Brandbilder
Kunstwerke als Zeugen des Zweiten Weltkriegs
by Claudia Andratschke and illustrated by Ursula Bohnhorst and Kerstin Schmidt
English summary: 2015 marked the 70th anniversary since the end of World War II. The state museum in Hannover marked the occasion by exhibiting a group of paintings that had been secured in the vault of a former civil service building in Hannover, which were severely damaged in October 1943 on account of military operations. After the war, the majority of these so-called fire pictures found their way into the warehouse of the state gallery, as permanent loans of the state capital of Hannover, where they have been preserved ever since. The scope of the destruction includes works from artists such as Gustave Courbet, Ferdinand Hodler, Lovis Corinth or Max Liebermann. Their former creations now chiefly exemplify damage, which can range from changes in coloration to complete destruction of the painted surface. Have these witnesses to war also lost the rank of gallery paintings along with their artistic splendor? Where are the boundaries between conservation o restoration and the traces of historical evidence? These and other questions are pursued in the fourth volume of the series NahSichten associated with the exhibition, at whose center stands the monumental painting Dragoon-Officer on Horse by Max Slevogt, which, thanks to generous support of the Society of the State Gallery was able to be extensively conserved- but which remains a monument of the war. German description: 2015 jahrt sich das Ende des Zweiten Weltkriegs zum 70. Mal. Im Landesmuseum erinnert daran eine Gruppe von Gemalden, die in der Stahlkammer des ehemaligen Lohnamts in Hannover sichergestellt und dort im Oktober 1943 durch Kriegseinwirkung stark beschadigt wurden. Die Mehrzahl dieser sogenannten “Brandbilder” gelangte nach Kriegsende als Dauerleihgabe der Landeshauptstadt Hannover in die Magazine der Landesgalerie, wo sie seitdem bewahrt werden. Das Ausmaa der Zerstorung markieren Namen wie Gustave Courbet, Ferdinand Hodler, Lovis Corinth oder Max Liebermann. Ihre einstigen Schopfungen veranschaulichen heute vor allem beeindruckende Schadensbilder, die von Farbveranderungen bis hin zu vollig verschmorten Bildoberflachen reichen. Haben diese Zeugnisse des Krieges mit ihrem kunstlerischen Glanz auch den Rang des Galeriebildes verloren? Wo liegen bei die Grenzen zwischen konservatorischer Notsicherung und dem Verwischen historischer Spuren? Diesen und anderen Fragen geht der vierte Band der Reihe NahSichten begleitend zur Kabinett-Ausstellung nach, in deren Zentrum das monumentale Gemalde “Dragoner-Offizier zu Pferde” von Max Slevogt steht, das dank groazugigen Unterstutzung des Forderkreises der Landesgalerie umfassend konserviert werden konnte – und dennoch ein Kriegsdenkmal bleibt.
- By (author) Claudia Andratschke
- Illustrated by Ursula Bohnhorst
- Illustrated by Kerstin Schmidt
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