Bode Museum Diary

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Inaugurated in 1904 as the Kaiser-Friedrich-Museum, the building was designed by Ernst Eberhard von Ihne, and construction lasted seven years. In 1956, the museum got its current name, in honor of the first director, William Bode, whose trademark was showcasing a variety of artworks – sculpture, painting, coins, medals, crafts. Indeed, what I liked best about the Bode was the variety – the sculptures, paintings and crafts all mixed together, sometimes even in one room. The collections were full of surprises that made me enthusiastic about each work I came across.

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I especially liked the sculpture collection. The medieval sculptures moved me the most. The large triptychs were overwhelmingly beautiful. Byzantine art played a major role in the collections. The art from Ravenna reminded me of my trip there as I had been dazzled by mastery of the works there. One of the largest collections of sculpture in the world, the pieces date from early medieval times to the late 18th century. Donatello, Lorenzo Bernini, Giovanni Pisano – they were just a few of the creators represented in this unbelievable array of artistry. Architectural sculpture included a Romanesque tribune from Germany. Glazed terracotta was also on display as were small sculptural works from bronze, alabaster and ivory. I also saw mosaic icons and artifacts from Egypt. The museum itself was a work of art with fireplaces and rich decoration hailing from the Italian Renaissance.

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I was intrigued by one display in particular. I learned that the artworks from this museum had been stored in a bunker in Berlin-Firedrichshain during World War II, but a fire broke out in May of 1945, destroying many of the sculptures. I imagined furious flames engulfing so many precious works of art and thought how formidable the collection would have been with even more dazzling sculptures. It was a great loss, for sure.

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I was in awe as I took in all the artifacts from Roman sarcophagi to silver sculpture to Byzantine works from Italy and Turkey to German Late Gothic sculptures. The mixture of different kinds of art from various periods gave the museum a dynamic quality and unique character.

Tracy Burns is a writer, proofreader and editor in Prague.

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The Pergamon Museum Diary

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The Ishtar Gate

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Built from 1910 to 1930, the Pergamon Museum on Berlin’s Museum Island is one of the most visited museums in the country. One of its highlights, the Pergamon Altar, is closed for a lengthy period. Still, there’s a lot to see.

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The Market Gate of Miletus

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I especially was enthused by the Ishtar Gate in that dynamic blue color. Originally located in Babylon, it hails from 575 BC. The Market Gate of Miletus, dating from 2 AD, also overwhelmed me. I was very impressed with the wide range of Islamic art, too.

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The Aleppo Room

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My favorite exhibit is the Aleppo Room, a richly adorned red reception room from a house in that city. I had only seen pictures of present day Aleppo in ruins. It was difficult to imagine that something so beautiful had once stood in that city. I realized it was once a city of grandeur, though now, unfortunately, reduced to rubble. I felt the tragedy of the war deeply. Before, I had become almost numb to it, seeing so many pictures of the ruins on TV so many times. The exhibit made the war real, way too real.

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I was also intrigued by the museum’s history. It was damaged during World War II, and, shortly afterwards, Russian soldiers took most of the items in the collection back to Russia. Most of it was returned in 1958 – yes, it took that long!, – but some of the objects are still in Russia. They are on display in St. Petersburg and Moscow.

Tracy A. Burns is a proofreader, writer and editor in Prague.

Islamic Art Collection

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The Old National Gallery in Berlin Diary

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One of my favorite museums in Berlin, the Old National Gallery has the shape of a temple from antiquity, which appealed to me. The museum opened in 1876. While it suffered damage during World War II, it was renovated and opened again in 1949. From 1998 to 2001 it underwent modern reconstruction.

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I was so impressed with the collection collection of 19th century art, which ranges in style from NeoClassicist, Romantic to Impressionist. Because Impressionism is my favorite period, I was most struck by the paintings of that era, specifically by the works of Monet. I also admired paintings by Manet and Renoir. The museum also is home to the largest collection of paintings by Adolph Menzel, who I had not heard of previously.

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While I was visiting in 2018, there was a fantastic temporary exhibition called Wanderlust. It featured 19th century paintings of landscapes with travelers on foot. I had become a much stronger person from traveling alone, and it reminded me of all my solitary journeys to places unknown. The paintings could represent a person’s journey through life.

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From Wanderlust exhibition

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From Wanderlust exhibition

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From Wanderlust exhibition

I was particularly enamored by the Italian settings of Naples and Sicily in several paintings. I thought back to my trips to those places as I had discovered many gems in Italy and would develop a love for Italy almost as strong as my passion for the Czech Republic.

Tracy A. Burns is a writer, proofreader and editor in Prague.

From Permanent Exhibition

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Wanderlust Temporary Exhibition

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My favorite painting in the temporary exhibition

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Rovereto and the Depero Futurist House of Art Diary

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It was the perfect way to spend the last day of my trip to the Veneto region. I had travelled with arsviva travel agency to Vicenza for an art exhibition and to Padua for some sightseeing. The town of Rovereto, below the Dolomites and near Lake Garda, was even more enthralling than the Palladian villas I had seen. The narrow, picturesque streets and quaint squares gave the place a romantic flair. The town had a distinctive poetic quality. I loved the cafes, where I could have sat all day while sipping cappuccinos and eating paninis. There was a lot to see, and, unfortunately, we only had a few hours before the long bus trip back to Prague.

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The facades of the buildings caught my undivided attention. I especially liked the floral motifs on the façade of the Palazzo Del Ben-Conti d’Arco behind a fountain on one of the main squares. Other facades showed religious decoration. The town had made a name for itself in history, too. Prominent personalities had set foot in Rovereto, especially during the 18th century. Goethe had visited in 1786, Pope Pius VI in 1782. Mozart gave his first concert in Italy there during 1769. Indeed, I could almost hear Mozart’s lively music as I meandered along the charming streets.

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There’s more. The Public Library holds the distinction of being the location of the longest nonstop reading session ever – 53 hours long. There are intriguing churches while a castle housing a military museum looms above the town. The Bell of the Fallen is the largest bell in the world, made of bronze of cannons from all countries that saw action in World War I.

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When we came to the Depero Futurist House of Art (Casa d’Arte Futurista Depero), I took one look at the building and knew I had to go inside. Elements of modern architecture somehow accented the medieval character of the structure. The building reminded me of the House of the Stone Bell (Dům U kammeného zvonu) in Prague, an exhibition space in a medieval building that is seeping with history. This was the only Futurist museum in Italy, and I wanted to familiarize myself with the movement in which Fortunato Depero (1892-1960) had played a prominent role.

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First, I needed some background information about Depero. He grew up in Rovereto, working with marble and creating art, so it was only fitting that in 1919 he chose this town as the location for the museum that would eventually contain as many as 3,000 of his works. Depero made a name for himself as a painter, sculptor, writer and graphic designer. While living in Rome, he wrote a futurist manifesto and created stage sets and costumes. In 1928, he tried his luck in America, settling in New York City, where he designed costumes for the theatre and created covers for magazines. After a stint of several years, he returned to Italy. Depero remained loyal to the futurist movement, even though it was not as well respected in the 1930s and 1940s because many artists working in that style became fascists during those decades. Due to futurism’s negative image, many abandoned the movement. Not Depero. After World War II, he moved back to the USA, residing in Connecticut. In 1949, he returned to his boyhood home of Rovereto, and he would stay there for the remainder of his life. He was ill for two years before passing in 1960 at the age 68.

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Wall decoration of interior

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It wasn’t until I came to the museum that I became familiar with the movement of Futurism, a movement that was born in Italy during the early 20th century. Futurism rejected the past and celebrated modernity and technological advances. Often its artists portrayed urban environments and industrial cities. Cars and airplanes made frequent appearances. Vehicles were shown in motion, not standing still. However, futurists also tended to praise violence and war. Artists of this movement took up diverse fields – painting, sculpture, ceramics, graphic design, theatre, film, literature and others.

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The museum was eclectic with furniture, paintings, tapestries, cloth material, drawings, collages, posters, toys and a film, for instance. I loved the dynamic colors, especially the bright orange of one painting and bright pink hues of others. The works indeed looked as if they were in motion. I could see elements of Cubism in the designs. I especially thought of Josef Čapek’s mechanical figures in his paintings, and I could see characteristics of primitive art, too. I was struck by the way some figures resembled machines. In one sculpture in particular I could see the figures in motion. It was as if the sculpture was not standing still, but, of course, it was.

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There were tranquil scenes, such as a woman with a pink face holding a pot on her head, having stopped to talk to a figure smoking a pipe. Some of the furniture seemed to have designs resembling folk themes. In some paintings I saw a dangerous, impersonal city, sharp as a sword. It was as if the buildings themselves had swallowed up humanity. Of course, these are just my personal impressions. I do not know if they are the impressions Depero wanted viewers to have.

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I liked the unique museum because it had both a modern and medieval character architecturally, and the many artifacts introduced me to a movement I had known nothing about. I especially was drawn to the pastel colors of some of the works. I learned about an artist who never gave up on futurism, even when many others had given up on the movement. It was somewhat ironic to have a museum dedicated to art that stressed modernity and despised anything old in a town of rich historical content. It was interesting that Depero chose a medieval building as the place to exhibit his works. The exhibition’s location stressed that the old was fused into the new and vice versa, not that the new rejected the old.

Perhaps the irony was part of the beauty of it all, too.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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