INTRODUCTION It is the nature of a collection that encompasses considerable holdings in contemporary art that it should be dynamic, constantly growing and constantly changing. One could speculate endlessly about which works, seen as of relevance today, would no longer figure in a book such as Director’s Choice in 25 or 50 years’ time, even though in this compilation they may occupy important and even outstanding artistic positions. It is a wellknown fact that we need the historically distanced (and thus neutral and critical) view of later generations before we can reliably see what has survived from an epoch to live on in the general consciousness of a society. And even after further generations have gone by, this canon of what is valid and significant can and must always be revised. To encourage such debate is a core task of the museum, and it involves both those who work there and those who visit it. This is one of the main reasons why, sometimes, works of modernism that start to seem ‘unmodern’ do not get sold straightaway. A quick look at the history of art confirms the importance of this. Once upon a time, the works of Arcimboldo and El Greco were forgotten; then they were rediscovered, and today they are among the highlights of any museum that possesses them. Even Caspar David Friedrich’s creations had to be re-evaluated at the end of the nineteenth century; today they are treasured possessions, displayed with pride. On the other hand, early twentieth-century modernism has an easy time of it: it enjoys the highest esteem, having been condemned, sold off and sometimes even destroyed in the Nazi era. Expressionist art in particular enjoys great popularity today, not least because it has become the epitome of artistic and democratic freedom. Such movements were once persecuted; as a result, people are now very aware of how
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
Main staircase to the Modern Art Collection in the Pinakothek der Moderne
The lounge in the Modern Art Collection invites visitors to linger
essential it is that artists should live and work unmolested and be allowed to follow their ideals: this freedom is one of the greatest achievements of modern art. The Modern Art Collection is an integral part of the Bavarian State Painting Collections; their historic holdings go back to the sixteenth century, and the Alte and Neue Pinakothek were built to house them in the nineteenth century. This was the basis for the growing collections of the modern era, requiring additional external buildings in the twentieth century. On the upper floor of the Pinakothek der Moderne, art of the early twentieth century is now displayed, and major works of Fauvism, Expressionism, Cubism, Orphism, Surrealism, Bauhaus, Neue Sachlichkeit (New Objectivity) and many other styles and trends can be found. This collection is the result of numerous donations and foundations, as can be seen from leafing through this book, and it is based on the support of the Galerieverein (Gallery Association), founded in the 1960s to promote the purchase of the very kinds of art that may once have been found in Munich, but later – as mentioned above – disappeared from view: this association is now called PIN. Freunde der Pinakothek der Moderne (‘PIN. Friends of the Pinakothek der Moderne’). Recent acquisitions for this collection include Paul Klee’s Pastor Kohl and a landscape by Franz Radziwill. Other holdings are not illustrated in this book, but they are well represented in the collection: they include video works and photographs that can only ever be run or exhibited for a limited period of time, as well as numerous works of painting and sculpture that have been produced only in recent decades. The compilation in this book ends - chronologically at least, with Joseph Beuys’s The End of the Twentieth Century: numerous younger artists have continued this tradition, and developed modernism even further. More at www.pinakothek.de.
INTRODUCTION
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INTRODUCTION It is the nature of a collection that encompasses considerable holdings in contemporary art that it should be dynamic, constantly growing and constantly changing. One could speculate endlessly about which works, seen as of relevance today, would no longer figure in a book such as Director’s Choice in 25 or 50 years’ time, even though in this compilation they may occupy important and even outstanding artistic positions. It is a wellknown fact that we need the historically distanced (and thus neutral and critical) view of later generations before we can reliably see what has survived from an epoch to live on in the general consciousness of a society. And even after further generations have gone by, this canon of what is valid and significant can and must always be revised. To encourage such debate is a core task of the museum, and it involves both those who work there and those who visit it. This is one of the main reasons why, sometimes, works of modernism that start to seem ‘unmodern’ do not get sold straightaway. A quick look at the history of art confirms the importance of this. Once upon a time, the works of Arcimboldo and El Greco were forgotten; then they were rediscovered, and today they are among the highlights of any museum that possesses them. Even Caspar David Friedrich’s creations had to be re-evaluated at the end of the nineteenth century; today they are treasured possessions, displayed with pride. On the other hand, early twentieth-century modernism has an easy time of it: it enjoys the highest esteem, having been condemned, sold off and sometimes even destroyed in the Nazi era. Expressionist art in particular enjoys great popularity today, not least because it has become the epitome of artistic and democratic freedom. Such movements were once persecuted; as a result, people are now very aware of how
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
Main staircase to the Modern Art Collection in the Pinakothek der Moderne
The lounge in the Modern Art Collection invites visitors to linger
essential it is that artists should live and work unmolested and be allowed to follow their ideals: this freedom is one of the greatest achievements of modern art. The Modern Art Collection is an integral part of the Bavarian State Painting Collections; their historic holdings go back to the sixteenth century, and the Alte and Neue Pinakothek were built to house them in the nineteenth century. This was the basis for the growing collections of the modern era, requiring additional external buildings in the twentieth century. On the upper floor of the Pinakothek der Moderne, art of the early twentieth century is now displayed, and major works of Fauvism, Expressionism, Cubism, Orphism, Surrealism, Bauhaus, Neue Sachlichkeit (New Objectivity) and many other styles and trends can be found. This collection is the result of numerous donations and foundations, as can be seen from leafing through this book, and it is based on the support of the Galerieverein (Gallery Association), founded in the 1960s to promote the purchase of the very kinds of art that may once have been found in Munich, but later – as mentioned above – disappeared from view: this association is now called PIN. Freunde der Pinakothek der Moderne (‘PIN. Friends of the Pinakothek der Moderne’). Recent acquisitions for this collection include Paul Klee’s Pastor Kohl and a landscape by Franz Radziwill. Other holdings are not illustrated in this book, but they are well represented in the collection: they include video works and photographs that can only ever be run or exhibited for a limited period of time, as well as numerous works of painting and sculpture that have been produced only in recent decades. The compilation in this book ends - chronologically at least, with Joseph Beuys’s The End of the Twentieth Century: numerous younger artists have continued this tradition, and developed modernism even further. More at www.pinakothek.de.
INTRODUCTION
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Edvard Munch Engelhaugen farm, Løten 1863–1944 Ekely farm, Skøyen
Woman in Red Dress (Road in Åasgårdstrand), c. 1902/03
Oil on canvas, 59.7 × 75.5 cm Acquired in 1953 Inv. No. 11709
A woman in a red dress is walking, silent and alone, through the outskirts of a village, her hands clasped, her face hidden under a wide-brimmed hat: the bright hue of her fashionable dress cannot conceal the fact that she is isolated and exposed in the midst of a vast emptiness. Edvard Munch, who at the time had just separated from his partner, here addresses the topic of inner spiritual emptiness. The painting shows the absence of other people in a way both gestural and scenic; it is less intense than his most famous painting, The Scream, but it is just as effective at disclosing a particular mental state. The winding path, together with the rigid figure, is a crucial component of the image: it leads gently uphill, but beyond the houses and trees, beyond the village, there is no world, no outlook. This, too, contributes to the enormous sense of abandonment that the painting radiates. Incidentally, within Munch’s artistic career, this picture belongs to the period when the lack of detail, the deliberately selective approach, and the expressive colours in his works were no longer subjected to such harsh attacks as had been the case a decade before, when they had been decried as mere daubs. His art paved the way for the radical experiments of modernism, exploring psychological depths and using a pre-expressionistic simplification of form, economically drawing attention to the essential, human elements.
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WOMAN IN RED DRESS (ROAD IN ÅASGÅRDSTRAND)
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Edvard Munch Engelhaugen farm, Løten 1863–1944 Ekely farm, Skøyen
Woman in Red Dress (Road in Åasgårdstrand), c. 1902/03
Oil on canvas, 59.7 × 75.5 cm Acquired in 1953 Inv. No. 11709
A woman in a red dress is walking, silent and alone, through the outskirts of a village, her hands clasped, her face hidden under a wide-brimmed hat: the bright hue of her fashionable dress cannot conceal the fact that she is isolated and exposed in the midst of a vast emptiness. Edvard Munch, who at the time had just separated from his partner, here addresses the topic of inner spiritual emptiness. The painting shows the absence of other people in a way both gestural and scenic; it is less intense than his most famous painting, The Scream, but it is just as effective at disclosing a particular mental state. The winding path, together with the rigid figure, is a crucial component of the image: it leads gently uphill, but beyond the houses and trees, beyond the village, there is no world, no outlook. This, too, contributes to the enormous sense of abandonment that the painting radiates. Incidentally, within Munch’s artistic career, this picture belongs to the period when the lack of detail, the deliberately selective approach, and the expressive colours in his works were no longer subjected to such harsh attacks as had been the case a decade before, when they had been decried as mere daubs. His art paved the way for the radical experiments of modernism, exploring psychological depths and using a pre-expressionistic simplification of form, economically drawing attention to the essential, human elements.
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WOMAN IN RED DRESS (ROAD IN ÅASGÅRDSTRAND)
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Paula Modersohn-Becker Dresden 1876–1907 Worpswede
Nude Child with Goldfish Bowl, c. 1906/07 Oil on canvas, 105.5 × 54.5 cm Donation of Sofie and Emanuel Fohn, 1964 Inv. No. 13468
The German painter Paula Modersohn-Becker, who lived alone in Paris for a long time despite being newly married, is one of the best-known artists of the twentieth century, thanks to her highly original artistic work as well as the letters and sketches documenting her unremitting struggle to create a truly contemporary art and win her own freedom. In her landscape and figure paintings she strives to track down the elemental aspects of life: childhood, motherhood, age, nature. In her works, she develops ideas taken from the art of Henri Matisse and Paul Cézanne, among others, but her painting preserves a tremendous sense of independence. This is also evident in Nude Child with Goldfish Bowl, with its surprising combination of childlike innocence in the figure and still-life elements in the surrounding arrangement. The child is holding out a flat tray with bright tropical fruit on it, gazing at the invisible person opposite with an open, watchful look. Angular plants frame the figure, and two goldfish swim silently round in the glass bowl. The painting becomes a symbol of gentle silence. It was produced at the time when the painter finally broke up with her husband: ‘And now I do not know how to sign my name. I’m not a Modersohn and I’m not Paula Becker anymore. I am I, and I hope to become so more and more.’ In 1907 she died of an embolism a few weeks after the birth of her baby.
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
Paula Modersohn-Becker Dresden 1876–1907 Worpswede
Nude Child with Goldfish Bowl, c. 1906/07 Oil on canvas, 105.5 × 54.5 cm Donation of Sofie and Emanuel Fohn, 1964 Inv. No. 13468
The German painter Paula Modersohn-Becker, who lived alone in Paris for a long time despite being newly married, is one of the best-known artists of the twentieth century, thanks to her highly original artistic work as well as the letters and sketches documenting her unremitting struggle to create a truly contemporary art and win her own freedom. In her landscape and figure paintings she strives to track down the elemental aspects of life: childhood, motherhood, age, nature. In her works, she develops ideas taken from the art of Henri Matisse and Paul Cézanne, among others, but her painting preserves a tremendous sense of independence. This is also evident in Nude Child with Goldfish Bowl, with its surprising combination of childlike innocence in the figure and still-life elements in the surrounding arrangement. The child is holding out a flat tray with bright tropical fruit on it, gazing at the invisible person opposite with an open, watchful look. Angular plants frame the figure, and two goldfish swim silently round in the glass bowl. The painting becomes a symbol of gentle silence. It was produced at the time when the painter finally broke up with her husband: ‘And now I do not know how to sign my name. I’m not a Modersohn and I’m not Paula Becker anymore. I am I, and I hope to become so more and more.’ In 1907 she died of an embolism a few weeks after the birth of her baby.
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Salvador Dalí Figueres 1904–1989 Figueres
The Enigma of Desire; or, My Mother, My Mother, My Mother, 1929 Oil on canvas, 110.5 × 150.5 cm Acquired in 1982 with the support of the Theo Wormland Foundation Inv. No. 14734
Some eight years before painting this picture, the young Salvador Dalí had lost his mother. This formative experience became one of the elemental bases for the picture. There was also a second, namely Dalí’s familiarity with a 1920 poem by Tristan Tzara, ‘Ma mère’. Out of these elements in his experience, the artist composed a painted Wailing Wall, a fallen bird, a whimsical lump of cheese, a cipher for the indecipherable. This biomorphic lump lies in the middle of an extensive landscape and does not cast a complete shadow, thus cancelling out the logic of the body and intensifying the fantastical aspects of the image. And the object – the ‘enigma of desire’ – looks as if it has fallen from somewhere into a desert almost completely void of any human presence. Words can be read in the variously shaped honeycomb cells: ‘Ma mère’, they read, ‘my mother’, an echoing outcry, calligraphically tamed, repeated over and over. The past is interwoven with the process of decay; the long-dead mother is conjured up, while the ants on the head-like appendix (bottom left) swarm around, suggesting a recent death and a decay that is only just beginning. On the left side of the picture, an eggheaded creature holds up a kind of Gorgon’s head, a magic tool for petrification, while to the side a mask grins blankly. In the middle, far behind the hulking main figure, appears a fat, shapeless object with large breasts. This mishmash of anthropomorphic elements triggers a variety of fantasies without, however, producing any firm meaning.
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
THE ENIGMA OF DESIRE; OR, MY MOTHER, MY MOTHER, MY MOTHER
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Salvador Dalí Figueres 1904–1989 Figueres
The Enigma of Desire; or, My Mother, My Mother, My Mother, 1929 Oil on canvas, 110.5 × 150.5 cm Acquired in 1982 with the support of the Theo Wormland Foundation Inv. No. 14734
Some eight years before painting this picture, the young Salvador Dalí had lost his mother. This formative experience became one of the elemental bases for the picture. There was also a second, namely Dalí’s familiarity with a 1920 poem by Tristan Tzara, ‘Ma mère’. Out of these elements in his experience, the artist composed a painted Wailing Wall, a fallen bird, a whimsical lump of cheese, a cipher for the indecipherable. This biomorphic lump lies in the middle of an extensive landscape and does not cast a complete shadow, thus cancelling out the logic of the body and intensifying the fantastical aspects of the image. And the object – the ‘enigma of desire’ – looks as if it has fallen from somewhere into a desert almost completely void of any human presence. Words can be read in the variously shaped honeycomb cells: ‘Ma mère’, they read, ‘my mother’, an echoing outcry, calligraphically tamed, repeated over and over. The past is interwoven with the process of decay; the long-dead mother is conjured up, while the ants on the head-like appendix (bottom left) swarm around, suggesting a recent death and a decay that is only just beginning. On the left side of the picture, an eggheaded creature holds up a kind of Gorgon’s head, a magic tool for petrification, while to the side a mask grins blankly. In the middle, far behind the hulking main figure, appears a fat, shapeless object with large breasts. This mishmash of anthropomorphic elements triggers a variety of fantasies without, however, producing any firm meaning.
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
THE ENIGMA OF DESIRE; OR, MY MOTHER, MY MOTHER, MY MOTHER
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Lyonel Feininger New York 1871–1956 New York
Market Church in Halle, 1930 Oil on canvas, 102 × 80.4 cm Acquired in 1954 Inv. No. 12013
The fact that Lyonel Feininger started out as a caricaturist and naturally made use of this expressive form in his depictions of the human figure is scarcely to be guessed at in his later painting, since here any such figures are mainly marginal. The almost monumental image of the market church in the central German city of Halle reduces individual people to mere ant-like incidentals. But it is precisely the smallness of the figures that leads us into the depths of the picture and impresses on us the huge size of the four-towered late-Gothic church as it rises into the clear blue sky and spans the whole picture. With this cathedral-like image, Feininger picks up on a subject that he had already treated about a decade earlier, when he provided the manifesto of the Weimar Bauhaus with a woodcut showing a church of a similarly crystalline form. There, the idea of the medieval building site, where edifices such as this were constructed by the collaborative interaction of all forces, generations and trades, played a central role. This almost utopian aspect was also characteristic of the Bauhaus, where Feininger taught for a long time, and shaped the self-understanding of both teachers and students. However, Feininger’s paintings also include a cautiously utopian dimension, because in addition to the market church, which was built for the clergy and richly furnished inside, the so-called ‘Red Tower’ rises up on the right-hand side: this building was erected by the citizens of the trading city of Halle and is still standing.
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MARKET CHURCH IN HALLE
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Lyonel Feininger New York 1871–1956 New York
Market Church in Halle, 1930 Oil on canvas, 102 × 80.4 cm Acquired in 1954 Inv. No. 12013
The fact that Lyonel Feininger started out as a caricaturist and naturally made use of this expressive form in his depictions of the human figure is scarcely to be guessed at in his later painting, since here any such figures are mainly marginal. The almost monumental image of the market church in the central German city of Halle reduces individual people to mere ant-like incidentals. But it is precisely the smallness of the figures that leads us into the depths of the picture and impresses on us the huge size of the four-towered late-Gothic church as it rises into the clear blue sky and spans the whole picture. With this cathedral-like image, Feininger picks up on a subject that he had already treated about a decade earlier, when he provided the manifesto of the Weimar Bauhaus with a woodcut showing a church of a similarly crystalline form. There, the idea of the medieval building site, where edifices such as this were constructed by the collaborative interaction of all forces, generations and trades, played a central role. This almost utopian aspect was also characteristic of the Bauhaus, where Feininger taught for a long time, and shaped the self-understanding of both teachers and students. However, Feininger’s paintings also include a cautiously utopian dimension, because in addition to the market church, which was built for the clergy and richly furnished inside, the so-called ‘Red Tower’ rises up on the right-hand side: this building was erected by the citizens of the trading city of Halle and is still standing.
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MODERN ART COLLECTION IN THE PINAKOTHEK DER MODERNE
MARKET CHURCH IN HALLE
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Franz Radziwill Strohausen, Weserland 1895–1983 Wilhelmshaven
Grodenstrasse to Varel Harbour, 1938 Oil on canvas, mounted on wood, 72 × 97 cm Acquired in 2017 by the Theo Wormland Foundation and the Free State of Bavaria Inv. No. 16486
‘In Munich, I actually came across Albrecht Dürer for the first time in my life,’ Franz Radziwill wrote about the Alte Pinakothek, ‘and I must confess that his pictures gave me a profound insight into the ultimate aspects of painting, and a concept of colour.’ This reflection on the vitality of colour in German Renaissance art, that is the painting of the generation around Dürer, Grünewald and Altdorfer, combined in the work of the artist Radziwill with a deliberate directness of observation and a visionary intensification of the visible world. Undoubtedly, Radziwill may well have observed the kind of glowing sky that he paints, and noted the glistening effect of the setting sun. However, by combining this with the red road, by making a poplar almost stripped of its branches look like an unexpectedly verdant piece of deadwood, he condenses the experience of nature into an apocalyptic vision. And it is precisely here that he proves to be a painter of Neue Sachlichkeit, one who has intensively studied the works of the Renaissance, including Albrecht Altdorfer’s The Battle of Alexander at Issus in the Alte Pinakothek, with its glowing colours. After the First World War, Radziwill had been active in a left-wing association; as a result, even though he joined the National Socialist Party in 1933, he was lambasted as a ‘degenerate artist’. In spite of this stigmatisation, he sold works of art to the German Luftwaffe in 1938, the year in which this picture was painted. The biography of a major artist living under a dictatorship, forced to earn a living, can be full of such morally dubious behaviour.
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GRODENSTRASSE TO VAREL HARBOUR
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Franz Radziwill Strohausen, Weserland 1895–1983 Wilhelmshaven
Grodenstrasse to Varel Harbour, 1938 Oil on canvas, mounted on wood, 72 × 97 cm Acquired in 2017 by the Theo Wormland Foundation and the Free State of Bavaria Inv. No. 16486
‘In Munich, I actually came across Albrecht Dürer for the first time in my life,’ Franz Radziwill wrote about the Alte Pinakothek, ‘and I must confess that his pictures gave me a profound insight into the ultimate aspects of painting, and a concept of colour.’ This reflection on the vitality of colour in German Renaissance art, that is the painting of the generation around Dürer, Grünewald and Altdorfer, combined in the work of the artist Radziwill with a deliberate directness of observation and a visionary intensification of the visible world. Undoubtedly, Radziwill may well have observed the kind of glowing sky that he paints, and noted the glistening effect of the setting sun. However, by combining this with the red road, by making a poplar almost stripped of its branches look like an unexpectedly verdant piece of deadwood, he condenses the experience of nature into an apocalyptic vision. And it is precisely here that he proves to be a painter of Neue Sachlichkeit, one who has intensively studied the works of the Renaissance, including Albrecht Altdorfer’s The Battle of Alexander at Issus in the Alte Pinakothek, with its glowing colours. After the First World War, Radziwill had been active in a left-wing association; as a result, even though he joined the National Socialist Party in 1933, he was lambasted as a ‘degenerate artist’. In spite of this stigmatisation, he sold works of art to the German Luftwaffe in 1938, the year in which this picture was painted. The biography of a major artist living under a dictatorship, forced to earn a living, can be full of such morally dubious behaviour.
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GRODENSTRASSE TO VAREL HARBOUR
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This edition © Scala Arts & Heritage Publishers Ltd, 2018 Text © Bayerische Staatsgemäldesammlungen, Munich, and Bernhard Maaz Images © Bayerische Staatsgemäldesammlungen, Munich First published in 2018 by Scala Arts & Heritage Publishers Ltd 10 Lion Yard Tremadoc Road London sw4 7nq, uk www.scalapublishers.com In association with the Bayerische Staatsgemäldesammlungen (Bavarian State Paintings Collection), Munich www.pinakothek.de ISBN: 978 1 78551 192 9 Editors: Christine Kramer, Bayerische Staatsgemäldesammlungen; Sandra Pisano (Scala Arts & Heritage Publishers Ltd) Translation: Andrew Brown in association with First Edition Translations Ltd, Cambridge with English editing: Robert Anderson Designer: Nigel Soper Printed in Turkey 10 9 8 7 6 5 4 3 2 1 All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the written permission of the Bayerische Staatsgemaldesammlungen and Scala Arts & Heritage Publishers Ltd. Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints.
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P. 32 © Ada and Emil Nolde Foundation Seebüll P. 40 © Salvador Dalí, Fundació Gala-Salvador Dalí/VG BildKunst, Bonn 2018 P. 51 © Succession Picasso/VG Bild-Kunst, Bonn 2018 P. 59 © The Josef and Anni Albers Foundation/VG Bild-Kunst, Bonn 2018 P. 64 © Gerhard Richter 2018 (09022018) P. 66 © The Estate of Francis Bacon. All rights reserved/VG Bild-Kunst, Bonn 2018 P. 68 © The Estate of Sigmar Polke, Cologne/VG Bild-Kunst, Bonn 2018 P. 71 © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York P. 72 © Georg Baselitz 2018 P. 75 © Estate of Dan Flavin/VG Bild-Kunst, Bonn 2018 P. 76 © Atelier Anselm Kiefer courtesy Galerie Thaddaeus Ropac PP. 29, 34, 36, 38, 42, 46, 48, 54, 60, 78 VG Bild-Kunst, Bonn 2018 Front cover: Lyonel Feininger, Market Church in Halle, 1930 (see pp. 42/43) Front cover flap: The Pinakothek der Moderne Frontispiece: Max Ernst, Angel of Hearth and Home, 1937 (see pp. 46/47) Back cover: August Macke, Girls under Trees, 1914 (see pp. 22/23)