Belgian Modern Art from Ensor to Magritte
The Kunsthalle München is showcasing masterpieces of Belgian modern art from circa 1860 to 1960. Approximately 130 paintings, graphic works and sculptures illustrate how the art of this period constantly re-explores the boundaries between fantasy and reality. They focus equally on the unpretentious reality of everyday life and on the secrets and mysteries that lie beyond the visible world. The exhibition traces the specific path taken by Belgian art, ranging from realistic scenes of ordinary people and atmospheric landscapes to James Ensor’s fantastic masquerades, right through to the surreal worlds of Paul Delvaux and René Magritte. In addition to major names such as these, the 40 artists in the exhibition include numerous painters whose work is not widely known in this country, like Eugène Laermans, Constant Permeke and Rik Wouters. More information here.
An exhibition cooperation with the Royal Museum of Fine Arts Antwerp
Symbolism in Poland around 1900
Polish painting at the dawn of the 20th century transports the beholder to a world of myths and legends, dreamlike landscapes, ancient traditions and customs, and the depths of the human soul. In a nation without sovereignty – until its independence in 1918, Poland had been partitioned between Prussia, the Russian and the Austro-Hungarian Empires – a young generation of artists began to breathe new life into the art of painting. With their works, they created what was lacking in the political arena: a common identity. Drawing inspiration from Polish history, culture, and the natural environment, they also looked outwards to the artistic centres of Berlin, Munich, Paris, St. Petersburg, and Vienna.
For the first time in Germany, the Kunsthalle München presents over 130 important works from public and private collections in a comprehensive exhibition devoted to the flowering of Polish art between 1890 and 1918.
The exhibition is organised in collaboration with the National Museums in Warsaw, Kraków and Poznań with generous support from the Adam Mickiewicz Institute.