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Tag: Pinakothek der Moderne

Munich; Johann Andreas Wolff (1652-1716) Draughtmanship in Munich around 1700

05.05-17.07.2016 Staatliche Graphische Sammlung München at Pinakothek der Moderne

Johann Andreas Wolff (1652-1716)  electoral court painter in Munich and in Freising,  was a leading participant since  about 1680 numerous sacred and profane new and renovated buildings in southern Germany and Austria, such as in the modernization of state rooms of the Munich Residenz by Elector Max Emanuel.  The Staatliche Graphische Sammlung München secures more than half of his surviving drawings that are shown on the occasion of the 300th anniversary of his  death at the Pinakothek der Moderne.

41641 ZJohann Andreas Wolff, VENUS UND AMOR AUF EINEM VON SCHWÄNEN GEZOGENEN HIMMELSWAGEN  “Venus and Cupid on a heavenly chariot drawn by swans, design for the ceiling mural in the Munich Residence, around 1692; pen and red-brown ink, grey and light brown wash, over graphite  161 x 250 mm © Staatliche Graphische Sammlung München


34602 Z

Johann Andreas Wolff   DIE MYSTISCHE VERMÄHLUNG DER HL. KATHARINA, “The Mystic Marriage of St. Catherine, around  1692; Pen and brown ink, coloured wash, 309 x 215 mm
© Staatliche Graphische Sammlung München


14362 Z

Johann Andreas Wolff, ALEXANDER ZIEHT PERSISCHE KLEIDUNG AN “Alexander wears Persian attire”, design for the ceiling painting (now lost) of the Electoral dressing room in the Munich Residence, around 1680,  341 x 561 mm © Staatliche Graphische Sammlung München


 Other patrons were Prince Bishop Johann Eckher of Freising and the abbots of major Austrian pins (St. Florian, Kremsmünster, Göttweig)….In the baroque interior beings throughout the north of the Alps Wolff exercised decisive influence. Its high extraordinary altarpieces dominate today in many South German and Austrian churches and monasteries.

Wolff_Hl-1. Sippe_um1684

Johann Andreas Wolff  HL. SIPPE “The Holy Kinship”, design for the central panel of the altarpiece in the Church of St. Martin and Castles in Landshut, around 1684, pen and red-brown ink, red-brown wash, 304 x 235 mm,  © Staatliche Graphische Sammlung München


Since the last monograph on Wolff was drawn up in 1988 (Kuno Schlichtenmaier), the image of work and importance of the painter is to revise. In addition to new discoveries and partially modified ups and a re-reading of the numerous surviving sources new questions are asked to Wolff’s biography and oeuvre: What is his position in the “Organization” of the Munich court to understand?  …How did the artist whose ceiling paintings, sculptures and ephemeral Triumphalbauten was designed alongside monumental altarpieces, contributed to the representation of court and church? ,,, Is the role of Munich as an art center in 1700 to re-evaluate? (Johann Andreas Wolff (1652 – 1716) – a court painter and art director Edited by Sibylle Appuhn-Radtke, Josef H. Biller, Dagmar Dietrich and Maria-Luise Hopp-Gantner) 

Wolff_Die Verkundigung an Maria_um1678

Johann Andreas Wolff DIE VERKÜNDIGUNG AN MARIA “The Annunciation”design for a painting that now hangs in the Diözesanmuseum, Freising, around 1678; pen and black ink, grey wash, heightened with white, on light brow paper,  263 x 179 mm © Staatliche Graphische Sammlung München


30155 D


Johann Andreas Wolff  DIE ANBETUNG DER HIRTEN “The Adoration of the Magi”, design for the Nativity Altarpiece in St. Stephan’s Cathedral in Passau, around 1697, 253 x 199 mm © Staatliche Graphische Sammlung München

Wolff_Das Mahl der Kleopatra und des Marcus Antonius_um 1680

Johann Andreas Wolff  DAS MAHL DER KLEOPATRA UND DES MARCUS ANTONIUS “The Feast of Cleopatra and Mark Anthony”, probable design for the Alexander Room in the Munich Residence, around 1680; pen and brown ink, inked-in over graphite sketch, grey and light-brown wash, 377 x 292 mm   © Staatliche Graphische Sammlung München

The research results of a working group to appear to Wolff’s 300th anniversary 2016 Apelles Publishing.  The exhibition of the Staatliche Graphische Sammlung München allows  a new look at Wolff as a draftsman.

Wolff_Alexander veranlasst Ephestionis zur Verschwiegenheit_um1680

Johann Andreas Wolff ALEXANDER VERANLASST EPHESTIONIS ZUR VERSCHWIEGENHEIT   ‘Alexander makes Ephestionis swear an oath  of silence’, design for the ceiling painting (now lost) in the ‘Rittestube’of the Munich Residence, around 1680; pen and black and brown ink, grey and brown wash. 179×180 mm ©Staatlische Graphische Sammlung München



a beautiful publication “Johann Andreas Wolff: Zeichenkunst in München um 1700″ Achim Riether (author); Joseff Strasser (contributor)

all images provided by the Press Department of Pinakothek der Moderne for this editorial reporting. Thank you!

Munich; ‘Konstantin Grcic:the Good, the Bad, the Ugly’ at Die Neue Sammlung (the Design Museum)

12.11.2015-18.09.2016 (Paternoster Halle) &  12.11.2015-28.02.2016 (Temporär 2)  Die Neue Sammlung-The Design Museum/Pinakothek der Moderne
Curator: Dr. Angelika Nollert
Co-Curator: Dr. Xenia Riemann

Acclaimed international designer Konstantin Grcic (born 1965 in Munich, where he now lives) commenced with his exhibition  “the Good, the Bad, the Ugly”at Die Neue Sammlung, part of the new series “Mobile Structures”: Die Neue Sammlung has devised  a new exhibition  format specifically in order to emphasise the special architectural quality of the two-story Paternoster Hall, visible from one of the museum galleries.

The revolving movement of the paternoster elevators reflects the motto of an active Neue Sammlung.


photo@VK by permission


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

Grcic is an industrial designer and in this field above all a furniture designer.  Since the beginning of his career has has also been involved in devising presentations and representations…. His concept for the Paternoster Hall comprises a small number of interventions, which thanks to their precision are in fact highly effective.

The display cases, specially made for the models, are evidence of the importance of the design  process of chair _ONE  for Grcic, who makes it the central focal point of the exhibition.

“…here materials and design enter into a perfect symbiosis. Chair _ONE is a new milestone in design in its form and in its technical process. “(Dr. Angelika Nollert, director of die Neue Sammlung, in ‘Mobile Structures, museum publication ‘the Good, the Bad, the Ugly).


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

The exhibition is complex, but quite challenging and beautiful. A lovely afternoon I met  Dr Angelika Nollert, director of Die Neue Sammlung over lunch and passionately she  talked about the exhibition and some important  points of references marvellously gave me a different awareness  of the exhibition.

…Despite its uniqueness chair_ONE possesses numerous qualities that are characteristics of works by Grcic. Just as chair_ONE is reminiscent of architectural load-bearing structures by Buckminster Fuller, other products by Grcic reflect pieces by other designers.  For instance, the cantilever chair Myto is an homage to the S-Chair by Verner Panton, and 360 Container cites Joe Colombo’s tower of drawers. Le Corbusier, Franco Albini, Jasper Morrison, De Stijl and the Shakers and kindred spirits with Grcic and  his idea of reduction, essentiality and substance, as expressed in the seating designs Traffic, Parrish, Medici Lounge and Dahlem’ (Dr Angelika Nollert)


Konstantin Grcic, model #1 for chair_ONE, 1999/2000-2004
Photo: Gerhardt Kellermann © Konstantin Grcic


Konstantin Grcic, model #2 for chair_ONE, 1999/2000-2004
Photo: Gerhardt Kellermann © Konstantin Grcic


Konstantin Grcic, chair_ONE, Magis, 2004
Photo: Gerhardt Kellermann © Konstantin Grcic

The third section in the exhibition. quite impressive and complex concept,  is called “TT-Pavilion.  Dr Angela Nollert explains to me, ‘…when designing his TT-Pavilion Grcic sought to transfer advanced automotive technology into an architectural context…’

In  this exhibition Grcic presents the TT-Pavilion, conceived in 2014 as the trade fair stand for Audi, in a scenographic installation…The octagonal mobile architecture brings to mind the mobile wooden houses of Jean Prouvé or Charlotte Perriand as well the plastic pavilion utopias by Jean Benjamin Manual or Matti Suuronen. 


Blick in die Ausstellung “Konstantin Grcic: The Good, The Bad, The Ugly”, Foto: Gerhardt Kellermann © Konstantin Grcic

The transformation of the space is achieved thanks to a panorama picture carried out by poster artist René Birkner and painter Alina Birkner.  Dr Angelika Nollert says, ” …Just as the UFO is a hybrid, the landscape is a pasticcio of the motifs of Monument Valley, the backdrop of skyscrapers in a megacity and non-cultivated vegetation…”




photos@Venetia Kapernekas, by permission

The exhibition title, “The Good, The Bad, The Ugly’, borrowed from a classic Western, highlights this relation between aesthetics and character and in so doing ironically references the great emotional potential of design and reception.


Konstantin Grcic, prototype #4 (stress model) for stool_ONE (bar stool), 2004-2006
Photo: Gerhardt Kellermann © Konstantin Grcic
The exhibition will be accompanied by a publication featuring photos by Gerhardt Kellermann, designed by Lambl/Homburger, with an essay by Hubert Filser based on a conversation he moderated between Konstantin Grcic and Tim Bechthold, Head of Conservation, as well as an introduction to Grcic’s oeuvre by Angelika Nollert. The exhibition catalogue is published by Verlag der Buchhandlung Walter König, Cologne.


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