Images & Texts

Wall texts
Download the complete wall texts of the exhibition "Tokens of Friendship: Ulrike Crespo's Gifts to the Städel Museum" here.

Press release

NEW CLOSE UP REVOLVING AROUND ART & POLITICS IN THE COLLECTION OF CONTEMPORARY ART
New thematic focus of the mediation space // Digital application on site and from now on also for home use // Guided tours

The genre of history painting looks back on a long tradition. Like hardly any other, it is shaped by constantly changing social and political demands. But how do artists process political events from the immediate present? The new CLOSE UP focuses on three works by Bettina Semmer, Armin Boehm, and Dierk Schmidt from the Städel Museum’s Collection of Contemporary Art. They are representative of the artistic treatment of current events in the field of painting – contemporary history painting, so to speak. The artists’ chosen themes are still relevant: From the massacre during the 1972 Summer Olympics and a tragic shipwreck in which hundreds of refugees lost their lives in 2001 to a depiction of the Zhawar Kili region, where a Taliban or Al-Qaeda base is located, and which was bombed between 1998 and 2002. Despite their different themes and artistic approaches, Semmer, Boehm, and Schmidt have one thing in common in regard to their approach: They change and expand the historical model with the means of painting. They confront the viewer, make the invisible visible, and point out various perspectives. The boundaries between objective reproduction and subjective influence or statement are fluid. Their painting leaves the realm of documentation and develops its own narrative. With the means of art, they – directly or indirectly – actively call upon us to take a stand ourselves.

‘The art and mediation space CLOSE UP is constantly changing and draws from the diverse themes of the Collection of Contemporary Art. In the new presentation, the focus is on political art. The selected works are dedicated to historical events from 1972 to 2002. This year has also shown how highly topical the themes dealt with in CLOSE UP are: from the Middle East and Afghanistan conflicts to the crisis of asylum policy. At the same time, social demands on art and artists have changed. CLOSE UP offers the opportunity to explore overarching contexts through digital and analogue immersion’, explain the two project leaders Anne Dribbisch (Art Education) and Svenja Grosser (Collection of Contemporary Art).

In the innovative art and mediation space CLOSE UP, visitors are invited to conduct their own research in front of the original works: How do we deal with images of terror? What is the role of the media, and what role can a painting play? How do artists relate to their works: Are they activists, mediators, or neutral entities? The focus is on topics related to the culture of memory and collective memory, as well as on the power and role of images as carriers of information or means of reproducing political and social events. To these ends, CLOSE UP relies on the interplay of original artworks, wall texts, and a digital application. The broad spectrum of digital mediation – from exhibition films and interviews with artists from the collection to the Digital Collection – complements the encounter with the originals in the museum space. The activating digital application is available on site and as a mobile version for the user’s own device, now also for use at home. Furthermore, guided tours complement the offer in CLOSE UP. They include the various modules and encourage a joint discussion about the various artistic approaches.

CLOSE UP addresses the audience with its diverse expectations and prior knowledge. Although works of contemporary art are closest to the reality of life of today’s visitors, the experiences in the active educational work of recent years have shown that the perception of and engagement with contemporary art is often associated with difficulties. The concept behind CLOSE UP takes this as its starting point and enables the audience both an individual, low-threshold, and partly playful access as well as a more intensive engagement – a kind of self-study of art with its various themes and discourses.

Download the complete press relase here.

Press release
Marc Brandenburg: Hirnsturm II
28 OCTOBER 2021 TO 30 JANUARY 2022

The Städel Museum is presenting a solo exhibition dedicated to Marc Brandenburg from 28 October 2021 to 30 January 2022. Approximately 130 drawings and one video work will be shown in a site-specific installation: Shrouded in black light, Brandenburg’s drawings, inverted into the negative, are reminiscent of a visual diary of thoughts, memories, and sensory impressions from the last thirty years.

‘For nearly three decades, the artist Marc Brandenburg has been working on a graphic Gesamtkunstwerk. In doing so, he constantly expands the boundaries of the traditional medium of drawing and transfers it to our present day – always at the interface with photography, the moving image, sound, or performance. His art builds a bridge to the Städel as a museum of images which, with more than 100,000 works on paper, is home to one of the most important graphic collections in Germany. The audience of the Städel Museum is invited to experience Marc Brandenburg, an inimitable artistic voice of our present’, says Philipp Demandt, Director of the Städel Museum.

At the centre of Marc Brandenburg’s artistic work is the drawing. Since the early 1990s, the artist has been developing his graphic oeuvre, which can also be understood as an almost endless series. To these ends, he resorts to the simplest means: the camera, a photocopier, later a computer, as well as paper and pencil. The starting point for his drawings are mainly photographs he has taken himself, as well as material from other sources. With the help of the copier or an image processing programme, he inverts these photographs and transfers the resulting negative motifs onto the drawings. At times, he precisely executes the background, while at other times the motif is left free; it is occasionally mounted on the empty pictorial background so that it seems to float in space. The presentation of his works in black light adds an additional layer to the pencil drawings and unifies the different contents into a single flood of images – or, as the exhibition title describes it: a Hirnsturm (Brainstorm).

‘It is this idea of an inner storm – this swirl of images, memories, and impressions, that is at the heart of the exhibition. Similarly, the drawings seem to be floating in some dark, undefined, “endless” space. It can be fell like a trip or remind you of a near-death experience. Though my drawings are rarely rooted directly in my biography – I never draw my own memories, meaningful moments, or significant objects – it’s nevertheless present, if transformed, always with a certain detachment’, says Marc Brandenburg about the exhibited works. The artist encounters the subjects and protagonists of his motifs in his own urban environment: from banal objects such as plastic toys, idols from pop culture, and costumed people who seem to have mutated into fantasy creatures, as well as demonstrators and the sleeping places of homeless people. A sense of ambiguity always resonates. Cheerful subjects can seem abysmal, while oppressive living environments radiate a peculiar beauty. Brandenburg does not judge, but rather merely records what he sees.

Download the complete press release here.

Press release
Rembrandt in Amsterdam: Creativitiy and Competition
6 OCTOBER 2021 TO 30 JANUARY 2022

This autumn the Städel Museum is celebrating the work of the greatest of Dutch artists of the 17th century: Rembrandt van Rijn. The exhibition “Rembrandt in Amsterdam: Creativity and Competition” is the first to trace Rembrandt’s rise from a young, ambitious artist from Leiden to a famed master in Amsterdam. The story is told through 60 of Rembrandt’s artworks placed in direct dialogue with paintings by other artists of his time. The exhibition combines the important Frankfurt holdings of Rembrandt’s work, including The Blinding of Samson (1636), with a string of stellar loans from major museums in Europe and North America. Around 140 paintings, prints, and drawings by Rembrandt and his contemporaries – loaned from the Rijksmuseum in Amsterdam, the Gemäldegalerie Berlin, the Gemäldegalerie Alte Meister in Dresden, the National Gallery in London, the Museo Nacional del Prado in Madrid, and the National Gallery of Art in Washington – reveal the artist’s impressive rise, breakthrough, and market domination in the 1630s to the mid-1650s.

As a painter, Rembrandt produced an astonishingly rich and varied oeuvre made up of landscapes, genre scenes, and still lifes, but he is best known for his dramatic history paintings and realistic portraits. His interaction and exchange with other painters shaped both his development as an artist and his entrepreneurial ambitions. Amid the rivalry and competition that characterized the inspiring atmosphere of Amsterdam at the time, where many talented artists were courting the favour of the wealthy bourgeoisie, Rembrandt developed his uniquely expressive visual vernacular, which ultimately allowed him to rise to the top of this fiercely contested art market.

The exhibition is supported by the ING Deutschland bank, Dagmar-Westberg-Stiftung, and the Städelscher Museums-Verein e.V.

“With ‘Rembrandt in Amsterdam’, the Städel Museum takes a close look at one of the most celebrated figures in the history of art. Through more than 40 works from our own collection and 94 important international loans, we retrace the decisive years of Rembrandt’s career and follow him on his path to success and mastery – over his rivals and in his art. Two years after ‘Making Van Gogh’, our Rembrandt exhibition also signals a new start for Frankfurt – we wish to thank the supporters of this exceptional project, as well as the local citizens, partners, foundations, and companies whose overwhelming solidarity has kept us going over the past months, more than ever before,” states Philipp Demandt, director of the Städel Museum.

“Rembrandt went his own way ¬– with inspiration and innovation, a keen sense of the importance of networking and collaboration, but also with a stubborn streak and a good dose of willpower and drive. These attributes are still what determine the fate of projects in today’s world. We believe in the power of art to inspire innovation and change. At ING Deutschland, with headquarters in Frankfurt and strong ties to Amsterdam, we are therefore thrilled to support this extraordinary exhibition at the Städel Museum and help retrace Rembrandt’s path”, is how Nick Jue, CEO of ING Deutschland, describes the company’s support to the exhibition.

“The Städelscher Museums-Verein has been supporting the Städel’s museum work for over 120 years, so we are delighted to lend our support to this new exhibition venture. When we think of Rembrandt, we not only think of the most innovative artist of his time, but also of the spectacular acquisition of his large history painting The Blinding of Samson for the Städel Museum’s collection. It was thanks in part to our engagement that this exciting work was acquired in 1905. It is therefore no coincidence that it holds a special place in the exhibition. Its story is even told in that most modern of formats: the podcast, with four episodes all to itself,” explains Sylvia von Metzler, president of the Städelscher Museums-Verein e.V.

“Today the name Rembrandt is still an international brand, and his artworks are coveted ‘blue chips’. That said, during his lifetime he had to make a name for himself on the Amsterdam art market, where competition among artists reached unparalleled heights. Rembrandt’s exceptional ability to convincingly penetrate the psychology of the figures he portrayed is his enduring trademark. The exhibition examines the work of Rembrandt and his competitors, colleagues, and pupils in the febrile artistic milieu of mid-17th century Amsterdam,” explains Jochen Sander, the exhibition’s curator, vice director, and curator of Dutch, Flemish, and German paintings before 1800 at the Städel Museum.

THE EXHIBITION
“Rembrandt in Amsterdam: Creativity and Competition” follows a thematically structured route. The architecture of the galleries allows Rembrandt’s work to enter into a free dialogue with that of his contemporaries.

When Rembrandt Harmensz. van Rijn arrived in Amsterdam in the early 1630s, he was far from unknown. In the global trading capital of Amsterdam, the art-buying public was not limited to the wealthy mercantile class but included artisans and mariners as well. Seeking to distinguish himself from his competitors through more than just style, Rembrandt began signing his works with merely his first name shortly after setting up in Amsterdam. This has become one of his most distinctive trademarks. His inventiveness soon impressed the local bourgeoisie whose commissions initially made him a sought-after portraitist. As demonstrated by the exhibited Portrait of Andries de Graeff from 1639 (Gemäldegalerie Alte Meister, Museumslandschaft Hessen, Kassel), Rembrandt had to the power to capture the vivid, immediate expression of the sitter. This becomes particularly evident when juxtaposed with portraits by his Amsterdam rivals, such as Nicolaes Eliasz. Pickenoy’s stately, life-size Portrait of a Man (1628, Staatliche Kunsthalle Karlsruhe).

In addition to commissioned portraits, Rembrandt painted self-portraits throughout his life. Studying his own face – whether in paintings, drawings, or etchings – allowed Rembrandt to explore the expression of every imaginable feeling and emotional state. Rembrandt also used his self-portraits and head studies as a calling card to promote himself and his artistic abilities. They too became a kind of signature as he incorporated his own facial features into character sketches called tronies. The painting Tronie of a Man with a Feathered Beret (c. 1635–1640, Mauritshuis, The Hague) is a particularly impressive example of this.

Soon after settling in Amsterdam, Rembrandt joined the Guild of Saint Luke in 1634. As a member of the professional association of artists, Rembrandt was now able to establish his own workshop, achieve independence as a businessman, and teach paying pupils. At least 40 young artists went through his workshop in Amsterdam. Through their work, every student actively contributed to building the reputation of the Rembrandt brand. Yet Rembrandt encouraged his pupils to develop their own creative variations rather than merely copy his work. The creative exchange with other talented artists therefore exerted a consistent influence on his art and that of this workshop assistants.

Rembrandt was a master of several painting genres: portraits and tronies, narrative histories, landscapes, still lifes, and genre scenes. Among his contemporaries, Rembrandt was considered a universal artist. Through his masterful handling of light and chromatic effects, he was able to render precious materials on canvas, as evidenced by his mysterious Heroine from the Old Testament (1632/1633, National Gallery of Canada, Ottawa). Rembrandt was without peer in his ability to heighten the intensity of his pictures by condensing the narrative into a single decisive scene. His histories depict stirring moments with the power to move, unsettle, and even alarm the spectator. But despite this, Rembrandt’s figures are nuanced and convey ambiguity and doubt, particularly in their facial expressions, as exemplified by the figure of King Saul in the picture David Playing the Harp for Saul (c. 1630–1631, Städel Museum).
Occasionally Rembrandt’s work also reveals a coarse and humorous streak. His sense of graphic detail and irony is manifested in The Abduction of Ganymede (1635, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister): rather than depicting Ganymede as an attractive boy in the iconographic tradition of Michelangelo’s famous drawing, which was very popular at the time, Rembrandt paints him as a plump toddler.

Rembrandt’s representations of nature – such as the etching The Three Trees (1643, Städel Museum) or Landscape with a Stone Bridge (c. 1638, Rijksmuseum, Amsterdam) – reveal how he used visual effects in an attempt to tangibly render light and weather phenomena and movement in nature. At the time, his work represented a startling alternative to that of other painters who specialized in southern landscapes bathed in Italian light which were an easy sell on the art market.

Starting in the middle of the 17th century, the artists in Amsterdam, much like their French counterparts before them, began turning to the rules of classical antiquity for inspiration: light colours and clear structures gained in popularity. This new classicism was radically different from Rembrandt’s painting style. Nowhere is this more evident than in the juxtaposition of Rembrandt’s painting Diana and Her Nymphs bathing, with the Stories of Actaeon and Callisto (1634, Sammlung der Fürsten zu Salm-Salm, Wasserburg Anholt, Isselburg) and Jacob van Loos’s Diana and Her Nymphs (1654, Statens Museum for Kunst, Copenhagen). In fact, Rembrandt moved further and further away from contemporary taste in his later work, employing a dark palette and thick impasto from the mid-1650s onwards. As a result, his dominant position on the Amsterdam art market already came to an end during his lifetime.

The exhibition is organized by the Städel Museum, Frankfurt am Main, and the National Gallery of Canada, Ottawa.

Wall texts
Download the complete wall texts of the exhibition "Rembrandt in Amsterdam: Creativity and Competition" here.

Wall and label texts

Download the complete wall and label texts for the exhibition "Städel’s Legacy: Master Drawings from the Founder’s Collection" here.

The Städel Museum has appointed Kristina Lemke to head up its Collection of Photography. The announcement marks the establishment of a new position at the Städel Museum in Frankfurt, one that will oversee the research and presentation of the museum’s photographic holdings, which currently comprise over 5,000 images. Art historian Kristina Lemke has just completed her PhD and has been working as a research associate at the museum since 2018. "New Ways of Seeing: The Photography of the 1920s and ‘30s", on view from 30 June, will be her first exhibition curated for the museum. Laying the groundwork for the exhibition, a symposium on the photography of the interwar years was held at the museum last year.

Download the complete press release here.

Rembrandt Digitorial^®
Download the complete press release to the Rembrandt Digitorial^® here.

Deutsche Börse and Städel Museum are now launching their partnership, initially for a period of four years, according to the agreement. For more than two hundred years, the Städel – Germany’s oldest and most well-known museum foundation – has stood for high-quality museum work and the reliable accompaniment of outstanding partners. The variety of the Städel collection provides a virtually complete survey of seven hundred years of European art – from the early fourteenth century, the Renaissance and the Baroque to classic modernism and contemporary art. Besides the preservation and continuous expansion of the collection, the museum focuses mainly on scholarly research into its holdings as well as the development of special exhibitions that attract worldwide attention. The Städel is also known for its modern art communication activities, which combine state-of-the-art digital technologies with high scholarly as well as educational standards. This museum work is made possible primarily by the commitment of numerous partners, patrons and sponsors. Starting in 2021, the Städel will have an important new partner: Deutsche Börse will provide the museum with a considerable amount of annual funding. The internationally active market infrastructure provider and the Städel share an awareness of quality, dedication to innovation and a progressive approach; in their respective areas, each makes a substantial contribution to the cultural and economic development of the Rhine-Main metropolitan area – and far beyond.

“The success story of the Städel Museum as a civic foundation has always also been the history of its generous funding by outstanding partners. The fact that Deutsche Börse has now decided to accompany the Städel in a partnership of exceptional dimensions for a period of four years is a strong signal of their recognition of our work as well as an important signal for Frankfurt and the Rhine-Main region. I am personally all the more delighted with this arrangement against the background of our museum’s long-cherished desire to partner with Deutsche Börse under the leadership of Theodor Weimer”, says Philipp Demandt, director of the Städel Museum.

“This partnership is dear to our heart”, says Theodor Weimer, Chief Executive Officer of Deutsche Börse. “The Städel is a world-class museum and stands for broad civic involvement. It is our honour and special obligation to support the outstanding work of this important civic foundation going forward.”

Within the new partnership’s funding period, the Städel Museum will be developing art education programmes and event formats that provide the staff members, clients and business partners of Deutsche Börse with special access to the collection as well as to the museum’s special exhibition programme. For 2021, the Städel is planning the exhibition “Self. Determined: The Painter Ottilie W. Roederstein” (19 May – 5 September 2021) as well as the large-scale international show “Becoming Rembrandt: Creativity and Competition in Amsterdam, ca. 1630–1655” (6 October 2021 – 30 January 2022).

PRESS INFORMATION

STÄDEL’S BECKMANN / BECKMANN’S STÄDEL:
THE FRANKFURT YEARS

Extended until 29 August 2021

Max Beckmann (1884–1950) is associated with Frankfurt and the Städel Museum like scarcely any other artist. He spent the longest and most important phase of his life in Frankfurt, and it was here that he produced a large share of his most important works and developed his characteristic style. The Städel Museum has been dedicated to collecting and studying his oeuvre for more than a century. It has continually acquired works by the artist since 1918 and today has one of the world’s most extensive Beckmann collections to call its own.

One of the artist’s most well-known and most important works, the Self-Portrait with Champagne Glass (1919), has recently been secured for the Städel. This icon of modern art was acquired with support from the Städelscher Museums-Verein, the Ernst von Siemens Kunststiftung, the Federal Republic of Germany and the Cultural Foundation of the German Federal States as well as five private donors. In honour of the new acquisition, the museum is devoting a special presentation of selected paintings, works on paper and documentary material to its Beckmann holdings and the artist’s Frankfurt years. The Self-Portrait with Champagne Glass will be the exhibition’s centrepiece.

Max Beckmann came to the city on the Main in 1915, traumatized by his experiences as a medical orderly in World War I. In 1925, the city appointed him head of a master class at the municipal school of arts and crafts. Numerous views of Frankfurt, self-portraits and portraits of friends and acquaintances testify to his close ties to the city. During his Frankfurt phase, his works were presented here in eighteen solo and group exhibitions, and in 1929, the city awarded him its Grand Prize of Honour. After the National Socialists came to power in 1933, Beckmann was dismissed from his teaching position and compelled to leave Frankfurt. In 1933, vilified as a “degenerate artist”, he fled to Amsterdam. He died in New York in 1950.

“The collection and study of the art of Max Beckmann has been a tradition at the Städel Museum for more than a hundred years. It is an extraordinary stroke of fortune that, thanks to the overwhelming joint dedication of private and public sponsors, his Self-Portrait with Champagne Glass has recently been purchased for the museum. The unique acquisition of this once-in-a-century work is one more testimony to the Städel’s deep sense of obligation to Beckmann’s work. With our special presentation, we would like to offer our visitors insights into the close bond that connects the Städel Museum and the city of Frankfurt with Max Beckmann”, commented Städel director Philipp Demandt.

A preview of the special presentation
The show “STÄDEL’S BECKMANN / BECKMANN’S STÄDEL: The Frankfurt Years” is divided into three sections, of which the first revolves around a theme of key importance to the artist: the self-portrait. Beckmann’s profound preoccupation with this genre is virtually unmatched among the exponents of classical modern art. He produced self-portraits in mediums ranging from painting and drawing to printmaking and even sculpture. As is evident in the selected examples on view here, self-likenesses accompanied his artistic career from his early to his late work and mirror decisive phases of his development. The highlight of this section is the Städel’s most recent acquisition, the Self-Portrait with Champagne Glass. Painted in 1919, it is an allegory of the interwar period and the Weimar Republic. It is the first of the artist’s self-likenesses to show him as an elegant dandy in a tuxedo at the bar of a nightclub, presumably in the Hotel Frankfurter Hof, where, according to his contemporaries, his drink of choice was champagne.
In addition to the many self-portraits depicting Beckmann as the main figure, there are also a large number of scenic depictions. Like an actor, he performs on the stages of his enigmatically symbolic compositions, playing a circus director as in the painting The Circus Carriage (1940), a barker as in the Hell series (1919), the biblical Adam as in the sculpture Adam and Eve (1936/1979), a casual observer, etc. In these works he combined contemporary events with general, timeless and existential themes, because self-portraiture meant more to Beckmann than just the portrayal of his personal frame of mind. It also helped him define his role as an artist in society and served him as a means of addressing philosophical issues and fundamental human conflicts, as in the drypoint etching Evening (Self-Portrait with the Battenbergs) (1916). The print shows the couple Heinrich (Ugi) and Frieda (Fridel) Battenberg, who gave the artist shelter when he came to Frankfurt after serving in the war. Beckmann’s demonic-looking face pushes itself between them like a wedge in their peaceful togetherness as a twosome.

This special function of the self-portrait is also evident in the artist’s key work of printmaking, Hell (1919), featured in the second section of the show. By way of drawing, etching and lithography, Beckmann had found his way to a distinctive new formal language. Angular, reductive forms had come to define the pictorial structure. The artist broke up the space in virtually cubist manner, introducing perspectival warps and distorted dimensions that create a quality of dynamic instability. Executed the same year as the Self-Portrait with Champagne Glass – and exhibiting close formal links to that work –, the lithographic cycle Hell reflects Beckmann’s experience of a post-war world come apart at the seams. The title page, displaying a self-portrait of the artist as a funfair crier, is followed by ten enigmatic scenes of a manmade ‘hell’ interweaving symbolic/allegorical elements with references to real contemporary events and venues, for example the assassination of Rosa Luxemburg and the Frankfurt nightclub “Malepartus”. Beckmann executed the unusually large-scale Hell compositions in chalk on paper. These drawings were then transferred to lithographic stones by way of a special process and, on commission from the gallerist J. B. Neumann, printed by the C. Naumann company in Frankfurt.

The third section of the presentation is devoted to Beckmann’s life in Frankfurt. A map of the city shows not only where Beckmann lived and worked, but also where he liked to spend leisure time and where his most important contacts were to be found. It was in the city on the Main that the artist developed to become an artist of international standing. He had connections to leading figures of Frankfurt’s press, industry and cultural politics. His circle of friends and collectors included the industrialists Walter and Käthe Carl, the publisher Heinrich Simon, then Städel director Georg Swarzenski, the journalist and author Benno Reifenberg, the journalist Käthe von Porada, the patron of the arts Lilly von Schnitzler, the art historian Fritz Wichert and many others. This section of the show accordingly features such works as the painted Portrait of the Carl Couple (1918), the lithograph Portrait of Georg Swarzenski (1921) and historical photographs of sites in Frankfurt. On his daily walks, the artist moreover explored the city, which he portrayed in a striking series of townscapes such as Ice on the River (1923) and The Synagogue in Frankfurt am Main (1919).

During the artist’s years in Frankfurt, the Städel Museum amassed the world’s largest public Beckmann collection. It acquired the majority of the works directly from his studio and with municipal funds. Georg Swarzenski, the director of the Städel at the time, first purchased works by Beckmann in 1918 for the Städtische Galerie – the municipal gallery affiliated with the Städel. By 1931, Swarzenski had expanded the contemporary collection to encompass a total of thirteen paintings and more than a hundred works on paper by the artist. Once the Nazis were in power, however, the museum was compelled to remove Beckmann’s paintings from its walls and relegate them to storage. Then, in the summer of 1937, nearly the entire Beckmann holdings were confiscated by the Reich ministry of propaganda as part of the “Degenerate Art” campaign. After World War II, Swarzenski’s successor Ernst Holzinger and Günther Franke – Beckmann’s gallerist at the time – assembled works from private collections to stage a Beckmann exhibition. Franke donated several prints to the Städel on the occasion. A major milestone in the museum’s endeavour to reconstruct its lost Beckmann holdings was the acquisition of nearly 170 works on paper from the large print collection of the artist’s friends Fridel and Ugi Battenberg in 1949. One year after the artist’s death, the city of Frankfurt made its first post-war purchase of a Beckmann painting – the Circus Carriage (1940). The Städel has continued to expand its Beckmann collection ever since. Comprising 11 paintings, 2 sculptures, and several hundred works on paper, this collection is today once again one of the world’s largest.

Curators: Dr. Alexander Eiling (Head of the Collection of Modern Art, Städel Museum), Dr. Regina Freyberger (Head of the Department of Prints and Drawings from 1750, Städel Museum), Dr. Iris Schmeisser (Head of Provenance Research and the Historical Archive, Städel Museum)

STÄDEL’S BECKMANN / BECKMANN’S STÄDEL:
THE FRANKFURT YEARS

Exhibition dates: 9 December 2020 to 5 April 2021 - extended to 29 August 2021
Curators: Dr. Alexander Eiling (Head of the Collection of Modern Art, Städel Museum), Dr. Regina Freyberger (Head of the Department of Prints and Drawings from 1750, Städel Museum), Dr. Iris Schmeisser (Head of Provenance Research and the Historical Archive, Städel Museum)

Location: Städel Museum, Schaumainkai 63, 60596 Frankfurt am Main
Information: www.staedelmuseum.de
Visitor services: +49(0)69-605098-200, info@staedelmuseum.de
Opening hours: Tue, Wed, Fri, Sat, Sun + holidays 10.00 am–6.00 pm, Thu 10.00 am–9.00 pm
Admission: 14 EUR; free for children under 12
Advance ticket sales: shop.staedelmuseum.de

Catalogue A catalogue edited by Alexander Eiling, Regina Freyberger and Iris Schmeisser is being published in conjunction with the exhibition. With forewords by Sylvia von Metzler and Philipp Demandt, 94 pages, 15 EUR

Podcast STÄDEL MIXTAPE: The first episode of the new podcast STÄDEL MIXTAPE is dedicated to art and cultural historical questions concerning Beckmann's "Self-Portrait with Champagne Glass" and combines them with a suitable soundtrack. To be found everywhere where podcasts are available and on mixtape.staedelmuseum.de (in German)

Audio tracks on Max Beckmann: Learn more about the six most important Beckmann works in the Städel collection with the aid of texts, images and audio tracks available now on our Highlight App, staedelmuseum.de/app-offer

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Städel Blog: Background, stories and more about the collection and the special exhibitions at blog.staedelmuseum.de / Don’t miss a post; subscribe to blog.staedelmuseum.de/blog-abonnieren (in German)