Feldherrnhalle

---

Feldherrnhalle
Odeonsplatz
Munich, March 2004

Die Tänzerin Loïe Fuller

---

“Die Tänzerin Loïe Fuller” (The Dancer Loie Fuller) by François-Rupert Carabin, 1897
Neue Pinakothek
Barer Straße
Munich, March 2004

“Loie Fuller (born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American actress and dancer who was a pioneer of both modern dance and theatrical lighting techniques.” (Loie Fuller, Wikipedia)

Lovis Corinth

---

Selbstbildnis (Self-Portrait) by Lovis Corinth, 1914
Neue Pinakothek
Barer Straße
Munich, March 2004

“Lovis Corinth (21 July 1858 – 17 July 1925) was a German artist and writer whose mature work as a painter and printmaker realized a synthesis of impressionism and expressionism. Corinth studied in Paris and Munich, joined the Berlin Secession group, later succeeding Max Liebermann as the group's president. His early work was naturalistic in approach. Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and took on many expressionistic qualities. His use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinth's subject matter also included nudes and biblical scenes.” (Lovis Corinth, Wikipedia)

Sonnenblumen

---

“Sonnenblumen” (Sunflowers) by Vincent van Gogh, 1888
Neue Pinakothek
Barer Straße
Munich, March 2004

“Vase With Twelve Sunflowers was painted as decoration for the Yellow House, the apartment Van Gogh rented and hoped to turn into an artist studio. A place he could invite fellow artists and they could work side by side as they developed their craft. There are two versions of this enigmatic painting, still to this day considered one of the most remarkable still life paintings ever completed. Van Gogh made a second version, or a ‘repetition’ as he called it, as he was afraid he might lose the original, either through postal damage, or Paul Gauguin, the artist whom stayed with him and expressed so much admiration for it, may take it for himself. There are slight differences between the two versions, the other is part of the permanent collection at The Philadelphia Museum of Art.” (Vincent Van Gogh Paintings at Neue Pinakothek, Van Gogh Studio)

Ratapoil

---

“Ratapoil” by Honoré Daumier, 1850
Neue Pinakothek
Barer Straße
Munich, March 2004

“The nickname Ratapoil (Skinned Rat) appeared on 12 August, again in Le Charivari. In 1875, it was featured in the Grand Dictionnaire Universel du XIXe siècle where it was defined as a familiar term for a supporter of militarism, and particularly of Napoleonic imperialism. Daumier probably modelled his statuette in March 1851. The volumes are exaggerated, unbalanced, fragile and powerful at the same time, endowing the work with a subversive violence commensurate with the political issue. Along with the exaggeratedly curved posture, the crumpled trousers and frock coat, as a final flourish, he adds a fiendish expression to the face. Although Ratapoil's features do not directly caricature those of the Prince-President, the Imperial whiskers remain an immediately recognisable symbol of the enemy.” (Ratapoil, Google Arts & Culture)

Der arme Poet

---

Der arme Poet (The Poor Poet) by Carl Spitzweg, 1837
Neue Pinakothek
Barer Straße
Munich, March 2004

“The Poor Poet (Der arme Poet) is the best known and most popular painting by German painter Carl Spitzweg. It was executed in 1839 and had three versions. The painting depicts a poet in his poor attic room. The narrow room is illuminated by a small window on the left. On the right there are the rafters of the house roof, on which an umbrella hangs, to protect the sleeping area from the moisture dripping through the roof. The room door can be seen on the right edge of the painting. Opposite the door, on the left edge of the picture, there is a green tiled stove without fire. The poor poet has no bed: instead he lies in a mattress against the wall of the floor, in a dressing gown, with a sleeping hat on his head. On his knees he holds some pages of a manuscript with his left hand. With the fingers of his right hand he appears to be counting the meter of a poem. In front of the mattress, there are thick books and two boxes with an inkwell on them. On the spine of the upright book on the far right are the Latin words: Gradus ad Parnassum (German: Klassen zum Parnass), which is either the title of the main theoretical work published by the Austrian composer Johann Joseph Fux or, most likely, the instructions for writing Latin verses published by the Jesuit priest Paul Aler in Cologne in 1702. On the wall, the poet probably painted the meter of the hexameter in red. There is a candle in the bottle on the green tiled stove, next to it the wash bowl, and a towel hangs on a clothesline above it. A top hat hangs on the unheated stovepipe. There are sheets of paper in the furnace hole, which probably belong to the papers that lie in front of it, and which, also in Latin, are labeled Operum meorum fasciculum III The third bundle of my works). There is also a single boot and a boot jack in front of the stove. To the left of the stove is a pot, the dressing gown is hanging on the wall next to it and the walking stick is leaning against the wall on the far left of the picture. Snow-covered roofs are seen behind the window, in an indication that it's cold. However, the poet is so poor that he remains in bed to keep himself warm. He can only heat himself if he burns his works.” (The Poor Poet, Wikipedia)

Gotischer Dom am Wasser

---

Gotischer Dom am Wasser (Gothic Cathedral by a River) by Karl Eduard Biermann, 1830
Neue Pinakothek
Barer Straße
Munich, March 2004

“Gothic Cathedral by a River (Gotischer Dom am Wasser) is an 1813 painting by German artist and architect Karl Friedrich Schinkel. It shows an imaginary Gothic cathedral on an island in a river - Schinkel later became a noted proponent of Neo-Gothic architecture. It is held in the Alte Nationalgalerie, in Berlin. Painted in the late afternoon, the sun setting behind the cathedral shines through the intricate tracery of the towers, illuminating their fine detail, such as the spiral staircase and the connecting bridge. The painting is notable by virtue of the number of replica and derivative works produced, the authorship of which are a matter of debate. On Schinkels's death in 1841 three replica versions existed, one of which was lost in the Munich Glaspalast fire in 1931, another of which is in St Petersburg and the third of which is in the Berlin Altegalerie (see right). Variant works based on Shinkel's original can be found in the Neue Pinakothek, in Munich (by Karl Eduard Biermann), and in private hands (by Johann Theodor Goldstein, 1822).” (Gothic Cathedral by a River, Wikipedia)