The Idea of a House in the Country
Berlin-born painter Max Liebermann long dreamed of having a house in the
country. He finally made his wish come true in 1910, when he created a unique “Gesamtkunstwerk” of architecture and garden design on Lake Wannsee.
Refined country
living was at the height of its popularity, and numerous villas and gardens
that are still renowned today date from this period. The rediscovery of the country house around 1900 went hand in hand
with a return to the neo-classical style of the early 19th century. Goethe’s
garden house in Weimar, in particular, attained cult status, and its high-hipped
roof and simple elegance provided much inspiration for the architecture of the
Liebermann villa. The notion of the country house as the epitome of refined living in harmony with nature goes back as far as
Andrea Palladio. It was in this tradition that Liebermann sought to place his
house, and indeed, it does stand out from the majority of villas built in
Germany at that time. Liebermann regarded the country house as more than just
an upper-middle-class retreat; he considered it the ideal living and working environment
for a painter, with the garden offering the perfect motif for his work.
In more than 40 paintings, drawings, photographs and documents the
anniversary-exhibition “The idea of a House in the Country” shows the history of the Liebermann-Villa and how it is embedded in the
life reform movement at the turn of the 19th century.
With many colorful works by other German painters such as Lovis Corinth,
Max Slevogt, Leopold von Kalckreuth and Wilhelm Trübner.
Lately
The
Jesus-Scandal.
A Liebermann-Painting in the cross-fire of critics
Hardly
any of Lieberman's Paintings provoked such a nationwide scandal as The twelfe-years old Jesus in the Temple did,
which was on display at the International Art Exhibition in Munich
1879. This was caused by the unfamiliar realistic depiction of the boy
Jesus. The public was enraged of how Liebermann, as a jewish artist,
dared to paint a christian subject. The public outrage, nurtured by
anti-Semitic resentments, was so immense, that the Bavarian Parliament
discussed the topic.
The exhibition in the Liebermann-Villa for
the first time presents
the painting in context with all preserved preparing sketches and
studies. It gives information about the emergence of the painting and
relates it with its predecessors: works of Adolf Menzel, Rembrandt and
other artists.
Documents and explanatory notes exemplify the
historical Controversy.
The exhibition connects therefore the history
of Art and Culture in an extraordinary way with former contemporary
history.
The Parrot Alley at Lake Wannsee
The Liebermann-collection of Kunsthalle Bremen hosted by the Liebermann-Villa
The famous Liebermann-Collection of Kunsthalle Bremen is one of the most prominent collections in Germany. The Liebermann-Villa is proud to present 40 paintings, drawings and prints within our special exhibition Parrot Alley at Lake Wannsee.
Gustav Pauli, the first director of the Kunsthalle Bremen, was a supporter of modern Impressionist art and a personal friend of Max Liebermann's. He laid the foundation for the Liebermann collection in Bremen, which ranks among the most important collections in Germany today. Pauli managed to arouse the enthusiasm of a group of open-minded collectors for Liebermann's work and inspire their support for Kunsthalle, both in the form of loans and donations.
The Parrot Alley of 1902 is one of the best-known and most-loved Liebermann paintings. It shows the Parrot Lane at Amsterdam's famous zoo where Liebermann spent time during the summer of 1901. This major work perfectly illustrates the influence of French Impressionism on the Berlin painter.
The prints and drawings of the Bremen Print Department provide a good overview of the artist's graphic work. Liebermann considered drawing to be the basis of all art and a valuable source of insight into the creative process. Thus one of Liebermann's early sketchbooks, which was his constant companion for almost a decade, is rightly regarded as a highlight of the Bremen collection and is now on display in the Liebermann-Villa.