Kröller-Müller Museum-Wikipedia
The Kröller-Müller Museum Is an art museum in the National Park de Hoge Veluwe near the village of Otterlo in the Netherlands, northwest of Arnheim, which was opened in 1938. The museum alone has 87 paintings by Vincent van Gogh and thus has the second largest van Gogh collection in the world after the van Gogh Museum in Amsterdam. In addition to significant paintings by other artists, the Kröller-Müller Museum is also known for its large sculpture garden. As a cultural monument of the Netherlands, it has the Rijks Monument no. 523562. [first]
The museum goes back to the art collection of the German-born Helene Kröller-Müller (1869–1939). Helene Müller, born in Horst near Essen, was the daughter of a steel industrialist who also had business relationships in the Netherlands through his trading company. In 1888 she married Anton Kröller (1862–1941), the younger brother of the head of the Rotterdam office of the shipping company WM. H. Müller & Co. and moved to the Hague. From 1907 she visited “Lessons about Art History” with the renowned art historian Hendricus Petrus Bremmer from 1907. All her life remained her most important consultant in artistic matters and gave the essential impulses when building the collection.
The first significant purchases in 1909 were three Vincent van Goghs: sunflowers , The sore and Still life with bottle and lemon . In a short time, Ms. Kröller-Müller’s collection grew, whereby it not only bought from dealers in the Netherlands, Belgium, Germany and France, but, for example from Paul Signac, directly in the artists’ studios. During a stay in Florente in 1910, in view of the Medici inheritance, she first came to show her collection of the public in his own house.
In the Haus Lange Voorhout 1 in the Haag, she opened a first private museum. For a new building, there were long discussions about designs with various architects, all of which were not carried out. Only after the collection of over 4000 drawings, 275 sculptures and several hundred paintings came into the possession of the Dutch state in 1935 did the core of today’s museum building east of Otterlo. The original collection was only slightly expanded after the collector’s death. In 1961 a new field of work in the museum was created with the inauguration of a sculpture park.
The first architect that the couple commissioned to plan a building for the collection was Peter Behrens. He designed the country house in 1911 Ellenwoude in Wassenaar, which was designed as a house with a large gallery wing. This cubic building had a representative effect and had a clear, classic shape. After the drawings did not convince Ms. Kröller-Müller, a model made of wood and canvas in original size was created at the building site, but this caused the architect to change.
Now the employee of Behrens Ludwig Mies van der Rohe received the order for the construction of Ellenwoude , where at the urge of the consultant H. P. Bremmer, Hendrik Petrus Berlage was also asked to submit designs. Both architects presented their designs in 1912 and the draft van der Rohes was also built as a model in original size. However, both designs did not come to the execution. While Mies van der Rohe’s couple separated, BERLAGE now received its own office above Ms. Kröller-Müller’s museum rooms in the Hague.
After the purchase of the Hoge Veluwe National Park in the province of Gelderland as a hunting and riding area for the Kröller-Müllers, the couple now opted for two new buildings: a hunting store and at a low distance “at the French mountain” a separate museum building that design both mountains should. The Yachthuis Sint Hubertus (Jagdhaus St. Hubertus) was built from 1914, but could not be completed in 1920 due to the First World War and the associated shortage of materials. From 1916, BERLAGE worked on the designs for the museum to be built. Shortly afterwards, the architect and the gatherer, who then commissioned Henry van de Velde in 1919, came to the architect and the collector. This had already built the much -noticed Museum Folkwang for the collector Karl Ernst Osthaus in Hagen.
Van de Velde’s draft for the Kröller-Müllers found the collector’s benevolence. The building, which was estimated at 6 million guilders, began in 1921. A year later, when the substructure was already completed, however, the international recession and the associated economic difficulties of the Kröller-Müller couple occurred. This building has never been over.
The Jagdhaus and the entire area of the Hoge Veluwe were transferred to a foundation in 1935, while the art collection received the Dutch state. This gift was carried out on the condition that a museum for the art collection could be built in the area of the Hoge Veluwe under the direction of the architect van de Velde within five years. Not at the original location, but in a forest a little further south, as a “transition museum” from 1937 to 1938, a temporary designed by Van de Velde as the government’s job creation measure. This simple building is still the core of the museum and houses the collection. The Dutch architect Wim G. Quiste designed an extension from 1972–1977. There are rooms for alternating exhibitions and the museum café.
The core of the museum collection is the paintings and drawings collected by Helene Kröller-Müller with the help of H. P. Bremmer between 1908 and 1922, whereby the extensive stocks with work by Vincent van Gogh form a highlight. Ms. Kröller-Müller’s collection mainly consists of works of art that arose during her own life and at that time did not yet have been recognized in general or were negatively assessed by art criticism. By buying a first cubist painting by Juan Gris in 1913, the collection developed into one of the first important, modern art collections in the world.
In her book published in 1927 The development of modern painting: a guide for laypersons The collector explained that she was concerned with presenting the overall impression of developments in painting. For this reason, Helene Kröller-Müller also acquired ancient Egyptian, Chinese, Japanese, Siamesian, Javanian and Greek sculptures and ceramics as well as almost 80 paintings from the 15th to 17th centuries. Examples of these paintings are Venus and amor by Hans Baldung Grien, Venus and Amor as a honey thief by Lucas Cranach the older, The adoration of the kings From the area of Giovanni di Paolo, a Portrait of the woman of Westerburg from Bartholomäus bruyn the older, breakfast by Floris van Schooten and The smoker by Jan Steen.
The museum has a larger selection of works of French realism. This includes the landscape painting by Jean-Baptiste Camille Corot View of Soissons , from Gustave Courbet that Portrait of Mrs. Jolicler , from Henri Fantin-Latour Still life with flowerpot, pears and pomegranates , von Jean-François Millet Eine Eine Baking woman and from Adolphe Joseph Monticelli Flower arrangement . The Dutch painters Matthijs Maris are from the same time The spinner and Johan Barthold Jongkind with Fishing boat on the beach to see in the museum.
At the beginning of the collection of modern painting are works of impressionism. Édouard Manet’s early work Portrait of a man From 1860 the beginning is the beginning. By Claude Monet the museum shows The painter’s boat (The artist had it built to be able to paint the landscape directly in nature from the water). From the same painter there is also one Porträt der Guurtje van de Stadt to see. Two works can also be seen by Pierre-Auguste Renoir. In addition to a small oil sketch Coffee has the museum with the life -size representation of the Clown One of the most important works by the artist. The work is based on impressionism Waldrand By Paul Gauguin and The way on the lake von Paul Cézanne.
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Lucas Cranach the older one:
Venus and Amor as a honey thief , after 1537 -
Jean-Baptiste Camille Corot: View of Soissons , 1833
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Decouard mats:
Portrait of a man , 1860 -
Pierre-Auguste Renoir:
The clown , 1869 -
Claude Monet:
The painter’s boat ( The Atelier boat ), 1874 -
Paul Cézanne:
The way on the lake , 1880 -
Vincent van Gogh:
Weber on the loom , 1884 -
Vincent van Gogh:
Self -portrait , 1887 -
Vincent van Gogh:
Café terrace at night , 1888 -
Vincent van Gogh:
The lullaby (Augustine Roulin) , 1889
The important group of work with Vincent van Gogh works all comprises all the creative phases of the artist. Still come from the Dutch period Weber with Weber , Vogelnester And a version of The potato eaters . From the Parisian period of the painter characterized by impressionism are Moulin de la Galette , Weideland and Interior of a restaurant in the museum ownership. The best known work in the Kröller-Müller Museum is a version of Café terrace in the evening From the time of the Arles stay by Van Gogh. From this time the museum also has one Self -portrait , the BLICK AUF LES SAINTES-MARIES , Hausta pile in Provence , Korbweiden with the underlying sun , a version of The lullaby and the Still life with drawing board and onions . Already belong in the time in St. Rémy Kornfeld with mower and sun and Grass and tree trunks , while Landscape with trees An example of his work in Auvers. In addition to numerous other paintings, the museum also has an extensive collection with drawings by the artist, which are repeatedly shown in special exhibitions.
The pointlassism, which develops in parallel, can also be seen in the museum with the most important artists. From Georges Seurat are located The port of Honfleur , Der heckling , The Canal of Gravelines and Sancy in port-e-bessin in the museum. You can still see Family in an orchard By Théo van Rysselberghe and breakfast By Paul Signac. Examples of the painting of symbolism are April By Maurice Denis, The cyclop From Odilon Redon or Die Rache des Narren Hop-Frog by James Ensor. Paintings of Dutch artists at the turn of the century are in the museum Madonna im Tulpenland By Johan Thorn-Prikker and The sea Von Jan Toorop.
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Georges Seurat:
The port of Honfleur , 1886 -
Georges Seurat:
Can-Can (Le Chahut) , 1890 -
Théo Van Rysselberghe:
Family in an orchard , 1890 -
Félicien Rops:
Flora , late
19th century -
Henri Edmond Cross:
Fisherman , 1895 -
John Gray:
The compoter , 1914 -
Odilon Redon:
The cyclops , a 1914 -
Piet Mondrian:
Composition No. 10 , 1915 -
Theo van Doesburg:
Composition I , 1916 -
Barbara Hepworth:
Sphere with Inner Form , 1963
Pablo Picasso’s image Die Madriderin From 1901, 20th century works. This picture, which is still characterized by older painting styles, is in contrast to the gouache influenced by African art Standing act that gives an idea of cubism. The cubism, which was particularly valued by Helene Kröller-Müller, can be seen in the museum with works of all important representatives of this style. The painting is available from Pablo Picasso The Violin , from Juan Gris one Still life with oil lamp , Collage with fruit bowl and carafe and Still life with carafe and lemon as well as from Fernand Léger Three naked in a forest and Der Typograph . At first, Ms. Kröller-Müller was just as enthusiastic about Piet Mondrian, whose works Composition XI , Composition in line and color , Composition No. 10 and Composition in caroform in the collection. Mondrian’s turn to abstraction, on the other hand, did not understand the collector and did not include works from other artists of this art movement, such as Wassily Kandinsky. Other developments such as Expressionism and Surrealism also found no mercy among the collector and are missing in the museum today. On the other hand, Helene Kröller-Müller was a great support from Bart van der Leck, of whom the Museum has 42 paintings and around 400 drawings.
The gift of the collection of Helene Kröller-Müller to the Dutch state was linked to numerous conditions, which not only included the establishment of a museum, but also affected the work and the purchase of further works to be permanently issued and the purchase of other works. After the collector’s death, only a few paintings came to the museum. The collection does not claim to provide a comprehensive overview of art history, but is specialized in certain eras.
After the Second World War, a new focus was created with the collection of contemporary sculptures and object art. Building on individual non-European sculptures from the Kröller-Müller collection, the Museum shows small sculptures, sculptures, installations and objects of various currents since the beginning of the 20th century. You can see Unique forms of continuity in the room von Ustrto Buccioni, EOS IX von Jean Tinguely, Sailor with guitar by Jacques Lipchitz, The prayer by Julio González, five smaller sculptures by Hans Arp, Room composition 4 From Katarzyna Kobro and Structurist Relief By Charles Biederman. Furthermore you can see Torso:Clementius by Ossip Zadkine and several works by Barbara Hepworth. Louise Nevelson is in the museum with work Heavenly treasury III To see and by Carl Andre the museum owns the work Henge on Threshold (Meditation on the year 1960) . The collection also shows Relief R 71-4 von Jan Schoonhoven, Relief: Clear relationship von Jesús Rafael Soto, Sphere by François Morellet and a brass work without the title of Donald Judd. Other well -known artists from the second half of the 20th century are Christo with one PACKAGE mentioned work, Mario Merz with the work Prehistoric wind from icy mountains , Richard Long with the installation Stone Line and Dan flavin with the light sculpture Quietly to the Memory of Mia Visser .
This department of the museum is complemented by a variety of drawings, which the sculptors partly made as preparatory work for the sculptures or represent drafts for non -executed works. These include works by Alberto Giacometti, Claes Oldenburg, Richard Serra, Christo and Panamarenko.
The first sculpture in the park of Hoge Veluwe had Helene Kröller-Müller set up in 1915. In the north of the site, a monument to Christiaan de Wet from the sculptor Joseph Mendes da Costa came to the line -up. The role models for today’s sculpture park are the sculpture exhibitions in London’s Battersea Park, which has been taking place since 1949, the exhibitions shown in the Middelheim Park since 1950 and the outdoor exhibitions that have been taking place a few kilometers from the Kröller-Müller Museum since 1954. In 1961, under the direction of J.T.P. Bijhouwer The first section of today’s sculpture park at the Kröller-Müller-Museum, which has now grown to over twenty-five hectares.
Two sculpture work in classical modernism forms the start of the work outdoors. Next to the bronze Woman in a stool by Auguste Rodin is also the bleedinguss The air issued by Aristide Maillol. The Museum of Chaim Lipchitz and Barbara Hepworth in the sculpture park has several bronze work. It is out of iron carriers K-pieces mentioned work by Mark di Suvero and that Spin Out for Robert Smithson Richard Serra’s work consists of three steel slabs and frames the entrance to a small valley of the site. The installation consisting of five bronze balls Space concept Nature by Lucio Fontana can be seen as well as the steel work Reel I From Phillip King and pillar by André Volten. The works are made of the same material Wandering rocks: dud, slide, crocus, shaft, smohawk By Tony Smith and Palisade by Evert Strobos. Directly from the sculpture exhibition in Arnheim-Sonsbeek, the museum was able to Maurerkelle acquire from Claes Oldenburg. In addition, the museum works by Kenneth Snelson, Cornelius Rogge, David van de Kop, Fritz Wotruba, Joep van Lieshout and Marta Pan.
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Aristide Maillol:
The air (The air) , 1939 -
Ian Hamilton Finlay:
Five Columns -
Lucio Fontana:
Space concept Nature , 1959/1960 -
Marta Pan:
Floating sculpture , 1960/1961 -
Jean Dubuffet:
Enamel garden , 1974
One of the best -known work in the park is the 8 × 20 meter accessible concrete sculpture Enamel garden By Jean Dubuffet. Outside the actual sculpture park, near the foundations of the museum building originally planned by Van de Velde, Henry Moores sculpture group is standing Three standing motifs, No. 1, 2, 7 .
In the sculpture garden there is also Rietfeld-Pavillon, built by Gerrit Rietveld in 1965. In 1955, Gerrit Rietveld had a pavilion for the exhibition of small sculptures on the Third international sculpture exhibition designed in the Sonsbeek Park in Arnheim. It was intended as a temporary construction and was dismantled after the end of the exhibition. Ten years later, on the initiative of several Dutch architects, the building found a permanent home under a new name in the sculpture garden of the Kröller-Müller Museum. On May 8, 1965, the pavilion was officially inaugurated with an exhibition of sculptures by Barbara Hepworth. It was later dismantled due to severe damage, but in 2010 the museum rebuilt the structure with new materials and adhered to the original draft of Rietveld as close as possible. Parts of the 1965 pavilion were reused. [2]
Another pavilion was reconstructed according to plans by Aldo van Eyck and opened in March 2006. The architect had built the pavilion in 1966 for a temporary sculpture exhibition. It was removed again after the summer, but was seen as a key work for Eyck’s oeuvre and Dutch architecture. The floor plan was designed as an apparently square building on a circular area in the park. However, it is made up of differently shaped wall panes, which are therefore reminiscent of garden labyrinth in the parks of the Baroque. The sculptures are shown in semicircular niches. However, the walls are not smooth white gallery walls, but were deliberately made as a coarse walls made of form stones that leave the impression of an unfinished construction site, as well as the platforms of the sculptures. The roof consists of a filigree glass construction that is contrasting to the coarse walls. [3]
See also List of artists in the Kröller-Müller Museum .
- 1938–1939: Helene Kröller-Müller
- 1947-1963: Bram Hammacher
- 1963–1990: Rudi Oxenaar
- 1990–2011: Evert van Straaten
- SEIT 2011: Lisette Pelsers
- Eva Rovers: Collect for eternity. Helene Kröller-Müller: The most important van Gogh collector in the world. Athena-Publishe, Ober Hussers 2016, ISBN 978-3-89896-6-6-6.
- Kröller-Müller Museum (ed.): Kröller-Müller Museum. German edition. Otterlo 2015, ISBN 978-90-73313-40-8.
- Marianne Brouwer: Sculpture in the Rijksmuseum Kröller-Müller. Amsterdam 1992, ISBN 90-70024-71-3.
- R. W. D. Oxenaar: Kröller-Müller: The first hundred years. Haarlem (Netherlands) 1989, ISBN 90-70024-53-5.
- Gabriele Kreusch (German translation): Kröller-Müller Museum. Haarlem (Netherlands) 1977, ISBN 90-70024-05-5.
- Without the author: Selection of the paintings by the Reichsmuseum Kröller-Müller in the National Park ‘De Hoge Veluwe’. Otterlo (Niederlande) 1962.
- Helene Kröller-Müller: The development of modern painting: a guide for laypersons. Klinkhardt & Biermann, Leipzig 1927.
- ↑ Monument number: 523562 Kröller-Müllermuseum, Houtkampweg 6 6731 AW in Otterlo In: Rijks Monument Register, accessed March 14, 2022
- ↑ Rietveld Pavilion at the Kröller-Müller Sculpture Garden / Gerrit Rietveld , archdaily.com, accessed on March 12, 2022
- ↑ Arne Winkelmann: Retailed van Eyck pavilion in Otterlo reconstructed , baunetz.de, November 22, 2005, accessed on March 15, 2022
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