Paul Hippolyte Delaroche (1797-1856), Louise Vernet, the artist's wife, on her Deathbed, 1845/46, Oil on canvas, 62 x 74,5 cm, Musée des Beaux-Arts de Nants, © Musée des Beaux-Arts de Nantes.
Museu Städel - Frankfurt am Main
26 de setembro de 2012, janeiro 20, 2013
Ernst Ferdinand Oehme (1797-1855), Procession in the Fog, 1828, Oil on canvas, 81,5 x 105,5 cm, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden.
A grande exposição especial do Museu Romantismo Dark. De Goya a Max Ernst é a primeira na Alemanha a focar o aspecto sombrio do Romantismo e seu legado.
Francisco de Goya (1746-1828), Flying Folly (Disparate Volante), from The proverbs (Los proverbios), plate 5, 1816-1819, 1. Edition, 1864, Etching and aquatint, 21,7 x 32,6 cm, Städel Museum, Frankfurt am Main.
The Städel Museum's major special exhibition Dark Romanticism. From Goya to Max Ernst is the first German exhibition to focus on the dark aspect of Romanticism and its legacy.
Arnold Böcklin (1827-1901), Villa by the Sea, 1871-1874, Oil on canvas, 108 x 154 cm, Städel Museum, Frankfurt am Main.
Especialmente evidente no Simbolismo e no Surrealismo. Esta importante exposição, composta por mais de 200 pinturas, esculturas, trabalhos gráficos, fotografias e filmes, apresenta o fascínio que muitos artistas sentiram pelo sombrio, o secreto, e pelo mal.
Caspar David Friedrich (1774-1840), Kügelgen's Tomb, 1821/22, Oil on canvas, 41,5 × 55,5 cm, Die Lübecker Museen, Museum Behnhaus Drägerhaus, on loan from private collection.
Mainly evident in Symbolism and Surrealism. In the museum's exhibition house this important exhibition, comprising over 200 paintings, sculptures, graphic works, photographs, and films, presents the fascination that many artists felt for the gloomy, the secretive, and the evil.
James Whale (1889-1957), Frankenstein, USA, 1931, Filmstill, © Universal Studios. Alle Rechte vorbehalten.
Utilisando-se de excelentes trabalhos da coleção do museu sobre este assunto de Francisco de Goya, Eugene Delacroix, Franz von Stuck or Max Ernst como ponto de partida, a exposição também apresenta importantes empréstimos de coleções de renome internacional, como o Musée d'Orsay, Musée du Louvre , de Paris, Museu do Prado, de Madrid, e do Instituto de Arte de Chicago.
James Whale (1889-1957), Frankenstein, USA, 1931, Filmstill, © Universal Studios. Alle Rechte vorbehalten.
Using outstanding works in the museum's collection on the subject by Francisco de Goya, Eugene Delacroix, Franz von Stuck or Max Ernst as a starting point, the exhibition also presents important loans from internationally renowned collections, such as Musée d'Orsay, Musée du Louvre, both in Paris, Museo del Prado in Madrid, and Art Institute of Chicago.
Edvard Munch (1863-1944), Vampire, 1916-1918, Oil on canvas, 85 × 110 cm. Collection Würth, Photo: Archiv Würth, © VG Bild-Kunst, Bonn 2012.
As obras em exposição de Goya, Johann Heinrich Fuseli, William Blake, Géricault e Delacroix Théodore, bem como Caspar David Friedrich, transmite um espírito romântico que no final do século 18 havia tomado conta de toda a Europa.. Nos século 20, artistas como Salvador Dali, René Magritte ou Paul Klee e Max Ernst continuaram a pensar nesse veio.
Friedrich Wilhelm Murnau (1888-1931), Faust, Germany, 1926, Filmstill, Silent film, © Friedrich-Wilhelm-Murnau-Stiftung.
The works on display by Goya, Johann Heinrich Fuseli, William Blake, Théodore Géricault and Delacroix, as well as Caspar David Friedrich, convey a Romantic spirit which by the end of the 18th century had taken hold all over Europe. In the 20th century artists such as Salvador Dali, René Magritte or Paul Klee and Max Ernst continued to think in this vein.
Victor Hugo (1802-1885), The Blessing Hand of the Abbess, no date, Pen, brush, brown India ink on vellum, 13,7 × 11,3 cm, Maisons de Victor Hugo, Paris et Guernesey, © Maisons de Victor Hugo, Paris et Guernesey / Roger-Viollet.
As obras de arte falam de solidão e melancolia, paixão e morte, do fascínio com horror e da irracionalidade dos sonhos. Depois de Frankfurt a exposição, concebida pelo Museu Städel, viaja para Musée d'Orsay, em Paris.
Roger Parry (1905-1977), Untitled, 1929, Illustration from Léon-Paul Fargue's Banalité (Paris 1930), gelatin silver print, 21,8 × 16,5 cm, Collection Dietmar Siegert, © VG Bild-Kunst, Bonn 2012.
The artworks speak of loneliness and melancholy, passion and death, of the fascination with horror and the irrationality of dreams. After Frankfurt the exhibition, conceived by the Städel Museum, travels to Musée d'Orsay in Paris.
Henry Fuseli (1741-1825), The Nightmare, 1790/91, Oil on canvas, 76,5 x 63,6 cm, Frankfurter Goethe-Haus – Freies Deutsches Hochstift, © Frankfurter Goethe-Haus – Freies Deutsches Hochstift.
A exposição é realizada como parte da iniciativa do Frankfurt Kulturfonds Rheinmain no contexto de 'Impuls Romantik. "É apoiada pela cidade de Frankfurt am Main.
Julien Adolphe Duvocelle (1873-1961), Skull with Protruding Eyes, ca. 1904, Pencil and charcoal on paper, 36 x 25 cm, Musée d’Orsay, Paris.
The exhibition is realized as part of the initiative of the Kulturfonds Frankfurt RheinMain in the context of 'Impuls Romantik." It is supported by the City of Frankfurt am Main.
Henry Fuseli, 1741-1825, Thor Battering the Midgard Serpent, 1770, Oil on canvas, 133 × 94,6 cm, Royal Academy of Arts, London, Photo: John Hammond, © Royal Academy of Arts, London.
A tomada da exposição sobre o assunto é geografica e cronologicamente compreensiva, lançando luz sobre diferentes centros de Romantismo, e, assim retraçando complexos desenvolvimentos iconográficos da época.
Salvador Dalí (1904-1989), Dream caused by the Flight of a Bee around a Pomegranate a Second before
Awakening, 1944, Oil on wood, 51 x 41 cm, Museo Thyssen-Bornemisza, Madrid, © VG Bild-Kunst, Bonn 2012.
The exhibition's take on the subject is geographically and chronologiclly comprehensive, thereby shedding light on links between different centres of Romanticism, and thus retracing complex iconographic developments of the time.
Gabriel von Max (1840-1915), The White Woman, 1900, Oil on canvas, 100 x 72 cm, Private Collection.
Ela é concebida para estimular o interesse aos aspectos sombrios do Romantismo e ampliar a compreensão deste movimento. Muitos dos desenvolvimentos artísticos e posições apresentadas aqui emergem de uma confiança destruida e pensamento esclarecido e progressista, que tomaram conta logo após a Revolução Francesa - inicialmente celebrada como o alvorecer de uma nova era - no final do século 18. Manchada de sangue e terror guerra trouxe sofrimento e causaram a desordem social em grande parte da Europa;
.
Francisco de Goya (1746-1828), Flight of Witches, 1797/98, Oil on canvas, 43 × 30,5 cm, Museo Nacional del Prado, Madrid, © Museo Nacional del Prado, Madrid.
It is conceived to stimulate interest in the sombre aspects of Romanticism and to expand understanding of this movement. Many of the artistic developments and positions presented here emerge from a shattered trust in enlightened and progressive thought, which took hold soon after the French Revolution — initially celebrated as the dawn of a new age — at the end of the 18th Century. Bloodstained terror and war brought suffering and enentually caused the social order in large parts of Europe to break down.
William Blake (1757-1827), The Great Red Dragon and the Woman Clothed with the Sun, about 1803-1805, Watercolor, graphite and incised lines 43,7 × 34,8 cm, Brooklyn Museum, Gift of William Augustus White.
A desilusão foi grande assim como o entusiasmo original quando os aspectos sombrios da iluminação foram revelados em toda a sua dureza. Jovens figuras literárias e artista se voltaram para o lado inverso da Razão.
Franz von Stuck (1863-1928), The Sin, 1893, Oil on canvas, 88 × 53,5 cm, Galerie Katharina Büttiker, Zürich.
The disillusionment was a great as the original enthusiasm when the dark aspects of the enlightenment were reveled in all their harshness. Young literary figures and artist turned to the reverse side of Reason.
Salvador Dalí (1904-1989), Ballerina in a Death's Head, 1932 (rather 1939), Oil on canvas, 24,5 × 19,5 cm, Collection Merz / Kunstmuseum Liechtenstein, Vaduz, © VG Bild-Kunst, Bonn 2012.
O horripilante, o milagroso, e o grotesco desafiaram a supremacia do belo e imaculado. O apelo de lendas e contos de fadas e do fascínio com a Idade Média competiram com o ideal da Antiguidade A paisagem campestre tornou-se cada vez mais atraente e foi um assunto favorito dos artistas. A luz do dia encontrou o nevoeiro e misteriosa escuridão da noite.
Carlos Schwabe (1866-1926), The Wave, 1907, Oil on canvas, 196 x 116 cm, Collection des Musées d’art et d’histoire de la Ville de Genéve, Photo: Bettina Jacot-Descombes, © Musée d’art et d’histoire de la Ville de Genéve.
The horrific, the miraculous, and the grotesque challenged the supremacy of the beautiful and the immaculate. The appeal of legends and fairy tales and the fascination with the Middle Ages competed with the ideal of Antiquity The local countryside became increasingly attractive and was a favored subject for artists. The bright light of day encountered the fog and mysterious darkness of the night.
Samuel Colman (1780-1845), The Edge of Doom, 1836-1838, Oil on canvas, 137,2 × 199,4 cm, Brooklyn Museum, Bequest of Laura L. Barnes.
Friedrich Wilhelm Murnau (1888-1931), Nosferatu – A Symphony of Horror, Germany 1922, Filmstill, Silent film, © Friedrich-Wilhelm-Murnau-Stiftung.
René Magritte (1898-1967), Sentimental Conversation, 1945, Oil on canvas, 54 x 65 cm, Private Collection, © VG Bild-Kunst, Bonn 2012.
Städel Museum
Dürerstraße 2, 60596
+ 49(0)69-605098-111
Frankfurt am Main
Dark Romanticism.
From Goya to Max Ernst
September 26, 2012-January 20, 2013
