Alte Pinakothek

Tuesday - from 10:00 to 20:00

The New Pinakothek will be closed to the public due to construction work and the preparation of comprehensive renovation measures until approximately 2025. An exposition of selected masterpieces of 19th-century art will be open from summer 2019 on the first floor of the Alte Pinakothek (East Wing) and in the Shack Gallery.

Pinakothek der Moderne
Every day, except Monday, from 10:00 to 18:00
Thursday - from 10:00 to 20:00

Brandhorst Museum
Every day, except Monday, from 10:00 to 18:00
Thursday - from 10:00 to 20:00

Shaka Gallery
Wednesday-Sunday - from 10:00 to 18:00
Every first and third Wednesday of the month - until 20:00

Opening hours on holidays
New Year (January 1): all museums are open to the public
Epiphany/Three Kings (January 6): all museums open to the public
Carnival Tuesday: all museums are closed to the public
Good Friday: all museums are open to the public
Easter Sunday: all museums are open to the public
Bright Monday: all museums are open to the public
Labor Day (May 1): All museums are closed to the public
Ascension of the Lord: all museums are open to the public
Trinity: all museums are open to the public
Holy Spirit Day: all museums are open to the public
Feast of the Body and Blood of Christ: all museums except the Shaka Gallery are open to the public
Assumption of the Virgin (August 15): New Pinakothek is open, all other museums are closed to the public
German Unity Day (October 3): all museums open to the public
Feast of All Saints (November 1): all museums except the Neue Pinakothek and the Shack Gallery are open to the public
Christmas Eve (December 24): All museums are closed to the public
1st day of Christmas (December 25): all museums are closed to the public
2nd day of Christmas (December 26): all museums are open to the public
December 31: All museums are closed to the public

Update: Closing of the Neue Pinakothek

Dear visitors!

December 31, 2018 gallery Neue Pinakothek will be closed to the public due to construction work and the preparation of comprehensive renovation measures. An exposition of selected masterpieces of 19th-century art will be open from summer 2019 on the first floor of the Alte Pinakothek (East Wing) and in the Shack Gallery.

Pay attention to these changes when planning your visit to the Art Area and the Pinakothek. From October this year, detailed information about the exposition will be available on our website.

TICKET PRICES

Alte Pinakothek
Reduced prices for entrance tickets during the modernization of the lighting system in 2014-2018.
permanent exhibition
4 euro | reduced price 2 euro
Sundays - 1 euro

Pinakothek der Moderne

Sundays - 1 euro

Brandhorst Museum
Exhibition “Painting 2.0: art in the era of information technology” until 04/30/2016.
10 euro | reduced price 7 euro

Please note: the Brandhorst Museum does not provide reduced prices for entrance tickets on Sundays until 30.04.2016; in addition, during this period, the Brandhorst Museum is not valid for a single entrance ticket and an entrance ticket for five visits.

Shaka Gallery
4 euro | reduced price 3 euro
Sundays - 1 euro
Separate admission prices for visiting special exhibitions.

Single entrance ticket– 12 euros (Pinacotheques, Brandhorst Museum, Shack Gallery)
Entrance ticket for five visits - 29 euros (Pinacotheques, Brandhorst Museum, Shack Gallery)
Does not grant access to special exhibitions.

The following categories of citizens enjoy the right to visit museums free of charge: children and persons under the age of 18; students of the faculties of art, art history, art history, as well as the theory and methods of teaching arts; school classes, children preschool age, after-school groups and youth groups from EU Member States (accompanied by teachers or caregivers).

Entrance is free or reduced price

Additional information - here (PDF) .

TRAVEL

Pinakothek and Brandhorst Museum:

Tram
No. 27: Pinakothek stop

Underground
U2: Station Königsplatz or Theresienstraße
U3 | U6: Odeonsplatz or Universität station
U4 | U5: Odeonsplatz station

Bus
154: Schellingstraße stop 100 (museum route): Pinakotheken stop 100 (museum route): Maxvorstadt/Sammlung Brandhorst stop

tour bus
In front of the Neue Pinakothek there are two parking lots for sightseeing buses. Between 10.00 and 20.00 parking time (with parking disc) is limited to two hours.

GalleryShaka:

Bus
No. 100 (museum route): stop Reitmorstraße / Schack Galerie

Tram
No. 17: Nationalmuseum stop
We recommend using public transport as there is no car park in the immediate vicinity of the museums.

OLD PINACOTHEKA

The Alte Pinakothek introduces the main milestones European painting: the development of art from the Middle Ages and the Renaissance to the Baroque and the end of the Rococo period is most fully represented here. The permanent exhibition includes more than 700 paintings, it is a real treasure trove of German, Flemish, Dutch, French, Italian and Spanish paintings. The museum building, the creation of the architect Leo von Klenze, was built in 1836 in the classical style and has become the standard of a European museum, offering a worthy frame for the paintings that make up the golden fund of Western art.

Albrecht Durer (1471-1528)
"Self-portrait in clothes trimmed with fur" (1500)
Tree (linden - Tilia sp.), 67.1 x 48.9 cm
The portrait was acquired in 1805 by the Central Directorate of the Art Gallery
Inv. No. 537

OUR MASTERPIECES OLD PINACOTHEKA

This painting by the 28-year-old artist is perhaps the most unusual creation in the history of portrait art. The full-face rotation and the high degree of perfection of the image are reminiscent of images of Christ, but both aspects should be considered in the context of the studies of human proportions begun by Dürer at that time. The emphasis is on the expressive look and hand of the human creator, the artist's tool, which is used to paint the portrait, which allows you to see in this work program work artist. This idea is also emphasized by the inscription in Latin, which allows different interpretations: "This is how I, Albrecht Dürer from Nuremberg, created myself with characteristic colors at the age of 28."

NEW PINACOTHEKA

“From Goya to Picasso” is the motto of the Neue Pinakothek, founded by King Ludwig I in the middle of the 19th century. The first museum in Europe open to the general public was also the first museum contemporary art- according to the Bavarian monarch, "a collection of paintings of the present and future centuries." Significant works of classicism, romanticism, art nouveau and impressionism, Nazarenes and German Romans are presented here along with the famous paintings of the Art Nouveau era. During World War II, the building of the Neue Pinakothek was destroyed; the new building (designed by architect Alexander von Branca) opened its doors in 1981.

Vincent van Gogh (1853-1890)
"Sunflowers" (1888)
Canvas, oil. 92.0 x 73.0 cm
The painting was acquired in 1912
from an anonymous donor as part of the "donations of Hugo von Tschudi"
Inv. No. 8672

OUR MASTERPIECES NEW PINACOTHEQUE

Vincent van Gogh created this painting in its radiant colors and life-affirming beauty in August 1888: it was to decorate the artist's studio in Arles, where he intended to work with Paul Gauguin. Extremely simple, even flat, the artist depicted flowers, a vase, the surface on which it stands, and the background. The icy turquoise of the background greatly enhances the expression of yellow and yellow-brown tones, and the flowers make you feel not only the heat of summer Provence, but also the intensity of feelings in Van Gogh's life itself. According to the artist's idea, the sunflower represents the sun, which the master understands as a symbol of life and depicts it in this way in a number of his works.

The simple form and rich colors are explained by the influence of Japanese engraving, but at the same time there is also a connection with the so-called cloisonism adopted by Gauguin and his followers. Van Gogh perceived the south of France in a broad sense as "Japan", where one can find happiness, and "Sunflowers" confirm this great idea of ​​the artist.

The painting kept in Munich is not the only, but an extremely important version of Van Gogh's Sunflowers. The artist has always considered this canvas a worthy pair of the variant stored in the London National Gallery. Subsequently, he intended to use both still lifes to create a triptych, festively framing the Lullaby canvas with them.

PINACOTHEKA OF MODERNITY

Under its roof there are four significant, independent from each other, museums - the Collection of Modern Art (part of the Bavarian State Collections of Paintings), the New Collection (Museum applied arts), Architectural Museum Munich technical university, as well as the Munich State Graphic Collection. Thus, the Pinakothek der Moderne ranks among the world's largest museums of art, architecture and design of the 20th and 21st centuries. The interdisciplinary orientation of the Pinakothek der Contemporaneity allows each of the museums to retain its individual identity and at the same time present them as interconnected parts of a broader cultural context. The spacious building of interesting architecture, with a glass rotunda in the center, helps to open the idea of ​​interpenetration of arts to visitors and offers a new, unexpected look at things.

Max Beckmann (1884-1950)
"Self-portrait in black" (1944)
Canvas, oil. 95 x 60 cm
Inv. No. 10974
© Art Copyright Society (VG Bild-Kunst), Bonn 2016

OUR MASTERPIECES THE PINACOTHEK OF MODERNITY

In 1937, Max Beckmann emigrated to Amsterdam, where, overcoming great difficulties, he worked during the German occupation. It was here at the turn of 1943-44 that this self-portrait was created, in which the artist appears imperious and unbroken, but with a face that looks like a frozen fuzzy mask. The black full dress here is just an attribute that no longer corresponds to the real state of affairs, but emphasizes a certain detachment of the artist from the surrounding reality, his inaccessibility and at the same time formally closes the composition in the direction of the viewer. This impression is further enhanced by the arm bent at an angle, with which the artist seems to fence off from the world, as well as the back of the chair. Among the numerous self-portraits of the artist, this one, perhaps, leaves the most difficult feeling, since undisguised aggressiveness alienates the artist not only from the hostile world, but also from himself. No amount of dressing could have alienated Beckman from himself to a greater extent than this seemingly ordinary appearance. Tragic numbness will release the artist only after emigrating to America, where he will gain external freedom.

BRANDHORST MUSEUM

The Brandhorst Museum as part of the Bavarian State Painting Collections was opened in 2009 next to the Pinakothek and harmoniously complements the Munich Art Area with an impressive collection of classical modern and contemporary art. New Museum It features spectacular architecture and offers visitors two significant collections of works by Andy Warhol and Cy Twombly, as well as paintings by Sigmar Polke, Gerhard Richter, Mike Kelly, Bruce Naumann, Damien Hirst and others.

Interior of the Brandhorst Museum
with Cy Twombly's Lepanto cycle

OUR MASTERPIECES BRANDHORST MUSEUM

Paintings American artist Cy Twombly, born in 1928 in Lexington, Virginia and who died in 2011 in Rome, has become an icon for the Brandhorst Gallery. After studying art in a number of higher educational institutions Cy Twombly attended Black Mountain College for a short time, and then traveled to Europe and North Africa with Robert Rauschenberg. It was during this period that Twombly turned to the theme of the Mediterranean, which became one of his main sources of inspiration.

Twombly is unparalleled in the subtle and lyrical combination of drawing and text. Along with Robert Rauschenberg and Jasper Johns, he is the most important representative of his generation that succeeded Abstract Expressionism. Like Rauschenberg and Jones, Twombly managed not only to mark a significant new era in American art, but also to develop a completely unique, powerful language of visual images in its expression.

The monumental cycle "Lepanto" (2001), consisting of twelve parts, was included in the permanent exhibition, deployed in central hall, which was designed in accordance with the wishes of the artist. More than 170 exhibits at the Brandhorst Gallery, including paintings, sculptures and drawings different periods- get acquainted with creative development this original artist; this collection is considered the most significant collection of Twombly's works outside the United States, comparable only to the Cy Gallery

Arnold Böcklin (1827-1901)
"Triton and Nereid" (1874)
Canvas, oil. 105.3 x 194.0 cm
© Bavarian State Art Collections, Munich - Shack Gallery

OUR MASTERPIECES SHAKA GALLERY

Triton and Nereid is Böcklin's last painting acquired for the Shaq collection. The artist once again drew the theme for the painting from ancient mythology: he depicts sea creatures in a psychologically tense situation, which prompts the viewer to think about the relationship between the individual characters presented on the canvas. Triton, the son of Poseidon and Amphitrite, combines the features of a man and a fish in his appearance: he has the figure of a man with a fish tail. As conceived by Böcklin, Triton appears as a bearded, wild creature: turning to the viewer with his hair-covered back, he blows into a large shell. Nereid, one of the daughters of the sea elder Nereus, is depicted as a young woman with long brown hair and dark eyes, who lies on a rock in an ambiguous pose. She is naked, and only a thin reddish-colored fabric covers her legs. As if succumbing to a sudden impulse, she turned to a huge sea serpent that emerged from the abyss of the sea in front of her.

New Pinakothek (German: Neue Pinakothek) - picture gallery in Munich. It presents works of painting and sculpture by masters of the 19th - early 20th centuries. Opposite the Neue Pinakothek is the Alte Pinakothek with works by masters from the Middle Ages to the middle of the 18th century. Munich's third Pinakothek, the Pinakothek der Moderne, presents art from the 20th and 21st centuries.

The gallery was founded in 1853 by the Bavarian king Ludwig I, who wanted to make his own private collection contemporary art accessible to the public by placing it in the Alte and Neue Pinakothek. The Neue Pinakothek is thus the first "collection of contemporary art" in the world. The boundary between old and new art, established at the turn of the century, became defining for German art galleries. In accordance with the artistic preferences of Ludwig I, initially, the majority of the exhibition consisted of works by the Munich school of painting and German romantics. Particular attention was paid to South German artists and art schools. However, while building the museum, Ludwig also satisfied his dynastic ambitions by exhibiting in the main hall of the Neue Pinakothek the heroic landscapes of Greece by Karl Rothmann, ruled by Ludwig's son Otto I of Greece. After the death of Ludwig, the collection grew with new famous paintings, but the situation with the selection of exhibits changed very slowly in Munich. The situation changed only in 1909, when the so-called "Chud donations" followed, named after CEO Munich State Collection of Painting Hugo von Tschudi (German: Hugo von Tschudi), who paid great attention to modern art that was not respected at that time French artists. Thanks to him, an impressive collection of impressionists appeared in the Neue Pinakothek. However, in 1938, Van Gogh's "Self-portrait" was classified as degenerate art, confiscated and sold a year later. The collection of the Neue Pinakothek is replenished even now thanks to voluntary donations and acquisitions and is one of the largest expositions of art late XVIII-XIX centuries

Having rejected several places for the construction of the building new gallery, Ludwig I ordered the construction of the New Pinakothek opposite the Alte Pinakothek. The project was created by Friedrich von Gaertner and August von Voith. During World War II, the building of the Neue Pinakothek was completely destroyed and soon demolished. The exposition of the New Pinakothek is located in the House of Art. It was not until 1981 that a postmodernist building designed by the architect Baron Alexander von Branca was opened. While the sandstone-clad building with its bay windows, emergency stairways, and semi-circular arched windows received mixed reviews, its magnificent overhead-lit halls were universally acclaimed. The Dörner Institute is located in the west wing of the Neue Pinakothek building.

The third Pinakothek in Munich - the Pinakothek der Moderne - presents art from the 21st century.

Story

The gallery was founded in Bavarian King Ludwig I, who wanted to make his private collection of contemporary art available to the public by placing it in the Alte and Neue Pinakothek. The Neue Pinakothek is thus the first "collection of contemporary art" in the world. The boundary between old and new art, established at the turn of the century, became defining for German art galleries.

In accordance with the artistic preferences of Ludwig I, initially the majority of the exhibition consisted of works by the Munich school of painting and the German Romantics. Particular attention was paid to South German artists and art schools. However, by building a museum, Ludwig also satisfied his dynastic ambitions by exhibiting in the main hall of the New Pinakothek the heroized landscapes of Greece by Karl Rothmann, where Ludwig's son Otto I of Greece ruled. After the death of Ludwig, the collection grew with new famous paintings, but the situation with the selection of exhibits changed very slowly in Munich.

The situation changed only in the city, when the so-called “Chudi donations” followed, named after the general director of the Munich State Painting Collection, Hugo von Chudi (German. Hugo von Tschudi), who paid great attention to contemporary French artists who were not respected at that time. Thanks to him, an impressive collection of Impressionists appeared in the Neue Pinakothek. However, in "Self-portrait" Van Gogh was classified as degenerate art, confiscated and sold a year later.

The collection of the Neue Pinakothek is replenished even now thanks to voluntary donations and acquisitions and is one of the largest expositions of art of the late 18th-19th centuries.

Building

Having rejected several places for the construction of the building of the new gallery, Ludwig I ordered the construction of the New Pinakothek opposite the Old Pinakothek. The project was created by Friedrich von Gaertner and August von Voith. During World War II, the building of the Neue Pinakothek was completely destroyed and soon demolished. The exposition of the Neue Pinakothek is housed in the House of Art.

Collections of the Neue Pinakothek

From its holdings of over 3,000 paintings and 300 sculptures, the Neue Pinakothek's permanent collection features over 400 works of art.

Art of the second half of the 18th century

The collection in particular includes works by Anton Graf ( "Henry XIII" 1775), Francisco Goya ( "Outing" 1776), Angelika Kaufmann ( "Self-portrait" 1784), Jacques Louis David "Portrait of Anna Maria Louise Telusson de Sorcy" 1790), Johann Heinrich Fuseli ( "Satan and Death Divided by Sin" 1792-1802), Johann Friedrich August Tischbein ( "Nicolas Chatelain in the garden" 1791).

English painting of the second half of the 18th century beginning of the 19th century

The Neue Pinakothek presents almost all the important artists of England XVIII-early XIX centuries: Thomas Gainsborough, William Hogarth, George Stubbs, Joshua Reynolds, Thomas Lawrence, George Romney, Richard Wilson, Henry Reborn, David Wilkie, John Constable and William Turner.

German Romans: Classicists and Nazarenes

german romantics

Biedermeier

represented in particular by the work of Domenico Quaglio, Franz Xavier Winterhalter, Ferdinand Georg Waldmüller, Moritz von Schwind and Carl Spitzweg.

French realists and romantics

Paintings by German Artists Working in Rome (late 18th - early 19th centuries)

German realism

German Impressionists

french impressionists

represented by works by Pierre-Auguste Renoir, Édouard Manet, Claude Monet, Paul Cézanne, Paul Gauguin, Camille Pissarro, Edgar Degas, Alfred Sisley, Georges-Pierre Seurat and Vincent van Gogh.

Symbolism, art nouveau and painting of the early 20th century.

represented in particular by the works of Gustav Klimt, Giovanni Segantini, Fernand Khnopff, Paul Signac, Maurice Denis, Henri Toulouse-Lautrec, James Ensor, Ferdinand Hodler, Franz von Stuck, Édouard Vuillard, Edvard Munch, Pierre Bonnard and Egon Schiele. Paintings of the 20th century are on display at the Pinakothek der Moderne.

Sculpture in the Neue Pinakothek

The museum exhibits sculptures of the 19th and early 20th centuries, in particular Bertel Thorvaldsen ("Adonis" 1802-1832), Antonio Canova ("Statue of Paris" 1807-1816), Rudolf Schadow, Auguste Rodin, Max Klinger, Aristide Maillol and Pablo Picasso.

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An excerpt characterizing the Neue Pinakothek

But her voice was drowned out by the voices of the crowd.
- There is no our consent, let them ruin! We do not take your bread, there is no our consent!
Princess Mary tried again to catch someone's gaze from the crowd, but not a single glance was directed at her; her eyes obviously avoided her. She felt strange and uncomfortable.
“Look, she taught me cleverly, follow her to the fortress!” Ruin the houses and into bondage and go. How! I'll give you bread! voices were heard in the crowd.
Princess Mary, lowering her head, left the circle and went into the house. Having repeated the order to Dron that there should be horses for departure tomorrow, she went to her room and was left alone with her thoughts.

For a long time that night Princess Marya sat at the open window in her room, listening to the sounds of peasants talking from the village, but she did not think about them. She felt that no matter how much she thought about them, she could not understand them. She kept thinking about one thing - about her grief, which now, after the break brought about by worries about the present, has already become past for her. She could now remember, she could cry and she could pray. As the sun went down, the wind died down. The night was calm and cool. At twelve o'clock the voices began to subside, a rooster crowed, the full moon began to emerge from behind the linden trees, a fresh, white dew mist rose, and silence reigned over the village and over the house.
One after another, she presented pictures of the near past - illnesses and last minutes father. And with sad joy she now dwelled on these images, driving away from herself with horror only one last idea of ​​​​his death, which - she felt - she was unable to contemplate even in her imagination at this quiet and mysterious hour of the night. And these pictures appeared to her with such clarity and with such details that they seemed to her either reality, or the past, or the future.
Then she vividly imagined the moment when he had a stroke and he was dragged from the garden in the Bald Mountains by the arms and he muttered something in an impotent tongue, twitched his gray eyebrows and looked restlessly and timidly at her.
“He wanted to tell me even then what he told me on the day of his death,” she thought. “He always thought what he said to me.” And now she remembered with all the details that night in the Bald Mountains on the eve of the blow that happened to him, when Princess Mary, anticipating trouble, stayed with him against his will. She did not sleep and went downstairs on tiptoe at night and, going to the door to the flower room, where her father spent the night that night, she listened to his voice. He was saying something to Tikhon in an exhausted, tired voice. He seemed to want to talk. "Why didn't he call me? Why didn't he allow me to be here in Tikhon's place? thought then and now Princess Marya. - He will never tell anyone now all that was in his soul. This moment will never return for him and for me when he would say everything that he wanted to express, and I, and not Tikhon, would listen and understand him. Why didn't I come into the room then? she thought. “Perhaps he would have told me then what he said on the day of his death. Even then, in a conversation with Tikhon, he asked twice about me. He wanted to see me, and I was standing there, outside the door. He was sad, it was hard to talk with Tikhon, who did not understand him. I remember how he spoke to him about Liza, as if alive - he forgot that she was dead, and Tikhon reminded him that she was no longer there, and he shouted: "Fool." It was hard for him. I heard from behind the door how, groaning, he lay down on the bed and shouted loudly: “My God! Why didn’t I go up then? What would he do to me? What would I lose? Or maybe then he would have consoled himself, he would have said this word to me. And Princess Marya uttered aloud that affectionate word that he had spoken to her on the day of his death. “Dude she nka! - Princess Marya repeated this word and sobbed tears that relieved her soul. She saw his face in front of her now. And not the face she had known since she could remember, and which she had always seen from afar; and that face - timid and weak, which on the last day, bending down to his mouth in order to hear what he was saying, for the first time examined closely with all its wrinkles and details.
"Darling," she repeated.
What was he thinking when he said that word? What does he think now? - suddenly a question came to her, and in response to this she saw him in front of her with the expression on his face that he had in the coffin on his face tied with a white handkerchief. And the horror that seized her when she touched him and became convinced that it was not only not him, but something mysterious and repulsive, seized her even now. She wanted to think about something else, she wanted to pray, and there was nothing she could do. She gazed with large open eyes at the moonlight and the shadows, every second she expected to see his dead face, and she felt that the silence that stood over the house and in the house chained her.
- Dunyasha! she whispered. - Dunyasha! she cried in a wild voice and, breaking out of the silence, ran to the girls' room, towards the nanny and girls running towards her.

On August 17, Rostov and Ilyin, accompanied by Lavrushka and the escort hussar, who had just returned from captivity, went riding from their Yankovo ​​camp, fifteen miles from Bogucharov, to try a new horse bought by Ilyin and find out if there is hay in the villages.
Bogucharovo had been between the two enemy armies for the last three days, so that the Russian rearguard could just as easily enter there as the French avant-garde, and therefore Rostov, as a caring squadron commander, wanted to take advantage of the provisions that remained in Bogucharov before the French.
Rostov and Ilyin were in the most cheerful mood. On the way to Bogucharovo, to the princely estate with a manor, where they hoped to find a large household and pretty girls, they first asked Lavrushka about Napoleon and laughed at his stories, then they drove, trying Ilyin's horse.
Rostov did not know and did not think that this village to which he was going was the estate of that same Bolkonsky, who was his sister's fiancé.
Rostov and Ilyin let the horses out for the last time in the cart in front of Bogucharov, and Rostov, having overtaken Ilyin, was the first to jump into the street of the village of Bogucharov.
“You took it ahead,” said Ilyin, flushed.
“Yes, everything is forward, and forward in the meadow, and here,” answered Rostov, stroking his soaring bottom with his hand.
“And I’m in French, Your Excellency,” Lavrushka said from behind, calling his draft horse French, “I would have overtaken, but I just didn’t want to shame.
They walked up to the barn, where a large crowd of peasants was standing.
Some peasants took off their hats, some, without taking off their hats, looked at the approachers. Two long old peasants, with wrinkled faces and sparse beards, came out of the tavern and with smiles, swaying and singing some awkward song, approached the officers.
- Well done! - said, laughing, Rostov. - What, do you have hay?
“And the same ones…” said Ilyin.
- Weigh ... oo ... oooh ... barking demon ... demon ... - the men sang with happy smiles.
One peasant left the crowd and approached Rostov.
- Which one will you be? - he asked.
“French,” answered Ilyin, laughing. "That's Napoleon himself," he said, pointing to Lavrushka.
- So, the Russians will be? the man asked.
- How much of your power is there? asked another small man, approaching them.
“Many, many,” answered Rostov. - Yes, what are you gathered here for? he added. Holiday, huh?
“The old men have gathered, on a worldly matter,” answered the peasant, moving away from him.
At this time, two women and a man in a white hat appeared on the road from the manor house, walking towards the officers.
- In my pink, mind not beating! said Ilyin, noticing Dunyasha resolutely advancing towards him.
Ours will be! Lavrushka said with a wink.
- What, my beauty, do you need? - said Ilyin, smiling.
- The princess was ordered to find out what regiment you are and your names?
- This is Count Rostov, squadron commander, and I am your obedient servant.
- Be ... se ... e ... du ... shka! sang the drunk peasant, smiling happily and looking at Ilyin, who was talking to the girl. Following Dunyasha, Alpatych approached Rostov, taking off his hat from a distance.
“I dare to disturb, your honor,” he said with deference, but with relative disdain for the youth of this officer, and putting his hand in his bosom. “My lady, the daughter of General-in-Chief Prince Nikolai Andreevich Bolkonsky, who died this fifteenth day, being in difficulty on the occasion of the ignorance of these persons,” he pointed to the peasants, “asks you to come in ... if you don’t mind,” Alpatych said with a sad smile, “move off a few, otherwise it’s not so convenient when ... - Alpatych pointed to two men who were rushing around him from behind, like horseflies near a horse.
- Ah! .. Alpatych ... Huh? Yakov Alpatych!.. Important! sorry for Christ. Important! Eh? .. - the men said, smiling joyfully at him. Rostov looked at the drunken old men and smiled.

The first painting I stopped in front of during a spring visit to the Neue Pinakothek in Munich was Gabriel von Max's Monkeys as Judges of Art, 1889. At first, you perceive this thing simply as a variant of visiting the zoo, but the name makes you look more closely at the picture. And then it becomes clear what a good half of the monkey community is looking at so carefully. They look at the canvas in a gilded frame. Gabriel von Max kept monkeys and liked to depict them in various "human" situations. But in this case, the situation is special - clearly hinting at the artist's attitude towards those who decide the fate of art, evaluate the works of Munich artists.

Since you yourself belong to this tribe of critics and experts, you involuntarily begin to look for the monkey with whom you want to be identified. You amuse yourself with the confidence that you have remained a frightened cub who looks with round eyes at a frightening and beautiful world.

In no way do I consider myself an expert on German painting of the 19th century. She was always somewhere on the periphery of my artistic interests. And in the New Pinakothek for the first time, in 2001, I got almost by accident. Antique collections in Munich were under restoration. Instead of going out of grief to drink beer, we went to the Neue Pinakothek. And ended up in one of the most comfortable and interesting art museums peace. It is planned in such a way that the legs themselves carry you from room to room, from picture to picture. Instead of stairs - a system of ramps. And there are many spaces where you can relax from an intense acquaintance with painting.

Beautiful light, the paintings are spacious, and each of them is perceived as a masterpiece. The current building was built in 1981 by Baron Alexander von Branca. The Gallery of Modern Art itself was founded in 1853 by Ludwig I. Its building, which was created in the same style as the Alte Pinakothek, was destroyed during World War II and demolished.

Sculpture in the exposition of the Neue Pinakothek seems to accompany painting. Most of it is located in relaxation zones.

If we talk about German painting of the 19th century, then the main hall for me in the Pinakothek is the hall of Caspar David Friedrich. I could not tear myself away from its fir trees, like from the Christmas tree and pine on the fresco from Livia's villa. Only there, in paradise, it was warm and the birds chirped, and Friedrich's painting is more reminiscent of the cemetery cold. Or rather, the cold of eternity.
“The divine principle,” the artist said, “is everywhere, even in a grain of sand.” According to a modern researcher, Friedrich's landscapes “represent rather a vision, and not what was actually seen. Their symmetrical design betrays the presence of a gaze that organizes nature.
/ Quote from the book: D.Arras. Detail in painting. SPb, 2010, p.414/

The beauty and boundlessness of the world is revealed to Friedrich not only in the contemplation of mountain panoramas, but also on a flat swampy seashore with stunted vegetation, fishing boats and nets thrown over snags.

Sunset rays broke through the leaden clouds, and the flashing silvery-golden sea shared its radiance with the puddles, turning the dull, unsightly shore into the threshold of a dream world.

Let's go out to one of the galleries of the museum, take a break, and out of the world romantic entities let's move on to the halls where images of the real world are collected, where the German romantics sought to get into. Let's change the coast of the Baltic Sea to the shores of the Tyrrhenian Sea.
“You know the land where myrtle and laurel grow,
Deep and pure is the azure vault of the sky,
Lemon blossoms and golden orange
How does the heat burn under the thick greenery? ..
‎ Have you been there? There, there with you
I would like to hide, my dear.

The Neue Pinakothek contains a whole gallery of beauties who blossomed under the Italian sun. My favorite was Felice Bernardi from Albano, photographed by August Riedel in 1842.
How can one not recall the enthusiastic lines of N.V. Gogol about the beauties of the half-German K.P. Bryullov: “His woman shines, but she is not a Raphael woman, with subtle, inconspicuous, angelic features - she is a passionate, sparkling, southern woman , Italian in all the beauty of the afternoon, powerful, strong, glowing with all the luxury of passion, all the power of beauty, - beautiful, like a woman.
http://www.bibliotekar.ru/rusGogol/67.htm

The young Roman woman Friedrich Wilhelm von Schadow (1818) is not yet aflame with passion, which, however, can be explained by the age of the model. But still ahead!

With the beauties of Friedrich Overbeck, everything is more complicated. With his gaze on the models, he seems to “freeze” them, sculpting the forms. Looking at Vittoria Caldoni (1821), we are reminded of the Virgin or images of saints. Vittoria was one of the most famous Italian beauties of her time. Many of her images have been preserved, made not only by painters, but also by sculptors. Alexander Ivanov captured her very young. She married Grigory Lapchenko and left for Russia with him.
http://www.mknews.de/article/2013/02/27/817842-devushka-iz-albano.html

The features of Vittoria are also guessed in the image of Italy in Overbeck's famous pictorial manifesto "Italy and Germany" (1828).

O real life Romantics or the widespread myth about them, according to which a true artist and poet cannot be recognized during his lifetime, is reminiscent of Carl Spitzweg's painting "The Poor Poet" (1839). Like our Pavel Fedotov, Spitzweg was self-taught and a master of storytelling through detail. And they are also related by the combination of an ironic and loving attitude towards their characters.

The Pinakothek (Munich) is one of the most famous world-class art galleries, which presents more than 700 paintings of the 14th-21st centuries, which were written by the most famous masters: Leonardo da Vinci, Raphael, A. Dürer, J. Bosch, Altdorfer, W. Titian , S. Botticelli, F. Goya and others.

History of the collection

The Old Pinakothek in Munich (Alte Pinakothek) is a popular and famous museum, which contains 9 thousand paintings by European artists of the 14th-18th centuries. Distinctive feature The museum comes from its name. The Pinakothek (Greek: “art gallery”) is a place where only paintings are exhibited.

The collection of paintings began to be collected in 1528 by the Bavarian Duke Wilhelm IV von Wittelsbach, who wanted to decorate the summer pavilion of his Munich residence with paintings based on historical motives. The very first was written "The Battle of Alexander", dedicated to the battle of Alexander the Great with the Persian army of King Darius. Then other members of the Wittelbach family began to replenish the collection.

By the end of the 17th century, the collection became one of the most prominent in Europe in terms of its significance. In particular, the works of Flemish artists were added to it, which were collected by the Bavarian Elector Max Emmanuel (1679-1726).

By the beginning of the 18th century, the museum already had works by outstanding painters from Italy, Spain, Germany and the Netherlands. Then there was a further increase in the collection:

• in 1777 paintings from the Mannheim Gallery were added to it;
• in 1803 - 1,500 paintings, which were previously in churches and monasteries;
• 1806 Düsseldorf collections and works from Carlsberg Castle added.

To accommodate the paintings, a separate room was built in the Schleissheim Palace.

Construction of the Pinakothek building

The reign of Ludwig I of Bavaria (1825-1848) is a significant period in the history of the Munich Gallery. At this time they acquired notable works German and Dutch artists of the 15th century, Italian paintings of the Renaissance.

In order to accommodate such a rich collection, there is already a need for the construction of a special building and the placement of works there in chronological order.

Ludwig I decided that his private art collection was worthy of being made public so that Munich would be considered a world-famous center for painting and other arts.

The plan of the gallery building was designed by architect Leo von Klenz in the Renaissance style. The ceremonial laying of the foundation of the building took place in April 1826 on the birthday of Ludwig's favorite artist Raphael Santi. The King of Bavaria ordered that the museum be named after the Greek word "pinakothek".

The Alte Pinakothek (Munich) was already built by 1836, and at the same time Ludwig issued a decree on free admission all interested museums in Sundays. However, in the early years, the townspeople did not so much visit the museum as arranged picnics on the lawn in front of the gallery.

The old Pinakothek contains only paintings from the Middle Ages to the Enlightenment. Its building is rather gloomy and gray, inside the halls are also almost undecorated. The complete lack of decoration is made specifically so that visitors are not distracted from main goal visits to the museum - contemplation of the masterpieces of the world art of painting.

Throughout the 19th and 20th centuries, the Pinakothek's collection continued to expand through the acquisition of paintings from those times, for which the building of the new Pinakothek was built in 1853.

War and restoration of museums

During the 2nd World War, the Pinakothek (Munich) was badly damaged by Anglo-American air raids. The paintings themselves survived, because they were stacked in advance in underground shelters. The building of the old Pinakothek was restored only by 1963.

But the building of the new Pinakothek (see photo) was almost completely destroyed, and it was not possible to restore it. The New Pinakothek was completely rebuilt according to the design of the architect A. Brancas, and it opened only in 1981.

The building is unusual, it has many bay windows and semicircular window arches, which at one time caused public disputes and different opinions. However, inside the halls are magnificent, especially the overhead lighting provided by the architect received positive reviews.

Now 550 paintings and sculptures from the 19th and 20th centuries are exhibited here.

Collections of the old Pinakothek

The exposition is housed in a two-story building, on the ground floor of which temporary, frequently changing exhibitions take place in the left wing. Among the painters represented by the old Pinakothek (Munich) are paintings by Flemish and German artists of the 15th-17th centuries: P. Brueghel, L. Cranach, and others (right wing).

On the second floor there are collections of the Northern Renaissance: paintings by the Dutchman L. van Leyden, Rembrandt; Durer and S. Lochner; Italian masters Botticelli, Raphael, Leonardo da Vinci; Flemish Van Dyck, Rubens.

In the right wing you can see collections of paintings from the Baroque and Rococo eras, including El Greco and Murillo, as well as other Italian, French and German artists.

Masterpieces of the Alte Pinakothek

Many works famous artists presents the old Pinakothek (Munich): masterpieces of the 15th-18th centuries, each of which has its own history.

For example, the painting "Madonna with a Carnation" was accidentally bought from a merchant, and only later it turned out that it belongs to the brush of the young Leonardo da Vinci. Now this is the only canvas of the master, located in Germany. The carnation flower held by the Virgin Mary is a symbol of immortality.

The works of Francois Boucher "Portrait of Madame de Pompadour" (1758) and "Resting Girl" (1752) depict the favorite of Louis the 15th, who was a famous beauty with impeccable taste, and Louise O "Murphy, a court lady who also became a favorite in the future king.

Van Dyck's Self-Portrait (1619) and Susanna and the Elders (1622), a master of court portraiture and religious paintings.

The work of P. Rubens "The Last Judgment" (1617) tells about an important event: when people with a story about their lives, committed sins and great achievements appear before God to determine their future fate - the path to heaven or hell. This is one of the largest canvases in world history, measuring 610 x 460 cm, for which the museum hall was specially designed.

In the painting "The Death of Seneca" (1613), the famous Dutch artist P. Rubens talks about historical fact, which happened to the famous thinker Seneca, who, as punishment for betrayal, ordered to commit suicide. He listened with dignity to this decision and, together with his wife, prepared to accept his death.

New Pinakothek: history

New Pinakothek in Munich was founded in 1846 as a continuation of the old one and initially contained works of art from the 18th century. The King of Greece, Otto, continued the work of his father and formed an exposition from the works of artists of the Munich school of painting. The famous landscape painter K. Rothman painted 23 large canvases with the image and dedication of Greece especially for the gallery.

In 1909, works by French impressionists (Cezanne, Manet, Gauguin, etc.) were added to the collection.

The new Pinakothek contains works of art from the 19th and 20th centuries of the eras of romanticism, classicism and realism. In total, there are 3,000 paintings and 300 sculptures in the storerooms, of which 550 paintings and 50 works by sculptors are exhibited in 22 halls.

Pictures of the new Pinakothek

The most famous masterpieces that the new Pinakothek (Munich) presents are paintings:

• "Vase with sunflowers" by W. Van Gogh (1888) - is an image of a symbol of optimism and creative thought of a person, a gift to the viewer of a small piece of the sun.
• "The Poor Poet" by K. Spitzweg (1839) - describes the disorder and strange situation in the dwelling of a lonely poet, carried away by his work so much that he does not see his surroundings.

• “After a stormy night” by Yu. K. K. Dahl (1819) - the picture is saturated with the consequences of the crash left after the storm, and, at the same time, sings of rebirth in the form of a ray of light.
• "Don Quixote" by Honore Daumier (1868) symbolizes the loneliness of the hero, whom the artist specially painted without a face.

Pinakothek der Moderne

The third, most modern part of the gallery (open since 2002) is the Pinakothek der Moderne (Munich), which is dedicated to today's arts. It includes 4 independent museums:

• Collection of works of contemporary art, part of the Bavarian Painting Collection.
• State Museum of Applied Arts.
• Architectural Museum - tells mainly about the 19th-21st centuries, the exposition often changes (500 thousand drawings and plans created by architects at different times, as well as 100 thousand photos of architectural solutions).
• Munich State Graphic Collection (350,000 engravings and 45,000 drawings).

The building of the Pinakothek der Moderne was erected according to the project of the architect S. Braunfels with private donations. It is spacious and bright, in the center of it there is a two-sphere rotunda, in two directions from which wide staircases diverge, directing visitors to the exposition.

In the underground part there is a design collection, on the 1st floor there is an architectural and graphic collection, as well as temporary exhibitions.

The western wing contains a collection of classical modernism, the eastern wing tells about the directions of contemporary art: expressionism, cubism, fauvism, Bauhaus, surrealism, pop art, minimalism, etc.

All collections were collected in the second half of the 20th century as donations from collectors, donated to the museum. The last gift is a collection of German and North American art from the 1960s-90s. - was transferred in 2006 by E. and M. Stoffel.

The collection includes works famous artists: A. Matisse, F. Leger, Salvador Dali, P. Picasso and others. There is also a hall with photographs of contemporary photographers.

Pinakothek in Munich: opening hours, prices

All three Pinakotheks are located close to each other, on Sunday the price is 1 €, but on this day the museums are overcrowded with tourists.

Addresses: Barer Straße 27, 29, 40, Munich (Pinakothek). Opening hours:

• Old - 10.00 to 18.00, Tuesday to 20.00, Monday closed.
• New - 10.00 to 18.00, Wednesday to 20.00, closed Tuesday.
• Pinakothek der Moderne — from 10.00 to 18.00, on Thursday until 20.00, seven days a week.

On ordinary days, the cost in the Pinakothek varies:

• Old - ticket price 4 €.
• New - 7 €.
• Pinakothek der Moderne — 10 €.