Friedrich Overbeck, "Vittoria Caldoni", 1821, Oil on canvas, 89,5 x 65,8 cm, Inv. Nr. WAF 757 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

MUNICH.- Good news for all those missing the Neue Pinakothek: from July 25, the most important works of the nineteenth century are on display in the Alte Pinakothek. Titled “From Goya to Manet. The Nineteenth Century”, the presentation shows around 90 paintings and sculptures that outline the broad spectrum from the late eighteenth to the beginning of the twentieth century. The limited rooms in the east wing of the ground floor, where the large altars by artists including Michael Pacher were recently on display, only focus on a few topics and situations from this century so rich in upheavals, yet at the same time enable new configurations and unexpected encounters. 

For example, portraits from the classical period come into contact with those from the dawn of modernism in the large central hall. Goya’s keenly observed portraits and the naturalistic staging of the English upper class in portraits by Thomas Gainsborough and Thomas Lawrence are confronted by Edouard Manet’s coolly detached realism and Edgar Degas’ portrayal of ordinary people. Antonio Canova’s monumental classicism communicates with George Minne’s dreamy symbolism in the adjoining cabinet, while in the adjacent room works by artists such as van Gogh, Klimt, and Segantini mark a radical departure from traditional ways of seeing. 

Francisco José de Goya y Lucientes (1746-1828), "Doña Maria Teresa da Vallabriga", 1783, Oil on canvas, 151.2 x 97.8 cm,Permanent loan from HypoVereinsbank, member of UniCredit - acquired in 1966 by Bayerische Hypotheken- und Wechselbank, Inv. Nr. HUW 2 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Thomas Gainsborough (1727-1788), "Mrs. Thomas Hibbert", 1786, Oil on canvas, 127.0 x 101.5 cm, Inv. Nr. FV 4 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Thomas Lawrence (1769-1830), "Lady Orde with her daughter Anne', 1810/12, Oil on canvas, 141.5 x 111.6 cm, Permanent loan from HypoVereinsbank, member of UniCredit - acquired in 1968 from the art trade by Bayerische Hypotheken- und Wechselbank, Inv. Nr. HUW 16 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Edouard Manet (1832-1883), "Le Déjeuner", 1868, Oil on canvas, 118.3 x 154.0 cm, Acquired in 1911 as a gift from Georg Ernst Schmidt-Reißig as part of the Tschudi donation, Inv. Nr. 8638 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Edouard Manet (1832-1883), "The Bark", 1874, Oil on canvas, 82.7 x 105.0 cm, Acquired in 1914 as part of the Tschudi donation, Inv. Nr. 8759 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Edgar Degas (1834-1917), "The Iron Worker", around 1869, Oil on canvas, 92.5 x 73.5 cm, Inv. Nr. 14310 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Antonio Canova (1757-1822), "Paris", 1807/16, Marble (white with dark gray veining), 203.7 x 103.7 x 55 cm, Acquired in 1816 by Crown Prince Ludwig from the artist, Inv. Nr. WAF B 4 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

George Minne (1866-1941), "Two boys in a boat", 1898, bronze, H. 66 cm, Purchased in 1912 as a gift from Alfred Walter Heymel as part of the Tschudi donation, Inv. Nr. B 56 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München

Vincent van Gogh (1853-1890), "Sunflowers", 1888, Oil on canvas, 92.0 x 73.0 cm, Acquired in 1912 as an anonymous gift in the context of the Tschudi donation, Inv. Nr. 8672 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Vincent van Gogh (1853-1890), "View of Arles", 1889, Oil on canvas, 72.0 x 92.0 cm, Purchased in 1912 as a gift from Emy Roth as part of the Tschudi donation, Inv. Nr. 8671 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Vincent van Gogh (1853-1890), "Plain at Auvers", 1890, Oil on canvas, 73.5 x 92.0 cm, Inv. Nr. 9584 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Gustav Klimt (1862-1918), "The Music", 1895, Oil and gold bronze on canvas, 27.5 x 35.5 cm, Inv. Nr. 8195 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Giovanni Segantini (1858-1899), "The Plowing", 1890, Oil on canvas, 117.6 x 227.0 cm, Inv. Nr. 7997 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

In the gallery of German Romantics the retrospective painting of the Nazarenes in Rome appears alongside the introspection of Caspar David Friedrich in Dresden and the realism, rendered with painterly bravura, of Carl Blechen in Berlin. Eugène Delacroix’s literary romanticism meets William Turner’s and John Constable’s empirical exploration of nature in the cabinet of French and English romantics and early realists. Wilhelm Leibl and his circle follow in the footsteps of Gustave Courbet and the Barbizon school, while Max Liebermann, Lovis Corinth, and Max Slevogt represent the dawning spirit of modernism in Berlin around 1900.  

Caspar David Friedrich (1774-1840), "The summer (landscape with lovers)", 1807, Oil on canvas, 71.4 x 103.6 cm, Inv. Nr. 9702 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Carl Blechen (1798-1840), "Forest landscape at morning mood", 1835, Oil on canvas, 28.9 x 34.6 cm, Inv. Nr. FV 12 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Eugène Delacroix (1798-1863), "The death of Ophelia",  1838, Oil on canvas, 37.9 x 45.9 cm Inv. Nr. 12764 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Joseph Mallord William Turner, "Ostende", 1844, Oil on canvas, 91.6 x 122.0 cm, Inv. Nr. 14435 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München

Wilhelm Leibl (1844-1900), "Portrait of the woman Gedon", 1869, Oil on canvas, 119.5 x 95.5 cm, Inv. Nr. 8708 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Gustave Courbet (1819-1877), "Apple Still Life", 1871, Oil on canvas, 50.4 x 63.4 cm, Acquired in 1911 by Marczell from Nemes as part of the Tschudi donation, Inv. Nr. 8623 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Max Liebermann (1847-1935), "Bathers boys", 1898, Oil on canvas, 112.5 x 152.0 cm, Inv. Nr. 14679 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Lovis Corinth (1858-1925), "Fishing Cemetery in Nidden on the Curonian Spit", 1893, Oil on canvas, 113.4 x 148.5 cm, Inv. Nr. 12043 © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Paul Gauguin (1848–1903), "Nativity (Te tamari no atua)", 1896, Oil on plucking, 96.0 x 131.1 cm, Acquired in 1912 as a gift from Eduard Arnhold and Robert von Mendelssohn as part of the Tschudi donation, Inv. Nr. 8652, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München

YEARNING FOR THE SOUTH—THE NINETEENTH CENTURY IN THE SAMMLUNG SCHACK 
The second location for this new presentation of the nineteenth century is the Sammlung Schack. A total of 35 paintings from the Neue Pinakothek are now being shown on the premises at Prinzregentenstraße. They enrich the existing emphasis of the collection on the painting of the romantics and the Deutschrömer (“German Romans”, a group of German artists living and working in Rome in the nineteenth century). Among the most significant works now on display in the Sammlung Schack are Franz Ludwig Catel’s “Crown Prince Ludwig in the Spanish Wine Tavern in Rome”, Joseph Stieler’s portrait of Goethe, Moritz von Schwind’s “A Symphony”, Arnold Böcklin’s “Pan among the Reeds”, Anselm Feuerbach’s “Medea”, and, last but not least, Carl Spitzweg’s “The Poor Poet”. 

Franz Ludwig Catel (1778-1856), “Crown Prince Ludwig in the Spanish Wine Tavern in Rome”, 1824, Oil on canvas, Acquired in 1824 by Crown Prince Ludwig from the artist, Inv. Nr. WAF 142, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

Joseph Stieler (1781-1858), "Johann Wolfgang von Goethe", 1828, Oil on canvas, 78.0 x 63.8 cm, Inv. Nr. WAF 1048, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

Moritz von Schwind (1804-1871), “A Symphony”, 1852, Oil on canvas, 168.8 x 100.0 cm, Inv. Nr. WAF 1017, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

Arnold Böcklin (1827-1901), “Pan among the Reeds”, 1858, Oil on canvas, 199.7 x 152.7 cm, Inv. Nr. WAF 67, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München/Wittelsbacher Ausgleichsfonds (WAF).

Anselm Feuerbach (1829-1880), “Medea”, 1870, Oil on canvas, 198.0 x 395.5 cm, Inv. Nr. 9826, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

Carl Spitzweg (1808-1885), “The Poor Poet”, 1839, Oil on canvas, 36.2 x 44.6 cm, Inv. Nr. 7751, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.

The Neue Pinakothek is based on the collection of Ludwig I, who was enthusiastic about travelling to Italy and a passionate Philhellene. His interest in the cultures of the Mediterranean, Italy and Greece, connects him to the collector Count Schack. The romantic yearning for the south is a defining theme of both collections. The closure of the Neue Pinakothek has made it possible to unite major works from the collection of Ludwig I with the paintings of the Sammlung Schack, and thus to present the theme of German enthusiasm for Italy and Greece in a new, uniquely rich selection of works.

Johann Friedrich Overbeck (1789-1869), "Italia et Gemania", 1828, Oil on canvas, 94.5 x 104.7 cm, Acquired in 1832 by King Ludwig I from the possession of the Frankfurt bookseller Johann Friedrich Wenner, Inv. Nr. WAF 755, © Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München.