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Opening hours
June 15 – September 16, 2012 open daily from 10 am to 8 pm Admission fees Regular: € 10,– Groups of 10 people or more, and senior citizens: € 9,– Students up to 30 years of age, and the unemployed: € 5,– → further reductions Guided tours organised by the »Volkshochschule« (in German): Mo, Sa: 11:30 am Tu, Th, Fr: 3:30 pm We: 6:30 pm Reservations are not required. In addition to the admission fee, the tour costs € 6,– → guided tours for private groups Audioguide Antenna International™ offers an audioguide (in German; € 5,–/€ 3,50) Exhibition Catalogue Price for the German edition at the Kunsthalle: € 25,-. The English edition is available through Prestel for € 39,95. Accompanying Events … for Children (in German) Flyer How to get to the Kunsthalle Café Kunsthalle Museum store Private events Impressum
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»… this modern Nordic Vermeer …«
The Kunsthalle of the Hypo Cultural Foundation is presenting the Danish artist Vilhelm Hammershøi (1864-1916) for the first time in Munich. With more than 100 outstanding works, this retrospective not only offers an overview of his entire creative output, it also places this painter of silence and light in the context of his European contemporaries around 1900. In recent years, shows in Paris, London, Hamburg, New York and Tokyo have established Hammershøi as the most important Danish artist of the second half of the nineteenth century. Over 30 carefully selected paintings by artists such as Fantin-Latour, Matisse, Munch, Seurat and Whistler position the Dane in an international context. Hammershøi has traditionally been viewed as a unique figure in Danish art – a monumental presence, overshadowing his contemporaries and seeking his equal both nationally and internationally. This exhibition seeks to broaden this narrow perspective. The presentation explores not only the essential nature of Hammershøi's art, with its limited range of colours, his dry brushwork and the atmosphere of tension, but also the central themes of his oeuvre, such as the isolated figure in a home setting, the empty room, the abandoned city and the stark landscape. These groupings are presented in a dialogue with works by foreign artists, in order to demonstrate the prominent position occupied by Hammershøi in European painting around 1900. Apart from tracing proven sources of inspiration, the retrospective highlights mutual discourses with various artists. Thus, it becomes apparent that people throughout Europe around the turn of the twentieth century were preoccupied with common ideals, fears and desires. Particular parallels can be found in the realm of the international Symbolist movement, and relate to phenomena like moods or the sheer human existence, as opposed to purely narrative compositions. In this sense Hammershøi can be compared to the Frenchmen Eugène Carrière, Pierre Puvis de Chavannes, Henri Fantin-Latour and Georges Seurat, the Germans Hans am Ende and Fritz Overbeck, the Dutch Eduard Karsen and Willem Witsen, the Belgians Fernand Khnopff and Xavier Mellery, the Italian Luigi Selvatico, the Polish Jósef Pankiewicz, the Norwegian Edvard Munch and the American James Abbott McNeil Whistler. Naturally, parallels to paintings by other Danish artists like Anna Ancher, Svend Hammershøi, Carl Holsøe or Peter Ilsted must also be drawn. The famous German author Rainer Maria Rilke wrote in 1905: »Hammershøi is not one of those about whom one must speak quickly. His work is long and slow, and at whichever moment one apprehends it, it will offer plentiful reasons to speak of what is important and essential in art.« And in 1909, reviewing the X. International Art Exhibition at the Royal Glaspalast in Munich, where Hammershøi presented seven paintings, the critic Georg Biermann wrote: »The wonderful Dane Wilhelm Hammershøi, whose pictures are certainly among the best that the present International has to offer, are nothing else but the lyricism of absolute quietude and seclusion from the world; this modern Nordic Vermeer with the diaphanously soft silvery sheen that fills his interiors and surrounds his figures, possesses the painterly means of a near musical power.« In Denmark, Vilhelm Hammershøi has always been considered one of the country's greatest masters; our exhibition aims to consolidate his reputation in Germany as well. This show has been organized jointly with the Statens Museum for Kunst (National Gallery of Denmark) in Copenhagen. There it ran from February 4 through to May 20, 2012, after which art lovers in Munich will be given the opportunity to experience the artist at first hand. The concept of the show was developed by Kasper Monrad, chief curator at the Statens Museum for Kunst. Responsible for the Munich presentation is Roger Diederen, curator at the Kunsthalle der Hypo-Kulturstiftung. A comprehensive, fully illustrated catalogue, available in English, German and Danish, is published by Prestel. It includes several profound essays that position this Danish painter in his artistic and historical context. This exhibition is held under the patronage of Her Royal Highness Princess Benedikte of Denmark. Image captions: 1 Vilhelm Hammershøi, Interior with a Woman at the Piano, Strandgade 30, 1901, oil/canvas, 55,9 x 45,1 cm, Private Collection, © Maurice Aeschimann 2 James McNeill Whistler, Composition in Grey and Black Nr. 1: Portrait of the Artist's Mother, 1871 oil/canvas, 144,3 x 162,5 cm, Musée d'Orsay, Paris, © RMN (Musée d'Orsay) / Jean-Gilles Berizzi 3 Vilhelm Hammershøi, The Artist's Mother, Frederikke Hammershøi, 1886, oil/canvas, 34 x 37 cm, Private Collection, © Viegaarden/Foto: Jørgen Bak Rasmussen 4 Vilhelm Hammershøi, Interior with a Young Man Reading, 1898, oil/canvas, 64,4 x 51,8 cm, The Hirschsprung Collection, Copenhagen, © SMK-Foto, Jakob Skou-Hansen & Riccardo Buccarella 5 Vilhelm Hammershøi, Interior Courtyard, Strandgade 30, 1899, oil/canvas, 65,7 x 47,3 cm, © Toledo Museum of Art, Ohio (Gift of the Apollo Society) 6 Edvard Munch, Night in Saint-Cloud, 1893, oil/canvas, 70 x 56,5 cm, Metropolitan Museum of Art, New York, on loan from a Private Collection, © The Metropolitan Museum of Art / Art Ressource / SCALA, Firenze 7 Vilhelm Hammershøi, Interor in London, Brunswick Square, 1912 oil/canvas, 53 x 76 cm, Sikorsky Family Collection, © SMK-Foto, Jakob Skou-Hansen & Riccardo Buccarella 8 Vilhelm Hammershøi, Winter Landscape. Søndermarken, 1895-96, oil/canvas, 83,2 x 64,8 cm, The Hirschsprung Collection, Copenhagen, © SMK-Foto, Jakob Skou-Hansen & Riccardo Buccarella 9 Georges Seurat, The Forest at Pontaubert, 1881, oil/canvas, 79,1 x 62,5 cm, © Metropolitan Museum of Art, New York 10 Vilhelm Hammershøi, Portrait of a Young Girl. The Artist's Sister, Anna Hammershøi, 1885, oil/canvas, 112,4 x 91,3 cm, The Hirschsprung Collection, Copenhagen, © SMK-Foto, Jakob Skou-Hansen & Riccardo Buccarella 11 Fernand Khnopff, Portrait of Marie Monnom, 1887, oil/canvas, 49,5 x 50 cm, Musée d'Orsay, Paris, © RMN (Musée d'Orsay) / Jean-Gilles Berizzi 12 Henri Fantin-Latour, Reading, 1877, oil/canvas, 97 x 130 cm, Musée des Beaux-Arts de Lyon, © Lyon MBA, Foto : Allain Basset 13 Vilhelm Hammershøi, Evening Interior. The Artist's Mother and Wife, 1891, oil/canvas, 63 x 49,5 cm, Statens Museum for Kunst, Copenhagen, © SMK-Foto, Jakob Skou-Hansen & Riccardo Buccarella |
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