5. ↑ a b Andreas Rossmann : As far as the world reaches . In: Frankfurter Allgemeine Zeitung of September 18, 2012, p. 27.
  6. ↑ Cornelia Ganitta: Interview with Dr. Guido de Werd, director of the Kurhaus Kleve Museum. Malerische Hardness , artnet.de, May 4, 2007, accessed September 18, 2012
  7. ↑ a b Guido de Werd (Ed.), P. 16
  8. ^ Matthias Grass: Beuys-Westflügel opened , www.rp-online.de, accessed on September 13, 2012
  9. ↑ Guido de Werd (Ed.), P. 16 f.
  10. ^ Matthias Grass: The new boss in the Kurhaus , rp-online.de, October 28, 2011, accessed on September 18, 2012
  11. ↑ Claudia Gronewald: From playful sobriety , derwesten.de (WAZ), accessed on May 27, 2014
  12. ↑ Guido de Werd (Ed.), P. 24
  13. ↑ Guido de Werd: Introduction . In: Guido de Werd (Ed.), P. 243 f.
  14. ↑ Guido de Werd, Valentina Vlasic : Directory (Joseph Beuys). In: Guido de Werd (Ed.), P. 293 ff.
  15. ↑ Guido de Werd, Valentina Vlasic: Directory (Middle Ages and Renaissance). In: Guido de Werd (Ed.), P. 433 ff.
  16. ↑ Guido de Werd, Valentina Vlasic: Directory (Baroque and Bad Cleve). In: Guido de Werd (Ed.), P. 393 ff.
  17. ↑ Guido de Werd, Valentina Vlasic: Directory (20th / 21st century). In: Guido de Werd (Ed.), Pp. 209 ff.
  18. ↑ FA 0366 . The Fountain Archives , accessed July 13, 2015.
  19. ↑ Claudia Gronewald:  The urinal in the archive of images The urinal in the archive of images , derwesten.de, June 17, 2014, accessed on July 13, 2015.
  20. ↑ Hili Perlson: Students Discover Rare Albrecht Dürer Woodcut in German Museum , artnet.com, August 19, 2016, accessed on August 19, 2016
  21. ↑ a b Guido de Werd, Valentina Vlasic: Directory (graphic collection). In: Guido de Werd (Ed.), P. 521 ff.
  22. ↑ Guido de Werd: Introduction . In: Guido de Werd (Ed.), P. 546 f.
  23. ↑ Guido de Werd, Valentina Vlasic: Directory (applied arts). In: Guido de Werd (Ed.), P. 561 ff.
  24. ^ Walter Vitt: Museum des Jahres 2004 , aica.de, accessed on December 26, 2015
  25. ↑ AICA , aica.de, accessed on September 18, 2012

Coordinates: 51 ° 47 ′ 44 "  N , 6 ° 7 ′ 33"  E