Museum of Applied Arts Cologne

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Museum of Applied Arts Cologne , January 2008

The Museum of Applied Arts Cologne (MAKK, until 1987 first Kunstgewerbemuseum , then Kunstgewerbemuseum Cologne ) shows what defines people in their external appearance. In addition to jewelry , porcelain , weapons and furniture, this also includes architecture .

Museum history

Museum foundation and previous buildings

The old arts and crafts museum on Hansaring, before 1902
Decorative Arts Museum and Schnütgen Museum (around 1910)
Poster by M. DuMont Schauberg from 1909 after August LM Neven Du Mont for the "IXth Exhibition of Cologne Artists in the Art Trade Museum"

The history of the museum goes back to the year 1888, when a group of citizens formed the "Kölnischer Kunstgewerbe-Verein" (now the Overstolzengesellschaft ) to found a museum for applied arts from the Middle Ages to the modern era . For this purpose, a building on the north side of the street An der Rechtschule (the former Kronenburse of the law faculty), which previously served as a deaf-mute institution , was used until a new building at Hansaring 32 opposite Hansaplatz was completed . The original core inventory comprised the collections of the scholars Ferdinand Franz Wallraf (1748–1824) and Matthias Joseph de Noël (1782–1849) and was quickly expanded by foundations.

On the initiative of the Cologne city architect Josef Stübben , the city reserved a plot of land in March 1899 for a new building in front of the Gereonsmühle , which was part of the city wall , in order to build the new arts and crafts museum there. In addition, the city received a donation of 400,000 marks from textile manufacturer Otto Gustav Andreae (1833–1910) on December 24, 1895 "for the construction of a arts and crafts museum worthy of the city and its collections". In February 1896, the city council decided on the property on Hansaplatz, in September 1896 Franz Brantzky received the building contract.

At the north end of Hansaplatz, the arts and crafts museum was built as a neo-Gothic building and opened on May 2, 1900. One of the gems was the Pallenberg Hall designed by Melchior Lechter (1865–1937) , named after Jakob Pallenberg (owner of the Heinrich Pallenberg furniture factory and donor of the museum), who - like the entire building - took part in the Second World War on June 29, 1943 was destroyed. Fortunately, almost all of the stocks were saved. Initially, rooms in the Eigelsteintorburg served as quarters and then after its reconstruction for 25 years from 1961 to 1986 the Romanesque Overstolzenhaus in the Rheingasse. The sponsoring company was named after him and the most famous Cologne patrician family .

Schwarz-Bernard-Bau

Entrance, December 2009

Since 1989 the museum has been housed in a building in the city center that originally housed the Wallraf-Richartz Museum and the Museum Ludwig . This museum was built by the Cologne architect Rudolf Schwarz (1897–1961) in collaboration with Josef Bernard (1902–1959) between 1953 and 1957. For its new use, it was cautiously adapted to the new exhibition needs by the Cologne architect Walter von Lom.

The ground plan of the museum traces the Minorite monastery that stood in the same place. The outer walls of the three-storey, block-like complex are made of red bricks and have symmetrically arranged, rectangular windows. The parallel gable roofs are reminiscent of historicizing pointed gables. The simplicity of the building was seen as the 20th century's answer to the ideal of the medieval mendicant order.

The four wings of the building enclose a square inner courtyard that takes up the basic shape of the former Minorite cloister. On the west side of the inner courtyard, restored, late Gothic triplet windows of this cloister have been preserved. On the south side, the courtyard is bounded by a single-storey museum wing, behind which the preserved late Gothic church rises up as the actual boundary. The architect almost completely glazed the inner courtyard wall on the north side, creating a shop window for the museum. Behind this glass wall is the very spacious entrance hall of the museum, which the visitor only enters through a low, simple anteroom. In the hall, a straight staircase with three rest steps leads to the main floors of the museum.

After its inauguration, the new museum was criticized for its factory-like sobriety. The great hall was considered a waste of space. In retrospect, however, the building was recognized as a successful synthesis of the “given” and the newly created. The architecture was rated as “a third way” that mediates between an exaggerated, grand architectural gesture of modernist character and the resigned restoration of the past. In 1967 the building was awarded the Cologne Architecture Prize.

  • View of the west side with saddle roofs (Kolpingplatz)

  • Inner courtyard with glazed facade

  • Large exhibition hall

  • View from the anteroom. Left stairs to the upper floors, right the large exhibition hall

  • Stairwell

Management of the museum

  • 1895–1908: Otto von Falke
  • 1922–1932: Max Creutz
  • 1928–1933: Karl With see Ulrike Wendland: Biographical Handbook of German-Speaking Art Historians in Exile. Life and work of the scientists persecuted and expelled under National Socialism. Part 2: L – Z. Saur, Munich 1999, ISBN 3-598-11339-0 , p. 787 (Karl With).
  • 1957–1971: Erich Köllmann
  • 1972–1992: Brigitte Klesse
  • 1993–1999: Brigitte Tietzel
  • 1999–2003: Susanne Anna
  • 2005–2008: Birgitt Borkopp-Restle
  • since March 1, 2010: Petra Hesse

Collections

The museum has one of the most important German collections of European applied art from the Middle Ages to the present day. A chronologically designed tour leads through the different epochs and offers an impression of furniture and tapestries, small sculptures, evidence of table and table culture as well as luxury and ornamental objects since the 10th century. For conservation reasons, the high-quality textile collection is mainly accessible to the public in temporary special exhibitions.

The museum is internationally renowned in particular for its unique collection of modern design. Numerous key works of the 20th century are represented in the exhibition designed by the Vitra Design Museum in Weil am Rhein , which is spread over two floors of a separate wing of the building. Furniture, lamps, telephones, televisions, cameras, radios and household appliances such as service, cutlery, vessels, etc., designed by designers such as Charles and Ray Eames , Dieter Rams , Frank Lloyd Wright , Philippe Starck , Ettore Sottsass , stiletto or Joe Colombo , are presented in a thematic-chronological order in the minimalist-clear exhibition architecture.

Particularly noteworthy here is the concept of juxtaposing design objects with works of fine art. The intended dialogue with paintings by artists such as Wassily Kandinsky , Victor Vasarely , Jesús Rafael Soto , Piet Mondrian or Günther Uecker enables the close relationships and complex interweaving of the genres and thematic-formal connections to be made clear against a contemporary and art-historical background . Most of the objects shown to the public in the design exhibition come from the extensive private collection of RG Winkler, who donated them to the city of Cologne in 2005 .

The graphics study collection with its own premises comprises around 100,000 exhibits, including posters, free and decorative graphics and copperplate engravings, bequests, books and ornamental engravings.

The design department has reopened after extensive renovation work. The historical collection on the main floor was closed on November 7, 2017, until probably spring 2020. The special exhibition areas are open.

Exemplary exhibits

  • Frank Lloyd Wright, high-back chair for the Larkin Company (1903)

  • Josef Hoffmann , seat machine model 670 (1904)

  • Otto Wagner , Postal Savings Bank Chair (1904)

  • Marcel Breuer, Slatted Chair (1922)

  • Marcel Breuer, model B34 (1928)

Special exhibitions (selection)

  • 2010: all-over mondrian . art + consumption
  • 2012: From Aalto to Zumthor - Architects Furniture (January 16 to April 22)
  • 2016: Vera Lossau . A brief history of the holes
  • 2016: Willy Fleckhaus . Design, revolt, rainbow (a cooperation with the Museum Villa Stuck , Munich)
  • 2017/18: IN THE SPIELROUSCH. From queens, pixel monsters and dragon slayers (a cooperation project with the Institute for Media Culture and Theater and the Theater Studies Collection of the University of Cologne).
  • 2018 Prologue for the NRW joint project “100 years of Bauhaus in the west”: # all-rounder. Peter Behrens on his 150th birthday , in cooperation with the LVR-Industriemuseum Oberhausen and the art museums Krefeld (curator Romana Rebbelmund)
  • 2018/19: Andy Warhol - Pop goes Art.

From 2007 to 2017, the annual private and public academies based in Cologne exclusively for design graduates and until 2015 by Prof. Dr. Ing.Richard G. Winkler Foundation financed the Cologne Design Prize with an exhibition duration of three weeks each presented at the MAKK.

Literature (selection)

  • Creutz, Max: Guide through the Kunstgewerbe-Museum der Stadt Köln , Cologne 1914
  • Klesse, Brigitte: Glass (= catalogs of the Kunstgewerbemuseum Cologne, vol. I) , Cologne 1963 (2nd extended edition 1973)
  • Klesse, Brigitte: Majolika (= catalogs of the Kunstgewerbemuseum Cologne, Vol. II) , Cologne 1966
  • Haedeke, Hanns-Ulrich: Zinn (= catalogs of the Kunstgewerbemuseum Cologne, Vol. III) , Cologne 1968
  • Reineking-von Bock, Gisela: Steinzeug (= catalogs of the Kunstgewerbemuseum Cologne, Vol. IV) , Cologne 1971
  • Volk, Peter: The arts and crafts museum of the city of Cologne. Extensive illustrated history of the museum with a selection of the most beautiful collection items , Cologne 1971
  • Kunstgewerbemuseum der Stadt Köln (Hrsg.): The Kunstgewerbemuseum der Stadt Köln. Erich Köllmann on his 65th birthday , Cologne 1971
  • Erichsen-Firle, Ursula: figurative porcelain (= catalogs of the Kunstgewerbemuseum Cologne, vol. V) , Cologne 1975
  • Reineking-von Bock, Gisela; Schümann, Carl-Wolfgang: Ceramics from historicism to the present. Collection of Gertrud and Dr. Karl Funke-Kaiser (= catalogs of the Kunstgewerbemuseum Cologne, Vol. VII) , Cologne 1975
  • Markowsky, Barbara: European silk fabrics of the 13th-18th centuries Century (= catalogs of the Kunstgewerbemuseum Cologne, Vol. VIII) , Cologne 1976
  • Beaucamp-Markowsky, Barbara: European porcelain and East Asian export porcelain, crockery, and decorative utensils (= catalogs of the Kunstgewerbemuseum Cologne, vol. VI) , Cologne 1980
  • Tietzel, Brigitte: Fayence I. Netherlands - France - England (= catalogs of the Kunstgewerbemuseum Cologne, vol. IX) , Cologne 1980
  • Chadour, Anna Beatriz; Joppien, Rüdiger: SchmuckI / II (= catalogs of the Kunstgewerbemuseum Cologne, vol. X) , Cologne 1985
  • War, Helmut: From the time. The clock collections of the Museum of Applied Art and the Cologne City Museum , Cologne 1987
  • Dietrich, Gerhard: Museum of Applied Art Cologne. Chronicle 1888 - 1988. Museum, Art and City in the Spiegel der Presse , Cologne 1988
  • Klesse, Brigitte: Museum of Applied Arts, founded in 1888 as a museum of applied arts. Cross-section through the collections , Cologne 1989
  • Lueg, Gabriele: Design in the 20th Century (= catalogs of the Museum of Applied Arts Cologne, Vol. XI) , Cologne 1989
  • Dietrich, Gerhard: Museum of Applied Arts Cologne , Braunschweig 1989
  • Dietrich, Gerhard u. a .: Museum for Applied Arts Cologne. A guide from A to Z , Cologne 1989
  • Reineking-von Bock, Gisela: 200 years of fashion. Dresses from Rococo to the present day (= catalogs of the Museum of Applied Arts Cologne, Vol. XII) , Cologne 1991
  • Lueg, Gabriele (Ed.): Made in Holland. Design from the Netherlands , Tübingen / Berlin 1994 (exhibition catalog)
  • Jonas-Edel, Andrea: Art at the ready - posters from the collection of the Museum of Applied Arts Cologne , Cologne 1996
  • Lueg, Gabriele (Ed.): Highlights. Design from Great Britain , Tübingen / Berlin 1997 (exhibition catalog)
  • Colsman, Edla: Furniture - Gothic to Art Nouveau , catalogs of the Museum of Applied Art, Stuttgart 1999, ISBN 3-925369-08-2
  • Lueg, Gabriele; Gantenbein, Köbi (ed.): Swiss Made. Current design from Switzerland , Zurich 2001 (exhibition catalog)
  • Brattig, Patricia (Ed.): Fashion of the 1950s. Donation by Else and Ingeborg Heiliger (= catalogs of the Museum of Applied Arts Cologne, vol. XV) , Cologne 2002
  • Funck, Britta: Wilhelm Riphahn - architect in Cologne. An inventory , ed. from the Museum of Applied Arts Cologne, Cologne 2004
  • Lueg, Gabriele; Bratner, Luzie (Ed.): The 4-cornered view. Design and art in dialogue. Highlights from an American private collection , Cologne 2004 (exhibition catalog, bilingual German / English)
  • Baumerich, Andreas; Damm, Maria Bodil (Ed.): Art + Design in Dialog. The design department with the Winkler collection in the Museum of Applied Arts Cologne , Cologne 2008
  • Brattig, Patricia (Ed.): Meissen. Baroque porcelain , Stuttgart 2010 (exhibition catalog)
  • Brattig, Patricia; Hesse, Petra (Ed.): Istanbul Fashion , Stuttgart 2010 (exhibition catalog, in German, English and Turkish), ISBN 978-3-89790-339-5

Web links

Commons : Museum for Applied Art (Cologne)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Paul Clemen (ed.): The art monuments of the Rhine province. Volume 6, 7: The art monuments of the city of Cologne. Volume 7, Department 3, Supplementary Volume = Volume 2, Department 3, Ludwig Arntz , Heinrich Neu, Hans Vogts : The former churches, monasteries, hospitals and school buildings of the city of Cologne. , P. 381 ff
  2. ↑ Sybille Fraquelli, Im Schatten des Domes: Architektur der Neugotik in Köln 1815-1914 , 2008, p. 277
  3. ^ Assembly of city councilors on December 27, 1895, p. 335
  4. ^ Jürgen Weise:  Pallenberg, Jakob. In: New German Biography (NDB). Volume 20, Duncker & Humblot, Berlin 2001, ISBN 3-428-00201-6 , p. 16 f. ( Digitized version ).
  5. ↑ Gerhard Dietrich: Museum of Applied Arts Cologne - Chronicle 1888 to 1988. MAKK and City of Cologne (ed.), Cologne 1988, sheet 1943
  6. ↑ Hiltrud Kier: Reclams City Guide Architecture and Art Cologne, Stuttgart 2008, p. 130
  7. ^ Mathias Schreiber: The Third Way, Wallraf-Richartz-Museum Cologne, in: Mathias Schreiber: German Architecture after 1945. 40 Years of Modernism in the Federal Republic , Stuttgart 1986, p. 37.
  8. ↑ Awards 1967 Cologne Architecture Prize _ kap. Kölner Architekturpreis eV, accessed on December 12, 2017 .
  9. ↑ Wilhelm Clemens, the art collector, pp. 26-27 , Peter Zenker: Wilhelm Clemens from Neurath, painter, art collector, donor (PDF), on peter-zenker.de, accessed on May 13, 2016
  10. ^ Photo with Max Creutz (1876-1932), director of the Kunstgewerbemuseum and Fritz Witte (1876-1937), director of the Schnütgenmuseum , on kulturelles-erbe-koeln.de, accessed on May 13, 2016
  11. ↑ http://www.books.google.de/books?id=h7FYkRCPQ6AC&pg=PA790&ips=PA790&dq=Karl+With+Köln&souce  ( page can no longer be accessed , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.books.google.de  
  12. ↑ a b c d e f g Andreas Rossmann : Unschöne Kröten, Seele sold , commentary on Cologne museum policy, in particular on dealing with the directors of the MAKK, and on the Winkler Collection, FAZ , January 30, 2008, p. 37 (online at FAZ .net )
  13. ↑ Donation report in the semi-annual newsletter of Overstolzengesellschaft, issue 11, 2012, pp. 10–11 , pdf online at www.overstolzen.de, accessed on May 29, 2018.
  14. ↑ Illustration and text on the Cologne Museums page about Stiletto's multiple “Consumer's Rest” Lounge Chair
  15. ↑ report-k.de Editor: Cologne Design Prize 2016 awarded / Art / Culture / / - Cologne's Internet newspaper . In: report-k.de. November 3, 2016, accessed May 8, 2017 .
  16. ↑ http://www.koelnerdesignpreis.de/teilnahme.html
  17. ↑ http://www.koelnerdesignpreis.de/index.html#Ausstellung

Coordinates: 50 ° 56 '23.2 "  N , 6 ° 57' 17.4"  E