The Wyeth Foundation for American Art - more than 7,000 works of Andrew Wyeth

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Andrew Wyeth, BLACK HUNTER, 1938, tempera on panel. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS)

Andrew Wyeth, FAMILY TREE STUDY, 1964, watercolor on paper. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS)

The Wyeth Foundation for American Art has established a collection-sharing arrangement providing for more than 7,000 works of Andrew Wyeth (1917-2009) to be maintained, conserved and exhibited for the general public at the Brandywine River Museum of Art and the Farnsworth Museum of Art, as well as making such works available for loans to other institutions and encouraging research into the life and legacy of Andrew Wyeth. 

Andrew Wyeth, FOX GRASS BELOW ADAM’S, 1934, oil on canvas. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS)

The Foundation’s collection contains works from Wyeth’s seven decades as a working artist, including iconic temperas and watercolors, drawings, studies and sketchbooks. The collection was assembled primarily by the artist’s wife, Betsy James Wyeth, who was Andrew Wyeth’s muse and who also carefully documented his career.  The collection is deeply personal and gives significant insight into Wyeth’s artistic and career trajectory.

As part of this innovative partnership, The Brandywine River Museum of Art has begun a search to fill a new curatorial position at the Museum to be financially supported by the Wyeth Foundation. The new Wyeth Foundation Curator, Andrew and Betsy Wyeth Collection, will develop exhibitions, make works available for loan to other institutions, and foster research and scholarship on Andrew Wyeth including finalizing and publishing the catalogue raisonné of the artist. The collection will be maintained jointly at Brandywine in Chadds Ford, Pennsylvania, and the Farnsworth Art Museum in Rockland, Maine, the two geographic regions where the artist lived and painted. Rotating presentations of works will be on view in both museums’ galleries throughout the year. Accessibility to the works in the collection for the general public, as well as curators, scholars, and students is a primary aim of the collaboration with the Wyeth Foundation.

Andrew Wyeth, SEA RUNNING, 1978, tempera on panel. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Socie ty (ARS)

Both the Brandywine and Farnsworth museums have longstanding relationships with the Wyeth family. Located in Chadds Ford, Pennsylvania, the Brandywine is focused on American art, and has generated some of the most well-received exhibitions and scholarship on three generations of Wyeth family artists. In 2017, the Brandywine’s Andrew Wyeth: In Retrospect exhibition presented more than 100 of the artist’s most important paintings and works on paper, along with a catalogue publishing new perspectives on his work and career.

The Farnsworth, in Rockland, Maine, is also recognized for its close connections with and exhibitions of works of the Wyeth family.  The artist spent his summers living and working in midcoastal Maine. Its recent exhibition Andrew Wyeth: Maine Legacy highlighted the artist’s connections to the area. In both Pennsylvania and Maine, Wyeth was engaged by the landscapes and the people living there, finding inspiration for works that at once capture the majesty of nature and the everyday lives of the artists and their subjects.

“We are excited to formalize the Foundation’s partnership with the Brandywine River Museum of Art and the Farnsworth Art Museum to ensure that Andrew and Betsy Wyeth’s collection is well-maintained and available for the public to enjoy,” said J. Robinson West, the President of the Wyeth Foundation for American Art. “Andrew Wyeth is so closely connected to both Chadds Ford and coastal Maine, with long relationships with both of these institutions. This collection management arrangement draws on the expertise of these two great museums in managing works of art, while also furthering the mission of the Foundation to support scholarship and exhibitions of Wyeth’s work, now and into the future, both at these two museums and around the world.”

Andrew Wyeth, SLEEP, STUDY FOR DISTANT THUNDER, 1961, drybrush watercolor on paper. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS)

Christie’s Announces 20/21 Marquee Week Day Sales May 13- 16

 Christie’s Announces 20/21 Marquee Week Day Sales

Post-War and Contemporary Art Day Sale | 13 May
The Collection of Thomas and Doris Ammann Day Sale | 13 May
Impressionist and Modern Works on Paper and Day Sale | 14 May
The Surrealist World of Rosalind Gersten Jacobs and Melvin Jacobs | 14 May
Picasso Ceramics | Online | 2 – 16 May

Property from the Family of Nina Van Rensselaer
WAYNE THIEBAUD (1920 - 2021)
Three Ice Cream Cones
oil on canvas
12 x 15 in. (30.5 x 38.1 cm.)
Painted in 1964.
$2,500,000-3,500,000

The Collection of Salvador and Christina Lang Assaël
CLAUDE MONET (1840-1926)
Soleil couchant, temps brumeux, Pourville
oil on canvas
24¼ x 29¼ in. (61.5 x 74.3 cm.)
Painted in 1882
$2,500,000-3,500,000

Christie’s has announced the Spring Marquee Week Day Sales taking place this May in New York. The Post-War and Contemporary Art Day Sale and The Collection of Thomas and Doris Ammann will lead the series on Friday, 13 May. This will be followed by the Impressionist and Modern Works on Paper and Day Sale and The Surrealist World Of Rosalind Gersten Jacobs And Melvin Jacobs taking place on Saturday, 14 May. The Picasso Ceramics online sale, which celebrates the 75th anniversary of Picasso’s collaboration with the Madoura studio, will close out the week on Monday, 16 May. The sales will showcase significant works from the 19th, 20th and 21st centuries from a number of important private collections, as well as feature a range of groupings with proceeds generously benefiting charitable initiatives.

Post-War and Contemporary Art Day Sale and The Collection of Thomas and Doris Ammann Day Sale | 13 May

The Post War and Contemporary Art Day sale will be led by Wayne Thiebaud’s Three Ice Cream Cones ($2,500,000-3,500,000) from the private collection of Nina Van Rensselaer. The work was acquired by Van Rensselaer directly from the artist and has been passed down in the same private collection for six decades. Highlights also include Helen Frankenthaler’s Crete ($1,500,000-2,000,000) and works from contemporary artists including Shara Hughes, Weeping Blur ($400,000-600,000).

The sale highlights several significant private collections including The Collection of Margo Leavin, led by Jasper Johns, 0 through 9 ($1,000,000-1,500,000), and Property from the Estate of Sondra Gilman. LA Cool: Property from the Collection of Laura Lee Stearns includes works from important West Coast artists of the 1960s: Ed Ruscha, Vija Celmins, Ken Price and Larry Bell. Stearns was a lifelong environmentalist, and proceeds from the collection will continue to honor her legacy and will benefit several archeological and nature conservancies.

The Collection of Thomas and Doris Ammann Day Sale, the second live sale dedicated to the monumental collection, will divide the two sessions of the Post-War and Contemporary Art Day Sale. The sale showcases the depth and breadth of the Ammann’s collecting vision with exemplary works of Pop Art of the 1960s to Neo-Expressionism of the 1980s. Proceeds from the collection will benefit the Thomas and Doris Ammann Foundation, a newly established organization dedicated to improving the lives of children worldwide.

Impressionist and Modern Works on Paper and Day Sale | 14 May

The Impressionist and Modern Works on Paper and Day Sale will be led by a notable work by Claude Monet, Soleil couchant, temps brumeux, Pourville ($2,500,000-3,500,000). With an impressive provenance and exhibition history, this work was painted in 1882, the same year as the seventh Impressionist exhibition in Paris. It demonstrates the increasingly bold and provocative style at a critical phase of Monet’s career. A second highlight from the Collection of Salvador and Christina Lang Assaël is Nu au fauteuil by Pierre-Auguste Renoir ($800,000-1,200,000), an incredibly large-scale and fully worked pastel.

Among the many Impressionist and Modern masterworks included in the sale are Joan Miró’s Femme, oiseau, étoiles ($600,000-800,000) and Marc Chagall’s Le Peintre ($700,000-1,000,000). 

The sale will also feature works by Latin American artists significant to the Impressionist and Modern Art movements, including Joaquín Torres-García’s Estructura con formas trabadas ($800,000-1,200,000) and Wifredo Lam’s La réunion III ($700,000-900,000).

Coming from The Collection of Alma and Alfred Hitchcock are three lots with intimate ties to the filmmaker’s cinematic legacy. The collection includes two works by Paul Klee, widely known to be Hitchcock’s favorite artist, as well as La Sainte Face, dit aussi “Le Saint Suaire” by Georges Rouault ($20,000-30,000). Klee’s works had a profound influence on Hitchcock as an artist; his works Odysseisch (estimate $120,000-180,000) and Maske mit Sense (estimate $120,000-180,000) showcase elements that are reflected in Hitchcock’s own artistic output. These examples of Klee’s work gleefully mix lightness and darkness, comedy and the macabre, suspense and humor in innovative and illuminating ways.

Picasso Ceramics Online | 2 May – 16 May

The Picasso Ceramics online sale will be open for bidding from 2 May – 16 May. Known to be a highly experimental medium of creation for Picasso, his ceramics are consistently a source of whimsy and draw from both traditional and modern influences. With estimates starting at just $1,000, the Picasso Ceramics sale features artworks for emerging and seasoned collectors alike.

The sale comes at a significant moment in the history of Picasso’s ceramics. This year marks the 75th anniversary of Picasso’s partnership with Madoura, a collaboration that would last for close to 25 years. This fruitful union brought forth over 600 different editioned designs, alongside many more unique works of all shapes, subjects and sizes. Among these are highlights from this sale, including Personnages et têtes (A.R. 242) ($80,000-$120,000). The design for the ceramic was conceived of in 1954, only a few years after Picasso started his partnership with Madoura. Later designs highlighted in the sale are the Vase aztèque aux quatre visages (A.R. 401) conceived in 1957 ($60,000-80,000) and Visage aux yeux rieurs (A.R. 608) conceived on 9 January 1969 ($35,000-55,000).

The Bruce Museum in Greenwich, Conn., announced the promised gift of a major collection of European and American art

 

Edward Hopper (American, 1882-1967), Bridle Path, 1939, oil on canvas, 23 3/8 x 42 1/8 in.

Courtesy of the Bruce Museum

The identities of the collectors of this transformative gift of 70 artworks—which includes Edward Hopper’s seminal final painting Two Comedians (1966)—have been guessed at, but not revealed, according to ARTnews.

Edward Hopper (American, 1882-1967), Bridle Path, 1939, oil on canvas, 23 3/8 x 42 1/8 in.

Courtesy of the Bruce Museum

The identities of the collectors of this transformative gift of 70 artworks—which includes 

Edward Hopper’s seminal final painting Two Comedians (1966)—have been guessed at, but not revealed.

The Bruce Museum in Greenwich, Conn., announced the promised gift of a major collection of European and American art—ranging from French and American Impressionism to the works of Winslow Homer, Edward Hopper, Alberto Giacometti, Henry Moore, Andrew Wyeth, and others—which will come as a bequest from an anonymous Greenwich couple. The private collection of 70 works, encompassing paintings, sculpture, watercolors, drawings, prints, and photographs, will be the largest gift of art in the Bruce Museum’s 112-year history.

Henry Moore, Family Group, 1946. Bronze.

Courtesy of the Bruce Museum

“This gift is unprecedented in its scale and quality, and these works will further define the New Bruce as a museum that explores global stories of Modern and Contemporary art,” said Robert Wolterstorff, the Bruce Museum’s Susan E. Lynch Executive Director and CEO. “We are profoundly grateful to the donors of these magnificent works, who have actively supported the Greenwich community for decades and now can be assured that their generosity will inspire and educate generations to come.”

Coming at a transformative moment for the Bruce Museum, the announcement of the promised collection accompanies a substantial leadership grant the donors have made to the New Bruce building campaign. The $60 million renovation and expansion project will double the size of the existing building and create new, modern, and spacious galleries for exhibitions and installations, as well as state-of-the art spaces for education and community events.

The New Bruce is scheduled to open in March 2023, with the addition of more than 12,000 square feet of gallery space in the William L. Richter Art Wing, including a 4,500-square-foot gallery for changing exhibitions and five new galleries for the growing permanent art collection. The Museum’s Curator of Art, Margarita Karasoulas, who joined the Bruce in November after previously serving as Assistant Curator of American Art at the Brooklyn Museum, will organize an installation of select loaned works from the gift to celebrate the grand opening of the New Bruce. At the time of the gift’s fulfillment, the works will be exhibited in a dedicated gallery in the Museum’s Richter Art Wing.

Mary Cassatt, Two Little Sisters, c. 1901-02.

Courtesy of the Bruce Museum

Seen as a whole, the collection principally focuses on the European and American figural tradition from the 1870s to the 1990s, beginning with Winslow Homer’s watercolors Boy on Dock (1873) and Fishergirls Coiling Tackle (1881), the latter from his important Cullercoats series, and ending with Andrew Wyeth’s watercolor Cape May (1992). Andrew Wyeth is also represented by two tempera paintings—Sheepskin (1973), from his famous Helga series, and The Huntress (1978), a light-filled interior depicting another model, Siri Erickson. These are complemented by outstanding watercolors and graphite drawings by the artist.

Childe Hassam, The White Dory.

Courtesy of the Bruce Museum

Among the works in the collection are singular masterpieces. Edward Hopper’s Two Comedians (1966), the artist’s last work, depicts the painter and his wife Josephine dressed as clowns, or commedia dell’arte characters, on stage against a darkened backdrop. A second Hopper oil, Bridle Path (1939) shows a trio of riders in Central Park. Another highlight of the collection is Mary Cassatt’s Two Little Sisters (c. 1901-02), which is complemented by a group of Cassatt’s highly important color etchings with aquatint, which stand as icons of graphic art, revolutionary works that translated the aesthetic of Japanese color prints into the Impressionist idiom.

“Fenaison à Éragny” by Camille Pissarro

Courtesy of the Bruce Museum

Included are works by the French Impressionist master Camille Pissarro, notably Le Marché de Gisors, Grande-Rue (The Market of Gisors, on the Grande-Rue, 1885) and Fenaison à Éragny (Haymaking at Éragny, 1891), both created during the years when Pissarro was most influenced by the pointillist technique of his friend Georges Seurat.

The collection is particularly strong in sculpture, including Alberto Giacometti’s Femme Assise (Seated Woman, 1956); several sculptures in various media by Elie Nadelman, including Circus Performer of painted wood (c. 1919); and bronzes by the American sculptor Harriet Frishmuth, including The Star (1918). Multiple bronzes by Henry Moore, covering a span of over 30 years, include the early Family Group (1946). Together, they will place the Bruce Museum among the forefront of public collections in the United States of Moore’s work.

The promised gift’s other highlights include oils and watercolors by Childe Hassam, including Rainy Day on the Avenue (1893) and The White Dory (1895); John Singer Sargent’s superb oil Girl Fishing (1913); a delightful Joan Miró oil, Femmes et Oiseau dans la Nuit (Women and Bird in the Night, 1946); an extremely rare Blue Period watercolor by Pablo Picasso, Le Guitariste (Guitar Player, 1903); and a bold abstract watercolor by Wassily Kandinsky, Rosa Rot (Rose Red, 1927).

“It is an extraordinarily rich collection that will transform the Bruce Museum, giving us a deep stake in European and American Impressionism, Modernism, and Realism,” Wolterstorff said. “This visionary gift will make the Bruce a place to experience again and again. Works like these will become old friends that you seek out each time you visit. And they will become vital to our education and public programs. Great works of art such as these will change your life, the lives of your kids, the life of this community.”

“Refuge” by Andrew Wyeth

Courtesy of the Bruce Museum

—ranging from French and American Impressionism to the works of Winslow Homer, Edward Hopper, Alberto Giacometti, Henry Moore, Andrew Wyeth, and others—which will come as a bequest from an anonymous Greenwich couple. The private collection of 70 works, encompassing paintings, sculpture, watercolors, drawings, prints, and photographs, will be the largest gift of art in the Bruce Museum’s 112-year history.

Henry Moore, Family Group, 1946. Bronze.

Courtesy of the Bruce Museum

“This gift is unprecedented in its scale and quality, and these works will further define the New Bruce as a museum that explores global stories of Modern and Contemporary art,” said Robert Wolterstorff, the Bruce Museum’s Susan E. Lynch Executive Director and CEO. “We are profoundly grateful to the donors of these magnificent works, who have actively supported the Greenwich community for decades and now can be assured that their generosity will inspire and educate generations to come.”

Coming at a transformative moment for the Bruce Museum, the announcement of the promised collection accompanies a substantial leadership grant the donors have made to the New Bruce building campaign. The $60 million renovation and expansion project will double the size of the existing building and create new, modern, and spacious galleries for exhibitions and installations, as well as state-of-the art spaces for education and community events.

The New Bruce is scheduled to open in March 2023, with the addition of more than 12,000 square feet of gallery space in the William L. Richter Art Wing, including a 4,500-square-foot gallery for changing exhibitions and five new galleries for the growing permanent art collection. The Museum’s Curator of Art, Margarita Karasoulas, who joined the Bruce in November after previously serving as Assistant Curator of American Art at the Brooklyn Museum, will organize an installation of select loaned works from the gift to celebrate the grand opening of the New Bruce. At the time of the gift’s fulfillment, the works will be exhibited in a dedicated gallery in the Museum’s Richter Art Wing.

Mary Cassatt, Two Little Sisters, c. 1901-02.

Courtesy of the Bruce Museum

Seen as a whole, the collection principally focuses on the European and American figural tradition from the 1870s to the 1990s, beginning with Winslow Homer’s watercolors Boy on Dock (1873) and Fishergirls Coiling Tackle (1881), the latter from his important Cullercoats series, and ending with Andrew Wyeth’s watercolor Cape May (1992). Andrew Wyeth is also represented by two tempera paintings—Sheepskin (1973), from his famous Helga series, and The Huntress (1978), a light-filled interior depicting another model, Siri Erickson. These are complemented by outstanding watercolors and graphite drawings by the artist.

Childe Hassam, The White Dory.

Courtesy of the Bruce Museum

Among the works in the collection are singular masterpieces. Edward Hopper’s Two Comedians (1966), the artist’s last work, depicts the painter and his wife Josephine dressed as clowns, or commedia dell’arte characters, on stage against a darkened backdrop. A second Hopper oil, Bridle Path (1939) shows a trio of riders in Central Park. Another highlight of the collection is Mary Cassatt’s Two Little Sisters (c. 1901-02), which is complemented by a group of Cassatt’s highly important color etchings with aquatint, which stand as icons of graphic art, revolutionary works that translated the aesthetic of Japanese color prints into the Impressionist idiom.

“Fenaison à Éragny” by Camille Pissarro

Courtesy of the Bruce Museum

Included are works by the French Impressionist master Camille Pissarro, notably Le Marché de Gisors, Grande-Rue (The Market of Gisors, on the Grande-Rue, 1885) and Fenaison à Éragny (Haymaking at Éragny, 1891), both created during the years when Pissarro was most influenced by the pointillist technique of his friend Georges Seurat.

The collection is particularly strong in sculpture, including Alberto Giacometti’s Femme Assise (Seated Woman, 1956); several sculptures in various media by Elie Nadelman, including Circus Performer of painted wood (c. 1919); and bronzes by the American sculptor Harriet Frishmuth, including The Star (1918). Multiple bronzes by Henry Moore, covering a span of over 30 years, include the early Family Group (1946). Together, they will place the Bruce Museum among the forefront of public collections in the United States of Moore’s work.

The promised gift’s other highlights include oils and watercolors by Childe Hassam, including Rainy Day on the Avenue (1893) and The White Dory (1895); John Singer Sargent’s superb oil Girl Fishing (1913); a delightful Joan Miró oil, Femmes et Oiseau dans la Nuit (Women and Bird in the Night, 1946); an extremely rare Blue Period watercolor by Pablo Picasso, Le Guitariste (Guitar Player, 1903); and a bold abstract watercolor by Wassily Kandinsky, Rosa Rot (Rose Red, 1927).

“It is an extraordinarily rich collection that will transform the Bruce Museum, giving us a deep stake in European and American Impressionism, Modernism, and Realism,” Wolterstorff said. “This visionary gift will make the Bruce a place to experience again and again. Works like these will become old friends that you seek out each time you visit. And they will become vital to our education and public programs. Great works of art such as these will change your life, the lives of your kids, the life of this community.”

“Refuge” by Andrew Wyeth

Courtesy of the Bruce Museum

Impressionism: Franco-German Encounters

 With a new presentation of over 80 works by French and German Impressionists, the Hamburger Kunsthalle is taking a fresh look at one of the defining art movements of modernism as a European phenomenon. Paintings, sculptures and pastels are presented in new constellations in five redesigned halls in the Licht­wark Gallery. Major works by Max Liebermann, Lovis Corinth and Max Slevogt, the »triumvirate of German Impressionism«, meet up here with French icons such as Édouard Manet, Auguste Renoir and Claude Monet. The show also brings in artists who have not been presented at the Hamburger Kunsthalle for a long time, featuring paintings by Alma del Banco, Paul Baum, Ivo Hauptmann, Maximilien Luce, Henri Martin and Lesser Ury. Accompanying the paintings are a number of sculptures and a selection of pastels – for example by Edgar Degas, Ludwig von Hofmann, Jean-François Millet and Max Liebermann. Impressionism: Franco-German Encounters is one of a series of new installations in the Hamburger Kunsthalle’s collection tour through eight centuries of art history that explore original new questions and present the collection in a fresh light.

MAX LIEBERMANN (1847–1935)

Abend am Uhlenhorster Fährhaus, 1910

Öl auf Leinwand, 77 x 96 cm
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

PIERRE BONNARD (1867–1947)

Lampionkorso auf der Außenalster, 1913

Öl auf Leinwand, 37,5 x 47,5 cm
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

LOVIS CORINTH (1858 - 1925)

Blick auf den Köhlbrand

CLAUDE MONET (1840–1926)

Die Waterloo-Brücke

LOVIS CORINTH (1858 - 1925)

Charlotte Corinth am Frisiertisch

ÉDOUARD MANET (1832–1883)

Nana

MAX SLEVOGT (1868 - 1932)

Der schwarze d’Andrade

ÉDOUARD MANET (1832–1883)

Jean-Baptiste Faure in der Oper "Hamlet" von Ambroise Thomas

MAX LIEBERMANN (1847–1935)

Blumenterrasse nach Nordosten, 1920

Pastellkreide, 234 x 297 mm
© Hamburger Kunsthalle / bpk
Foto: Christoph Irrgang

ÉDOUARD VUILLARD (1868–1940)

Blick auf die Binnenalster, 1913

Gouache auf Pappe, 74 x 55,2 cm
© Hamburger Kunsthalle/bpk
Foto: Elke Walford

EDGAR DEGAS (1834–1917)

Große Arabeske, Zweite Position, 1882/95;

Ausführung in Bronze:
frühestens 1920 bis spätestens 1926
Bronze, 43 x 28 x 61 cm
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

To retell the story of Impressionism, exhibits are deliberately juxtaposed to illustrate how impulses emanating from France were taken up and productively developed in Germany: Claude Monet’s Waterloo Bridge (1902) thus appears in dialogue with Lovis Corinth’s View of the Kohlbrand (1911), Pierre Bonnard’s Lantern Procession on the Outer Alster (1913) meets up with Evening at Uhlen-horst Ferry (1910) by Max Liebermann, and Édouard Manet’s Jean-Baptiste Faure in the Opera »Hamlet« (1875/77) is shown side-by-side with The Black d’Andrade (1903) by Max Slevogt. The chapters »Portrait«, »Landscape«, »Staged Figure«, »City and Leisure«, »Still Life« and »Pastels« illustrate the themes and motifs addressed by painters on both sides of the Rhine, inquiring into their sources of inspiration and which mutual influences can be traced visually and historically.

Impressionism emerged in France from the 1870s onward but began to wane in significance with the outbreak of the Second World War. In Germany, by contrast, Impressionist tendencies remained significant until well into the 1920s. Around the turn of the century, several German museum directors made a concerted effort to promote Impressionism through exhibitions and acquisitions. In Hamburg, for example, it is thanks to major German and French acquisitions by Alfred Lichtwark (1852–1914) and Gustav Pauli (1866–1938) that the Kunsthalle today possesses one of the most important collections of Impressionist painting in Germany.

The show however looks further to the advent of classical modernism in order to examine to what extent Impressionism remained relevant for the following generation. Max Beckmann, Emil Nolde and the artists’ group »Die Brücke« as well as the members of the Hamburg Secession all went through Impressionist phases, at least in their early works.

A richly illustrated catalogue (Wienand Verlag, 25 euros) presents the main Impressionist works in the collection in new and different constellations while introducing the various chapters in the presentation and explaining the historical background in a number of essays. Educational offerings to complement the presentation include a multimedia guide (also suitable for children aged 8 and over) in the Hamburger Kunsthalle app (German/English) and an activity booklet designed for families with children aged 5 in both analogue and digital form.

The project Impressionism: Franco-German Encounters is part of the plan to recast the different areas of the collection. Also redesigned is the Makart Hall, presenting the show MAKING HISTORY: Hans Makart and the Salon Painting of the 19th Century, the sculpture presentation ON HYBRID CREATURES: SCULPTURE IN MODERNISM and the area of Contemporary Art with the presentation something new, something old, something desired. The recast of the area of Classical Modernism is scheduled for 2023, the Old Masters are scheduled for 2024. The Hamburger Kunsthalle collection is one of the most important in Northern Europe. By retelling its many stories, the museum is endeavouring to present its treasures to the public in novel contexts and from diverse perspectives.